My fear in trying this on an E series board, is that you will very quickly run out of necessary simultaneous effects. The release time of the average acoustic is way too long to simulate a Rhodes/Wurly "reed" type instrument. As suggested above, you might want to try layering Voice #597 (or other epiano voices) with various other epiano voices, or possibly even with one of the acoustic piano voices, but if you do that, you will need to shorten the release time of the acoustic voice way up.
If you want to try, I suggest, at least, starting with Voice #597. On my Casio CTK/WK-6000/7000/7500, I was able to get a very reasonable simile of Roger Hodgson's Wurly sound on Supertramp's "The Logical Song", but try as I may, I just can not do it on the E433. I spent a couple hours last evening experimenting with various settings of the Cutoff and Resonance knobs on it, but could not even come close to anything that sounded at all like a believable velocity "bark". Maybe that is what is meant by Soft Whirl - no bark ! ! ! The required velocity switching for it is just not part of the sample. When I try it "as is" on my PSR-E433, I get something that might sound remotely like a Wurly, but what is obviously missing is that typical tell-tale Wurly "bark" when you really rap the keys. I take it that this is probably meant to mean "Soft Wurly", but is Yamaha's "code" for avoiding "infringement" issues. On the PSR-E433, XG-LITE Voice #566 is Soft Whirl. Also, on Classic electric pianos, the tremolo effect is always in synch with each note (because there is only one tremolo generator), but with this effect I am describing, each note you play has it's own tremolo pattern that starts when each individual note is played. If you use the sustain pedal, as the notes ring on after releasing the keys, the tremolo effect stops. The main limitation of this trick is that it only works while you are holding down the notes. Adjusting the envelope attack and release of the main voice helps "fine tune" this effect so the tremolo effect is not quite so abrupt. As the tremolo turns on and off the sound of the main voice repetitively, the dual voice continues to sound, which creates this square-wave type tremolo effect. Then, you can use the Harmony function's tremolo function (which only affects the main voice). To get this effect, one thing you can do is to combine two electric pianos, as described above, for the main and dual voices, and set the dual voice to a lower volume. In my experience, many of the Classic electric pianos had a tremolo that was closer to a square wave, where the volume goes up and down more abruptly.
But I believe that is more of a "sine wave" change in volume, where the volume of sound goes up and down smoothly. As suggested above, you can try the DSP tremolo effect to see how that sounds. One thing I can point out is that some Classic electric piano sounds have a distinct tremolo sound. If you can post a YouTube link or something similar to the kind of sound you're looking for, that can help us try to zero in on it for you.
Maybe the E-Piano sound "comes out" better then.Īll of the above are really good suggestions. You could also try another Master EQ Type (refer to E463 Owner's Manual, page 52).
If you don't have the E463 Data List (that includes the Voice and Effect lists), you can download it from here: some Distortion, Chorus or Tremolo and/or changing the global REVERB and/or CHORUS types and settings. You can also work with the DSP effects for your E-Piano sound, e. Or you combine an E-Piano Voice with an Acoustic Piano. It could also be nice to use a "Pad" for the "Dual Voice" (say No. You can combine two E-Piano Voices (by using "Main Voice" and "Dual Voice"), of course.
302 - 340) you can find many more E-Pianos. 11 - 18) you can also use the "XGlite" Voices (starting from Voice No. Did you really try out ALL internal E-Piano Voices of the E463?īesides the so called "Panel Voices" (E-Pianos here have Voice No.