Yamaha CS2x Troubleshooting Guide

CS2xSilverBook by Peter Krischker and Matthias Sauer© YAMAHA EUROPA GMBH, 2/99 - PDP-CS2x-01

10There is good reason why the banks that resulted from Layer 1 of the CS1x and CS2x Factor Performancesare printed in bold - in contrast to others, t

11The most unique of MIDI events are undoubtedly the System Exclusive messages. These are used to trans-mit specific parameter settings.All these even

12This can also be set via Sys-Ex (Multi Part/ Rcv Channel - DATA List, page 31).The file “5TO16OFF.MID” (TOOL Disk, “SYSEX” folder) can also be used

13We consciously did not make use of any other Controllers in the Performance Set, as their default settingswould often deviate from those found in th

14Step 3 = Loading the Setup DataLoad the file “SetIni” or “SetTech” from the SETUP Disk in your required format (Midi file, Cubase Song orLogic Song)

15Step 4 = Trying out the Sound SettingsBefore you start to play in the first few tracks, you should feel comfortable with making Setup data changes.T

16The Analog Workshop: Sound Creation ExplainedThe parameter structure of the CS2x is largely based on analogue synthesis. The following step-by-stepg

17Coarse tuning is another basic tool in the construction of sounds. The most practical use of coarse detuninginvolves transposing a VCO by one or mor

18Particular attention should also be paid to the Sine Wave. This purely electronically generated wave is alonein not having any harmonics at all, and

19Dynamic Helpers – EnvelopesAll the sound components we have looked at so far have been “static” in their effect, that is to say that theyhaven’t aff

2Contents PageQuick Start: Essentials to get Started• The CS2x Synthesizer Concept 4• CS1x - CS2x - A Comparison 4• First Sound Impressions 6• Knob

20EXPERIMENT:Using a highly percussive amplitude envelope will give a majestic filter sweep little time to develop. As an example, selectPerformance T

21Let’s finally take a look at the Pitch Envelope. Unlike the FEG and AEG, this envelope is predominantly usedfor specialist applications, and as such

22Helper Motors – The LFOsThe Low Frequency Oscillator or LFO is a special kind of oscillator. Unlike VCOs, the LFO’s frequency rangeis roughly betwee

23Let’s press on: the CS2x LFO can also manipulate amplitude (i.e. volume) as well as filter and pitch. ThisLFO, known as Amplitude LFO or “LFO AMod”,

24About the Little ThingsNow that we’re approaching the end of our little workshop we should take a look at what effect the monopho-nic mode has on th

25Lastly, the somewhat tricky subject of Touch Sensitivity. The CS2x offers no fewer than four related functions(see section “Performance”, “Velocity”

26SummaryWe’ve made it – that was a lot to take in! Now spoil yourself, relax to a little demo sequence we prepared ear-lier (TUTRDEMO.MID), and liste

27 (H)The focus shifts to the Portamento and Poly/Mono functions at bar 80: here we are switching betweenthe two modes whilst playing a lead sound, to

28Arpeggiator: A Box full of Tricks for all OccasionsThe CS2x Arpeggiator is very clearly laid out. It consists of only three parts: Type, Tempo and S

29Secondly, it is advisable to time-shift the track containing any Arpeggiator chords by a few milliseconds. Thisensures more precise Arpeggio starts.

3Performance Mode: Practical Knowledge• Scenes - what are they? 38• Day to Day Things 39• Scene Applications 40• The Effects 41• Live Applications 45•

30First StepsLet’s deal with the simple Arpeggio patterns “Up/Down” and “Random” first. These are by no means uniqueto the CS2x, but can be found on m

31Sound Rhythm TricksLooking at these UpDown Arpeggios may lead you to the conclusion that the chord notes are somehow“drifting across the beats”. Per

32Between you and me: you don’t always have to be so strictly analytical. The occasional breaking of the rulesand other such mischief often produces t

33Of course you can always change the filter yourself in real-time with the CS2x knobs. Dynamic Pan Positionsare more tricky. Never fear, the Arpeggia

34Effects – used in a different wayEnough of these lengthy experiments. With the help of a few practical examples, we now would like to showyou the Ar

35The last SFX Arpeggio is a percussive sequence which can be applied universally. Particularly nice here isPan Position modulation.EXAMPLE:Select Per

36Naturally this isn’t all there is to it. The following are another four sequences that are particularly useful formodern styles like House or Trance

37Let’s Groove!Anyone who has worked with Samplers will be familiar with their quirks: you have to constantly process drumloops with the time-stretch

38Performance Mode: Practical KnowledgeNow that we have looked in detail at the CS2x sound components and its Arpeggiator, let’s devote sometime to it

39Day to Day thingsBefore we begin, you should know how to store a Scene. This is basically very easy: first arrange the knobsas desired. Once you hav

4Quick Start: Essentials to get StartedThe CS2x Synthesizer ConceptAlthough based on the same “CONTROL SYNTHESIZER” concept as its predecessor, the CS

40Scene ApplicationsMost startling first and foremost is the blending of two different sounds, which as we have already pointedout is commonly known a

41EXAMPLE:You have selected Performance TP097. This is a classic lead sound which, thanks to Scene morphing can be playedvery expressively. Aside from

42Only Send Levels can be programmed on the machine itself for the first two effects, Reverb and Chorus.Things get more complex with the Variation eff

43(B) PhaserAs the name suggests, the Phaser effect is created by periodic phase shifting of the affected signal from theoriginal signal. This effect

44(F) Auto Pan and TremoloBoth these effect programs are very similar. The Pan effect is really nothing more than two combined Trem-olo effects that w

