E-Mu EMAX, Руководство пользователя

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Emax Owners Manual
© 1986 E-mu Systems, Inc. Enhanced by The Emulator Archive 2001 Page 29
FUN WITH VCAS
1. In preparation for the following experiments, let’s change the Current Voice to include the entire
keyboard. Enter 00, then press enter twice. You have now selected the entire keyboard. Pressing
the
ANALOG PROCESSING button twice in succession will also select all voices.
2. Now key in 12 to select the VCA function. Referring to
ANALOG PROCESSING 12 , move the
cursor under the various envelope parameters and see how different settings affect the sound.
3. Before moving on, make sure you have a sound that is fairly sustained with little or no envelope
attack time.
OTHER ANALOG PROCESSING OPTIONS
1. Key in 11, refer to ANALOG PROCESSING 11 , and note how the controls affect the sound.
2. Let’s add some LFO effects. Key in 16 and position the cursor under each display option. Vary
the data slider and observe how this affects the sound. Note that adding LFO to Fc might not
sound all that noticeable; if you want a more obvious effect, bounce back to function 13 and set
Fc to about 50 and Q to about 50. This should make the LFO’s effect more noticeable.
3. If the LFO settings aren’t to your liking, then key in 15 to change the LFO rate, delay, and
variation (as explained in ANALOG PROCESSING 15 ).
UNDERSTANDING VELOCITY
1. By now you might have a pretty messy sound due to all those exercises. Let’s start with a clean
slate. Press Function button LOAD ALL and then ENTER to re-load the disk. The Current Preset
should be Preset 01. Press the ANALOG PROCESSING button.
2. Let’s make the entire keyboard the Current Voice. Press the
ANALOG PROCESSING button
again, which selects the entire keyboard.
2. Key in 17, and read over
ANALOG PROCESSING 17 . The velocity to level setting should be 06;
move the slider to select different values, and note the effects. Emax plays softer as you play
softer. In other words, Emax equates harder play with the nominal volume setting and goes down
from there as you play softer.
4. Move the cursor under the other available parameters and vary the slider. Notice that the filter
cutoff frequency lowers, as you play softer. The amount downward change is dependent on the
value in the display.
Filter Q is affected differently than level or filter cutoff. It rises from the initial setting as you play
harder. Also, note that velocity can be set to affect Q inversely - - in other words, if the filter is set
to a high Q setting, playing harder on the keyboard will lower the 0.
5. After you’ve had enough of function 17, key in 18. Here the velocity affects the VCA and Filter
envelope attacks, as well as panning. Refer to ANALOG PROCESSING 18 as you experiment
with different settings. Remember that the velocity-to-envelope attack setting interacts with the
initial envelope attack settings; if you don’t take our word for it, then by all means call up the
envelope attack parameters for the Filter and VCA and see how different values interact with
different velocity values. Note that Preset 06 makes use of velocity-controlled Filter and VCA
attack times.
MORE ANALOG PROCESSING...
Read over ANALOG PROCESSING sections 19, 20, and 21. If any of these interest you, use the
knowledge you’ve gained in this tour to try out these functions on various Presets.