![CLAVIA DMI AB CLAVIA NORD Rack 2X [42/114] Amplifier](/img/pdf.png)
CLAVIA DMI AB CLAVIA NORD Rack 2X [42/114] Amplifier
![CLAVIA DMI AB CLAVIA NORD Rack 2X [42/114] Amplifier](/views2/1992197/page42/bg2a.png)
Page 40 Panel Reference
The easiest way to try this out is probably to activate Sync, and adjust the Tune setting for Oscillator 2
while holding down a note.
When trying out Sync, make sure you listen to Osc2, since it is this that is affected by the changes!
Modulation of Oscillator 2 pitch: Please note you can modulate the pitch of Oscillator 2 in various ways: from
LFO 1, the Mod Env and from the Mod Wheel, for example. This can be used to create harmonically var-
ying timbres with a very characteristic sound.
Pulse Width
This setting only has any effect if Pulse wave is selected for either oscillator or both. It adjusts the pulse
width of the Pulse waves.
There’s only one Pulse Width setting, and it is common for both oscillators.
▼ When you turn the knob all the way to the left you get a perfect square wave which has a characteristic
“hollow” quality.
▼ When you turn the knob clockwise, the sounds gets progressively thinner. See page 77 for a general in-
troduction to pulse waves and pulse widths.
Pulse Width Modulation: Please note that the Pulse Width can be modulated by LFO 1. This creates a sweep-
ing “chorus-like” effect suitable for pads and string sounds.
Amplifier
The Amplifier section is used to adjust the volume of the sound.
Amplifier
Attack Decay Sustain Release Gain
Содержание
- Caution 2
- Important safety instructions save these instructions 2
- Basic operations 9 3
- Connections 7 3
- Editing programs 21 3
- Introduction 5 3
- Programming velocity sensitivity 25 3
- Table of contents 3
- Midi 67 4
- Panel reference 37 4
- Percussion kits 29 4
- Performances 33 4
- Shift functions 55 4
- About subtractive synthesis 73 5
- Factory settings 99 5
- Index 109 5
- Midi implementation 89 5
- Midi implementation chart 107 5
- About this manual 7
- Clavia on the net 7
- Introduction 7
- Welcome 7
- Connections 9
- Midi in midi out pedal r out l out headphone 9
- Connecting a pedal 10
- Basic operations 11
- Demo play function 11
- Basic midi settings for the nord rack 12
- Program 12
- Program 13
- Selecting programs 13
- Program 14
- Selecting percussion kits 14
- Using the slots to switch programs 14
- Activating 15
- Deactivating 15
- Layering 15
- Polyphony 15
- Program 15
- Replacing one program in the layer 15
- Program 16
- Selecting performances 16
- Monophonic and polyphonic operation 17
- Pitch stick 17
- Pitch stick and modulation wheel 17
- Stereo mono 17
- Master tune 18
- Modulation wheel 18
- Program 18
- Program 19
- Using a foot switch 19
- Using an expression pedal 19
- Filter 21
- The panic button 21
- Changing an existing program 23
- Changing one sound in a layer 23
- Editing programs 23
- Getting back to the programmed sound 23
- Customizing manual mode 24
- Master level 24
- Using manual mode 24
- Copying programs 25
- Storing programs 25
- Formatting of new cards 26
- Storing performances on the card 26
- Storing programs on the card 26
- Updating older cards 26
- Using pcmcia cards 26
- Making any parameter velocity dependent 27
- Programming velocity 5 sensitivity 27
- Programming velocity sensitivity 27
- Setting the range 27
- The filter velocity function 27
- P o l y p h o n i c 28
- P o l y p h o n i c l e a d s y n 28
- Clearing all velocity programming 29
- Clearing velocity programming for one knob 29
- Moving the range 29
- P o l y p h 29
- P o l y p h o n i c 29
- Morphing 30
- Percussion kits 31
- Program 31
- Selecting and playing a percussion kit 31
- Editing the sounds in a percussion kit 32
- Program 32
- Copying extracting and importing individual percu 33
- Copying extracting and importing individual percussion sounds 33
- Saving percussion kits 33
- Sys ex dumps of percussion kits 34
- Using percussion kits in performance mode 34
- Performances 35
- Recalling a performance 35
- What are performances 35
- Editing the performance 36
- Program 36
- Selecting programs 36
- Extracting single sounds from a performance 37
- Layering and editing 37
- Saving a performance 37
- Shift functions 37
- Exiting performance mode 38
- For each program slot 38
- For the entire instrument 38
- What a performance contains 38
- Oscillator 1 39
- Panel reference 39
- Waveform 39
- Fine tune 40
- Oscillator 2 40
- Semitones 40
- Waveform 40
- Fm amount 41
- Keyboard track 41
- Settings for both oscillators 41
- Amplifier 42
- Pulse width 42
- Attack 43
- Release 43
- Sustain 43
- Filter 44
- Filter type 44
- Frequency 46
- Envelope amount 47
- Resonance 47
- Attack decay sustain and release 48
- Kbd track 48
- Velocity 48
- Destination 49
- Waveform 49
- Amount 50
- Destination 50
- Lfo 2 arpeggiator 50
- About the echo function 51
- Amt arp range 51
- Amount 52
- Attack 52
- Destination 52
- Mod env 52
- Modulation envelope 52
- Filter 54
- Fm amt 54
- Mod wheel destination 54
- Poly legato mono 55
- Unison 55
- Keyboard octave shift 56
- Oct shift 56
