Yamaha chick corea Owner's Manual

- -

-

THE OFFICIAL PUBLICATION

-

OF

THE YAMAHA USERS

--

-

GROUP

--------.

-

~TM

-

IRST

OF

ALL,

We

would like to

F

a change in Publishers

long story,

We've received many letters readers inquiring about magazine. lication did ing does, apologize for to

all you readers, since you have always patient

Yamaha supplied extended literature materials for Anyone working with a Yamaha Digital Musical Instrument, wanted today's instruments and have free of charge, just this extended support enable all level utilize

The readers gratifying. keep cial oped between themselves and they had discovered with

At publication free nomically feasible. Due to increases in paper costs, printing, had publication going. much time, and are in large the months.

After much consideration, Yamaha tion group publication over to Tesladar tions, which former publication, Tom Darter.

Dr.

communications and music industries for over

so

let's begin

The

interruption

not

go unnoticed! You've

us

if the publication still exists,

when

you

can

the

delay in getting After

and

involved

Corporation

their

instruments, free

or

even

to

increase

been

able to receive AfterTouch magazine

of

musicians

the

equipment appreciation of

AfterTouch magazine has always

The

people

the

publication going to

channel

to consider

interruption

of

of communications they

the

same time,

of

and

an

of

publication over the last

America has decided to

is

headed

Tom Darter has

for

at

the

status of AfterTouch of

expect

with

by

to

and

to

the

of

America

people

their

understanding

their

many possibilities,

asking. Yahama

and

information would

to

its ultimate capability.

support

at

Yamaha wanted

maintain

After

the

cost

charge

alternative These

was

mailing charges, Yamaha

considerations

part

by

the editor

been

involved with

announce

AfterTouch. It's a

beginning:

and

calls from

this Yamaha pub-

been

ask-

and

if it

receive it. We

Touch

out

been

so

magazine.

has long

and

educational

of

charge.

who've

fully enjoy

the

simply

of

all

this spehad readership

of

hoped

and

of

the

been

to

devel-

Touch.

of

providing this

no

longer eco-

way

to keep

responsible for

turn

Communica-

the

took

few

Corpora-

its users-

of

their

the

&

15

years. Besides

composition

music Tom presided for its first Director published

zine,

time). niques USC, material for has sessions for Pink,

issue) sional nitely someone els explore

musical direction will strives to provide information people instruments

of

Guitar

and

other

Tom also

In

Film Music class for four years

and

been

a studio keyboardist

lnnerspace,

As

the

Editor

and

as a musician

on

different music projects, Tom

of

musicianship

throughout

Under

the

continue

of

all levels

Therefore, starting

AfterTouch will become a "paid-for" publica-

tion.

It

will Yamaha Communications, For this issues of AfterTouch . Each issue will be 36 pages size sue you are now reading). Each issue will definitely include pages pages MIDI columns, material older Yamaha electrical musical instruments, and

new subscription requests by August to insure

Corporation

$12.00, you will receive

in

(and

the

of

Hot

on

more.

Please understand,

keep you

that

receiving

from

as

the

Editor

10

years, before his promotion to

Publications for

Player

educational publications

taught

orchestrated two albums the

Kronos

such

films as

The

'burbs,

of

AfterTouch (since its first

who

understands

that

its years

valued

to be a

to

length, almost twice

same size

new Yamaha products, coverage of

on

you won't miss any issues. We will

and

of

Dr. Tom Darter, After

monthly

to

their

fullest potential.

be

published

at

a cost

of

Tips, pages

an

in-depth

the

AfterTouch mailing list

his

Doctorate Cornell of

Keyboard

GPI

Magazine,

an

Electronic

Quartet.

In

on

music scoring

Explorers,

and

Star

who

works

the

After

Touch

of

existence.

expert technical

publication

that

utilize

with

of

as

Questions

we

their

the

July '89 issue,

independent

America

of

$12.00

the

special double

and

of

reader

artist interview,

need

to

Continued on

University,

Magazine

(which also

Frets

Maga-

at

Tech-

worth

addition,

Pretty

Trek

V.

as

a profes-

is

defi-

many lev-

has tried

and

Touch

that

can

help

Yamaha

by

Tesladar

per

year.

12

monthly

at

least

old issue

Answers,

patches,

receive your

15

in

order

and

page

in

the

at of

he

In

to

of

is-

34

2 AFTERTOUCH/Vol. 5 Nos.

4-5

-

- -

-

- -

-

April/May

-

1989

---

Volume

- -

-

5,

4 Questions & Answers

Answers to questions from readers. Tom Darter.

By

Steve Deming

8 TX81Z Voices

"Classic Syn" Eric

E.

Ogier.

and

"Happy Chord," two new TX81Z voices

9 TX81Z Voices

10

DX7

"Grand Piano," a new TX81Z voice by Drums,"

II

Performance

"Stereo Airport," a new

a new TX81Z voice by Dave Joyce.

