Yamaha CX5M User Manual

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THE OFFICIAL PUBLICATION

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-

-

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OF

THE YAMAHA USERS

--

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-

-

GROUP

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-

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-

~

-

TM

DECEMBER 1985

OYAMAHA®

Editor

Tom

Darter

Operations

Sibyl Darter

--

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- - -

December

4 John

1985

Chowning

Part II
synthesis. By

of

an

exclusive interview with the father

Tom

Darter.

--

-

Volume

1,

Number

of

digital FM

-

-

-

-

-

3

Editorial

John

Bill Hinely
Mark Koenig
Paul Meisenzahl
Phil

Jim Smerdel

Production

Leslie Bartz
Ray Betts
Pat Gates
Paul Haggard
Chris Ledgerwood

Cheryl Matthews

Board

Gatts

Moon

5 VICSRHODES

A

DX7

voice created

6 Blank

8

11

12

DX7

CX5M

CP60M

DX7

Two
record
AFTER

to

CX5M

Learn
CXSM's

System

Information

Music

The

CP60M

Voice Charts

blank voicing charts

DX7 voice

TOUCH.

how

internal

Computer

13 MIDI Basics

Understanding

by

data

Manny

that

following

Fernandez.

you

can copy

the

Voice Conversion

to

convert

of

all

electro/acoustic

the

DX7

FM

digital

the

new

System.

four basic

voices

tone

products

into

generator. By Ken Leivers.

piano

MIDI

and

modes.

and

use

format used in

patches for the

for use with

MIDI.

By

the

Tom

to

CXSM

Darter.

A

product

GPI
Tom

P.O.

ridge,

AFTER
lished monthly. Third class
postage paid at Long
Prairie, MN and additional
points
SCRIPTIONS:
Address subscription
respondence
TOUCH, P.O.
Northridge,

2338.
Send form 3579
Box
91323-2338.

2 AFTERTOUCH/Vol. 1

of

Editorial

Darter,

Box

of

POSllMU\S11E~

2338, Northridge, CA

Director

2338,

CA

91323-2338

TOUCH

entry. SUB-

to

Box

CA

Services

North-

is

pub-

Free.

cor-

AFTER-

2338,

91323-

to

P.O.

14

16

18

©

1986
form
International Corporation.

No.3

CX5M

REV7

Final

Yamaha International

or

by

any means, electronically, mechanically, photocopying, recording,

RX

The
a sophisticated
percussion

The
By

Editor

new

REV7

Tom

Touch

Hot

tips

programming

Corporation.

No

YRM302

sounds

Digital Reverb, user programmability,

Darter.

on

preprogramming

part

of

this publication

RX

PATTERN

in

the

RX

drum

may

Editor

and

RXll

RXll

patterns

be

reproduced,

or

otherwise,

program

SONG

and

RXlS.

song tempos,

via

the

stored

in a retrieval system,

without

turns

programmer for the

QX

the

prior

the

CXSM

By David Lourik.

and

and

1.

or

written permission

into

MIDI.

transmitted in any

of

Yamaha

Fron1

ANY

NEW

THINGS

of

M

our
Manny Fernandez, we have a Rhodes,like voice
he
Victor
called VICSRHODES,

Beginning
discussion

"translated"
generator
article,
set
parameter value ranges
systems.

collection
reader,
great
the
David
program RX11

AFrERTOUCH!

first

contributions

programmed

Feldman.

We

also have

on

page

of

ways

of

the

by

Ken

of

conversion

Back

on

page

ofhottips,

Jim

Mancuso,

method

RX

for

11.

In

addition,

Bristow

from

for

keyboardist/

You

will

find

on

our

first article

8,

you

in

which DX7 voices can be

for

use

with

CXSM

Leivers,

tell
drum

music

comes

tables

of

the

18,

you

"Final

has

preprogramming

Gary

us

how

patterns.

