Patch Edit

Pitch Env (Pitch Envelope)

These parameters specify the depth of the pitch envelope (the way in which pitch will change over time), and the shape of the envelope itself.

T1

T2

T3

 

T4

L1

 

 

 

 

L0

 

 

L3

 

Pitch

 

 

 

Time

key is

 

 

key is

 

pressed

 

L2

released

L4

 

 

 

Mode

Parameter

Value

Description

 

 

 

Patch/Sample

P-Env Depth #

-12– +12

Pitch envelope depth

 

 

 

Increasing this value will produce greater change. Negative (-) values will invert the change pro-

 

 

 

duced by the envelope.

 

P-Env Time1–4 #

0–127

Pitch envelope times (T1–T4)

 

 

 

Increasing this value will lengthen the time until the next pitch level is reached (for example, T2 is the

 

 

 

time over which the pitch will change from L1 to L2).

 

 

 

* Realtime modify knob [A] adjusts Time 1, and knob [D] adjusts Time 3.

 

P-Env Level0–4

-63– +63

Pitch envelope levels (L0–L4)

 

 

 

These parameters specify the amount by which the pitch will change from the basic pitch (specified

 

 

 

by Coarse Tune and Fine Tune) at each point of the envelope. Positive (+) values will raise the pitch

 

 

 

above the basic pitch, and negative (-) values will lower it.

 

Filter

These parameters are settings for the TVF (Time Variant Filter). They modify the timbral character of the tone by adjusting the brightness and

fatness of the sound.

Parameter

Value

Description

 

 

 

Filter Type #

OFF, LPF,

Type of filter

 

BPF, HPF,

A filter cuts a specific frequency region of the sound to modify the brightness or thickness of the

 

PKG, LPF2,

sound.

 

LPF3

OFF: A filter will not be used.

 

 

LPF: Low Pass Filter. Cuts the region that lies above the cutoff frequency. The sound will become

 

 

more mellow as the high frequency region is cut. This is the most commonly used type of filter.

 

 

BPF: Band Pass Filter. Leaves only the region in the vicinity of the cutoff frequency, and cuts the rest.

 

 

Suitable for creating sounds with a distinctive character.

 

 

HPF: High Pass Filter. Cuts the region that lies below the cutoff frequency. Suitable for creating per-

 

 

cussion instrument sounds that have a distinctive high range.

 

 

PKG: Peaking filter. Emphasizes the region in the vicinity of the cutoff frequency. You can create a

 

 

wah effect by using an LFO to cyclically modulate the cutoff frequency.

 

 

LPF2: Low Pass Filter 2. Cuts the region that lies above the cutoff frequency. This lets you leave the

 

 

cutoff frequency fixed, and use the TVF envelope settings to vary the depth of the cutoff. Since this

 

 

does not impair the feeling of energy of the sound, it is effective for acoustic-type sounds.

 

 

* The resonance setting is ignored.

 

 

LPF3: Low Pass Filter 3. Cuts the region that lies above the cutoff frequency. This filter cuts the high

 

 

frequency region more gently than LPF2. Since this does not impair the feeling of energy of the sound,

 

 

it is effective for acoustic-type sounds.

 

 

* The resonance setting is ignored.

Cutoff Frequency #

0–127

Frequency (cutoff frequency) at which the filter will begin affecting the frequency content of the wave-

 

 

form

 

 

If the Filter Type is LPF/LPF2/LPF3, reducing the cutoff frequency will diminish the higher over-

 

 

tones, producing a more mellow sound. Raising the cutoff frequency will brighten the sound.

 

 

If the Filter Type is BPF, the cutoff frequency value will change the harmonic content that will be

 

 

sounded. This is suitable for creating sounds with a distinctive character.

 

 

If the Filter Type is HPF, raising the cutoff frequency will diminish the lower overtones, emphasiz-

 

 

ing only the bright portion of the sound.

 

 

If the Filter Type is PKG, the cutoff frequency value will change the harmonic content that will be

 

 

boosted.

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Roland MC-909 owner manual Patch Edit Pitch Env Pitch Envelope, Filter