Page 2 - Contents; Page
2 Contents Page Quick Start: Essentials to get Started • The CS2x Synthesizer Concept 4 • CS1x - CS2x - A Comparison 4 • First Sound Impressions 6 • Knobs 7 • The Arpeggiator and MIDI 7 • Saving and Managing Performances 8 Quick Song: Essentials for Song Production • Multi Part Voices 9 • MIDI Event...
Page 4 - Quick Start: Essentials to get Started; The CS2x Synthesizer Concept; Control Synthesizer
4 Quick Start: Essentials to get Started The CS2x Synthesizer Concept Although based on the same “CONTROL SYNTHESIZER” concept as its predecessor, the CS1x, the CS2x is in many ways considerably more capable. Before we go into more detail on the differences between the two keyboards, here is a round...
Page 6 - First Sound Impressions; Demos; The four Performance Banks are categorised thus:
6 First Sound Impressions Demos The best way to get an initial impression of the CS2x’s sound potential is by calling up a demo song. These can be found by simultaneously pressing the PERFORMANCE and MULTI keys. Normally all demos (01 - 09) are played one after another, although you can interrupt pl...
Page 8 - Saving and Managing Performances; formances) as well as the system settings.; changed during CS1x bank receptions.
8 Saving and Managing Performances Single Performances or complete Performance banks can be received from (and sent to) a computer (PC, Atari, Mac…) running relevant sequencer software via Bulk Dump ALL. This is also possible with MIDI data filers, such as the MDF2 or MDF3. In other words, you can e...
Page 9 - Quick Song: Essentials for Song Production; Multi Part Voices; Multi Parts for multi-timbral applications.
9 Quick Song: Essentials for Song Production This chapter deal with the most important fundamentals of song production with Performance Mode. More in-depth and specific information about song production can be found in chapters “Song Production: Tips, Tricks, Information” and “Sequencer Software and...
Page 10 - MIDI Events; will encounter during your sequencer productions:
10 There is good reason why the banks that resulted from Layer 1 of the CS1x and CS2x Factor Performances are printed in bold - in contrast to others, these banks are fully assigned as each Performance contains at least one Layer. Banks Pre03, Pre07, Pre11, Pre16 and Pre20 on the other hand are only...
Page 12 - Song Setups; Performer
12 This can also be set via Sys-Ex (Multi Part/ Rcv Channel - DATA List, page 31). The file “5TO16OFF.MID” (TOOL Disk, “SYSEX” folder) can also be used to disable Parts 5 - 16, so that only the Performance Parts remain active. File “5TO16ON.MID” restores Parts 5 - 16 back to their original MIDI chan...
Page 13 - to the Performance Layers, not the Multi Parts.; Song Production in Seven Steps; re-initialised, erasing any of your own creations in the process.; Step 2 = Setting up the Performance
13 We consciously did not make use of any other Controllers in the Performance Set, as their default settings would often deviate from those found in the Performance and would thus introduce unwanted changes to the Performance. Any additional Controllers can always be added if required. The send fun...
Page 14 - Step 3 = Loading the Setup Data; Song Setup Part Settings (Performance Mode)
14 Step 3 = Loading the Setup Data Load the file “SetIni” or “SetTech” from the SETUP Disk in your required format (Midi file, Cubase Song or Logic Song) into your sequencer. These contain all important foundation settings for Performance Mode songs. The Setup (bar 1) starts with two System Exclusiv...
Page 15 - Song Production with XGworks; part of the XG System.
15 Step 4 = Trying out the Sound Settings Before you start to play in the first few tracks, you should feel comfortable with making Setup data changes. Try to find out what kind of sound changes you can achieve by changing the default settings. Changes to the sequencer track’s MIDI channel will dete...
Page 16 - The Analog Workshop: Sound Creation Explained; we can’t cover every possible detail of analogue synthesis.; Sound Central – The Oscillator
16 The Analog Workshop: Sound Creation Explained The parameter structure of the CS2x is largely based on analogue synthesis. The following step-by-step guide will serve as an introduction to the analogue building blocks used in the CS2x. Our tips and tricks can be applied not only to analogue synthe...
Page 17 - The latter is often used to emulate the sound of a clarinet.