The

for this

First

page

will

the

for

two

will

Touch."

supplied

to

third

of

all, we have

readers.

percussionist

Manny's

5.

from

a reader:

find a detailed

internal

computer.

complete

the

different

programming

find

our

Another

us

tempos

Leuenberger

use

the

QX 1 to

issue

From

voice,

tone

The

with

first

with

on

and

Editor

Also,

due

to

viding

you

with

which

you

are free

your

DX7

voices. These charts,
7, follow
and
issue.
the

data. Happy programming!

a

strong

TOUCH.

a

going.
Group
Include
telephone number.
your
meetings,

a

gatherings.

will
you
you!

the

AFrER

explained

Using these charts,

shape

As

you

If

area

Keep

help

need.

by

of

the

can

see,

effect

Let's

you

want

in

your

your

address

will

be

information

the

questions coming,

us

to

give

We

popular

a set

Gary Leuenberger

algorithm as

on

keep

area,

able

look

demand, we are

of

blank

to

copy

TOUCH

you

your

input

the

contents

the

flow

to

belong

please

and

We'll

print

to

contact

swap

you

the

forward

DX7

and

use

format

will be able

part

to

send

(if

kind

to

pro,

voice charts,

to

document

on

pages 6

of

is already having

of

of

information

or

start a Users

us a letter:

you

wish)

it,

and

you

meets,

too.

of

information

hearing

first used

in

the

to

your

voice

AFTER,

your
others
to

set

or

other

Your

input

from

-TD

and

first

see

in

up

AFTER~

TOUCH

is a
new monthly
informational
publication
from Yamaha.

Receive

Y

frequent a store
AFTER
that

peel
it,

put
is completely wrong,
name

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HAVE

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If

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and

After

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Also,

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AFTER

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(By
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need

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in

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Free

Every

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ISSUE

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Yamaha

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address,

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Vol. 1

No.3/

AFfERTOUCH

3

John Chowning

A S

Part 2

Of

An

Exclusive

Interview

With

Father

The

Of

Digital FM

Synthesis.

Tom

Darter.

By

((This year
marks the first
chance I've
really

had

to

sit
down and get
to

know the
DX7 rather
intimately."

DIRECTOR

_n

ter Research
Stanford
Chowning
enthusiastic spokesman for music
electronic means.
in

composition
interested in electronic music. Since
had

no
a large computer, he
synthesis.

In
field
Yamaha,
discover
view, Dr. Chowning's keen insights are impor­tant

for any

In
AFTER
early
luted
theory
commercial success.

[part
work
the

DX
tools
acoustics.

TD:

JC:
down
random

TD:

JC:

had

seen
listening, talking
and giving suggestions, rather
and

working
were
has become.

TD:

out,

your
mainframe

JC:
chance I've really
know
piece for
KX88
control
which is
struments, I felt

University

has

analog synthesis

the

'70s,

of

FM

and

from

student

part

1 [published in last

TOUCH],

work

with FM,

pathway

of

digital

2 ], Dr. Chowning discusses his recent

with

the

instruments can

in

the

When did

You mean

and

worked

hours?

Yes.

In

January

prototypes

at

that

time far away

So

for

work

computer

That's

the

DX7 rather

two

controlling a TX816,

between voices. Ever since

much

OF

the

Center

for

Compu-

and

Musical Acoustics

[CCRMA],

long

been

an

articulate

While

still a graduate

at

Stanford

jumped

the

results

digital synthesis were licensed

the

rest

this

exclusive,

that

FM

DX7,

and

fields

of

in

equipment

directly

of

his research

is history.

of

FM.

Chowning

and

described

connected

to

its

current

In

this

month's

outlines ways

be

acoustics

1964,

two-part

month's

explained

used as teaching

and

John

produced

student

he

became

the

school

but

did

have

into

digital

in

As

you

inter-

issue

the

convo-

his

original

pinnacle

installment

in

which

psycho-

* * * *

you

first

work with

the

first time I actually sat

with

it for

of

1985,

at

IRCAM

in

Japan,

but

about

what was being done,

with

it

myself.

from

all

this

time

since

has

continued

at

right.

