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Chapter 6. Creating Rhythm Sets
Chapter 6
2. Press [UTILITY], getting its indicator to start blinking.
3. Press the numeric key [2], then or to call up the
RHYTHM KEY COPY page.
fig.10-17.e
4. Press the cursor buttons to move the cursor to the
parameter you want to set.
5. Either rotate the VALUE dial or press [INC/+]/[DEC/-]
to set the value.
• To specify the currently selected Rhythm Set as the copy
source, set Source to TEMP.
• When the cursor is located at Source, you can also use
[USER], [PRESET], and [A]–[F] to select a Rhythm Set
group, and then use numeric keys to specify the Rhythm
Set number.
• When the cursor is located at Key, you can also press the
keyboard to select the key.
• By using TONE SELECT [1]–[4], you can also select the
copy source key. By using TONE SWITCH [1]–[4], you
can select the copy destination key.
TONE SELECT/SWITCH [1]: move to an octave lower
key
TONE SELECT/SWITCH [2]: move to the semitone
below
TONE SELECT/SWITCH [3]: move to the semitone
above
TONE SELECT/SWITCH [4]: move to an octave higher
key
6. Press [ENTER] to execute the copy operation.
When the Copy operation is executed, an * symbol will
be displayed in front of the copy-destination Part.
7. Press [UTILITY] to return to the previous page.
Cautions When Selecting a
Waveform
The sounds of the XV-88 are based on complex PCM
waveforms, and if you attempt to make settings that are
contrary to the type of the original waveform, the results will
not be as you expect.
The XV-88’s internal waveforms fall into the following two
groups.
One-shot: These waveforms contain sounds that have short
decays. A one-shot waveform records the initial rise and fall
of the sound. Some of the XV-88’s one-shot waveforms are
sounds that are complete in themselves, such as percussive
instrument sounds. The XV-88 also contains many other one-
shot waveforms that are elements of other sounds. These
include attack components such as piano-hammer sounds
and guitar fret noises.
Looped: These waveforms include sounds with long decays
as well as sustained sounds. Loop waveforms repeatedly
play back (loop) the portion of the waveform after the sound
has reached a relatively steady state. The XV-88’s looped
waveforms also include components of other sounds, such as
piano-string resonant vibrations and the hollow sounds of
brass instruments.
Cautions When Using a One-shot
Waveform
It is not possible to use the envelope to modify a one-shot
waveform to create a decay that is longer than the original
waveform, or to turn it into a sustaining sound. If you were
to program such an envelope, you would be attempting to
shape a portion of the sound that simply doesn’t exist, and
the envelope would have no effect.
Cautions When Using a Loop
Waveform
With many acoustic instruments such as piano and sax,
extreme timbral changes occur during the first few moments
of each note. This initial attack is what defines much of the
instrument’s character. For such waveforms, it is best to use
the complex tonal changes of the attack portion of the
waveform just as they are, and to use the envelope only to
modify the decay portion. If you attempt to use the envelope
to modify the attack portion as well, the characteristics of the
original waveform may prevent you from getting the sound
that you intend.
fig.05-06.e
Copy source Rhythm Set
(group, number)
Copy source
Rhythm Set name
Copy source Key Copy destination Key
Tone change stored
with the wave
Envelope
for the TVF filter
Resulting
tone change
Looped portion
Time
Level