This is posted in the YC area. MODX threads would not have a lot of application to YC.

The YC effect tutorial is here: https://yamahasynth.com/learn/yc-series/mastering-yc-effects

I don't have a YC so I am hoping someone with a YC can help more directly. Not that I couldn't dig through docs - but my normal triage involves hands-on work with my own gear.

I do believe that the instrument UI and capability differences are enough to make putting the pieces together a struggle. Best to reference the knobs and buttons and rules of each instrument.

Montage and MODX are paternal twins so there you can more easily cover both with the same information. This is not the best approach however for YC vs MODX.

Guess we disagree. That's fine.

I do have a MODX - was that a lucky guess, Bill? Because I only picked it up a few days ago, and haven't posted anything about it yet :p

I agree that EG and Filter are generic concepts, but their application differs a lot by instrument - especially with an instrument like the YC, whose design simplifies complex functions down to single-knob operation (versus the likes of MODX, which enable deep adjustment of individual parameters).

My description was brief, but it captured the essence of what I was trying to do, which was using the single-knob EG to adjust attack and release time on 36 Tape Flute (initially), and then a variety of other sounds. I wanted the adjustment to affect the sound, and it didn't.

I can expand a bit more. Let's set the EG knob to adjust Attack only. There are many sounds where Attack=0 and Attack=127 sound identical. It's even more peculiar that some sounds which are very similar to each other, behave differently - for example, in the Piano section, CP80 1 doesn't respond at all to an adjustment of the Attack level, but CP80 2 does, even though the sounds are reasonably alike. In the 'Other' section, Horn 1 responds to adjustment in the Attack level, but Horn 2 doesn't. Baritone Sax does, but Tenor Sax doesn't.

I realise there's a trade-off with a stage keyboard, where you forego the ability to make these fine adjustments, in exchange for simple and quick control on the fly. But it's a bit frustrating when a function gives you nothing.

I noticed this same behavior way back after I first received my pre-ordered YC. Eventually I just came to the conclusion that some voices are responsive while others are not whatever the technical or design reasons. Many of us come from the real synths and analog world and love messing around with envelopes and filters. At least the dang stage board has that function even if it only works on some voices. I haven't tested that on a voice by voice exhaustive level but I do think my SKpro has a much more comprehensive option with visuals and even editing. I'd like to be able to spin that dial and hear a very responsive change. I recell playing with the extensively at first just to test how responsive it actually was. I got mixed results like you are discovering now. I might have commented on it back then but not in any detail. It's that thing called "discovery" where sometimes you simply try it and listen to see what happens. IF nothing happens you move on to the next voice and try it. That's about as deep as I took it.

Your issue is clear. I would normally dig into the settings you communicated, reproduce the observed behavior, then menu dive to look at the filter settings and settings for EG to see what the knob is supposed to be doing. I'd also check the easy stuff I'm sure you're already solid on like making sure the knobs are in the right mode for the task at hand.

You did give great specifics that others with a YC could see using "36 Tape Flute".

Blake is very fond of the YC ...

https://www.youtube.com/watch?v=ejNTAMWtW8Y&t=1757s

... and will likely chime in here at some point.

I don't agree - this is Blake's wheelhouse and he's been chiming in more.

[quotePost id=117281]I do have a MODX - was that a lucky guess, Bill? Because I only picked it up a few days ago, and haven't posted anything about it yet :p
[/quotePost]

Think Bill's gotten his alliteration attenuation attuned erroneously.

Might have seen the A of Adrian and read it as Antony or Andrew.

[quotePost id=117281]

I do have a MODX - was that a lucky guess, Bill? Because I only picked it up a few days ago, and haven't posted anything about it yet :p

[/quotePost]

LOL. Bill has a ???? Donchaknow!!

I'll throw my hat in the ring.

I have no idea how the YC works... BUT... since you mentioned it was a Flute (I.e. very close approximation to a Sine Wave with no harmonics) a Filter has little to no effect. Filters cut harmonics. If there were no harmonics there to begin with... you get the picture.

You'd likely have similar issue with Organ sounds, which are just stacked Sine Waves. If you had all the draw bars out, reducing the Filter (Low Pass) cutoff would sound like pushing the drawbars back in, starting with highest (shortest footage).

I could be completely off target, but it is a reasonable guess.

I suspect if you tried the same Filter/EG thing with a Trumpet (SAW wave) or "Strings" (Pulse/Square wave) sound, you'd get a result.

With a flute, you'll probably need to shape the sound with an "Amp" EG.

But, here's a trick, if you have a Noise Oscillator on your YC and if you can mix that in with the Flute sound, then the Filter EG will affect/shape the Noise. Why would you do this? To simulate a Flute that is "blown hard". The "blow" is the modulated noise. Have a listen to some Jethro Tull.