8
Patch Mode
PITCH ENV
Parameter
Value/Explanation
Pitch Env 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.
-12–+12
Pitch Env V-Sens
Keyboard playing dynamics can be used to control the depth of the pitch
envelope. If you want the pitch envelope to have more effect for strongly
played notes, set this parameter to a positive (+) value. If you want the
pitch envelope to have less effect for strongly played notes, set this to a
negative (-) value.
-63–+63
Pitch Env T1
V-Sens
This allows keyboard dynamics to affect the Time 1 of the Pitch envelope.
If you want Time 1 to be speeded up for strongly played notes, set this
parameter to a positive (+) value. If you want it to be slowed down, set this
to a negative (-) value.
-63–+63
Pitch Env T4
V-Sens
Use this parameter when you want key release speed to affect the Time
4 value of the pitch envelope. If you want Time 4 to be speeded up for
quickly released notes, set this parameter to a positive (+) value. If you
want it to be slowed down, set this to a negative (-) value.
-63–+63
Pitch Env Time KF
Use this setting if you want the pitch envelope times (Time 2–Time 4) to
be affected by the keyboard location. Based on the pitch envelope times
for the C4 key, positive (+) settings will cause notes 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.
-100–+100
Time
Key
Pitch Env 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.)
0–127
Pitch Env 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.
-63–+63
Note on
Note off
Time
Pitch
T: Time
L: Level
TVF
Parameter
Value/Explanation
Filter Type
Selects the type of filter. A filter cuts or boosts a specific frequency region
to change a sound’s brightness, thickness, or other qualities.
*
If you set “LPF2” or “LPF3,” the setting for the Resonance (p. 8) will be
ignored .
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. 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, 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 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 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.
Cutoff Frequency
Selects the frequency at which the filter begins to have an effect on the
waveform’s frequency components.
“LPF/LPF2/LPF3” selected for the Filter Type
Lower cutoff frequency settings reduce a tone’s upper harmonics for a
more rounded, warmer sound. Higher settings make it sound brighter.
“BPF” selected for the Filter Type
Harmonic components will change depending on the TVF Cutoff
Frequency setting. This can be useful when creating distinctive sounds.
“HPF” selected for the Filter Type
Higher Cutoff Frequency settings will reduce lower harmonics to
emphasize just the brighter components of the sound.
“PKG” selected for the Filter Type
The harmonics to be emphasized will vary depending on Cutoff Frequency
setting.
MEMO
To edit the overall patch while preserving the relative differences in the
Cutoff Frequency values set for each tone, set the Cutoff Offset (p. 4).
0–127
Resonance
Emphasizes the portion of the sound in the region of the cutoff frequency,
adding character to the sound. Excessively high settings can produce
oscillation, causing the sound to distort.
0–127
Cutoff Keyfollow
Use this parameter if you want the cutoff frequency to change according
to the key that is pressed. Relative to the cutoff frequency at the C4 key
(center C), positive (+) settings will cause the cutoff frequency to rise
for notes higher than C4, and negative (-) settings will cause the cutoff
frequency to fall for notes higher than C4.
Larger settings will produce greater change.
-200–+200
Cutoff frequency
(Octave)
Key
2
2
2