This

had

virtuoso pianists, each playing a

less flexible

that

to

Stanford?

year marks the first

to

sit

intirnately.l'm

than

the

technology at least

more

that

than

And

what

the

DX7

be

down

with

the

DX7?

than

a few

in

Paris. I

was

sitting

down

in

fact they

the

has

on

the

and

get

writing a

computer

the

the

later in-

more

DX7

come
large

GS

at

and

by

the

to

will

of

his

of

to

1,

coupled
musical
beyond
bandwidth, the spectrum. I felt that
ments
done
there are a
MIDI
complementary
here at Stanford. I plan

in

very

patch when

successful. I was interested
David Wessel.
tist/mathematician
drummer.
was doing his graduate
We
synthesis,
do
pendent

got
times uses flams for fortissimo sounds. I
about
skilled as
with
cal understanding was quite a
down
like.
different
wanted
sound.
So
pleted

recently

piece was
piano
instant in the piece,
sounds
domain. But I
best

simulate something. So, after
sound,
David Bristow came
started

basic

musical

ways-velocity

just

making

were ready for

with

them.

Now

lot

of

pieces

control

TD:

the

October '85

first

JC:

TD:

J

C:

were talking

that

So

I tried

into

a day

the

and

On

That

that

in

TD:

JC:

sounds

way

keyboards. It is a different

medium

Is

your

SLAPCONGAS

DX7

sound

Yes.

Were

you

you

began

Yes.

That

He

In

fact, he was

about

and

I thought

with

the

DX7, because

sections

the

some

DX7

all drums, pianissimo sounds are very

to

was

February

Have

for

Yes.

that

to

I started working

working

in

to

make flams, I think,

idea

of

and a half-l'm

of

for

years,

put

together a

than a whacked

build

was a lot
my

first

you

your

piece,

One

that I would

I could, because for

are

more

took

learn a system is

on

gestures

did

it

louder;

at

least a few pieces

with

that

to

to

finish the piece soon.

issue

of

AFTERTOUCH]

you

ever

aiming specifically at a

work

on

was rather purposeful and

is a

kind

at

IRCAM,

my
work
flams

it

would be possible

many

of

doing a conga, which some-

those

who've

but

drum

those

differences

of

fun. I really enjoyed it.

sound

of

1985.

been

doing a

working

of

the

central ideas for

try

the

pianists will be playing

or

less within their own

it as a challenge, because the

on

over

from

it together.

Continued

in

effective

something

it

affected

the

TX816,

could

be

that

which we use

patch

came

up

the

sound?

in

that

of

musician/

and

student

here at Stanford.

in

the context

you

the

algorithms.

still

not

been working

I guess my theoreti-

bit

of

help.

which is conga-

fortissimo,

on

the

lot

of

programming

on

the

to

get the very best

to

start

the

piano tones. Then

England, and

That

now

the

instru-

to

I think

done

with

[presented

with?

drum

because

scien-

he

is also a

when

have inde-

and

then

did

nearly as

So

and

into

DX7, com-

TX816?

one

brief

by

trying

FM conga

was a very

on

page

the

be

but

the

of

he

of
to

it in

I sat

I

the

the

to

we

20

4

AFfERTOUCHNol.

1 No. 3

-

-

-

- -

- -

-

-

-

~

-

-

-

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7

TR1

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RHODES. A

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By

Fernandez.

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Notes:

Basic

duced

#4

using

Op

quency

"thump"

Ops

to

sound

"stuff'

Although
Ops
good

tine,

sr:ructure

plex

haTmOnic

ponents. Thus, Op #3

to a

the

paTameteT).

VIes

Manny

sound

lry

Ops

is

set to fixed

1.778

to

create

effect.

#5

is

set

of

229. I to

of

#I,

#2, and #3

create

the

of

the

romes

the

#I

and

approximation

the

overall

is

and

includes

(

Tatio

of

I4.00,

and

FTequency

..

of

piano

is

f/6

and

#4· Op

frequency

a slow

chor-

to

fixed

fre·

create

the

hammer

aTe

sound

of

the

Rhodes.