DX7

II

performance

Stan

Varnas,

by

-

~

Number

Issues

and

Dan Linehan.

4~5

#43~44

and

by

"Steel

Editor Tom Darter

Operations Sibyl Darter

Production Sibyl Darter Tom Darter

Editorial Board Steve Deming Charles Feilding Bob Frye

John

Gatts

J.P.

Lincoln

Phil

Moon

Jim Smerdel

Gerry Tschetter Steve

Thatcher

Cover

Photograph

Neil Zlozower

11

12

15 18

25

DX7

WX7 & TX81Z

V50 Chick Corea

SPX Professional Series

II

Voices

"Basilica" and PrcEnsemble," two new DX7 Mikowychok.

Creating custom WX7 sounds from preset (ROM) TX81Z

voices.

Applications

Understanding

A musical giant talks about his new film score, his Elektric

Band, his Akoustic Band, and his work with

grand.

An

introduction to Yamaha two new professional

processors:

28 Hot Tips

Reader tips for

32

electronically, mechanically, photocopying, recording,

C1 Users Central

From

the

Corporation

of

America.

No

part

of

By

Gregory W Yasinitsky.

the

VSO

sequencer, part

By

Tom Darter.

the

SPX900

the

Finder to DOS, part

rh1s

publication may be reproduced, stored m a retrieval system,

or

otherwise,

without

and

the

SPX90 II, CXSM, and more.

2.

the

prior

written

permission

1.

SPXlOOO.

By

Scott

or

of

Yamaha

Corporation

II

voices

By

Chris

the

By

Tom Darter.

Plunkett.

transmitted

in

of

Amenca.

Cover

by

John

P.

Cotton.

Yamaha MIDI

multi~effects

any form

or

by any means,

Vol.

5 Nos. 4-5/ AFTERTOUCH 3

photo:

his

home (clockwise Yamaha grand,

Synclavier,

KX88.

AFTERTOUCH

lished monthly. Third class

postage paid at Long

Prairie, MN and additional points of entry.

SUBSCRIPTIONS:

Address subscription correspondence to AFTER-

TOUCH,

Northridge,

POSTMASTER:

7938.

Send form 3579 Box

7938, Northridge, CA

91327-7938.

studio

from

V50,

Chick

Yamaha

P.O.

CA

with

top

Yamaha

is

Box

91327-

to

Corea

right)

MIDI

pub-

7938,

P.O.

in

&

Answers

To Questions From Readers.

By

Steve Demming

& Tom Darter.

TXBIZ

FM digital

generator.

tone

My TX81Z does not respond to control messages (breath controller, modulation wheel, and so on) when in Performance mode unless I set all of the voices to Omni. I've tried setting Control Change to both Normal and Global modes, but nothing seems to work. from having individual control over the voices,

is

which I at fault, Clevinger, Lawrence, KS. Setting Control Change to Global should take care of your problem-it allows control change

messages the instruments this to work, the Global MIDI channel has to be the same that

a serious limitation of the machine.

or

is

my

TX81Z defective??-Brian

from

one MIDI channel

in

a Performance. In order

as

the MIDI channel of the instrument

is

sending the Control

This

to

messages.

prevents me

Am

affect

all

of

for

service, please let

information along to everybody.

I enjoy the versatility of the Yamaha RX cially its more than a year the RX17 System Exclusive format from the International am an me that Yamaha has not sent them the Sys Ex documents for the RX17. What's the problem?Paul Kovitz, State College, PA Anyone who wants mation, or System Exclusive information Yamaha MIDI product, can request it directly from the Yamaha Electronic Service Division. Calll-800-854-3619, and

MIDI

IMA

us

know,

and

we

will

pass

the

17,

espe-

implementation. However, for

now,

I have been trying to get

MIDI

Association (IMA), since I

member. Every time I call, they tell

RX17

System Exclusive

ask

for

extension

on

infor-

any

1.

I have been trying cable for my

that

What cable, part #MI551160. call the

Department: 1-800-443-3548.

We electronic pianos in stock. one already checked with J.L. Cooper, Forte Music, and Eddy Reynolds. who can help. Toledo, No. Unfortunately, does a MIDI modification

If any readers

4 AFTERTOUCH/Vol. 5 Nos. 4-5

to

get a cassette interface

DX2

7.

Where can I find something

will

work?-

you

Yamaha

have both the Yamaha

out

there who can

OH

James Bohn, Manitowoc, WI.

need

is

the Yamaha cassette interface

Electronic Service Division Parts

MIDlfy

They

Do

you?-

we

don't know of anyone who

kow

of someone who provides this

For

more information,

CP35

and the CP25

Do

you know of any-

them?

We

have

don't know of anyone

Ron's Penguin Music,

for

the CP35 or CP25.