17 Coarse tuning is another basic tool in the construction of sounds. The most practical use of coarse detuning involves transposing a VCO by one or more octaves. When doing this however, always make sure that the Detune parameter is set to 0. You may even transpose an oscillator or CS2x Layer by a ...
Page 18 - less, noise generation still has many interesting applications.; The Filters – Tastebuds for your Ears; able for most applications.
18 Particular attention should also be paid to the Sine Wave. This purely electronically generated wave is alone in not having any harmonics at all, and as such is practically useless for subtractive synthesis. Nevertheless, the sine wave can be found in many a synthesizer’s VCO section, and is ther...
Page 19 - Dynamic Helpers – Envelopes
19 Dynamic Helpers – Envelopes All the sound components we have looked at so far have been “static” in their effect, that is to say that they haven’t affected a sound differently over time. Enter the Envelope Generators of the CS2x. Envelope gener- ators control Volume (AEG), the Filter (FEG) or the...
Page 20 - Illustration: Filter and Amplitude Envelopes
20 EXPERIMENT: Using a highly percussive amplitude envelope will give a majestic filter sweep little time to develop. As an example, select Performance TP020. Although you can discern the filter effect with this sound, it is far too short lived. Organ envelopes are simply invaluable for this type of...
Page 22 - Helper Motors – The LFOs; grammed to delay the LFO so that the Vibrato is less abrupt.; young techno generation.
22 Helper Motors – The LFOs The Low Frequency Oscillator or LFO is a special kind of oscillator. Unlike VCOs, the LFO’s frequency range is roughly between 0,1 and 100Hz. Of course the frequencies aren’t used for audio signals, but rather as controlling signals to modulate the VCO, VCF or VCA sound c...
Page 24 - About the Little Things
24 About the Little Things Now that we’re approaching the end of our little workshop we should take a look at what effect the monopho- nic mode has on the Portamento function and other sound parameters, features which are so often neglected. This is a shame because as in life, it’s the little things...
Page 25 - formance’s touch dynamic individually. How is this achieved?
25 Lastly, the somewhat tricky subject of Touch Sensitivity. The CS2x offers no fewer than four related functions (see section “Performance”, “Velocity” in the manual). More often than not, you will want to finely tune a Per- formance’s touch dynamic individually. How is this achieved? EXPERIMENT: T...
Page 26 - Summary; each other, particularly with lead or sequencer sounds.; Illustration: The CS2x Mono Function – ideal for Solo or Bass Sounds.
26 Summary We’ve made it – that was a lot to take in! Now spoil yourself, relax to a little demo sequence we prepared ear- lier (TUTRDEMO.MID), and listen for special guest appearances by the Analogue Workshop All-stars! (A) The song begins with a Performance with two oscillators that are detuned ag...
Page 27 - interesting phenomenon.
27 (H)The focus shifts to the Portamento and Poly/Mono functions at bar 80: here we are switching between the two modes whilst playing a lead sound, to make studying these functions easier. Compare the differ- ences between the two modes; the Portamento function is very revealing here. It would be b...
Page 28 - Arpeggiator: A Box full of Tricks for all Occasions; arpeggios or sequencer sounds!; Illustration: Arpeggiator Uses at a Glance
28 Arpeggiator: A Box full of Tricks for all Occasions The CS2x Arpeggiator is very clearly laid out. It consists of only three parts: Type, Tempo and Subdivide. In addition, the CS2x outshines itself with 2 further settings which you should get aquainted with early on. One of these is the Hold func...
Page 29 - the sampled drum loops by ensuring clean timing.; Note Example A
29 Secondly, it is advisable to time-shift the track containing any Arpeggiator chords by a few milliseconds. This ensures more precise Arpeggio starts. Thirdly, experience has shown the value of re-triggering any Arpeg- gios that step through the same notes repeatedly as often as possible. The same...
Page 30 - First Steps; similar percussive sound for reference.; Note Example: UpDwBOct2
30 First Steps Let’s deal with the simple Arpeggio patterns “Up/Down” and “Random” first. These are by no means unique to the CS2x, but can be found on many a synthesizer and therefore serve well as an introduction as to how Areggiators automatically break up chords. What this actually sounds like i...
Page 31 - Sound Rhythm Tricks; and chords when working with the Arpeggiator! Here’s an example.
