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13
En
Creating sounds and categories/parameters
The sub oscillator generates a triangle wave that is one octave lower
than the pitch of Oscillator 1. Because a triangle wave has very few
harmonics, you can use the triangle sub octave to add weight to a sound
without changing its overall harmonic content.
Noise Level
Sets the volume of the white noise generated by the noise generator.
Noise is effective for making percussive sounds and sound effects such
as wind or ocean waves.
FILTER category
In the filter category ([LOW-PASS FILTER], [HIGH-PASS FILTER]), the
tone is processed by cutting or emphasizing the harmonic component of
the Oscillators.
This unit is equipped with a 4-pole (24 dB per octave) analog resonant
low-pass filter and a 2-pole (12 dB per octave) analog resonant high-pass
filter.
The low-pass filter attenuates the high frequencies, and the high-pass
filter attenuates the low frequencies. By using these two filters at the
same time, it also functions as a bandpass filter.
Also, you can emphasize a band of frequencies near the filter cutoff by
adjusting the resonance ([Resonance]) level.
FILTER parameters
[LOW-PASS FILTER] and [HIGH-PASS FILTER] are displayed as
categories in the display.
The following are the parameters displayed under either or both
categories.
Cutoff
(Both the [LOW-PASS FILTER] and [HIGH-PASS FILTER] categories have
this parameter.)
The [Cutoff] parameter adjusts the cutoff frequency of each filter.
The cutoff frequency is adjusted to the lower range when the set value of
the parameter decreases and to the higher range when it increases.
! As you decrease the value of the [LOW-PASS FILTER], you remove
the high frequences in the sound.
! As you increase the value of the [HIGH-PASS FILTER], you remove
the low frequences in the sound.
! The [FILTER ENVELOPE] allows you to control the filter’s cutoff
frequency over time.
Resonance
(Both the [LOW-PASS FILTER] and [HIGH-PASS FILTER] categories have
this parameter.)
The [Resonance] parameter adds a distinctive character to the sound by
emphasizing the overtones around the cutoff frequency.
! As the [Resonance] level is increased, the overtone component is
emphasized and the effect increases.
! The low-pass filter starts self-oscillation by increasing the
[Resonance] level, and the filter itself generates a sine wave.
! Setting [Resonance] to a high value when the Oscillators are also
set to a high value in the [MIXER] can cause distortion. Reduce
oscillator levels if necessary.
Key Amount
(Both the [LOW-PASS FILTER] and [HIGH-PASS FILTER] categories have
this parameter.)
[Key Amount] controls how the filter cutoff frequency is affected by the
keyboard. Settings are [Off/Half/Full].
! When set to [Full], the higher the note played on the keyboard, the
more the filter opens. The cutoff frequency changes are in semitone
units.
! When set to [Half], the higher the note played on the keyboard, the
more the filter opens. However, the cutoff frequency changes are in
half-semitone units.
! When set to [Off], playing higher or lower on the keyboard does not
affect filter frequency.
! When the low-pass filter is self-oscillating, you can play according
to the [Key Amount] setting in the [LOW-PASS FILTER] category as
follows.
— When set to [Full], you can play one octave twelve scale with the
oscillation sound (sine wave) of the filter.
— When set to [Half], you can play one octave twelve scale by
playing the keyboard two octaves.
Velocity
(Both the [LOW-PASS FILTER] and [HIGH-PASS FILTER] categories have
this parameter.)
When the [Velocity] parameter is set to [On], you can change the effect
of the filter envelope ([FILTER ENVELOPE]) to the cutoff frequency
depending on the velocity (strength of playing the keyboard).
! If you play the keyboard strongly, the amount of change in [LP
Amount] and [HP Amount] in the [FILTER ENVELOPE] category will
increase.
FILTER ENVELOPE category
The [FILTER ENVELOPE] is used to control the cutoff frequencies of
the two filters over time using the [Attack], [Decay], [Sustain], and
[Release] controls.
In general, sounds produced by an instrument are brighter at their
beginning (the attack stage) and grow mellower as they die out (the
decay and release stages). This is what the [FILTER ENVELOPE] is
designed to simulate.
Standard ADSR envelope
Cutoff
Note on
Sustain
level
Note off
Release time
Decay
time
Attack
time
Cutoff
Time
FILTER ENVELOPE parameters
LP Amount
The [LP Amount] parameter sets the amount of modulation from the
filter envelope to the low-pass filter. Higher amounts more dramatically
affect the cutoff frequency.
! Higher positive [LP Amount] settings cause the Filter Envelope to
more dramatically affect the filter cutoff frequency.
! Higher negative [LP Amount] settings cause the Filter Envelope to
be inverted and more dramatically affect the filter cutoff frequency in
the reverse direction.
Cutoff Cutoff
Note on Note off
Note on Note off
Time
Time
Plus direction Minus direction
HP Amount
The [HP Amount] parameter sets the amount of modulation from the
filter envelope to the high-pass filter. Higher amounts more dramatically
affect the cutoff frequency.
! Higher positive [HP Amount] settings cause the Filter Envelope to
more dramatically affect the filter cutoff frequency.
! Higher negative [HP Amount] settings cause the Filter Envelope to
be inverted and more dramatically affect the filter cutoff frequency in
the reverse direction.
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