I have a

1 ) Why not aren't. changed the Nothing works. 2) unit seems to glitch with Feedback levels above 69%. SPX90. I know of others who have experienced the same problems. Please Columbus, NJ Unfortunately, the problems are due to limitations in the unit itself. The SPX90 Transposer, per se-these presets appear unit

the glitch in the pitch shift at all, because the complexity of the sound will mask it.

few

questions concerning the SPX90

is

it that the Pitch Shift programs are

accurate? Some notes are correct, and some

I've

tried

adding

l/0

levels to attain a better sound.

On

This

also

happened

is

not

designed to be Pitch Shifter or Pitch

as

effects. On some sounds,

chorus,

Pitch Shift programs, the

with

the

help.-

Todd Mizenko, ·

you

have uncovered

you

won't notice

and

original

on

II:

have

the

Earlier this year I bought joyed using it. However, recently, I sequencing

software compatible called Twelve Tone to

cooperate

Systems.

with

an

RXS, and have en-

package

"Cakewalk,"

The

RXS does not want

the

software.

bought

for

my

produced

Here

IBM

is

by

the

problem.

The

sequencer will store

but

it does

not

store any information regarding detuning RXS

of

specific instruments.

set

in

MIDI instruments will be detuned, play

the

song as it should.

Pitch

Mode,

the

song will

less I am in

the

Song mode memory previous to playback, which cancels whole purpose of having a sequencer! Also,

MIDI

am in set

on matically play all instruments play.

Pitch Mode, whatever

the

MIDI

channel I

of

The this problem is to set the volume ment

to zero.

lem?-

Rob Coddington, Chicago,

Well,

Can

you help me

we

can explain the problem, and perhaps

the

data transmitted,

If

I have

Voice Mode,

If

not

and

none

of

but

otherwise will

the

RXS is

in

MIDI

be played back un-

have

the

song in

instrument

am

using will auto-

the parts

the

rest

of

only way to rid myself of

of

that

instru-

with

this prob-

IL

the the

the

if

is

my

offer some helpful advice.

In MIDI Voice Mode, each instrument voice in

RXS

is

the

assigned to one MIDI

Therefore, even if you have a

note

pattern

number.

where you've set up an entire bass line using the Multi Voice function (Job will

output all

same

MIDI

is

assigned to only

you

If

of

those different pitches

Note

number (because

one

MIDI note number).

want to access the

different pitches to its voices,

Assign,

RXS's

you

the

RX5

as

the

that

bass voice

ability

to

assign

need to use the

#03)

in

Key

MIDI Pitch Mode. In this mode, up to sixteen of

one

num-

Pitch

from an

instru-

you

can

se-

of

the

of

this

of

the instrument's voices can be used: each the sixteen

assigned

its

own MIDI channel, and

is each one responds to different MIDI note bers sent to it

order

In

Mode,

on

its own MIDI channel.

to

take

advantage

it

is

necessary to program the

of

MIDI RXS

external MIDI keyboard. Pick your sixteen

ments and assign

Then,

progrctm

at

a time; remember,

one

MIDI channel on

you

want to access another RX5 voice.

you

progrctm

If

them

send

them

each to a MIDI channel.

your patterns, playing the voices

you

have to change the

the

MIDI keyboard each time

patterns in this

from

the

RXS

to

your

way,

external quencer, and the sequencer will record all pitch changes board. approach,

that

will record more

a single track;

In

order

you

played using

to

take

need to

use

than

you

will also need an interface that

the

MIDI key-

advantage

a sequencing program

one

MIDI channel on

a

I

has

multiple

MIDI

OUT

jacks, sequencing program must be able to assign specific tracks to specific outputs. If

you

capabilities,

Pitch Mode) to

can assign

one

track, assign

specific output, and keep

the

from RXS

other MIDI data. Otherwise, since

responds to all

16

MIDI

the

you

the

RXS

that

RXS

ch;cmnels

Pitch Mode, there will be problems.

I am a teacher puter

because

school-owned

who

owns

of

its

compatibility

computer

an

in

Apple

my desparately trying to find an editor-librarian program

that

will

work

with

my

DX7s,

ing

no

luck. I would also like editor /librarian

the

programs for erate

on

the

exist?

-David

We

do . not know

Apple

IIGS.

that

mean

they don't exist. If any readers know a company know, and

we

TXSI Z and

Apple

IIGS.

Harbart,

of

any such programs

However, that doesn't necessarily

that

offers such programs, please let

will pass the information along to

RXS

Do

such

Strongsville,

everybody.

I own a However,

QXI,

which I can operate with ease.

when

it comes to using

the machine, I have many problems. First you explain Copy voice location? when Tempo slider, in

the

RXS

MIDI

via Francisco,

Lots

of

The

how

to save

I change tempo

it

changes all

machine?

is

in

Internal

from

And

the

an

edited voice

Next,

can

you tell me why,

on a pattern

of

the

finally, why,

Sync mode, do

QXI?

