Roland Fantom-S88 用户手册
93
Creating a Performance
Creating a Performance
OSC1 Sync Switch
Turning this switch on produces a complex sound with many
harmonics. This is effective when the OSC1 pitch is higher than the
OSC2 pitch.
harmonics. This is effective when the OSC1 pitch is higher than the
OSC2 pitch.
Value:
OFF, ON
Filter Type
Selects the type of filter.
OFF:
No filter is used.
LPF:
Low Pass Filter. This reduces the volume of all frequencies
above the cutoff frequency. in order to round off, or un-
brighten, the sound. This is the most common filter used in
synthesizers.
above the cutoff frequency. in order to round off, or un-
brighten, the sound. This is the most common filter used in
synthesizers.
BPF:
Band Pass Filter. This leaves only the frequencies in the region
of the cutoff frequency, and cuts the rest. This can be useful
when creating distinctive sounds.
of the cutoff frequency, and cuts the rest. This can be useful
when creating distinctive sounds.
HPF:
High Pass Filter. This cuts the frequencies in the region below
the cutoff frequency. This is suitable for creating percussive
sounds emphasizing their higher ones.
the cutoff frequency. This is suitable for creating percussive
sounds emphasizing their higher ones.
PKG:
Peaking Filter. This emphasizes the frequencies in the region
of the cutoff frequency. You can use this to create wah-wah
effects by employing an LFO to change the cutoff frequency
cyclically.
of the cutoff frequency. You can use this to create wah-wah
effects by employing an LFO to change the cutoff frequency
cyclically.
Cutoff
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
the waveform’s frequency components.
Value:
0–127
Resonance
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
Value:
0–127
Level
Sets the volume.
Value:
0–127
Chorus Send Level
Sets the level of the signal sent to chorus.
Value: 0–127
Reverb Send Level
Sets the level of the signal sent to reverb.
Value:
0–127
LFO Rate
Adjusts the modulation rate, or speed, of the LFO.
Value:
0–127
LFO Osc 1 Pitch Depth
Specifies the depth to which the LFO will modulate the OSC1 pitch.
Value:
-63–+63
LFO Osc 2 Pitch Depth
Specifies the depth to which the LFO will modulate the OSC2 pitch.
Value:
-63–+63
LFO Osc 1 Pulse Width Depth
Specifies the depth to which the LFO will modulate the pulse width
of the OSC1 waveform.
of the OSC1 waveform.
* The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Value:
-63–+63
LFO Osc 2 Pulse Width Depth
Specifies the depth to which the LFO will modulate the pulse width
of the OSC2 waveform.
of the OSC2 waveform.
* The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Value:
-63–+63
Range (Solo synth range)
Specifies the range in which the pitch of the solo synth will vary.
Value:
2 OCTAVES, 4 OCTAVES, 8 OCTAVES
D Beam (Assignable)
By assigning a variety of functions to the D Beam controller you can
apply different effects to the sound in real time.
apply different effects to the sound in real time.
fig.06-13_50
Settings for the ASSIGNABLE are saved independently for each
performance as part of the performance settings. This lets you create
performances that make effective use of controller settings.
performance as part of the performance settings. This lets you create
performances that make effective use of controller settings.