Файл: Clavia nord lead 2 v1.0 (eng manual).pdf

7. Performances

What Are Performances?

Performances allow you to call up four Programs at a time in a live situation, or to recall complete setups when sequencing via MIDI. The Nord Lead 2 comes with 100 Factory Performances in ROM. Some of these make use of two, three or four slots, while some are single-slot Performances, effectively serving as extra ROM Patches. Please note:

▼You can edit the selected ROM Performance as desired, but you cannot save your changes internally.

▼To save an edited Performance, you need an optional PCMCIA S-RAM card. On a card, there is room for 100 Performances, located after the ROM Performances, and indicated with the digit “1” to the left of the Bank and Performance numbers in the display.

▼You can transmit edited Performance data via MIDI Sys Ex, for storage in an external sequencer, etc.

▼If the Performance contains a Percussion Kit, only the reference to the Kit Location will be saved with the Sys Ex dump! To include the parameters for the Percussion Kit, you need to make a separate Sys Ex dump of the Percussion Kit, from Program mode (not from Performance mode).

▼You can receive Sys Ex data for one Performance at a time into the edit buffer. If you for example use Nord Lead 2 multitimbrally together with a sequencer, it is often practical to place a Sys Ex Performance data dump in the beginning of your song, to select sounds, initialize global settings, etc.

The Factory Performances include several life-like drawbar organ simulations, created using a special “pseudo-additive” synthesis method. Some of the sounds include famous sound artifacts such as “hum” and “click” as well as rotating speaker effects, accomplished with Nord Lead’s Morph function. Among the Performances you can also find recreations of over 40 original factory patches from the classic vintage synthesizer Prophet 5. Sounds and applications are described on page 104.

Later in this text follows a detailed list of what settings are contained in a Performance.

To store Performances you need to have a PCMCIA card inserted (see page 23).

Recalling A Performance

When you recall a Performance, you replace the four current Programs in the slots A to D with the Programs in the Performance. You also recall other settings as listed in the table later in this chapter.

1.Enter Performance mode by pressing the Performance button.

The display shows the latest selected Performance.

The Performances are organised in 10 Banks, named alphabetically from A to L (the letters I and K are excluded because they’re hard to write clearly on the display). In each Bank there are 10 Performances, for a total of 100. If you have a PCMCIA card inserted, the Banks on the card are found after the internal (ROM) Banks and labelled in the same way, but indicated with a dot to the right of the digits in the display.

Layering and Editing

This is done just as in “non-Performance” mode. The only thing to note is that when you save the Performance you save the edited Program(s) “inside” the Performance. The original Program that you used as a basis for the Performance is not affected.

This is not true for Percussion Kits, which are only referenced in the Performances. Any editing done to a Percussion Kit in Performance mode will affect the “original” Percussion Kit, and all references to it in other Performances.

Shift Functions

Again, these parameters are set just as in non-performance mode. Most of these are also saved with the Performance as indicated in the table on the next page.

Extracting Single Sounds from a Performance

The text below does not apply to Percussion Kits in Performances.

As stated earlier, the sounds used in the Slots of a Performance are not references to regular, existing Programs, but complete Program Patches “in their own right”. You will find several unique sounds in the factory Performances, sounds that you will not find in any of the internal Program locations. You may want to extract such a sound, for use as a single Program, or to make it part of another Performance layer. Proceed as follows:

1.Select the Performance containing the sound you want to extract.

2.Make sure the Slot with the desired sound is selected (LED is flashing).

3.Press Store.

4.Hold down Shift and press the Perf Mode (Manual) button, to exit Performance mode.

5.Scroll to a suitable Program location (01 - 40 in the internal memory or any location on a PCMCIA card) and press Store again.

The sound is stored as a regular Program. This can now be played as usual, or included in another Performance as described on the previous page.

Saving a Performance

To be able to save edited Performances, you to have a PCMCIA S-RAM card inserted.

1.Set up the Performance as desired.

2.Press the Store button.

The Program display flashes.

3.Select one of the Performance memory slots, as described above.

4.If you change your mind at this point, press any of the Program Slot buttons.

5.If you decide to go ahead with overwriting the existing Performance, press Store again.

The display stops flashing to indicate that the Performance has been saved.

Programs in Performance Slots are actually saved complete with all parameter settings when the Performance is saved. Percussion Kits, on the other hand, are only saved as references to existing Percussion Kits.

The above point means that there is no need to store the Programs separately. As soon as you save the Performance, all Programs that it uses are also saved, inside the Performance. This also means that if you later change any of your Programs, from Program mode, the Programs in the Performances are not affected in any way.

On the other hand, Percussion Kits need to be saved separately, as described on page 32.