-Paul

pattern

CA questions here. Let's get started: procedure for Editing a voice and then sav-

and

your

have these

(in MIDI track

to

data separate

the

in MIDI

IIGS

com-

with

the

office. I am

but

am hav-

that

will op-

programs

OH.

for

the

RXS

drum

of

all,

can

to

using

the

tempos

when

the

patterns

Whiting,

play

San

of us

a

RX5

digital

/JTogrammcr.

rhythm

Vol.

5 Nos. 4-5/ AFTERTOUCH 5

ing it to a because the Copy Voice function Key place in

Cop

y location

is

a little bit complex,

is

Job # 09 in

Assign mode, while all voice editing takes

Voic

e Edit mode. In order to copy an edited voice to a Copy location, you have to store yo

ur edited voice before leaving Voice Edit mode

for

1)

Key Ass

Go

ign

mod

e.

Follow the

se

steps:

into Voice Edit mode, and pick the voice

you

want to edit usin g Voice Edit Job

#01

(Select Voice for Edit).

2)

Edit the voice to suit your needs, using Voice

Edit Jobs Bend, Leve

3)

Once

using Voice Edit Job

4)

Now,

#02-#06

l,

you

have the desired voice edit, store it

go to K

ey

(Pitch, Envelope, Pitch

and Loop

On/Off)

#07

(Store Voice).

Assign mode, and use J

as

desired

ob #09 (Copy Voice) to store your edited voice to the Copy location

5)

At

this point, you have two versions of the edited voice; one in the o and one in the Copy loca want the original, un

in

the orig do. edited

al location, you still have work

Return to Voice Edit and select the now-

voice using Voice

of

your cho

ice.

ri

ginal location,

ti

on. Since you

ed

ited voice back in

Edit Job

to

#01

(Select Voice For Edit).

6) Finally, use Voice Edit J Voice) to recall the origina from the and insta memo voice voice

If

you know

advance, it

loca tion

RX5's

ll

it again in the

ry.

At

this point,

in

its

original location, and the edited

in

the Copy location you selected.

what voice you wa

is

easier to copy the voice to a Copy

fir

st (using Key Assign Job then perform your voice edits on the voice Co

py

location.

Two

things to remember here:

In order to be available voice must be therefore, after

assigned

yo

u copy the voic

permane

you

for voic

to an ins

ob

#07

(Initialize

l,

unedited voice

nt

ROM memory

RX5

's Play/Edit

have the original

nt

to edit in

#09),

e editing, the

trument

e to a Copy loca-

and

in the

key;

tion,

you

must

ass

ign that Copy location to an

instmment k After Copy location,

Job

#0

())nce

The RX5 does

any

pattern. Tempos are stored only in Song mode. plays at the tempo or

with

ke

ypad.

Fina

messa

you

have it connected to the QX1 and start the

QXI

, the

recei

ves

ey

(using

Key

Assign Job

you

perform

voi

ce edits

on the voice in

you must store it (using Voice Edit

8) before leaving Voice Edit mode. rning the tempo setting and patterns:

not

store a particular tempo with

Wh

en

you

are

in

Pattern mod

you

set with the tempo slider

the

Tempo

ll

y,

the

RX5

ge

even when in Internal Sync mode.

RX5 will

, a

nd

will pl

button and

will

respond to a MIDI Start

respond to the Start signal it ay

the currently selected pat-

tern or song.

am

writing to inquire

I or

backup material

a great instrument,

if

there

is

on

the CHX-1 organ.

but

a new

owner

any follow-up

some suggestions and more explicit instructions than

those provided me?-Kenneth Ther

e are no supplemental materials currently available contact

on

th

e Yamaha Electronic Service Division's

in

the manual.

Satterlee, Cedar Falls,

the CHX-1. For more information,

Product Information service: call 1-800

and

ask

for extension

1.

Is it possible to modify the velocity scaling of the TXlP

to

make it more compatible with a variety

of

keyboard Cambridge, Ye

s,

it

Have

yo

Yam

aha Electronic Service Division Parts Depart-

1)

ment, which will send them the latest ROM

controllers??

-Martin

MA

is

possible, but

you

need a ROM update.

ur local dealer or technician contact the

sion. It will come complete with an owners manual supplement explaining how to access the new featur

es

(including changing the velocity scaling).

#01). 2)

e,

the

could use

Can

you help

lA

-85

J.

its

the

RX5

numeric

So,

This

is

4-3619,

Brien,

ver-

if

TXl

P piano

6 AFTERT

cone generato

OUC

H!Vol. 5 Nos. 4-5

r.

DX

11

FM

di

gita

l synthesizer.

I am a proud owner of a in AfterTouch of a manual for the

but

tem,"

my dealer told me it doesn't exist.

