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The display should look like this. Play several brief
notes
10. Now use [DATA ENTRY] to turn the sync OFF
Again, play the same brief note several times, and
listen to the pitch each time. You'll hear the initial
pitch of each note change slightly as the randomly
timed notes interact with the regularly oscillating
LFO. With less exaggerated settings, leaving the LFO
Sync OFF will cause minor changes from note to
note that result in a more natural simulation of an
acoustic instrument.
Then adjust [DATA ENTRY] so the display looks like
this, and again play several brief notes
The two amplitude modulation functions, LFO [AMD]
and [MOD SENSITIVITY-AMPLITUDE], work similarly
to the pitch modulation depth and sensitivity, except that
the amplitude sensitivity can be programmed separately
for each operator. The SAX-BC1 voice in the Master
Group is a good example of the use of LFO amplitude
modulation, where the breath controller can be used to
change the level of several operators.
To see how the amplitude modulation works, lets turn
off the pitch modulation temporarily and turn on the
amplitude modulation.
11. Turn LFO Sync ON again by pressing [SYNC] and
the [ON] button. Then set the pitch modulation
depth at 0 by pressing [PMD] and pulling down the
[DATA ENTRY] slider.
12. Press [AMD] and bring the amplitude modulation
depth up to a high value (from 50 to 99), and play a
note on the upper section of the keyboard. (Remem-
ber that the Keyboard Level Scaling has "rolled off"
this sound on the lower part of the keyboard). Notice
there is no amplitude modulation yet. You need to
"open the gate" for each operator that you want the
modulation to affect.
And adjust the [DATA ENTRY] controls to see this
13. Press [MOD SENSITIVITY-AMPLITUDE] and then
press [OPERATOR SELECT] to set Operator 2 as
the current operator. Then use [DATA ENTRY] to
bring up the sensitivity to a maximum of 3. Play a
note, and listen to the timbre change. This modula-
tion will be very pronounced, so you'll probably
want to lower the sensitivity to about 1. The timbre
changes because the LFO is modulating the modula-
tor which produces the harmonics.
And the display should look like this
to select OP2, and adjust [DATA ENTRY] to 3 first, then
to 1
Now lets see what happens when you modulate the
carrier's level.
14. Press [OPERATOR SELECT] as needed to select
operator 1, and then adjust its amplitude sensitivity
to the maximum (3). Play a note in the upper part of
the keyboard, and hear the wide deviations in vol-
ume. The wide deviations in volume occur because
the LFO is being applied to change the output level
of the carrier through which all the sound in the
stack must travel. Now reduce the sensitivity to 1.
and adjust [DATA ENTRY] to maximum (3) then (1)
15. The amount of amplitude modulation is probably
still much too high, but we may want some ampli-
tude modulation SENSITIVITY for use by an external
modulation source (like the wheel or breath control-
ler). Therefore, leave the sensitivity settings alone.
Instead, press [AMD] and use [DATA ENTRY] to
bring the amplitude modulation depth down to
about 10 (very little depth compared to the maxi-
mum
of
99).
And adjust the [DATA ENTRY] controls to see this
16. Add some pitch modulation depth (it should be at
zero) to obtain a pleasing frequency variation for
some interest. Press [PMD] and set it to 15. Then
press [DELAY] and set it to 55, press [SYNC] and
turn off the key sync, and press [SPEED] and reset
it
to 27.
Now reset all these
parameters for a
more natural
sound
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