31 Sound Rhythm Tricks Looking at these UpDown Arpeggios may lead you to the conclusion that the chord notes are somehow “drifting across the beats”. Perhaps you have already come across this phenomenon when working with other Arpeggiators or testing some of the CS2x factory sounds. It’s true: you c...
Page 32 - Fun to the power of 25!; you will need to aquaint yourself with each of their properties.
32 Between you and me: you don’t always have to be so strictly analytical. The occasional breaking of the rules and other such mischief often produces the most interesting music! Anyway, these rules only really apply to the consistent Arpeggio types like the CS2x’s Up/Down patterns. If you are plann...
Page 34 - Effects – used in a different way; open up a whole world of possibilities.; tonal aspect play an important role in this.
34 Effects – used in a different way Enough of these lengthy experiments. With the help of a few practical examples, we now would like to show you the Arpeggiator’s many musical day-to-day applications. The interplay between sounds and Arpeggio sequence is an important area that we haven’t even touc...
Page 35 - Pan Position modulation.; Hard Chord Work; more unusual sound results in a more original Arpeggio.; Arpeggiator types for this. Here’s a little exercise.
35 The last SFX Arpeggio is a percussive sequence which can be applied universally. Particularly nice here is Pan Position modulation. EXAMPLE: Select Performance TP080 and, as in the previous examples, play only a single note. The sound’s main character is pro- vided by the Flanger effect. This eff...
Page 36 - modern styles like House or Trance – you should like them.; Keeping in Line; examples for this, and will comment on them below.
36 Naturally this isn’t all there is to it. The following are another four sequences that are particularly useful for modern styles like House or Trance – you should like them. EXAMPLE: The Performances TP083/084 are really quite traditional. With the first you will hear a two bar Clarinet sequence....
Page 37 - can all give interesting results.
37 Let’s Groove! Anyone who has worked with Samplers will be familiar with their quirks: you have to constantly process drum loops with the time-stretch function so that they follow your song tempo correctly – this can take some time. On top of this you can barely influence any of the loop’s instrum...
Page 38 - Performance Mode: Practical Knowledge; Scenes – what are they?; types without having to switch Performances.; find the “Foot Ctrl” setting – and you’re done.
38 Performance Mode: Practical Knowledge Now that we have looked in detail at the CS2x sound components and its Arpeggiator, let’s devote some time to its Performance Mode. The following three subjects should generate particular interest: use of the knobs and Scenes, Effect applications and, finally...
Page 39 - Day to Day things; occurs first from Scene 1 to Scene 2!; Illustration: Knob positions for Scene Morphing; will have inadvertently changed your entire Performance!
39 Day to Day things Before we begin, you should know how to store a Scene. This is basically very easy: first arrange the knobs as desired. Once you have hit on an interesting sound, you can save this variant by holding down the Store key and then pressing the first Scene switch. Now create another...
Page 40 - Scene Applications; you understand the rules involved.
40 Scene Applications Most startling first and foremost is the blending of two different sounds, which as we have already pointed out is commonly known as morphing. Most sound programmers using sample-synthesizers work with con- trasting level modulations for two or more partial tones. With the CS2x...
Page 41 - The Effects; types and their parameters.
41 EXAMPLE: You have selected Performance TP097. This is a classic lead sound which, thanks to Scene morphing can be played very expressively. Aside from the Filter frequency, the Filter Envelope’s fade-in and out times are also modulated; this time Assign1 is responsible for the fade-out phase. All...
Page 43 - and the Flanger, as they may at first sound very similar.; requires a little practice which will pay off in the end.
43 (B) Phaser As the name suggests, the Phaser effect is created by periodic phase shifting of the affected signal from the original signal. This effect was especially popular in the 70s and was used for many a Rhodes, string ensem- ble or electric guitar. Today, the Phaser is often applied to atmos...
Page 45 - Live Applications
45 Live Applications The CS2x is downright destined to be used as a Performance Synthesizer, not least because of it’s eye- catching looks and very portable design. As a live musician you will be confronted with a unique set of prob- lems, so we’d like to show you a few tricks to help you achieve th...
Page 46 - Split Performances; of sound shaping for live performance.
46 Split Performances Musicians that don’t work with “Keyboard Splits” are an endangered species. The advantages are clear: you can play several sounds spread across 61 keys without having to switch Performances. This is how it’s done: - The programming effort required here is minimal and can be mas...