The

from

0p

I4:

I

Tatio

#2

creates

a

of

the

haTmOnic

much

moTe

com-

some

clangOTOUS)

20.72 (start

mooe

Fine

up

com-

is

using

pro-

of

the

.

used

tine

#3=

of

non·

set

at

Try

EG

to

sichoTd-like
sound.

Vol. 1 No.

setting
Level

Bo,

3/

Ops #2

4 to 95 and

to

create

effect in

AFTER

and

a

harp-

the

TOUCH

#3

Rate

tine

4

5

Blank

ing

Voic

Charts

TheAFfER
TOUCH

Format.

..

In

..

WAVE

SPEED

1::

DELAY

1:

PITCH ENVELOPE OSC SYNC

PMD

LFO

AMD

1: 1:

SYNC PMS

KEY TRANSPOSE

i

I

The

chart

on
this page can
be used

to

record voices

programmed
using the

fol,

lowing alga,

rithms:

1,

11,

14,19, and 28.
Connect the
relevant
tor

opera,

boxes,

add
the feedback
loop

in

the
proper place,
and fill in the
blanks. Ignore

the operator

boxes that are

not

needed for
the algorithm
you are using.

POLY/MONO RANGE

CONTROLLER

MOD

FOOT CONTROL

BREATH CONTROL

AFTERTOUCH

FREQUENCY

R1

L1

OPO

FREQUENCY

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FREQUENCY

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ENVELOPE DATA ENVEL

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L2

KEYB ARD SCALING K YB

RYE

I OUTPUT LEVEL I VELOCITY

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R2 R3

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I OUTPUT LEVEL I VELOCITY

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R2 R3

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FUNCTIONS

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-.J

Conversion
Factors
Hints

And

For
Programming
DX7
Into

Voices

The

CX5M.By

Ken

Leivers.

HERE

ARE

NOW A number

FM

digital

T

tions

available,

the

DX7

4~operator

DX9,

the

digital

tone

Although many voices are available for all
these systems,
voices

have

six~operator

large library

convert

internal synthesizer. Obviously, there are some
compromises involved, since
has

only
number
parameters
problem,
tables below. These will help
parameter values from

The

by

ear; a
also used
Although
exact using electronic measuring equipment,
conversion
proven
niques
now
developed originally

Algorithm-Since
and
tors
sound
Then

programming
(or
the
and
ently
program each
ponding position in the algorithm rather

and

have

the

CX5M

that

that

pick the

is

most

DX7's

the

in

its operator number.

operator/algorithm

from

the

6~operator

and

related instruments

systems

DX21,

generator unit.

been

systems.

of

DX7

four

values

are

you

conversion

number

to

plot

one

values

to

be

charts

access

provide the major

you

similar
two

CX5M

their algorithms, make sure

such

as

those

and

the

CX5M's

the

large majority

designed

voices, I have developed a way

voices

operators.

for

different.

will find a

values were

of

the various ranges

might

quite accurate. Using

below,

to

only 4, choose

want

CX5M

that

has

to)

extra operators. Since the

operators are numbered

operator

for

To

take advantage

for

use

Beyond

almost

To

number

one

system

types

of

be

able

in

the

charts

CX5M

the

large

for

the DX7.

the

DX7

to

program

algorithm

the same configuration as

the DX7 algorithm minus

according

of

different

configura~

system

to

the

various

found

in

internal

of

the

available

the

DX7

~based

of

with

the

CX5M's

the

CX5M

all

overcome

you

derived

graph

to

be a little

library

has 6 operators
the 4 DX7
part

that,

of

the

of

conversion

to

"translate"

to

the

paper
and

below

the

owners

of

of

the

on

the

CX5M.

to

use in your

that

to

its

system

other

other.

largely

values.

more

voices

opera~

differ~

corres~

than

of

the

FM

of

this

to

the

that

were

the

have

tech~

can

DX7

DX7

you

to

LFO.

