Yamaha MSS1 User Manual download pdf (Page 17)

the parts, or

we

will lose some

of

the

voices

on

the highest tracks.

If,

for example,

we

simply

assign a MIDI channel to Part 2

and

delete Part

6,

we

will have the following:

By

the time

we

get to Part 5, the

FM

Music Composer will have

counted seven MIDI voices, leaving only

one

voice-and

we

need

four.

(Remember,

once

.the

program counts one MIDI voice, all subsequent

voices are counted

as

MIDI voices.)

Creating Subtle

Harps

Voices

With

The

FB-

01

By Don

F.

Hill

I

use

an

FB-01

FM

tone

module with

my

Yamaha

ME-

50 organ.

The

FB

module has three

harp voices:

3-28

Harp,

7125

Harp2,

and

7126

Harp3. I

was

dissatisfied with these. They didn't

sound the

way

harps ought to sound, especially

in a glissando-where a harpist runs his or her

hands over a series

of

strings, leaving

them

vibrating.

On

a keyboard instrument,

one

can

try to produce a glissando effect, but the "pluck-

ing" and "snapping"

of

the

strings doesn't sound ,

right.

Without other means

of

voicing, it occurred

to

me

to try to create

better

harp sounds using

voices already at

hand

in

the

FB-01.

This

could

be

done

by

stacking in

the

Configuration mode.

I

started

with

the

3/28

Harp

voice

on

Instrument # 1, channel

1,

with 4 notes

as-

signed

as

the

maximum level

of

127. I like the

harp set down

one

octave

(-

1)

on

my

upper

organ keyboard manual, since

the

lower harp

strings are the usual ones

we

hear. To modify

this basic sound, I tried

to

increase

the

plucked

effect, and found

that

if I set instrument

#2

on

channel 1 also and gave it 3 notes, I was left

with 1 note for Instrument

#3

(on

channel

l)

for

another voice.

It

turned out

that

both

were

needed.

On

Instrument

#2,

I experimented until I

located 7 I

18

PluckGt.

At

a level

of

116, with

octave at

0 and detune

at

+ 10, this addition

gave a bit more pluck to the harp string sound.

On

Instrument

#3,

the voice added was

the

7 I

22

Lute, also at level 116 and octave 0.

This

combined

harp

sound

seems

much

more harp-like

to

me,

and

one

can

run a finger

over an octave

of

keys, holding

the

last

by

aim-

ing at it

as

one's finger glides-this causes a glis-

FB-0

1

FM

digiwl tone

module.

sando effect

with

more

plucking

sounds

of

strings,

the

way

a harpist catches them along

the

way

up

or

down a glissando.

For

the

sound

of

a softer harp, the same

Configuration

can

be used; but instead

of

7122

Lute

on

Instrument

#3,

use the

7124

SftHarp.

The

above two Configurations are much

alike,

both

recreating

the

sound

of

the harp's

lower strings. For

the

higher harp strings, a

third Configuration

is

needed,

as

follows: For

Instrument #

1,

keep

the

3/28

Harp set at vol-

ume

12

7 and octave - 1

as

before. Add 7 I 2 7

SftKoto

on

Instrument

#2,

with a level of 110,

octave ofO, and detune

of+

10.

On

Instrument

#3,

add

7124

SftHarp

at

level 116. Somehow,

this combination produces a higher sound, even

though

the

Instrument # 1 harp voice hasn't

changed.

Evidently,

the

SftKoto creates

the

effect.

These settings will give

you

three additional

harp voices

on

your FB-0

1.

They

can all be

stored

as

Configurations; or, you can store just

the

first

one

as

a Configuration, and make the

slight changes

that

create the

other

two setups

manually.

Setting

Up

An

AlB

Balance

Control

For

The

DX7

II

In

Voice Mode

By

Eugene

Beer

After playing with

my

new DX7

II

for a cou-

ple

of

weeks, I began to wish

that

it had

an

AlB

balance control to set

the

patch balance for

tone

generators

A

and

B in Dual

and

Split

modes.

This

capability

is

provided for in Perfor-

mance mode, but

that

requires

one

to decide in

advance what pairs of patches are to be stored

together

in

Performance memory. I have 64

Single patches, and,

on

the spur

of

the mo-

ment, I want to be able

to

hear any one of them

paired with any

other

with adjustable balance.

Continued on

page

20

Vol.

3 No.

8/

AITERTOUCH

17

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