OX

11

keyboard. I read

"DXll

Sys-

What's the story? Also, I heard of a proposed Yamaha sound cartridge for the I obtain

one?-

Jean Pierre, Jr., Cambria Heights,

DXll.

How can

NY

Your

dealer w does exist; it can be ordered by writing to Yamaha Corpora erature CA

90622-6600. information is also wrong: at present, Yamaha o

ffers

I have a Yamaha

joy very much. I would like to know control voices separately from lower manual, and pedals? Also, transpose the TX81Z from the that

have

Luerssen, Baltimore, MD.

The

MESO

co

ntrol change me ssages receives MIDI, not message sends and rece manual a

nd the pedals send and receive on MIDI channel

3.

Ther TXSI Z from the differe s

et

up

desired vo

MESO uses.

the

Since the MIDI implementation involv to transpose the ever, it is p

as

wrong.

The

OXll

System manual

ti

on of America , SGD Division, Lit-

Department,

no sound cartridges for the

P.

O.

Box 6600, Buena Pa

On the other hand, your other

OX

11.

MESO

organ that I use and en-

if

you can

on

the

TX81Z

MESO's

tone generator

upper

manual,

is

it possible to

MESO, or

to

be

done separately?-

neither sends nor receives any MIDI

-it

s.

The

ives on MIDI channel

se

nds and receiv

efore, to control voices separately on the

Performances

ic

es

to the three MIDI channels that

es

only MIDI note messages, it is imp

oss

ible to set up different Performances

on

TX81Z

es

on MIDI channel

nt key

boards, you have to

the TX8

1Z that

from the

John

just send

upper manu al

1,

the lower

ass

ign the

on

the

oss

MESO

. Ho

s a

MES

rk,

does

G.

nd

2,

ible

w-

on th e relativ

TXSI Z eters th

TXSIZ that have di

e to the keyboards of the

Performances can be called up

's

front pane

in the TXSI Z

e desired transp

l.

's Perf

osition

fferent

Use the Note Shift param-

ormance mode to create

s.

transpositions MESO, qui

ckly from the

I recently purchased an RX17 drum machine, and am very pleased with it. Does Yamaha offer data

ca

ssettes with additional patterns.

you

know of any third-party software developers who offer any such patterns for the RX Peter Tsakle, Methuen,

Yamaha do the th

at do. However, there are a lot

th

ere offering this kin d of support ,

ch

eck advertisem ents a hear of a patterns for the

ti

on along to our readers.

O

es

RX

17,

and we are not aware of any compani

ny

not offer any additional patterns

companies offering ca

RX

MA

of

nd

announcements. If we

ssettes

17,

we will p

ass the inform

companies out so

and these

If

not, do

17?-

for

es

continue to

with new

a-

RX 17

pr

ogramme

digital rhyt

r.

hm

Vo

l. 5 Nos.

4-5/ AFTERT

OUCH 7

"Classic Syn"

&

"Happy

Chord!'

Two

NewTX81Z

Voices

E.

Notes:

To output

80,

Op. ing

and

Op.

sound

A note on

In bers Coarse not settings-instead, sent a value range both operator's properly, quency Fine sible quency the indicated chart; Fine the by The for within tom the

Notes:

Switching quencies

14. a

bit.

Ogier.

lower

distortion,

ofOP

and

decrease

#4

to

about

the

output of

raising

#4

to

with a distored

the

these

diagrams,

listed

for

and

represent

of

values

parameters.

frequency

start

Coarse

both

at

values;

Coarse

value

the

by

finally,

and

increment

number of

the

number

actual

frequency

each

operator

dotted

of

the

Operator

chart.

Op.

of5.65,

10

will

change

By

Eric

#2

to

the

70.

Op

the

output

93-95

gives a bell

diagrams:

the

both

Frequency

the

actual

they

level

within

available

To

with

the

and

Frequency

their

lowest

then,

go

and

number

the

number

go

to

Frequency

times

in

the

as

boxes

at

# 3

to

11.30,

the

decrease

around

output of

Lower-

# 2

of

sweep.

num-

Fine

repre-

set

each

value

Fre-

to

Increment

of

the

value

indicated

chart.

values

shown

the

portion

fre-

sound

to

the

for

pos-

Fre-

times in

the

bot-

or

70

do

of

z

OPERATOR~

on/off

out level

freq. type

fix range

freq. coarse 4 0

freq. fine 0 0 0 0

·······:·1·~·····T······:·;a·~·····T······:·)·~·····T······~·;j:·······

detune

1.

00 ~ 0.

ENVELOPE------------~.

attack rate

decay 1 rate 7

decay 1 level

decay 2 rate 3

release rate 6

eg shift OFF

SCALING/SENS

ams on/off OFF OFF OFF OFF

sens

eg

key vel 5 1 7 7

OPERATOR~

on/off

out level

freq. type

fix range

freq. coarse

freq. fine 0 o 0 o

.......

detune

:·1·~

......

i

.....