Exiting Performance Mode

1.To exit Performance mode, press the Performance button.

Now you return to the regular Program mode. You will note that the four slots now play the four Programs that were selected before you entered Performance mode. Likewise, Layering and Shift functions are restored to the way they were set before you entered Performance mode.

What a Performance contains

The following is a list of what a Performance contains, that is, what you actually save and recall when you work with Performances:

For Each Program Slot

▼The selected Program complete with parameter settings or a reference to a Percussion Kit.

▼The MIDI Channel setting

▼The Special settings

▼Expression pedal assignment

▼Aftertouch assignment

For the Entire Instrument

▼The Layer configuration

▼The Keyboard Split settings

▼Which Program is active for editing

▼The Pitch Bend Range setting

▼The Out Mode setting

▼The Unison Detune setting

8. Panel Reference

Oscillator 1

Waveform

This switches between on of three waveforms for Oscillator 1:

Sine: This is a basic waveform with no harmonics. It is suitable for very soft sounds or for use with FM.

Triangle: This is a waveform with only odd and not very strong harmonics. It is suitable for flute sounds and similar.

Sawtooth: This contains all harmonics and is the richest of the available waveforms. It is suitable for all sorts of sounds.

Pulse: This waveform is special in that its harmonic contents can be varied continuously, by adjusting the Pulse Width, see below. The pulse wave can also be modulated by LFO 1 and the Modulation Envelope. This waveform is suitable for many type of sounds, but has a more “hollow” character than the Sawtooth wave.

For an introduction to waveforms, see page 76.

Oscillator 2

Waveform

The first three waveform alternatives for Oscillator 2 are identical to the corresponding waveforms of Oscillator 1, see above. But Oscillator 2 has one more waveform alternative:

Noise, Noise Colour and Sync wave: With Noise selected, Oscillator 2 produces noise rather than a pitched waveform. The exact color (frequency contents) of the noise can be adjusted with the Oscillator 2 Semitones knob.

The further you turn the knob clockwise, the brighter the noise will be. All the way to the right, its frequency characteristics is very close to that of white noise (where all frequencies are represented with equal energy).

Please note that the sound of the noise is affected by the filter setting (as all other sound from the Nord Lead 2). If the filter frequency is turned down, adjusting Noise color might not have the expected effect.

If Sync is activated (see page 40), selecting Noise will produce a very special effect, similar to a “digital” waveform. In this mode, the Semitones (“Sync wave”) knob works as a “waveform selector”. Turning the knob will change the harmonic content of the sound.

The Sync wave selection is not continuous, but stepped, in steps that correspond to the octave markings around the Semitones knob. It can be controlled by the Velocity/morph function, but is not affected by LFO 1, the Modulation Envelope or the Modulation Wheel, even when these have Oscillator 2 selected as modulation destination.

Semitones

This setting is used to adjust the tuning of Oscillator 2, relative to Oscillator 1. The setting is in semitone steps. The range is from 5 octaves below Oscillator 1, to 5 octaves above Oscillator 1. However, the full range may not be available, depending on the Oct Shift setting (see page 56).

To aid you in setting the value, the LED above the knob lights up when the tuning is in perfect octaves.

Fine Tune

This parameter is for tuning Oscillator 2, just as the Tune control is. The difference is that this parameter operates within one semitone.

If you set the two oscillators to equal volume (see Balance below), make sure Sync and Ring Mod is turned off, set the two oscillators to the same Tune value, and raise or lower the Fine Tune Parameter slightly, the slight difference in Pitch will make the sound “richer”.

▼ The LED above the Semitone knob will flash briefly when you set Fine Tune to 0.

Keyboard Track

When this parameter is activated, Oscillator 2 will have different pitches when you play different keys, just as Oscillator 1 always does.

When this parameters is turned off, Oscillator 2 will always play the same pitch. There are mainly three situations when this is useful:

▼When Sync is activated (in this mode, the basic pitch of the sound is determined by Oscillator 1 anyway).

▼When FM or Ring Modulation are used, to get inharmonic sounds with very varying timbre across the keyboard.

▼For special effects and percussion sounds, which are supposed to sound the same all across the keyboard.

Settings For Both Oscillators

KBD TRACK

RING MOD

SYNC

FM Amount

This is classic “deep linear FM” as used in pure FM-based synthesizers. The FM function is a bit of depart from the “analog” concept of the Nord Lead 2, but as you will find, it is a very useful addition.

In this FM implementation, OSC1 is being modulated by OSC 2. In FM speak, OSC 1 is the carrier and OSC 2 is the modulator. This, means that changing the pitch of OSC2 basically does not affect the pitch of the sound, but the timbre.

For classic FM sounds, use sine wave on oscillator 1 and triangle wave on oscillator 2.