Program mode
40
Amp EG Level Modulation
AMS [List of AMS Sources]
This selects an AMS source to control the EG’s Level
parameters.
For a list of AMS sources, please see “AMS (Alternate
Modulation Source) List” on page 340.
St (Start) [–99...+99]
This controls the depth and direction of the AMS
modulation for the Start level.
For example, if you set the AMS source to Velocity and set St
(Start) to +99, the Start level will increase as you play harder.
If you instead set St (Start) to –99, the Start level will
decrease as you play harder.
At (Attack) [–99...+99]
This controls the depth and direction of the AMS
modulation for the Attack level.
Br (Break) [–99...+99]
This controls the depth and direction of the AMS
modulation for the Break level.
Time
These settings let you use three different AMS sources to
control the Time parameters of the EG. For each of the three
AMS sources, the Attack, Decay, Slope, and Release times
each have their own modulation intensities.
Amp EG Time Modulation
AMS1 [List of AMS Sources]
Selects the first AMS source to control the EG’s Time
parameters. Velocity and Keyboard Track can both be useful
here, for instance.
For a list of AMS sources, please see “AMS (Alternate
Modulation Source) List” on page 340.
At (Attack) [–99...+99]
This controls the depth and direction of the AMS
modulation for the Attack time.
For example, if you set the AMS source to Velocity and set
At (Attack) to +99, the Attack time will get much longer at
higher velocities. If you instead set At (Attack) to –99, the
Attack time will get much shorter at higher velocities.
When the AMS source is at its maximum value for instance,
when Ve lo ci ty is at 127 a setting of +8 will make the segment
time almost twice as long, and a setting of –8 will cut the
segment time almost in half.
Dc (Decay) [–99...+99]
This controls the depth and direction of the AMS
modulation for the Decay time.
Sl (Slope) [–99...+99]
This controls the depth and direction of the AMS
modulation for the Slope time.
Rl (Release) [–99...+99]
This controls the depth and direction of the AMS
modulation for the Release time.
AMS2 and AMS3
These select the second and third AMS sources, respectively,
for controlling the EG’s Time parameters. Each has its own
intensities for Attack, Decay, Slope, and Release. The
parameters of both AMS2 and AMS3 are identical to those of
AMS1, above.
V
4–3: Menu Command
•0: Write Program see p. 64
•1: Exclusive Solo see p. 64
•2: Auto Song Setup see p. 65
•3: Copy Oscillator see p. 65
•4: Swap Oscillator see p. 65
For more information, please see “Program: Menu
Command” on page 64.
4–5: Amp2/Driver2
This page controls Oscillator 2’s basic level, pan, and driver
settings. It is available when the Oscillator Mode is set to
Double or Double Drums; if not, the page will be grayed
out.
The parameters are identical to those for Oscillator 1, as
described under “4–1: Amp1/Driver1” on page 35.
4–6: Amp2 Modulation
This page controls Oscillator 2’s amp modulation. It is
available when the Oscillator Mode is set to Double or
Double Drums; if not, the page will be grayed out.
The parameters are identical to those for Oscillator 1, as
described under “4–2: Amp1 Modulation” on page 36.
4–7: Amp2 EG
This page controls Oscillator 2’s amp EG. It is available
when the Oscillator Mode is set to Double or Double
Drums; if not, the page will be grayed out.
The parameters are identical to those for Oscillator 1, as
described under “4–3: Amp1 EG” on page 38.
Original Shape
Positive AMS on Start and Break,
Negative AMS on Attack
Negative AMS on Start,
Attack, and Break
Volume
Time
Volume
Time
Volume
Time
Volume
Time
Positive AMS on Start,
Attack, and Break
Note-on Note-o Note-on Note-o Note-on Note-o
AMS=Velocity, Intensity = a positive (+) value
“Attack”= +, “Decay”= +,
“Slope”= +, “Release”= +
Softly played note.
Original Shape.
“Attack”= +, “Decay”= +,
“Slope”= +, “Release”= +
Strongly played note.
Times are longer.
Reaches Sustain
more slowly.
“Attack”=–, “Decay”=–,
“Slope”=–, “Release”=–
Strongly played note.
Times are shorter.
Reaches Sustain more
quickly.
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