Yamaha S08 Voice Editor Owner'S Manual Download

Page: 43 / 88

Basics Section

Quick Guide

Refer

ence

Appendix

Voice Edit

For example, you could set one Element to sound in
an upper range of the keyboard, and another
Element to sound in a lower range. Thus, even
within the same Voice, you can have two different
sounds for different areas of the keyboard or you
can make the two Element ranges overlap so that
their sounds are layered over a set range.
Furthermore, you can set each Element to respond
to different velocity ranges so that one Element
sounds for lower note velocities, whereas another
Element sounds for higher note velocities.

In the Multi mode, similar settings can be assigned
for each Part.

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PITCH

In PAGES 7 to 12, you can set the basic pitch
parameters for each Element. You can detune
Elements, apply Pitch Scaling and so on. Also by
setting the PEG (Pitch Envelope Generator), you
can control how the pitch changes over time.

PEG (Pitch Envelope Generator)

You can set four Rate parameters (which control how
fast the pitch changes from one Level to the next) and
five Level (pitch) parameters, which control the
change in pitch from the moment you press a note on
the keyboard to the moment at which the sound
stops. The Initial Level and Attack Rate settings
determines from what pitch the note starts when it is
played and the time it takes to reach the Attack Level
pitch setting. The Decay 1 and 2 Rates control how
long it takes for the pitch to reach the Decay 1 and 2
Levels, respectively. Finally, the Release Rate and
Release Level parameters determine the final pitch
that the sound goes to when a key is released and
how long it takes to reach that pitch. In the
illustration, the letters a - d indicate the respective
Rate (R) settings for Attack - Release. The greater
the value for each Rate, the faster the pitch goes to
the next set Level — in other words, the time it takes
for the pitch to change (between Level settings)
becomes shorter. Velocity Sensitivity and other
parameters can also be set if required.

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FILTER

In PAGES 13 to 22, you can use the filter to change
the tonal characteristics of each Element, by
adjusting overtones (harmonic tones) included in
the waveform from the Element. The S08 employs
an LPF (low pass filter). Only frequencies below
this point are passed. In addition, you can set the
amount of Resonance (harmonic boost) applied to
the signal around the cutoff frequency. This is a
useful way of adding further character to the sound.

Cutoff

Resonance

Filter is also provided in each Multi Part.

You can also set the Filter Envelope Generator (FEG)
for time variance of how the filter works, which
results in a dynamic change in tonal characteristics.
Here, we’ll show you how the FEG works.

FEG (Filter Envelope Generator)

There are five Rate settings (controlling the speed of
changes to the sound) and five Level settings
(controlling the amount of filtering applied). As soon
as a note is played, the filter is fixed at the Initial Level
setting, and maintains that level for the length of time
set in Hold Rate. The degree to which the filter
changes after that is determined by the Attack Level
and Decay 1 and 2 Levels; the time it takes between
those changes is determined by the Attack Rate and
Decay 1 and 2 Rates. When the note is released, the
change in tone is determined by the Release Rate/Level
settings. In the illustration, the letters a - d indicate the
respective Rate (R) settings for Attack - Release. The
greater the value for each Rate, the faster the filter goes
to the next set Level — in other words, the time it
takes for the filter to change (between Level settings)
becomes shorter. Velocity Sensitivity and other
parameters can also be set if required.