Parameter Guide
Tri
This is a triangle, which has weaker overtones and a stron- ger fundamental than a sawtooth wave or square wave. It is suitable for mellow bass sounds.
•Control1
You can modify the waveform by adjusting this value. A setting of 0 will produce a triangle wave, and a setting of 127 will produce a waveform with a pitch that is one octave and a fifth higher.
•Control2
LFO1 is used to apply WFM (wave form modulation) to the waveform specified by “Control1.” The “Control2” setting specifies the depth of the modulation produced by LFO1.
0 | 63 | 127 |
Sin (Cross)
This is basically a sine wave, but oscillator 2 is used to apply cross modulation.
By using oscillator 2 to modulate the frequency of oscilla- tor 1, cross modulation produces a complex overtone structure.
•Control1
Specify the depth of cross modulation.
At a setting of 0 a sine wave will be produced.
•Control2
LFO1 is used to apply further modulation to the depth of cross modulation that was specified by “Control1.” “Control2” specifies the depth of modulation produced
by LFO1.
OSC2
OSC1
OSC1 Output
Vox Wave
This simulates a waveform similar to human vocal cords. Even if the oscillator pitch is changed, the frequency spec- trum will be maintained, which makes this effective when used for
Select HPF or BPF as the filter, and adjust “Cutoff” to cre- ate a
•Control1
Adjusting this value will modify the waveform.
•Control2
LFO1 is used to apply modulation to the waveform specified by “Control1.” Control2 sets the depth of the modulation applied by LFO1.
0 | 63 | 127 |
DWGS
This is waveform data created by harmonic additive syn- thesis. 64 types of waveform are provided.
•Control1
This has no effect.
•Control2
This selects the waveform.
You can select one of the following waveforms.
DWGS List
No | Name | No | Name | No | Name |
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1 | SynSine1 | 24 | 5thWave1 | 47 | Clav1 |
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2 | SynSine2 | 25 | 5thWave2 | 48 | Clav2 |
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3 | SynSine3 | 26 | 5thWave3 | 49 | Guitar1 |
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4 | SynSine4 | 27 | Digi1 | 50 | Guitar2 |
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5 | SynSine5 | 28 | Digi2 | 51 | Guitar3 |
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6 | SynSine6 | 29 | Digi3 | 52 | Bass1 |
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7 | SynSine7 | 30 | Digi4 | 53 | Bass2 |
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8 | SynBass1 | 31 | Digi5 | 54 | Bass3 |
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9 | SynBass2 | 32 | Digi6 | 55 | Bass4 |
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10 | SynBass3 | 33 | Digi7 | 56 | Bass5 |
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11 | SynBass4 | 34 | Digi8 | 57 | Bell1 |
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12 | SynBass5 | 35 | Endless* | 58 | Bell2 |
13 | SynBass6 | 36 | E.Piano1 | 59 | Bell3 |
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14 | SynBass7 | 37 | E.Piano2 | 60 | Bell4 |
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15 | SynWave1 | 38 | E.Piano3 | 61 | Voice1 |
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16 | SynWave2 | 39 | E.Piano4 | 62 | Voice2 |
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17 | SynWave3 | 40 | Organ1 | 63 | Voice3 |
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18 | SynWave4 | 41 | Organ2 | 64 | Voice4 |
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19 | SynWave5 | 42 | Organ3 |
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20 | SynWave6 | 43 | Organ4 |
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21 | SynWave7 | 44 | Organ5 |
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22 | SynWave8 | 45 | Organ6 |
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23 | SynWave9 | 46 | Organ7 |
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*: The 35 Endless waveform simulates an endless scale, in which notes one octave apart have the identical pitch. You can play an ascending or descending scale as far as you wish, producing the sensation that a scale of the same pitch is continuing infinitely.
Noise
This generates white noise. Within the oscillator, a LPF (Low Pass Filter) is provided to process the noise.
| Resonance |
Noise | LPF |
Genarator |
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| Cutoff |
•Control1
This sets the cutoff frequency of the LPF. Adjusting this will affect the noise waveform.
•Control2
This controls the resonance of the LPF.
If you raise this enough to produce an identifiable pitch, the cutoff frequency will move according to the key- board location you play, and the change will be heard as a pitch.
If you want the oscillation produced by resonance to match the reference pitch, set “Control1” to 24.
Program parameters
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