- Portamento 56
- Portamento time 56
- Slot octave shift 56
- Accessing the shift functions 57
- Selecting a shift function 57
- Shift functions 57
- Each time you turn on power local on off is set to on and all the special functions are turned off however the special settings are saved with the performances 58
- Page 56 shift functions 58
- Shift function listing 58
- The table below shows you what shift functions are available for each of the seven buttons and an ex ample of what the display might look like for each function 58
- About global and slot functions 59
- Out mode 59
- Returning to the normal display 59
- Setting the value 59
- Tune master tune 59
- About local control and control change transmission 60
- Arpeggio and midi out 61
- Midi channel 61
- Prog ctrl 61
- Program slot midi channel 61
- Global midi channel 62
- Accessing the functions 63
- Function 1 synchronizing lfo 1 to midi clock 63
- Special 63
- An example of lfo 1 synchronization 64
- Function 2 synchronizing lfo2 arpeggio to midi clock 64
- Function f external triggering of filter envelope 64
- An example of filter envelope triggering 65
- Guidelines for using filter envelope triggering 65
- Function 5 external velocity morph 66
- Function a external triggering of amplifier envelope 66
- Aftertouch and expression pedal settings 67
- An example of external velocity morph 67
- Pedal p 68
- Pitch bend range b 68
- System 68
- Unison detune u 68
- About the midi implementation 69
- Aftertouch 69
- Controllers 69
- Pitch bend 69
- Program change 70
- Bank select 71
- Connections 71
- Local on off 71
- Midi channels 71
- System exclusive 71
- Using nord lead with a sequencer 71
- Controllers 72
- Program change 72
- Some notes about controllers and chasing 72
- Bulk dump 73
- About subtractive 11 synthesis 75
- About subtractive synthesis 75
- Amplifier 75
- Filter 75
- Introduction 75
- Oscillator 75
- The building blocks 75
- Connections 76
- Envelopes 76
- The oscillators and waveforms 76
- Waveform 77
- Sawtooth 78
- Triangle 78
- About subtractive synthesis page 77 79
- Pulse wave 79
- The pulse wave is slightly more complicated because it is not one waveform it is many different ones a pulse wave is a waveform that during one period jumps once between full positive amplitude and full negative and then back the thing that can be varied is where within the period you jump from maximum to minimum amplitude let s look at three examples 79
- About inharmonic spectra 80
- The filter 81
- Filter types 82
- Roll off 83
- Cutoff frequency 84
- Key tracking 84
- Resonance 84
- Adsr envelope 86
- Envelopes 86
- The amplifier 86
- As described above the envelope stays at the sustain level until the key is released it then falls back to zero level the time it should take for this to happen is set with the release parameter which works just as the decay only it is not applied until you lift your finger off the keys 88
- M if you set sustain to 0 the sound will become silent after the decay phase is finished with short attacks moderate decay times this can be used to simulate the behaviour of a plucked string instrument guitar piano etc where the sound always decays to silence after a while 88
- M if you set sustain to full level the decay setting is of no importance since the volume of the sound is never lowered 88
- Page 86 about subtractive synthesis 88
- Ad envelope 89
- Controller number list 91
- Midi implementation 91
- General message format 93
- Patch dumps 93
- System exclusive implementation 93
- Percussion kit patch dump 94
- Patch dump request 95
- Performance dump 96
- All controllers request 97
- Performance dump request 97
- In the patch and performance dump messages the data bytes contain the actual patch performance set tings 98
- M a patch contains 66 parameters which means the data block of a patch dump is transmitted in 132 66 2 bytes see the patch dump format table below 98
- M a performance consists of five blocks the first four blocks contains the four patches a to d this block is 528 midi bytes 4 66 2 after this follows 136 68 2 of data for parameters local to the performance see the performance data format table on page 97 98
- M all parameters are in 8 bit format 2s complement signed each byte is nybbleized and coded into two midi bytes with the low nybble transmitted first 98
- Page 96 midi implementation 98
- Patch and performance data formats 98
- Patch dump format 98
- For percussion kit sys ex dumps the above parameters will be repeated eight times once for each sound in the percussion kit 99
- Midi implementation page 97 99
- Performance data format 99
- Page 98 midi implementation 100
- Factory programs 101
- Factory settings 101
- Factory percussion kits 102
- Factory performances 104
- About the organ sounds 105
- Drawbar organ essentials 105
- About the prophet 5 factory sound recrea tions 107
- About the prophet 5 factory sound recreations 107
- Restoring the factory programs in ram 108
- Midi implementation 14 chart 109
- Midi implementation chart 109
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