ladies and gentlemen welcome back for another episode of studio time with
junkie XL I'm Tom junkie XL and today I want to focus on a group of citizens
that is really amazing and they've changed the world's musically over
multiple film scores like for instance Blade Runner and
they've contributed so much to the music in the 70s and 80s and way after that
because these synthesizers are very sought after and a lot of bands use them
nowadays in their productions and they really stand out because I have a really
unique sound to them and I'm talking about the yamaja CS synthesizers so the
smallest one is 2 C is 10 then you have a 15 be that you have a cs20 a C as 40
and then you have a cs50 SES 60s CS 70 M and the cs 80 which is a really big
beast except for two I have all of them unfortunately two of them are in repair
their little six that I had to go back to the doctor which is unfortunately
it's the CS 70 M which is the biggest one in that series and the CS 60 which
is the more organ looking type synth but I'll promise you when they get back and
when they're better and they're feeling better all I'm going to do another
tutorial on those two but let's start with the CS 15 D that I have right here
in front of me so this synthesizer is a little bit similar to some of the other
synthesizers that I have mentioned before in other tutorials where they
were making a transition from being an organ synthesizer organ keyboard towards
a more mature synthesizer so the first that came out to 15 d is actually on one
hand it's still a preset synthesizer with the thing like a clarinet
flute a trombone a cello clavinet xylophone and then you also have a
synthesizer section that you can use as it as a lead or something that we'll get
into in a little bit the funny thing is though the synthesizer that you can
program yourself pretty much covers all the presets that are there so they did
that actually pretty well now if you do select a preset
all these knobs here will actually not work on the preset therefore they have a
couple of controllers here octave up and down a modulation wheel that can go to
the filter or to the VCO or to the envelope and you can control the sustain
longer shorter and you have brilliance which is basically controlling the
filter and it's actually pretty amazing how much variety you can get out of that
with just a couple of these the parameters so let's just go through a
few of these presets the first one is a clarinet that sounds like this
let's go to the flute that a flute sounds especially beautiful and it
really reminds me of the old Blade Runner score very nice clear sound
except for that little crack that is in the tempo liam pot needs a little bit of
fixing too let's play the trombone
the tuba the trumpet
the violin
xylophone okay so those are the presets and it has a really nice sound and it's
great for solo melodies because it's not a polyphonic synthesizer it's a
monophonic synthesizer but if I move this later from which slider from
channel 1 to channel 2 now I can access the synthesizer and obviously later I
can mix the two signals together so now I'm set to manual and now that gives me
the option to program the synthesizer
now
really really really big fat sound that comes out of this thing it's great for
bass lines great for for leads and I use it a lot for that and this was actually
one of the sins that I used to emulate the three or three made by Roland back
in the day was not able to afford the three or three but I was able to get
very cheap this keyboard so this was the one that is perfect to emulate that just
to go over the synthesizer it's very simple and setup so you can choose how
low or high your your keyboard note is
then you could say do you want a solid or a pulse or something in between then
there's a noise mixer that allows you to add noise to the signal
count-o
when we get to the filter section we have the color frequency and resonance
and we have the envelope depth so if it's set to maximum I can make really
percussive sounds with the adsr
and then we have two PC eight that controls the overall volume of the
Simpson or the other way around
the CS 15 the beautiful beautiful beautiful Sonic's it okay let's move on
let's go over here and here in the CS series we jump to the 40 M later inside
I will show you the 20 M but the 40 M is obviously the bigger the bigger version
of the 20 M so this one has to be cos not only that and it's also to voice
polyphonic instead of one and it has the opportunity to store presets in here and
you've got one to ten and 11 to 20 this since like the 15 D that we just played
when you select a preset all these knobs here will stop working and you only have
at your disposal the controller section that I just talked about something
similar you have portamento you have brilliance you have differences staying
you can play with the pitch and you can play with modulation and then route that
to different elements of the city let me just quickly play this since
again a beast of a sounds beast of a sense it's good now for instance if I
want to write this preset out if I want to write this preset because I like the
sound so much I just hit right and then boom I hit one and boom it's now there
like I just explained now all these controllers will not work
anymore because it's a preset so in order to access those parameters to a
certain extent is the knob that I have here brilliance I with sustain long I
can make the note long again so when you press panel that's when you program this
