Vocal Harmony Parameter List (CVP-709/CVP-705) / Liste der Vokalharmonie-Parameter (CVP-709/CVP-705) / Liste des paramètres liés à l’harmonie vocale (CVP-709/CVP-705) / Lista de parámetros de armonía vocal (CVP-709/CVP-705)
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Harmony Assign Parameters
Pitch Correct Parameters
1Abv&2Blw.WideBluesHarmony based on 3 total tones from chords and scales, 1 above and 2 below; it can produce a feeling of movement. Since it handles a major triad as
add 6th chord, and handles the major second as a scale tone, it can also provide passing tones. Because it adds the major second as a scale tone to
harmony during 7th chords, it provides a passing tone during 7th chords. Suitable for 3-tone chord in major keys or for country rock. Basically it
generates open harmonies of an octave or more.
1Abv&1Blw+BassHarmony based on tone chords and scale tones used as duet, 1 above and 1 below; (+ chord root); it can produce a feeling of movement. Harmony1 is
a tone above and nearest the input pitch. Harmony2, tone which is below the input pitch and nearest the input pitch, handles a major triad as add 6th
chord, and since it handles the major second as a scale tone in major triads, it can provide passing tones.
1Abv&1Blw+UnsD.Modal6thHarmony suitable for a trio based on 2 total tones from chords and scales, a above and below (+ Oct. below the input pitch); it can produce a feeling of
movement. Because it handles a major triad as add 6th chord, and handles the major second as a scale tone, it can provide passing tones.
1Abv&1Blw+Bass.Modal6thHarmony based on tone chords and scale tones used as duet, 1 above and 1 below (+ chord root); it can produce a feeling of movement. Harmony1 is
harmony of above tone with priority on the chord character. Harmony2, harmony near the below side, handles a major triad as add 6th chord, and since
it handles the major second as a scale tone in major triads, it can provide passing tones.
3Blw.JazzHarmony based on 3 total tones from chords and scales, 3 below; it handles a major triad as add 6th chord. Because it handles the major second as a
scale tone in major triads, it can also provide passing tones. Basically it generates harmonies within an octave. It is suitable for high pitched vocals.
3Blw.JazzBluesHarmony based on 3 total tones from chords and scales, 3 below; it handles a major triad as add 6th chord. Because it handles the major second as a
scale tone in major triads, it can also provide passing tones. Because it adds the major second as a scale tone to harmony during 7th chords, it provides
a passing tone during 7th chords. Suitable for 3-tone chord blues or for country rock in major keys. Basically it generates harmonies within an octave. It
is suitable for high pitched vocals.
2Blw+UnsD.Modal6thHarmony suitable for a trio based on 2 total tones from chords and scales, 2 below (+ Oct. below input pitch); it handles a major triad as add 6th chord.
Because it handles the major second as a scale tone in major triads, it can also provide passing tones. Basically it generates harmonies within an
octave. It is suitable for high pitched vocals.
2Blw+Bass.Modal6thHarmony suitable for a trio based on 2 total tones from chords and scales, 2 below (+ chord root); it handles a major triad as add 6th chord. Because it
handles the major second as a scale tone in major triads, it can also provide passing tones. Basically it generates harmonies within an octave. It is
suitable for high pitched vocals.
ScaleDiatonicThis generates harmonies based on the scale specified by the KEY ROOT/TYPE value and the degree specified by the DEGREE value. The harmonies
are not dependent on a chord. If there are many notes, the chord feeling intensifies, so it is suitable for use as duets, fixed at a third above. This setting
is good for modal church music or modal jazz.
ParallelThis can reproduce harmonies for which semitone pitches are fixed 4th build or diminished sounds, for example. This setting is good, for example, in
modal jazz scales (when you want to eliminate chordal feeling) or in progressive music.
ParameterValueDescription
TRANS.MODE
*These are effective only when
Vocoder or Vocoder-Mono is
selected in Mode.
0Assigns the harmony to the octave range centered around the pitch of the played note.
AutoAssigns the harmony to the same octave range as the vocal (microphone) input.
-3Assigns the harmony to a range roughly 3 octaves below the pitch of the played note.
-2Assigns the harmony to a range roughly 2 octaves below the pitch of the played note.
-1Assigns the harmony to a range roughly 1 octave below the pitch of the played note.
1Assigns the harmony to a range roughly 1 octave above the pitch of the played note.
2Assigns the harmony to a range roughly 2 octaves above the pitch of the played note.
3Assigns the harmony to a range roughly 3 octaves above the pitch of the played note.
SESSION TABLE
*These are effective only when a
Chordal Type other than Scale
Diatonic or Parallel is selected.
NormalThe chord designation is used as shown. This is for general use in conventional music genres.
SimpleTends to add a simpler harmony. Use this when you need simple accompaniment.
R&RTends to add harmony with a strong major 6th in both major and minor triads. This is good with rock ‘n’ roll music.
UrbanATends to add harmony with a strong major 6th to the major triad and a minor 7th to the minor triad. This is good for a sophisticated,
urban feel.
UrbanBTends to add harmony with a strong major 7th to the major triad and a minor 7th to the minor triad. This is good for a sophisticated,
urban feel.
Blues7Tends to add harmony with a strong minor 7th. This is good for blues music.
UrbanCTends to add harmony with a strong major 9th to both the major and minor triads. This is good for a sophisticated, urban feel.
KEY ROOT
*These are effective only When the
Chordal Type parameter is set to
Scale Diatonic.
Determines the root key for the transposition. Refer to the Reference Manual.
KEY TYPE
*These are effective only When the
Chordal Type parameter is set to
Scale Diatonic.
Determines the scale type for the transposition. Refer to the Reference Manual.
ParameterDescription
OFFThe input sound is not pitch corrected. Since the harmony has a more natural sound, this setting is good for duets, etc.
SOFT1The input sound is almost without pitch correction. Since the pitches of the harmony are more accurate, this setting is good for backing chorus parts, etc.
SOFT2The input sound is slightly pitch corrected. Since the harmony has a more natural sound, this setting is good for duets, etc.
HARDThe input sound is pitch corrected. Since the pitches of the harmony are more accurate, this setting is good for backing chorus parts, etc.
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