Yamaha SY99, Руководство пользователя

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VOICE EDIT MODE
LFO (Main) (page 146), which is essentially
identical to this Effect LFO.
The initial phase parameter determines the
point of the LFO waveform from whicti the LFO
will begin each time a key is pressed. When this
is set to "free", the Effect LFO will not be re-
started for each note.
This Effect LFO is independent of the LFO
which provides the "modulation" for some effect
types. For example, you could even use this
Effect LFO to modulate the modulation fre-
quency of a chorus effect.
Pressing F1—F3 will move the cursor to the Con -
trol 1, Control 2, or LFO area.
Remark: The assignment of some effect parame-
ters to realtime control can result in noise.
Should this happen, try modifying the settings.
COMMON DATA
11. Micro tuning set
JUMP #221
Summary: Select a micro tuning for the entire voice,
and specify whether or not each element will use
this micro tuning.
Procedure:
From: Voice Common job directory (JUMP#201)
Select: job 11:McrTune (JUMP #221)
Specify: the micro tuning, and element micro tun-
ing on/off
Micro Tuning Select (I-1, I-2, C-1, C-2, P-1...
P-64): Select a micro tuning to be used by the
voice. 64 micro tuning memories are preset in-
side the SY99 (see the following remarks). Two
of your own micro tunings can be stored in
Internal memory, and a card can accommodate
another two micro tunings. Internal voices can-
not use card micro tunings, nor can card voices
use internal micro tunings.
Element 1-4 (off, on): When this is turned on,
the element will use the micro tuning selected by
Micro Tuning Select. When this is turned off, the
element will use equal temperament scale in-
stead of the selected micro tuning.
Pressing F1 (Sel) will move the cursor to Micro
Tuning Select. Pressing F2-F5 will move the cur-
sor to Element 1-4.
1 2 4
Remarks: As with Pan data, Micro Tuning data is
not part of the voice. This Micro Tuning Select
setting merely specifies which micro tuning will
be used.
The sixty-four micro tunings preset inside
the SY99 are as follows.
01 Equal temperament: The "compromise"
tuning used for most of the last 200 years of
Western music, and found on most electronic
keyboards. Each half step is exactly l/12th of an
octave, and music can be played in any key with
equal ease. However, none of the intervals are
perfectly in tune.
02-13 Pure major (C...B): This tuning is de-
signed so that most of the intervals (especially
the major third and perfect fifth) in the major
scale are pure. This means that other intervals
will be correspondingly out of tune. You need to
specify the key (C.. .B) you will be playing in.
14-25 Pure minor (A...G#): The same as Pure
Major, but designed for the minor scale.
26-37 Mean tone (C...B): This is an adjust-
ment of the Pure and Pythagorean tunings. The
interval between the root and fifth is tuned
slightly flat, so that the interval between the
root and second degree is exactly halfway be-
tween a major and minor pure second; i.e., an
average or "mean".
38-49 Pythagorean (C...B): This scale is
derived by tuning pure perfect fifths upward from
the root. This causes the octave to be flat, so
one of the fourths is mistuned to compensate.
(In the key of C, the Ab - Eb interval.)