Parameter Guide
37
Tri
This is a triangle, which has weaker overtones and a stron-
ger fundamental than a sawtooth wave or square wave. It
is suitable for mellow bass sounds.
• Control1
You can modify the waveform by adjusting this value.
A setting of 0 will produce a triangle wave, and a setting
of 127 will produce a waveform with a pitch that is one
octave and a fifth higher.
• Control2
LFO1 is used to apply WFM (wave form modulation) to
the waveform specified by “Control1.” The “Control2”
setting specifies the depth of the modulation produced
by LFO1.
Sin (Cross)
This is basically a sine wave, but oscillator 2 is used to
apply cross modulation.
By using oscillator 2 to modulate the frequency of oscilla-
tor 1, cross modulation produces a complex overtone
structure.
• Control1
Specify the depth of cross modulation.
At a setting of 0 a sine wave will be produced.
• Control2
LFO1 is used to apply further modulation to the depth
of cross modulation that was specified by “Control1.”
“Control2” specifies the depth of modulation produced
by LFO1.
Vox Wave
This simulates a waveform similar to human vocal cords.
Even if the oscillator pitch is changed, the frequency spec-
trum will be maintained, which makes this effective when
used for vocal-type sounds or as a vocoder oscillator.
Select HPF or BPF as the filter, and adjust “Cutoff” to cre-
ate a vocal-type sound.
• Control1
Adjusting this value will modify the waveform.
• Control2
LFO1 is used to apply modulation to the waveform
specified by “Control1.” Control2 sets the depth of the
modulation applied by LFO1.
DWGS
This is waveform data created by harmonic additive syn-
thesis. 64 types of waveform are provided.
• Control1
This has no effect.
• Control2
This selects the waveform.
You can select one of the following waveforms.
DWGS List
Noise
This generates white noise. Within the oscillator, a LPF
(Low Pass Filter) is provided to process the noise.
• Control1
This sets the cutoff frequency of the LPF.
Adjusting this will affect the noise waveform.
• Control2
This controls the resonance of the LPF.
If you raise this enough to produce an identifiable pitch,
the cutoff frequency will move according to the key-
board location you play, and the change will be heard as
a pitch.
If you want the oscillation produced by resonance to
match the reference pitch, set “Control1” to 24.
0
63
127
OSC2
OSC1
X-mod Depth + X-mod Depth Mod
OSC1 Output
0
63
127
No
Name
No
Name
No
Name
1
SynSine1
24
5thWave1
47
Clav1
2
SynSine2
25
5thWave2
48
Clav2
3
SynSine3
26
5thWave3
49
Guitar1
4
SynSine4
27
Digi1
50
Guitar2
5
SynSine5
28
Digi2
51
Guitar3
6
SynSine6
29
Digi3
52
Bass1
7
SynSine7
30
Digi4
53
Bass2
8
SynBass1
31
Digi5
54
Bass3
9
SynBass2
32
Digi6
55
Bass4
10
SynBass3
33
Digi7
56
Bass5
11
SynBass4
34
Digi8
57
Bell1
12
SynBass5
35
Endless
*
*: The 35 Endless waveform simulates an endless scale, in which notes one octave
apart have the identical pitch. You can play an ascending or descending scale as far
as you wish, producing the sensation that a scale of the same pitch is continuing
infinitely.
58
Bell2
13
SynBass6
36
E.Piano1
59
Bell3
14
SynBass7
37
E.Piano2
60
Bell4
15
SynWave1
38
E.Piano3
61
Voice1
16
SynWave2
39
E.Piano4
62
Voice2
17
SynWave3
40
Organ1
63
Voice3
18
SynWave4
41
Organ2
64
Voice4
19
SynWave5
42
Organ3
20
SynWave6
43
Organ4
21
SynWave7
44
Organ5
22
SynWave8
45
Organ6
23
SynWave9
46
Organ7
LPF
Cutoff
Resonance
Noise
Genarator
Program parameters