int when you're done programming it you store it in one of your memories now
there's a very interesting feature that this synthesizer has actually there so
Billy let me just start right at the beginning because it makes it makes way
more sense I'm just going to make sure that we're just listening to one
oscillator the filter is open VCO 2 is down noises down off of off if correct
yes we're just listening to one way I'm just going to turn the volume a little
bit down so I can also talk over it and it won't be too much of a hassle so if
we look at the VCO right here we have an option of a sine wave a saw wave a pulse
wave right underneath we have pulse width where we can control that with
right next to it we have a switch that basically says do you want to modulate
the pulse
so now modulating it with an LFO or do you want to use the eg that we have
right here
so the eg will now modulate the the pulse-width and you can pick if you want
the negative VG so basically it's going to flip the EG around you get that self
so let's pick a saw wave right here obviously also here you can choose the
range in which you're programming yourself so you have all all ways of
frequency spectrum to go for so I can also modulate the pitch of the of the
note with this little section here and I have a lot of different options to
choose from so I can choose a saw wave
sorry that was a sine-wave sorry about that
the solid
reverse saw
I can choose pulse
sample-and-hold I can also use the II need the adsr
and that doesn't seem to work and that is something that the doctor needs to
fix every time when I play with one of my sales I find something that is not
working but the doctor will fix that let's now move over to the second PCO so
I'm just going to turn the first VCO off and the second one goes on now this VCO
is more or less identical to this officio so I'm just going to go through
this a little quicker
it has pitch
the different waveforms I can have my
a modulation for the pulse-width and again I also can modulate here similar
functions as the as the first VCO now let's see oh wait a second my mistake
there is no doctor needed for this function I fucked it up here so actually
when you select eg there's this little section here that will control the EEG I
just blanked for a second there so if I set as eg plus
so with that little section you can control the eg what do you want to do it
like that or you want to bend into it okay so I'm just going to switch these
off I'm going to my lower setting now I'm going to switch the first PC alarm
as well and now we hear them both at the same time and I'm going to play with the
detuning a little bit to make the sound a little fatter
really nice thick sauce sound so we go to the next section over here and this
is the ring modulator so now I can switch the ring modulator on and then
I'll play a little bit with the ring modulation and then you could hear how
that sound
very good sounding ring modulator okay so they're both on also this distant
like the other state has the noise that I can add to it then we get to the
filter filter very basic in and setup nothing too complicated I can choose
between a low pass filter residence I can choose a high pass filter and the
bandpass okay so let's go back to the low pass it has its own adsr here so no
idiots are replies a little more and then I have also an option to modulate
the filter with an LFO so this is actually a way to create really cool
rhythms if you take the saw wave because it has a heart attack
that's the filter beautiful sonic filter now we get to the mixer and this is
where it gets interesting this is very unique to the Omaha Steaks we're at the
very end when you already had your oscillator 1 and oscillator 2 you're now
can add a sine wave that will pitch with the note that you're playing so if I
play if I take these oscillators out we hear nothing so here I can add a sine
wave and the second one and the second one is connected to VCO 2 the first one
is connected to VCO 1 so if you do any detuning here on the pitch that will
result in the detuning in a sine wave here too but this way you can create
really really deep basis people who play this at home at a good stereo you will
definitely hear it so
now I'm going to take the waves out it's still big but now they're back in
absolutely wonderful box and I wouldn't haven't shown you yet is that it is
polyphonic you can play two notes at the same time
and another function that this synthesizer has and that's the last
thing I will say about this is the function that we've seen in some of the
other synthesizers that were polyphonic which is unisono so both oscillators and
the two voices are now combined into one resulting in a more fatter sound so let
me play that that's without that is with
up the cs4 TM absolutely beautiful machine and a go-to machine for a lot of
projects that I work on and now we go inside and I'm going to show you some
more CS synthesizers okay we're inside in my home studio and this is the Yama's
CS 20 m and the CS 20 M is pretty much half of the 40 M a lot of things are the
same the sound quality is more or less the
same and it has a smaller preset panel whereas the 40 M has twice as much so
I'm just going to go quickly through a couple presets that I threw in here
Wow I'm the same as with the 40 and when you're in panel modes that's when you
can actually program to sit in any of the other modes these will be disabled
and you have your little controller section here so let's go to the panel
kind of like a white
