Yamaha V50 - Quick Edit (Brilliance); Algorithm, Feedback

Quick edit (brilliance)
Press (QUICK EDIT) four times.
E Function
Simultaneously modifies the output level of all op-
erators that are acting as modulators.
@ Explanation
If you decrease the value below the initial position
of the indicator, the output level settings for all op-
erators that are acting as modulators will be reduced,
resulting in a more muted tone. If you increase the
value, the output level settings will be increased, re-
sulting in a brighter tone. (The display shows the
output level values for each operator.)
Note:
When you use this quick edit function, the output level
of all operators acting as modulators will be changed.
Algorithm, feedback
Press (ALGORITHM).
(1) Algorithm
Æ Function
Select the algorithm to use.
@ Settings
1-8
Æ Explanation
The algorithm is an arrangement of the 4 operators.
The eight algorithms are printed on the upper right
of the front panel. Select one of the following algo-
rithms.
Algorithm 1:
Since all four operators are arranged verti-
cally, this algorithm is especially suitable
for sounds with complex harmonics, such
as string or acoustic piano sounds. For
example, frequency ratio settings of
1.00:1.00:3.00:5.00 wouid be suitable for
an electric guitar or bass.
40 Voice Edit
Algorithm 2:
As with algorithm 1, this algorithm is suit-
able for creating sounds with complex
harmonics. In addition to being suitable for
struck strings or pianos, the feedback of
operator 4 can be used to create a unique
brass sound. It may be useful to start with
frequency ratio settings of 1.00:1.00 for
operators 1 and 2, and try out various set-
tings for operators 3 and 4.
Algorithm 3:
This algorithm is good for resonant brass
sounds or strings with emphasis on the
sound of the bow. Use operators 1 and 4
to create the basic part of the sound, and
Operator 3 to create the “resonance” or
“bow scrape”. Try frequency settings of
2.82 or 3.14 for operator ???.
Algorithm 4:
As with algorithm 3, this algorithm allows
you to add interesting details to realistic
sounds. Since there is no feedback on op-
erator 2, it is suitable for flute and other
wind sounds. Set the output level of op-
erator 4 to 99 to create noise, and use it
as the breath sound of a flute.
sa PS a
Algorithm 5:
This algorithm has two carriers, and allows
you to create detuned strings or electric
pianos. Another possibility is using opera-
tors 1 and 2 to make a flute sound, and
Operators 3 and 4 to make a brass sound.
This may be the algorithm with the broadest
possibilities.
Algorithm 6:
Since the feedback of operator 4 applies
to operators 1, 2, and 3, it is the algorithm
most suited for brass sounds. Giving op-
erators 1, 2, and 3 the same EG settings
and making the AR of operator 4 a bit slower
will create an effective brass sound. This
algorithm is also useful for creating pow-
erful synth lead sounds.
Lo ails.
als
Liye L!
Algorithm 7:
This algorithm has three carriers, and op-
erators 1 and 2 will produce the exact sound
of the selected waveform. Organs are a
good possibility, and you can try making
a click sound with operator 4, or making a
hard electric organ by using operators 3
and 4 to create distortion.
Algorithm 8:
All operators will produce the exact sound
of the waveform selected for each, making
this algorithm especially suitable for organ
sounds. Modifying frequency and detune
will give interest to the sound.