Page 47 - Drawbar Fun; explore further aspects of sound programming.; Step 1 = Layering sinewaves and determining Positions
47 Drawbar Fun To round up this chapter we would like to look at sounds that you will want to use again and again, not just for live performance. We are talking about the Hammond sounds. These sounds are a good basis on which to explore further aspects of sound programming. First, a look at the conc...
Page 49 - Song Production: The Basics; order to create songs with the CS2x.
49 Song Production: The Basics This paragraph deals extensively with all aspects of CS2x song production and makes no attempt to filter out any “specialist knowledge”. This doesn’t mean though that it is necessary to fully explore each aspect in order to create songs with the CS2x. Our earlier chapt...
Page 50 - Performance Mode or Multi Mode?; XG experts will be familiar with this initialization, termed “XG On”.
50 One disadvantage of the standardization of XG voices is perhaps that it allows too little “elbow room” for the creation of specialized sounds. The CS2x however offers a user-friendly solution to this problem: The CS2x can be used multi-timbrally in not just its Multi mode, but in its Performance ...
Page 51 - The Standard Approach - Multi Settings at the Machine; not
51 As you can see, the CS2x can be used multi-timbrally in Performance mode too. The Performance itself con- sists of sound “layers” which are mapped to MIDI channels 1 to 4. The Performance is controlled however from just one MIDI channel, usually MIDI channel 1. The Performance mode increases this...
Page 54 - Who’s controlling Whom?; or is sent together with the note data as real-time changes.; The most important CS2x Controllers; the controller value are identical.
54 Who’s controlling Whom? Now that we have covered the possibilities offered by changing sounds with Bank and Program changes, let’s take a look at how sounds can be changed within a song with the help of Controllers. To simplify, Controller messages are changes of certain parameters that are sent ...
Page 55 - Everything Under Control: NRPN and RPN; kinds of Controller messages.
55 EXAMPLE: Let’s say you want to effect real-time Panorama changes. Knobs 4 (Assign1/Data) and 8 (Assign2), which allow free unrestricted parameter assignment, are already used up however. You assign Panorama temporarily to Knob 4. When done, you should change Knob 4 back to Controller #17 (default...
Page 56 - You may notice that; Table: NRPN Parameters
56 A complete list of NRPNs and RPNs can be found in your manual’s appendix (page 74). You may notice that some of the parameters with their own Controller number (see previous section) crop up in this list also (e.g.Cutoff Freq, Attack Time). We can forget about these however; it would be silly to ...
Page 59 - EXAMPLE: Reverb Return
59 As you can see from the table, bytes 5 to 8 are given no value. This might lead you to think that bytes 1 to 4 and 9 are the same for each System Exclusive message – this is true, but with one limitation: you will see that DEVICE NUMBER lists a value of 16. This value 16 (10H) actually represents...
Page 60 - EXAMPLE: Switching Arpeggio Type and selecting MIDI Sync; This EQ is available to:
60 By the way, this Sys-Ex message would have exactly the same effect on MIDI channels 5–16 in Performance mode. The following examples will show how even parameters usually set at the machine are sometimes better controlled via Sys-Ex. EXAMPLE: Scene Mode You cannot save the on/off state of Scene s...
Page 62 - You are better off using these voices for song production.; Part Mode and Drum Setups; used have already been listed in the “NRPN Parameter” table.
62 CS2x-Drumkits (Data List, pages 15 - 17) This type of kit involves “Material Voices” which can only be used in Performance Mode and assigned there to Layers 1 -4 as well as Multi Parts 5 - 13. As these kits are “Normal Voices” rather than XG drumkits, you cannot work at the individual key level -...
Page 63 - pletely initialize every aspect of a drum kit.; Things worth knowing About the Variation Effect; the use of effects in song production.; Table: Selecting the Effect Type via Sys-Ex
63 If you want to work with Drum Setup 2 using another Part, simply change byte 5 from 30 to 31. These Sys-Ex messages should only be sent after any Bank/Program Change message, as these com- pletely initialize every aspect of a drum kit. By the way: the Drum Setup settings described here can be use...
Page 64 - Table: Variation Effect Settings via Sys-Ex; Fade Out; started due to the initialisation.; Random Pan; this would negate the Random Pan setting.
