26
Detailed Editing for a Patch (PATCH Parameters)
WG
Parameter marked with a “
★
” can be controlled using specified MIDI messages.
TVF
Parameter marked with a “
★
” can be controlled using specified MIDI messages.
Parameter
Value
Explanation
WAVE NUMBER
L (Mono)/R
Off, 1–
Basic waveform for a tone
When in monaural mode, only the left side (L) is specified. When in stereo, the right side
(R) is also specified.
To select a left/right pair of waveforms, first select the left (L) wave number, then double-
click the wave number of the right (R) wave to select it.
GAIN
-6, 0, +6, +12
Gain (amplification) of the waveform
The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s
gain.
* If you intend to use the Booster to distort the waveform’s sound, set this parameter to its
TEMPO SYNC
OFF, ON
When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”
* When this parameter is set to “ON,” set the TONE DELAY TIME parameter (p. 33) to “0.”
FXM ON
OFF, ON
This sets whether FXM will be used (ON) or not (OFF).
FXM COLOR
1–4
How FXM will perform frequency modulation
Higher settings result in a grainier sound, while lower settings result in a more metallic
sound.
FXM DEPTH
★
0–16
Depth of the modulation produced by FXM
TUNE COARSE
★
-48–+48
Pitch of the tone’s sound (in semitones, +/-4 octaves)
TUNE FINE
★
-50–+50
Pitch of the tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
PITCH ENV DEPTH
(Pitch Envelope Depth)
-12–+12
Depth of the Pitch envelope
Higher settings will cause the pitch envelope to produce greater change. Negative (-)
settings will invert the shape of the envelope.
PITCH ENV A
(Pitch Envelope Attack)
0–127
Pitch envelope times
Higher settings will result in a longer time until the next pitch is reached.
This will modify ENV T1 (p. 34).
PITCH ENV D
(Pitch Envelope Decay)
0–127
Pitch envelope times
This will modify ENV T3 (p. 34).
PITCH ENV S
(Pitch Envelope Sustain)
-63–+63
Pitch envelope levels
Specify how the pitch will change at each point, relative to the pitch set with COARSE
TUNE or FINE TUNE.
This will modify ENV L3 (p. 34).
PITCH ENV R
(Pitch Envelope Release)
0–127
Pitch envelope times
This will modify ENV T4 (p. 34).
Parameter
Value
Explanation
TYPE
OFF,
LPF,
BPF,
HPF,
PKG,
LPF2,
LPF3
Type of filter
OFF:
No filter is used.
LPF:
Low Pass Filter. This reduces the volume of all frequencies above the Cutoff Frequency in order to round off, or un-
brighten the sound.
BPF:
Band Pass Filter. This leaves only the frequencies in the region of the Cutoff Frequency, and cuts the rest. This can
be useful when creating distinctive sounds.
HPF:
High Pass Filter. This cuts the frequencies in the region below the Cutoff Frequency. This is suitable for creating
percussive sounds emphasizing their higher tones.
PKG:
Peaking Filter. This emphasizes the frequencies in the region of the Cutoff Frequency. You can use this to create
wah-wah effects by employing an LFO to change the Cutoff Frequency cyclically.
LPF2:
Low Pass Filter 2. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter
is half that of the LPF. This filter is good for use with simulated instrument sounds such as the acoustic piano.
LPF3:
Low Pass Filter 3. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter
changes according to the Cutoff Frequency. While this filter is also good for use with simulated acoustic instrument
sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.
* If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.