45Live ApplicationsThe CS2x is downright destined to be used as a Performance Synthesizer, not least because of it’s eye-catching looks and very porta

46Split PerformancesMusicians that don’t work with “Keyboard Splits” are an endangered species. The advantages are clear: youcan play several sounds s

47Drawbar FunTo round up this chapter we would like to look at sounds that you will want to use again and again, not just forlive performance. We are

48Step 2 = Setting Drawbar PositionsTo get this right, you have to regulate the volume relationships between all four Layers. Be careful though; the b

49Song Production: The BasicsThis paragraph deals extensively with all aspects of CS2x song production and makes no attempt to filter outany “speciali

5Here now a head-to-head comparison of feature differences between the two machines:Two features that drastically improve the sound of the Performance

50One disadvantage of the standardization of XG voices is perhaps that it allows too little “elbow room” for thecreation of specialized sounds. The CS

51As you can see, the CS2x can be used multi-timbrally in Performance mode too. The Performance itself con-sists of sound “layers” which are mapped to

52The CS2x cannot perform a Bulk Dump for Multis. Being able to transmit the Multi data would be useful how-ever so that they can be integrated into t

53As you can see, only Bank and Program changes need to be performed on the sequencer. These Assign-ments can be made in UTILITY - ASSIGN CTRL NO. It’

54Who’s controlling Whom?Now that we have covered the possibilities offered by changing sounds with Bank and Program changes,let’s take a look at how

55EXAMPLE:Let’s say you want to effect real-time Panorama changes. Knobs 4 (Assign1/Data) and 8 (Assign2), which allow freeunrestricted parameter assi

56A complete list of NRPNs and RPNs can be found in your manual’s appendix (page 74). You may notice thatsome of the parameters with their own Control

57Let’s stick with this example for a moment. Imagine you are working on a snare fill and decide that the snareshould increase by a semi-tone with eac

58Exclusive: Sys-Ex messagesYou may have felt that the previously described methods of song production sound control are a littletedious. If so, feel

59As you can see from the table, bytes 5 to 8 are given no value. This might lead you to think that bytes 1 to 4and 9 are the same for each System Exc

6First Sound ImpressionsDemosThe best way to get an initial impression of the CS2x’s sound potential is by calling up a demo song. Thesecan be found b

60By the way, this Sys-Ex message would have exactly the same effect on MIDI channels 5–16 in Performance mode.The following examples will show how ev

61The LOGIC and CUBASE Song Setups contain Environments, or Mixer Maps respectively, that allow faderEQ control for each Layer/Part.The Layer EQ can b

62CS2x-Drumkits (Data List, pages 15 - 17)This type of kit involves “Material Voices” which can only be used in Performance Mode and assigned thereto

63If you want to work with Drum Setup 2 using another Part, simply change byte 5 from 30 to 31.These Sys-Ex messages should only be sent after any Ban

64The Variation Effect settings should be of particular interest. To make things a little easier, we have compileda table with the Sys-Ex messages req

65Recording Songs with ArpeggioOne of the special highlights of the CS2x is the Arpeggiator. No doubt you will want to use it for your songs.You will

66Sequencer Software and the CS2xEnvironments and Mixermaps for LOGIC and CUBASEThe SETUP Disk offers a whole string of Environments and Mixer Pages f

67In addition (CUBASE only):Performance Controllers (files: “SetIni” and “SetTech”)This Mixer Map specifically targeted at the CS2x Performance mode c

68Changes to the XG effect types for Reverb, Chorus and Variation Effect can be made from the right-handside of the Mixer page. This is only available

69Bank and Program Changes with LOGIC In the CS2x Performance Mode, you can set sounds for Multi Parts 5 - 16 as well as for the actual Perfor-mance L

7KnobsThe CS2x’s 8 rotary controls (“Knobs”) enable lighting fast Performance sound changes. All Layers of a Per-formance are influenced at the same t

70Bank and Program Changes with CUBASE In Performance mode you can set up Multi Parts 5 - 16 in addition to the actual Performance (Layers 1 - 4).If y

71AppendixFile List: Setup Disk  CubasMAC Setini (Setups + Mixer Maps) SetTech (Setups + Mixer Maps) SetXG (Setups + Mixer Map) CubasPC Setini.A

72File List: Tool Disk  CS1xFact CSPreset.MID (128 Preset Performances from the CS1x) CSUser.MID (128 User Performances from the CS1x)  CSExtra.MI

73Table: Layer / Part EQLow Freq Hexadecimal Decimal High Freq Hexadecimal Decimal32 Hz 4 4 500 Hz 1C 2836 Hz 5 5 560 Hz 1D 2940 Hz 6 6 630 Hz 1E 3045

74Performance List: TUTORIAL-BankNO Cat. Perf Name Elm# NO Cat. Perf Name Elm#1 -- XPER-Det 2 65 -- XPR-VCF1 22 -- 1VCOsaw1 1 66 -- XPR-VCF2 23

75The little Trouble ShooterIn addition to the “Troubleshooting Guide” given in the manual, we will describe some of the typical problemsthat are like

76YAMAHA EUROPE: Sound Disks for the CS2xVD-CS1x-01 “Analog Power” , Cost 49 DM128 Performances + Demo, programmed by Peter KrischkerThis sound bank c

77----------------------------------------------------------------------------------------------------------------------------The software is availabl

8Saving and Managing PerformancesSingle Performances or complete Performance banks can be received from (and sent to) a computer (PC,Atari, Mac…) runn

9Quick Song: Essentials for Song ProductionThis chapter deal with the most important fundamentals of song production with Performance Mode. Morein-dep