Bedienungsanleitung Yamaha AN200 (Seite 103 von 147) (Englisch)

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Chapter 19

Master Class 2 —

Advanced Music

Production

Take your skills up to the next level. Explore these advanced operations and appli-

cations — and get the absolute most out of your AN200 in your home studio.

86 Playing the AN200 as a synthesizer

The AN200 is an extremely powerful and versatile synthesizer, with truly vintage analog-like sound. And one

of the best ways to harness that power is to hook up a MIDI keyboard. Do this, and explore the wealth of

Voices and the full 5-note polyphony of the AN200.

Setting up the keyboard couldn’t be easier — just plug it in, and connect the MIDI OUT on the keyboard to

the MIDI IN on the AN200.

To check that everything’s set up properly, play the keyboard — you should hear the synth sound of the

AN200. (If you don’t, see “X-tra Details” below.)

MIDI OUTMIDI IN

MIDI keyboard

AN200

• MIDI Channels

More than likely, your MIDI keyboard is probably set to send data over

channel 1 — which will let you play and record the Synth track.

However, if you want to play or record any of the Rhythm tracks, you’ll

have to change the channel on the keyboard to match the appropriate

track:

Rhythm Track 1 — MIDI channel 2

Rhythm Track 2 — MIDI channel 3

Rhythm Track 3 — MIDI channel 4

You can also change these assignments on the AN200 — see Tip 80.

For instructions on changing the MIDI channel of the keyboard, refer to

the owner’s manual of that instrument.

• What keyboard should I get?

Naturally, any MIDI keyboard will do the job for you. As long as it’s got

keys (preferably both black and white) and a MIDI OUT terminal, you’re

in business.

However, to get the most out of your extraordinarily versatile AN200,

you’ll need an equally versatile MIDI keyboard. Here’s what you should

look for:

*Five-octave (61-key) keyboard — There are some very good desk-

top keyboards (such as the Yamaha CBX-K1) that have fewer keys,

but you’ll probably want at least ﬁve octaves to play with... so you

can use both hands.

*Velocity sensitivity — This feature lets you control the dynamics of

the sound by how softly or strongly you play the keyboard. Plus, it

also affects the FEG, so you can add some ﬁlter bite just by playing

harder. If you want expressive sounding tracks, there’s really no sub-

stitute for this.

*After Touch — Another expression control, After Touch lets you

change the sound (most commonly LFO modulation; Tips 32 — 35)

by pressing down hard on the keys after you play them. A really

good keyboard will let you change the MIDI Control Change assign-

ment on this, so you can control anything you want — such as Cutoff

or Effect Depth (Wet). (For details on MIDI Control Change mes-

sages, refer to the MIDI Data Format section in the Appendix.)

*Pitch Bend and Modulation wheels — Most keyboards have these.

Pitch Bend lets you bend the pitch (obviously). The Modulation

wheel usually affects the LFO, but on a good keyboard this too can be

changed.

*Extra (assignable) MIDI controllers — This is a luxury item. If you

can afford it, go for it. Some keyboards (such as the Yamaha CS2x)

give you an extra set of knobs or faders that you can assign to many

of the AN200’s controls. (For more about MIDI controllers, refer to

the MIDI Data Format section in the Appendix.)

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