11.30 ~ 8.48

ENVELOPE----------~

attack rate 23 29 29 29

decay 1 rate

decay 1 level

decay 2 rate 8

release rate

eg shift OFF

SCALING/SENS

level

ams on/off OFF

sens

eg

key vel 5

0~1

-==-==~~

ON

99

90

75

RTO

255 255 255

+3

50

~

4.

00

25

23

255

13

-3 -1

~

4 .

00

25

0 8 6

12

15

12

7 2 6 6 6 6

OFF OFF OFF

-----.

rate

level

bias 0 0 0 0

rate

bias 0

2

1 3 3

0

2 30 40

0~1

~=-~~~.

ON

99

RTO RTO RTO RTO

255 255

35

26 26

+3

··:·:a·~·

-3

...

""i

•••

····:·)·:·.

~

8.48 ~ 2.82

31

15

""""i

6 6 5

15

10 10 9

OFF OFF OFF

--------~.

1

1 1 1

0

25

OFF OFF OFF

0 0 0

5

ON ON

99

255 255

+0 +3

.•••.•

·:·;j:·

31 15 15

46

5

ON

81

13

22

90

.....

31

21

voice name:

algorithm

no.

ClassicSyn

3

feedback o

LFO-----~--------~.

waveform~

speed

amp mod depth 0

pitch mod depth 13

9

28

FUNCTION-------------..

mode POLY mid C = c 3

portamento

FULL

porta time o

·········

vol

~pitch

.........

amp 0

99

0

·········

'A

:"'-1'

L..

~

p~~~~

voice name:

algorithm

feedback 6

9

.

LFO----------------~

waveform~

speed

amp mod depth 0

pitch mod depth

FUNCTION-------,.

mode POLY mid C =

portamento FULL

porta time 0

·········

val

~pitch

amp o

pitch

~

·········

amp o

1

no.

6

28

99

0

99

HappyChord

·········

~

:"'-1'

sync

delay 3

sens 3 sens 4

rev rate 2 pb range 2

pitch 50

amp

eg bias o

.....

p bias +0

sync

delay 14

sans 3

78

sens 2

rev rate 7 pb range 2

pitch

amp 0

eg bias 0

L..

.....

p bias +0

OFF

41

OFF

FU

99

8 AFTERTOUCH/VoL 5 Nos. 4-5

......

:·2·;

