Yamaha YRM-502 YRM-502 Owners Manual Image - Page 55

creation, string, voices

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Fig. 43 Settings for a brass voice 1( 1) (BRASS 1) Code 1 Tr 0 Al 3 4 LR 11 Fb 7 Ams 1 Ne 0 2 3 Pms 2 Nf 0 LFO D c2/\I Spd200 Amd 3 Pmd 30 0 F 1 A 13m2 • 6a S 14 D 21 R 8011111 0112 F 1 A 21Nomo D 14En S 13 D 0 0104 IF 0 F 3 Dt A 15um Ks 0 D 8N. Kd 5 S 14 Rk 2 D 0 Vs 5 R Aj 0 0 95 IF et Ac) Fi Dt 0 18MME Ks 0 D 31 Kd 4 S 13 Rk 0 D 0 Vs 5 R Aj 0 0127 IF 0 Dt 2 Ks 0 Kd 4 Rk 1 Vs 5 Aj 0 IF 0 Dt Ks 1 Kd 2 Rk 1 Vs 4 Aj 0 The creation of string voices The next example uses as its base STRING 1, which is voice number 4. Algorithm Algorithm pattern 3 is also used for STRING 1. This has one carrier and three modulators, an algorithm used for voices having a high degree of character change. It is used in this example to reproduce the complex sounds of string instruments. Frequency of operators OP1, 3 and 4 remain at 1. The pitch of OP2 is set to 5 for creating the delicate texture associated with string instruments. Output level of operators and Feedback The output level of the modulator must not be too high. The appropriate setting is about 80 to 120. If the output level of the modulators is raised above this, the voice will begin to resemble that of a horn instrument, with some additional noise components. The feedback is used to reproduce the feeling of the vibrating string, and is set to 7. EG String instruments also have a slow attack, so that attack, or A, of the carrier is slowed down slightly by setting it between 13 and 15. The modulators are set faster than the carrier. The R (release) of the carrier is also slowed down slightly (5-6) to simulate the sound of an ensemble. This causes the sound to linger after the key has been released. LFO Vibrato is one the most important characteristics of string instruments. However, since this is an orchestral sound, there is no need for the deep vibrato heard with solo string instruments. Transposing Transposing lowers the pitch by one octave to obtain a richer middle and lower range sound. - 52 -

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Fig.
43
Settings
for
a
brass
voice
Code
1
Tr
0
LR
11
Ams
1
Pms
2
A
0
13
m2
F
1
•
6a
S
14
D
21
R
8011111
0112
F
1
A
21Nomo
D
14En
S
13
D
0
0104
1
(
1
)
(BRASS
1)
Al
3
4
Fb
0
7
Ne
2
3
Nf
0
LFO
D
c
2/
I
\
Spd200
Amd
3
Pmd
30
IF
0
F
3
IF
0
Dt
A
15um
Dt
2
Ks
0
D
8N.
S
14
Ks
0
Kd
5
Kd
4
D
0
R
Rk
2
Rk
1
Vs
5
Vs
5
0
95
Aj
0
Aj
0
Dt
IF
et
0
Ac)
18MME
Fi
IF
Dt
0
D
S
13
31
Kd
Ks
0
4
Ks
Kd
1
2
Rk
0
D
0
Rk
1
Vs
5
Aj
0
R
Vs
Aj
4
0
0127
The
creation
of
string
voices
The
next
example
uses
as
its
base
STRING
1,
which
is
voice
number
4.
Algorithm
Algorithm
pattern
3
is
also
used
for
STRING
1.
This
has one
carrier
and
three
modulators,
an
algorithm
used
for
voices
having
a
high
degree
of
character
change.
It
is
used
in
this
example
to
reproduce
the
complex
sounds
of
string
instruments.
Frequency
of
operators
OP1,
3
and
4
remain
at
1.
The
pitch
of
OP2
is
set
to
5
for
creating
the
delicate
texture
associated
with
string
instruments.
Output
level
of
operators
and
Feedback
The
output
level
of
the
modulator
must
not
be
too high.
The
appropriate
setting
is
about
80
to
120.
If
the
output
level
of
the
modulators
is
raised
above
this,
the
voice
will
begin
to
resemble
that
of
a
horn
instrument,
with
some
additional
noise components.
The
feedback is
used
to
reproduce
the feeling
of
the
vibrating
string, and
is
set
to
7.
EG
String instruments
also
have
a
slow
attack,
so
that attack,
or
A,
of
the
carrier
is
slowed
down slightly
by
setting
it
between
13
and
15.
The
modulators
are
set
faster
than
the
carrier.
The
R
(release) of the
carrier
is
also
slowed
down
slightly
(5-6)
to
simulate the
sound
of
an
ensemble. This
causes
the
sound
to
linger
after
the
key
has
been
released.
LFO
Vibrato
is
one
the
most
important
characteristics
of
string
instruments.
However,
since this is
an
or-
chestral
sound,
there
is
no
need
for
the deep
vibrato
heard
with solo
string
instruments.
Transposing
Transposing
lowers
the
pitch
by
one
octave
to
obtain
a
richer
middle
and
lower
range
sound.
—
52
-