element 2 will be affected, and the others are
unaffected. (See example assignment below).
•
Real-time Control over Insertion Effects:
Other possible destinations include real-time
control over the powerful DUAL INSERTION
EFFECTS that can be applied to a VOICE.
Refer to the Effect Parameter List (page 27-
35) for an idea of potential here. When
targeting a control destination if an effect
parameter can be real-time controlled you will
see an abbreviation of the parameter name
appear in the Control Set. If not controllable
in real-time, the parameter will be designated
with a “P” number, as in “INS2P10”. For
example, call up the B3 Organ sound
PRE1:118 [
Or:16+8+5&1/3
]; This Voice
uses the Dual Rotor Speaker 2 algorithm for
INSERTION B. You will find data about this
effect on the bottom right of page 30 of the
DATA LIST booklet. Navigate to its Control
Set1/2;
•
Press [EDIT]
•
Press [COMMON]
•
Press [F4] CTL SET
•
Press [SF1] Set1/2;
This Voice has the destination set to
“INSB:EfSpCtl” which translates to “Insertion
Effect B: Effect Speed Control”. It has two
speeds (like a Leslie) Slow and Fast. This
Control Set is using the Mod wheel to switch
between Slow/Fast speeds. Most of the
parameters of the Dual Rotor Speaker 2
algorithm are assignable for real-time control.
There are 16 possible parameters in the
processor. “Speed Control” is listed as MIDI
Parameter Number 16. MIDI Parameters 10
and 15 are unavailable for real-time control
assignment. If you attempt to select them you
will see “INSB:INS2P10” and “INSB:INS2P15”
instead of a parameter abbreviation –
meaning they are unavailable. (MIDI
Parameter Number 10: (typically Wet/Dry
Balance) is totally unavailable because of
phase cancellation possibilities - it is not even
listed; and Number 15 “Microphone L-R angle”
is the angle of the modeled stereo microphone
on the Leslie cabinet…simply not a parameter
you would move in real-time. Mic angle is a
“set and forget” parameter. Parameters that
are unavailable typically have no
musical
or
practical
use. If you want to see and tweak
this effect algorithm press [F6]: EFFECT/
[SF3]:INSB
•
DEPTH
The setting here must be set with
care and some thought. The range here is
from –64 ~ 0 ~ +63. How the S90 ES
responds to a setting will depend on
which
parameter
and
which
controller
is selected.
(See below some example assignments). A
Depth setting of 0 defeats all other settings in
the Controller Set and renders them
meaningless. In general, the higher the
number the more it increases the range of
control. Negative value settings reverse the
effective
direction
of the controller. You will
have to be logical here when making
assignments. …More on this in a minute.
How the assignment of controls works
Example Assignment: In this example we deal
with controlling VOLUME via controllers within a
S90 ES sample-based Voice. This can be tricky,
but this example should make clear how it works.
--Let’s say you want to control the
total
Volume
of the Voice with the Modulation Wheel. MIDI
control change message #001 is the Modulation
Wheel. The modulation wheel can be assigned to
control all manner of parameters within a
synthesizer,
not just
vibrato (Pitch Modulation
Depth). But for our example let’s see what
happens when you attempt to assign the MW to
control overall volume. For our experiment let’s
initialize a voice. This way we are not inheriting
values from a preprogrammed Controller Set.
From
Voice mode
:
•
Press the following buttons:
•
Press [JOB]
•
Press [F1] INIT
•
Press [ENTER]
•
Press [INC/YES] to execute.
This will create an INIT VOICE with just a piano
wave in it.
•
Press [EDIT]
Let’s select a synth wave. Navigate to the
OSCILLATOR WAVE page:
•
Press Program button [1] to drop to the
Element level of editing. (Notice the
Inverse video ‘
E
’ and the ‘EL1’ on the top
line – denoting the Voice has been edited
but not yet stored and we are editing
Element 1.)
•
Press [F1] OSC
•
Press [SF1] WAVE
•
Select sample wave #0612 [Wv:UniBass]
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