0~1

~~~~~

ON

85

RTO

255

13

0

......

i

.......

:·)·;

00 ~ 1.

22

26

12

13

3 3

1 1 1

OFF OFF OFF

.....

ON

68

RTO

255

22

0 0

-2

T

......

24 .

0

OPERATOR~

on/off

out level 97

freq. type

fix range

freq. coarse 4

freq. fine 0

.......

decay 1 level

detune +0 +0

:·s:·;

.....

T

1.

00 ~ 4 . 00 ~ 7 .

ENVELOPE------------~

attack rate

decay 1 rate 7 1 4

decay 2 rate 3

release rate 2

eg shift OFF

SCALING/SENS

rate

level 0 99 86 5

ams on/off OFF OFF OFF

sans eg bias 0 0 0 0

key vel 1 4 1

2 2

3

RTO

255

+2

;·~·:

.......

00

29

OFF

voice name:

algorithm no. 3

feedback 7

4

LFO,--------------------

waveform

speed

amp

1 0 4

portamento

1

mod

pitch mod depth o

FUNCTION------------~

mode

porta time o

:........

vol

~pitch

.........

amp

pitch

~

amp

.........

GrandPiano

~

35

depth 0

POLY

rev rate o

FULL

pb range o

r

.......

99

~

0

~eg

0

L

......

0 0

sync OFF

delay o

sans o sans o

mid C = C 3

pitch o

amp o

bias 0

p bias +0

1Z

"Grand Piano!'

ANewTX81Z

Voice Varnas.

Notes:

This one sound. and right,

is

If

you've

they

didn't sound

this

By

a nice

is

the

Stan

piano

tried

one

to

others exactly

try.

OPERATOR~

on/off

out level

freq. type

fix range

freq. coarse 4 1 8 58

freq. fine 0 4 7 9

.......

decay 1 level

detune

:·s:-;

.....

T

1.00 ~ 1.05

ENVELOPE------------~

attack rate

decay 1 rate

decay 2 rate

release rate 6

eg shift

S

CALl

ams on/off OFF

sans

eg

key vel o

0

~1~~~~~

ON ON ON

99

RTO RTO

255

:·2·;

+3

.....

T

......

l

20

11

12 12

OFF

N G/S ENS

rate

level o

bias o

1

70

79

RTO

255

255 255

-3

:·)·;

18

9

13

11

-3

..... T ......

l 233H

16 10 12

12

......

2.43

3 6 8

OFF OFF OFF

-------------,

1

0

OFF OFF OFF

0 0 0

ON

75

FIX

+3

;·~·:

.......

21

31

12

22

voice name:

algorithm no. 3

feedback 5

LFO------------------~

Stee1Drums

waveform~

speed

amp

pitch

mod

35

depth o depth 0

FUNCTION-------------

mode

POLY

portamento

porta time 0

:........

0

~pitch

0

.........

vol

amp

FULL

40

o

0

.........

~

.

L..

~

p~~~

~

sync OFF

delay o

sans o sens o

mid

C = C 3

rev rate 4

pb range

pitch o

amp o

eg

bias o

.....

p bias +0

o

"Steel Drums!'

ANewTX81Z

Voice Joyce.

Notes:

While in opportunity steel

I

replicating

This useful playing The the the hears

college

drums.

have

been

voice

with

one note at a

arpeggiator,

appropriate

rolling

with

By

l

to

play

This

able

to

that

sound.

is

particularly

an

arpeggiator,

when

speed,

of

the

mallets

steel

drums.

Dave

had

the

some

real

is

the

closest

come

to

time.

set

mimics

one

at

Vol.

5 Nos. 4-5/ AFTERTOUCH 9

II

"Stereo Air

..

port!' A New

II

DX7 mance

Perfor

By

Dan

Linehan.

Notes: This

voice

sounds

played

monophonicially

C3.

best

..

when

nrar

··-~-~=~=~---~-~-~~~~-~

.....................

1

voice- mode S I

e-g

forced

damp OFF

total

volume

NGLE

99

PAN------....

mode-

range

select

I

~·:~

voice

I 0 1 I 0 1

note

shift

+ 0 + 0

sustain

foot

CS 1 [drl• CS 2

....----------.-----------,.

....

~=-~~~~!::

transpose C 2 speed feedback 7 6 sync

key mode U POLY unison

random

r

..

·~it-~h

~

' step 0

~

mode

:

.........................................

r-

SCALING--------,.

mode ;

CD

NORM

11)

NORM

(I)

NORM

(i)

NORM

®

NORM

rn

NORM

fs

(64)

switch

tuning

ON

detune 4

....

(55

14]

[ctrl•

15]

select

...

L~

....

J alg 7

pitch

1

·;~·~~~

....

o

....

NORM

left

dep

crv

; 0 /

0 / 0 / 0 / 0 / 0 /

181

l

j

~

:

181

0

2 1 4

,

.....................................

portamento

mode RETAIN

step 0

time

j

·····································'

break

point

A-

1

A-

1

A-

1

A-

1

A-

1

A-

1

A:

JelRoar

8:

JelRoar

PORTAMENTO NO

EFFECT

NO

EFFECT

PO 1 EQUAL

5 mode S I

3

J

........

r

0

right

crv

dep

""'

0

""'

0

""'

0

""'

0

""'

0

""'

0

TEMPER

r

LFO

wave~

de

r-FREQUENCY/OUTPUT

,

CD

11) (I)

(i)

®

rn

,.....

EiNNV~E~LODiPP:Ef=========~

R 1

CD

14

Ill

99 99 1 99

rn

14

m

14

rn

15

rn

1o

®

"Cj'Cj'"gg''~''gg"'8'3"l'""'()'"58"~""'()'"5'8"l""()''

II II

99

lay

99

on

off

ON ON ON ON ON ON

L1 : R2

8o 1 17

8o 1 15 99 1 3o 5o 1 23 94 1 5o

p range

sync

pmd amd

NGLE

out ,

..........

lev

crs

99 75 99 50 72

9 .

99 1 00

l2:

99. 99 95 99 85 97

Boct

I~L--··r-·-···!21

4 21 \ \ 1

level

1

1 0

~ ~ ~

2

25

~

3

87

i i i

4 s L

15 . 00

0.

0. 0 .

............

ON

pms 5

5

...........

o

arnrnmrnrn

0 0 0 0 0 0

freq

..........

fin

mode det sens

X + 0 0

50

X - 7 0

50

x - 7 0

50

x + 0 0

772

Hz - 7 0

. 0 Hz + 7 0

R3

L3

37

o

99

99 99

3o

10

25

99

15

95

99 99

p

vel

A/8

0

LFO

I>.

and 8

~

!

l...

........

ams

, ve 1

R4

L4

37

99 39

1o

37

99

sens

1

~

..J

..........

o o 0 0 o o o o o o

OFF

.

RS

o

10

AFTERTOUCH/Vol. 5 Nos.

4-5

I

II

"Basilica" &

,_LFO

....

~~::.~.L~.~~

transpose C 3 feedback sync OFF

key

mode POLY

random

.....................................

~

pitch

1 , sttop o 1

: mode

:.

.........................................

..........

0

pitch

0

range 2

NORM

J a lg

29

f"""~~·;t~-~~·~t~'""'~

~

!

modto

J.-_,..r

RETA

IN !

uoooo

~

l step 0 l

:

l

time

:

,,,

...................................

0 l

wave~

speed 1 pmd 4

delay 0 amd 0

mode MULTI

~FREQUENCY/OUTPUT

on

off

ON

m

~

,

rn rn

m

@)

®

ON ON ON ON ON

out lev

99 99 99 75 58 71

sync

..........

,

crs

0.50

3.03

16.00

25.00

OFF pms

...........

arnrnm®oo

0 0 0 0

freq··

........

,

fin

mode

X X

1.00

X + 3 0

1.00

X + 7 X X

2

ams

...........

0 0

det sens

4 0

-

4 0

-

1 0

-

1 0

+

vel

0

~scALING--------------~-EiNVVFEL~OrnP~E~:=:=:=:=:=:=:=:=~

R 1

L1

R2

L2

R3

mode NORM

m

NORM

rn

NORM

rn

NORM

m

@)

NORM:

NORM~

®

left

dtop

14 45 99 32 72

49

crv

'\._

(

'\._

/

'\._

break

point

0 3

c 3

A#2

B 4 F 3

0#2

right

crv

""'\.

./

~

""'\.

dep

21

0

99 32 99 63

m

o5

rn

75

rn

7 1

m 7 1

@)

73

®

80

®

··9·9

p range

99

99 99

99

99 99

99

99 99

99

99 99

99

99 99

99

99 99

...

so'T'99

8oct

...

5.0''1

99 99 99 99 99 99

...

9.9

...

p

L3 : R4

99

99 99 99 99 99

sa·T·99

vel

L4:

45

o 1 o

5 1 o 1 o

4o

o 1 o

o o 1 o

45

0 l 0

53

0

~

...

5.o"1

.... o ..

stons

OFF

RS

0

"PrcEnsmble!' TwoNewDX7 II

Voices

John

By

P.

Mikowychok.

Notes:

This

voice

is

scaled

so

qualities

low

and /night phasized

It

includes

Here

is

for

use

memory:

=

LFO;

Ll

=

41,

R3 = 42,

=57,

are

high

pipe

in

an

in a

Range Pan

63,

L4

qualities

built-in

optional

R2 = 30, =55.

the

Performance

emphasized

octaves,

are

mid-range.

reverb.

Pan

=

45,

EG:

RI =

L3 = 47,

reed

in

while

em-

setting

Select

L2

R4

the

59,

=

....

