Roland XP-80 Manuel du propriétaire télécharger pdf (Page 40)

Note on Tone editing

Because the XP-80 is designed to create wholly realistic

sounds, editing necessarily affects the complex PCM wave-

forms sound are based on. So if you try to create a sound

which is totally different from the original waveform, the

results may not be what you want. XP-80 waveforms are

divided into:

One-shot

: These waveforms contain sounds that have short

decays. A one-shot waveform records the initial rise and fall

of the sound. Some of the XP-80’s one-shot waveforms are

sounds that are complete in themselves, such as percussive

instrument sounds. The XP-80, however, contains many

other one-shot waveforms that are only partial elements of

sounds. These include attack components such as piano

hammer sounds and guitar fret noises.

Looped

: These waveforms contain sounds with long decays

or sustained sounds. With looped waveforms, the latter part

of the sound is generated repeatedly over a specified portion

of the waveform for as long as the note is held (allowing

wave memory to be used more efficiently). The XP-80’s

looped waveforms include such sound components as piano

string vibrations and hollow sounds of brass instruments.

The following diagram shows an example of sound (electric

organ) that combines one-shot and looped waveforms.

Notes for editing one-shot waveforms

An envelope cannot be used for giving a one-shot waveform

a longer decay than the original waveform’s, or make it a

sustaining sound. Even if you were to make such envelope

settings, you would simply be controlling a non-existent

portion of the sound, so such settings would have no mean-

ing.

Notes for editing looped waveforms

With many acoustic instruments like piano and sax, radical

timbral changes occur during the first few moments of the

note. This initial attack is what defines much of the instru-

ment’s character. The XP-80 provides a variety of waveforms

containing realistic acoustic instrument attacks. To obtain

the maximum realism when using these waveforms, it is

best to leave the filter wide open during the attack. This

way, all the complex timbral changes can be heard. For the

decay portion of the sound, you can use the envelope to pro-

duce the desired changes. If you use the envelope to modify

the attack portion as well, the natural attack contained in the

waveform itself will not be heard to full advantage, and you

may not achieve the result you want.

If you try to make just the attack brighter and subdue just

the decay using the TVF filter, you need to keep in mind the

timbral characters of the original waveform. And particular-

ly if you’re making a part of the sound brighter than the

original waveform, you should first generate upper harmon-

ics (not present in the original waveform) using FXM Color

and FXM Depth parameters (PATCH/WG/Wave Param)

before filtering. If you don’t, the results will be disappoint-

ing. To make the entire sound brighter than the original

waveform, try adjusting effects such as enhancer and equal-

izer before modifying the parameter values on the TVF

Param (PATCH/TVF) display.

TVA ENV for looped Organ

waveform (sustain portion)

Key-off

Resulting TVA ENV change

TVA ENV for one-shot Key-

click waveform (attack portion)

Key-off

Tone change stored

with the wave

Envelope

for the TVF filter

Resulting tone change

Looped Portion

Chapter 3. Creating your own sounds

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Roland XP-80 Manuel du propriétaire Page 40

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