Yamaha MSS1 User Manual download pdf (Page 14)

Hot

Tips

Reader Tips

For

The

RXll,

REV7,

SPX90, MEP4,

And More.

REV7 digital

reverberator.

Enhancing

Synthesizer

Sounds

With

The

REV7

Mark

Hannah

As many

you know

now, the Yamaha

REV7 digital reverberator has

almost endless

number

possibilities for use. Here are a

few

the

tricks I use.

you

don't

already have a digital synthesizer,

you

can

get

analog synthesizer to sound like

one

by processing it through the REV7. For

example, to get

that

funky, popping bass sound,

try the following: First choose a good bass sound

the

analog synth. Next, set the REV7

preset

#22

(Snare), and set

the

front panel

controls

follows:

Mix Control

50%-75%

(according to

taste)

LOW

Freq 100

LOW

Level - 6

EQ MID Freq 1000

EQ MID Level + 6

HIGH

Freq 6000

HIGH

Level + 6

o'clock)

(10 o'clock)

(center)

(2 o'clock)

(center)

o'clock)

With

the

REV7 set this

way,

the

analog bass

patch has a whole new sound.

Another

trick for use with the REV7 and a

synthesizer involves getting a realistic guitar

sound from a keyboard.

Set

your synth

bright brass voice, and adjust

the

decay of the

synth voice to match the decay of an electric

guitar. {It also helps to run the sound from

the

synth through a distortion pedal and a compres-

sor.) For a real fat rhythm sound, set the REV7

to preset # 24 (Reverse

Gated

Reverb); set the

desired, and set

the

Mix

50%.

Another

good choice

preset

(Early Reflections 1).

You

will find that, with preset

#24,

playing oc-

taves for rhythm works best, while preset

works well with chords

well

octaves.

AFTERTOUCH/Vol. 4 No. 2

Creating

"Quiet"

Level

For

Series

Rhythm

Units,

Plus

Other

RX Tips

Gints

Klimanis

The

sounds

the

RXll,

RX15, and

RX21

drum machines have

both

Instrument Level

and an

Accent

Level. Most users set the instru-

ment

levels

the

sounds at the optimum vol-

ume levels, and only use

the

accent function to

make the sounds louder.

Although

the

user

cannot

change the Accent

function to reduce volume,

or she can simu-

late this effect in a roundabout fashion.

The

desired

"quiet"

volume should be

the

basic

Instrument Level, and the

Accent

Level should

equal the "optimum" level.

To optimize your

machine,

adjust

the

relative instrument volume levels

ear until

your kit sounds good, but make sure

that

at least

one instrument volume level

at its maximum

value

get a good signal-to-noise ratio. Write

down

these values. Find

the

desired

"quiet"

level by decreasing

each

Instrument

Level.

Then,

use the

Accent

Level to adjust the accent

value for each instrument until

the

numerical

sum

the decreased Instrument Level and the

Accent

Level equals

the

original optimum level.

Optimum

levels are played

with

the

Accent

switch down, and quiet levels are played with-

out the

Accent

switch.

The

settings will vary

with

the

application,

but

the

difference be-

tween them should be noticeable.

For many applications,

the

closed

hi-hat

quiet and accent levels at

are a little louder

than

I would like. Since I only have

the

facili-

ties to

use

one mix output, I further decrease

the

closed hi-hat level

panning most

it into

the unused mix output.

The

level decrease to

the last position before full

pan

significantly

greater

than

the

change between

the

other

pan

positions.

this pan value,

the

closed hi-hat

has a very usable and easily adjustable instru-

ment level range.

Precise level adjustment over a usable limited

range

more useful

than

coarse level adjust-

ment over

unused maximum range. Every

instrument should have its range reduced if its

accented level never need

the

provided maxi-

mum level.

A different application for

the

Accent

func-

tion

changing

the

relative

levels for

the

sounds in performance. For example, one song

may require a quiet bass drum and a prominent

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Yamaha MSS1 User Manual Page 14

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