~~~~~::~~-~.~

transpose C 3 feedback 4 sync

ON

key mode POLY

random

pitch

..

..J

1

a lg 2

6

5

4

2

3

1

portamento

J_.,.....r

~~

pitch

mod

amp mod 0

eg

bias 0 0

~SCALING

mode NORM

m

NORM

rn

NORM

rn

NORM

m

([)

NORM NORM

®

44

____

left

dep

0 0 / 0 / 0 / 0 /

99

crv

/

.....__

mode RETAIN

64

step 0

0

time

... _ .... _ ... _ .... _ .... _ .... _ .... _ ..............

break

point l

F#2

0 2 ..../ 61

c 3

G 2

c 3

G# 1 ""'\.

right

crv

'./

""'\.

2

~

dep

51

0

15

0

11

~LFO

wave~

speed

delay

mode

-FREQUENCY/OUTPUT

on

off

ON

m

ON

rn

ON

rn

ON

m

([)

ON ON

®

E:iiNVVEULCioiiP~E~=======~

R1

L1

m

99

rn

99

rn

7 1

99

m

55

99

@)

79

99

®

80

99

®

"9'4'"57'T'85

p range

33

SINGLE

out lev

99 44 99 70 70 99

R2

a2 o 7

4 1

13 99 60

2oct

sync

pmd 0

amd 0

,

..........

crs

2.570

20.80

1.862

1.00

1.02

L2,

991 as 1 55 95 1 54 9o

1 s

82 l 92 82

~

...

4.2"1

...

OFF pms 3

...........

ams

arnrnm®®

0 0 0 0 0 0

freq

..........

,

fin

mode

Hz

X

Hz

X X X

R3

L3,

65

76 1 57

2 1 1 92 1 53 94 1 27 90 l 26

43

28

9.5

...

sa·T·5a

p

vel

det

- 0

+ 0 0

-

- 3 0

+ +

R4

99

~

24

...

sens OFF

.........

vel

sens

0

1 0

7 0

1 0

L4,

RS

o 1 o

o 1 o o 1 o

o 1 o

0 l 0

0

~

0

4.8"1

..... , ...

..

Notes:

This sound with a built-in is the Your

PF

accompaniment. speaker

is a /night

reminiscent

Police's

Finger,"

10.

It

is

for

attack,

of a patch

"Wrapped

bred

with a

good

for

Have a good

the

low

"wet"

delay.

on

Around

chord

overtones.

It

Vol.

5 Nos. 4-5/AFTERTOUCH

11