64 The Variation Effect settings should be of particular interest. To make things a little easier, we have compiled a table with the Sys-Ex messages required for Variation Effect parameters 1 – 10. Each parameter’s control range (VAL) depends on the Effect Type selected. We have included a list of p...
Page 65 - available from XG; Construction Drumloops; that change every 4 bars.
65 Recording Songs with Arpeggio One of the special highlights of the CS2x is the Arpeggiator. No doubt you will want to use it for your songs. You will need to activate the MIDI CLOCK in Song Setting (LOGIC: Song Settings - MIDI Options…, CUBASE: Options - Synchronisation… ). All that’s left is to ...
Page 66 - Sequencer Software and the CS2x; Environments and Mixermaps for LOGIC and CUBASE
66 Sequencer Software and the CS2x Environments and Mixermaps for LOGIC and CUBASE The SETUP Disk offers a whole string of Environments and Mixer Pages for LOGIC and CUBASE that allow you to edit your CS2x with the use of faders (see Appendix, FILE LIST). The pages are suited to Perfor- mance modifi...
Page 67 - CUBASE; Working with LOGIC Environments; result in system instability.
67 In addition ( CUBASE only): Performance Controllers (files: “SetIni” and “SetTech”) This Mixer Map specifically targeted at the CS2x Performance mode can be very advantageous despite the existing GM/GS/XG Mixers. Here you will find a collection of the most important CS2x parameters that can be ch...
Page 68 - Working with Cubase Mixer Maps; the CS2x parameter settings.
68 Changes to the XG effect types for Reverb, Chorus and Variation Effect can be made from the right-hand side of the Mixer page. This is only available though if you are working in Multi (XG) Mode. As you know, in Performance Mode the current Performance effect settings (Reverb and Chorus) are alwa...
Page 69 - Bank and Program Changes with LOGIC; Viewing the Setup File; Setting up Drumkits
69 Bank and Program Changes with LOGIC In the CS2x Performance Mode, you can set sounds for Multi Parts 5 - 16 as well as for the actual Perfor- mance Layers (1 - 4). If you are working with the EMAGIC LOGIC sequencer program you can try this out like this: 1. Load Song Setup “SetIni” in LOGIC Forma...
Page 70 - Bank and Program Changes with CUBASE; Viewing the Setup file; Drumkits einstellen
70 Bank and Program Changes with CUBASE In Performance mode you can set up Multi Parts 5 - 16 in addition to the actual Performance (Layers 1 - 4). If you are working with STEINBERG CUBASE, you can try this out like this: Commands for the English lan- guage MAC version are given in brackets. 1. Load...
Page 71 - Appendix; File List: Setup Disk
71 Appendix File List: Setup Disk CubasMAC Setini (Setups + Mixer Maps) SetTech (Setups + Mixer Maps) SetXG (Setups + Mixer Map) CubasPC Setini.All (Setups + Mixer Maps) SetTech.All (Setups + Mixer Maps) SetXG.All (Setups + Mixer Map) LogicMAC Setini (Setups + Environments) SetTech (Setups + Environ...
Page 72 - File List: Tool Disk; CS1xFact
72 File List: Tool Disk CS1xFact CSPreset.MID (128 Preset Performances from the CS1x) CSUser.MID (128 User Performances from the CS1x) CSExtra.MID (128 Extra Performances from the CS1x) Loops Chop113.MID (Construction Loop 139bpm as SMF - Format 0) Chop135.MID (Construction Loop 144bpm as SMF - Form...
Page 75 - The little Trouble Shooter
75 The little Trouble Shooter In addition to the “Troubleshooting Guide” given in the manual, we will describe some of the typical problems that are likely to crop up during use. It goes without saying that we will show you a way out this misery. So before you spend a lot of money on HOTLINE telepho...
Page 76 - YAMAHA EUROPE: Sound Disks for the CS2x; 28 Performances + Demo, programmed by Peter Krischker; torted Analogue Sounds. Spacious Pads...
76 YAMAHA EUROPE: Sound Disks for the CS2x VD-CS1x-01 “Analog Power” , Cost 49 DM 128 Performances + Demo, programmed by Peter Krischker This sound bank contains classic and current analogue synths for Techno, Dance, Trance, Electronic, Synth- Pop. The following sound categories are covered: Polysyn...