Yamaha TG500 - Manual (Page 51)

5. Voice Editing & Effects
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5. Voice Editing & Effects
For the programmer who wants to get serious about voice programming, the
TG500 offers an extensive range of parameters that allow extremely fine con-
trol. All parameters are discussed in detail in the VOICE EDIT mode (page
95), and we recommend that the dedicated programmer study the Feature Refer-
ence section carefully before embarking on any major voicing projects. The
TG500’s dual-processor effect system is also quite complex, allowing detailed
effect setups to be programmed for each voice. The effect system is described
in detail in the Feature Reference section (page 251).
The following is an outline of the steps you should normally follow when
programming any new voice.
1:
Oscillator Parameters
Page 107 … 110
The first thing you’ll need to do when programming a new voice is to
decide what “wave” you’re going to use. The TG500 provides 244 (Preset 1) +
50 (Preset 2) waves in ROM memory from which you can choose. Others can
be loaded into optional wave RAM memory. The wave you select determines
the fundamental sound of the voice.
Other oscillator parameters determine whether the selected wave will be
played as a pitched voice or fixed at a specified pitch, fine tuning, note shift in
semitone increments, random pitch variation, and whether the wave will be
played in the normal forward direction or in reverse.
2:
Amplitude Envelope Generator
Page 111 … 118
Next to the basic wave you use, the amplitude envelope generator settings
have the greatest effect on the final sound of your voice. It is the amplitude
envelope generator that determines the speed and shape of the sound’s attack,
how fast it decays while a key is held, how fast it decays once the key is
released, etc.
The AEG parameters also include level scaling parameters that can be used
to produce natural level variations across the range of the keyboard, and sensi-
tivity parameters that determine how the envelope responds to changes in note
velocity.