50
Creating a Patch
higher than C4 to have increasingly shorter times, and negative (-)
settings will cause them to have increasingly longer times. Larger
settings will produce greater change.
Value:
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30,
+40, +50, +60, +70, +80, +90, +100
fig.Time KF.e
Pitch Env
P-Env Depth (Pitch Envelope Depth)
,
,
Adjusts the effect of the Pitch Envelope. Higher settings will cause
the pitch envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
Value:
-12– +12
P-Env Time 1–4 (Pitch Envelope Time 1–4)
★
Specify the pitch envelope times (Time 1–Time 4). Higher settings
will result in a longer time until the next pitch is reached. (For
example, Time 2 is the time over which the pitch changes from Level
1 to Level 2.)
Value:
0–127
fig.Pitch Env.e
P-Env Level 0–4 (Pitch Envelope Level 0–4)
Specify the pitch envelope levels (Level 0–Level 4). It determines
how much the pitch changes from the reference pitch (the value set
with Coarse Tune or Fine Tune on the Pitch screen) at each point.
Positive (+) settings will cause the pitch to be higher than the
standard pitch, and negative (-) settings will cause it to be lower.
Value:
-63– +63
Modifying the Brightness of a
Sound with a Filter (TVF/TVF Env)
fig.03-17_50
For details on the setting, refer to
“How to Make the Patch
Settings”
(p. 39).
TVF
Filter Type
Selects the type of filter. A filter is a function that cuts off a specific
frequency band to change a sounds brightness, thickness, and other
qualities.
Value
OFF:
No filter is used.
LPF:
Low Pass Filter. This reduces the volume of all frequencies
above the cutoff frequency (Cutoff Freq). in order to round
off, or un-brighten, the sound. This is the most common filter
used in synthesizers.
BPF:
Band Pass Filter. This leaves only the frequencies in the
region of the cutoff frequency (Cutoff Freq), 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 (Cutoff Freq). This is suitable for
creating percussive sounds emphasizing their higher ones.
PKG:
Peaking Filter. This emphasizes the frequencies in the region
of the cutoff frequency (Cutoff Freq). 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 (Cutoff Freq) are cut, the sensitivity of
this filter is half that of the LPF. This makes it a
comparatively warmer low pass filter. 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 (Cutoff Freq) 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 (p. 51).
C4
C3
C2
C1
C5
C6
C7
0
+50
+100
-50
-100
Key
Time
1
2
4
3
T1
T2
T3
T4
L3
L4
L2
L1
L0
Note off
Pitch
Time
Note on
T: Time L: Level
3
Reference_e.book 50 ページ ２００３年７月１４日 月曜日 午後３時２５分