you
yeah
great synthesizer for basses leads experimental sounds really really great
I've used it a lot now the last synth in this series I would like to play to you
is the cf-30 M which is so funny because it looks completely different than any
of the other seeds that we have seen so far a completely different design and
the way that this synthesizer setup is really mind-boggling may be the start of
Yama making things overly complicated where it's technically shouldn't but it
nevertheless it's a great sounding set so what's really interesting with this
synth is that you have to PCOS and you got two filters now instead of pretty
much every since that's out there if you select V so one so let's do that now at
this point and I'm just going to take the other one out and we hear it on just
one side of the speaker because the other VC I was going to the other side
normally you would choose in your fee Co what wave you want to be selecting
whether it's like a pulse wave or s always so what Yama has done here is
that you have two physios that you can chew
but then if you go to filter one that's when you can say what wave it actually
is so filter one can listen to the saw wave of vco1 it can listen to the pulse
wave of vco1 and then below you could also add VCO 2 to the same filter and
then when you go to the second filter you have a similar setup you could say I
want the filter from VCF I want filter one but now it's a high pass our I want
to choose the saw wave from VCO 2 so there's this really complicated way of
routing stuff and when you go to the VCA again you could mix different things
into one VCA one and different things into VCA 2 so a traditional synthesizer
would actually have VCO 1 you select your waveform it goes into the filter
you do your photo settings and then it goes to a vga with an adsr attached to
it which is the normal way of pretty much every since now with this synth
so you have to free-cos where you do your basic settings and then in the 2
filters you can do really complicated routing and selecting to select what
goes into this filter so filter one can have both videos in it or just one
filter 2 can have both physios in it or just one and to make it even more exotic
you could also choose external input which means that you could put a
microphone in or a guitar or a different synthesizer or a drum loop or whatever
you want to put in there the synthesizer itself really as a sound is pretty much
developed to make bass sounds and lead sounds so I have the filters of I've got
a bass arm set up right there right here
and as you can hear I can individually now control the filter of PCM one that
goes to the left and photo two that goes to VCO 2 that goes to the right so so
you hear this on both different things it's a really nice good sounding scent
now I want a really great feature that this it has is it has 380 SRS and you
can pick wherever they're going to go to so every oscillator every filter has at
a certain point a section that asks you to what adsr am I supposed to be
listening to so if we look here the depth of the of the filter pitch could
be either a could be B C D or a E and you see the filters like what you see
that the adsr is like right here now the other thing that's really interesting is
that you can switch the keyboard on and off for the individual vcos
not that you lose it but one of them can actually go to a sequencer right here
and the same goes for the adsr so I'm 100% sure that you know what I'm trying
to explain here is not necessarily synthesizer for beginners because
there's actually some novice some novel stuff coming and going on here but let
me now switch to the sequencer on all these puppies right here here and that
goes to keyboard and now I can start the sequence at the sequencer got it down to
volume a little bit so you have speed and here you can determine the pitch of
the notes
very interesting sit the cs30 are use it primarily to create bass sounds like I
just played so now we need to now for pretty key but it doesn't work so I have
to switch this back to keyboard it's a little convoluted
so that's usually how I use it to create like a great baseline with it so also
this synthesizer I happened retrofitted yet I mentioned that in another episode
to the cantle a retrofit that allows you to for you to program stuff in MIDI and
then it comes in and then you can just program it I really love the sequencer
it's very intuitive and also the voltages I will get to that in a
different episode the voltages are not quantized which means that it doesn't
automatically switch to the next automatic note on your on your keyboard
it so it's also micro tunnel you can get really with harmonic things with it that
are completely out of whack let me show you that quickly if I press you can get
really interesting riffs out of it and I think that's it for this keyboard and
like I said I really love playing with this one and it's also really great for
really powerful leads and the complicated way of routing these things
into the filters and into the VCA makes it actually a very modern keyboard when
it comes to what you can do with with routing and internal modulation but I'm
going to get way more into that in our episode that is about modular synthesis
because that's what I can really really show it like I said earlier on I'm very
unhappy that the CS 60s and I'm here at the CS 7 am but I'll promise I'll do a
different episode on that thank you very much
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