Speed-for

and

triangular waves:

AMD

(amplitude

modulation

depth)

DX7

CX5M
10 2
20 4

30

40 8

50

60

70

80

90

99 20

DX7

I

2
3

4

5

6

7

8

9

10
12

14
15

17

20

23
25
30

35

40
50

60

70
80

90

99

6

10

12
14
16

18

sawtooth, sine, square

CX5M

115

140
145
151
156
161

166

168

171

173

177

181

182

185

189
193

195

198
203

205
211

216
227
235
243
255

PMD

(pitch modulation

depth)

DX7

1 1

2 5

3 10

4

5 20

7

10 40

15

20 60

25
30
35

40

45
50

55

CX5M

15

30

50

70

80

90

100

110

120
127

8

AFrERTOUCHNol.

Feedback-Values
for

both

1 No. 3

the DX7

for feedback are

and

the CX5M.

the

same

AMS

(amplitude modulation

sensitivity)

DX7

1 1

CXSM

2 2

3 3

PMS

{pitch modulation

sensitivity)

DX7

CXSM

1 3

2&3

4

4 5

5&6

6

Wf

(waveform)

DX7

Saw

up

(or

Saw down) = 0
Square = 1
Sine

or
Triangle = 2
Sample

& Hold = 3

CXSM

7 7

Note:

The

LFO

speeds for Sample and
waveform
those
figure the correct
the Sample and Hold, subtract an additional

120 from the CXSM LFO speed given above.

Example:

CXSM LFO speed = 173, then for Sample
Hold (only)
would

F

(frequency
frequency are the same for
the CXSM.
tune)
match in the table in the CXSM's FM Voicing
Program manual
frequency value.
a frequency value

of

5 in the corresponding CXSM operator.

Envelope
DX7's EG rate and level values for each
tor, use the relevant formula given below in
determining
CXSM operator. (Conversion tables follow)

On
and Level 3 = 0, then:

DX7

Rate 1 = Attack

on

the CXSM are about half

of

the other waveforms

LFO

IfDX7

be

53 (or,

is

used in a DX7 operator, find its exact

LFO

on

the CXSM, the correct value

173-

of

operator)-Values

If

an inharmonic frequency (fine

or

else use just the fundamental

Example:

of

5.12, then use just the value

generator-Depending

the

correct

the DX7,

ifRate

2 = 99,

on

the CXSM.

speed

on

the CXSM for

speed=

10

and

120

=53).

both

the

If

a DX7 operator has

EG

to

use

Levell=

CXSM

Hold

as

fast as

To

thus

the

and

for

DX7

and

on

the

opera~

for

each

Level2,

Rate 3 =

Rate 4 = Release

On
does

DX7

Rate 1 = Attack
Rate 3 =
Level 3 = Sustain

Rate

On
and Level 3 does

DX7

Rate 1 = Attack
Rate 2
Level 3 = Sustain

Rate 4 = Release

On
Level 2, and Level3 =

DX7

Rate 1 = Attack
Rate 2 =

Rate 3 =
Rate 4 = Release

On
and

DX7

Rate 1 = Attack
Rate 2 =
Level 2 = Sustain

Rate 3 =
Rate 4 = Release

On

DX7

Rate 1 + Rate 2 + 2 = Attack

Rate 3 =
Level 3 = Sustain

Rate 4 = Release

lst~Decay

Sustain = 0 (always)

2nd~

Decay = 0 (always)

the

DX7,

if

Level 1 = Level 2

not

equal zero, then:

CXSM

lst~Decay

2nd~Decay

= 0 (always)

4 = Release

the

DX7,

if

Levell

is greater

not

equal zero, then:

CXSM

+ Rate 3 + 2 = 1st Decay

2nd~

Decay = 0 (always)

the

DX7,

if

Rate 2

is

less

0, then:

CXSM

lst~Decay

Sustain=

2nd~Decay

the

DX7,

Level3

= 0, then:

CXSM

lst~Decay

2nd~Decay

the

DX7,

CXSM

lst~Decay

2nd~

15 (always)

if

Level 1

if

Levell

Decay = 0 (always)

is

is less than Level2, then:

than

greater

Continued

and

than

99,

than

on

Level 3

Level2

Levell

Level 2

page

Using these
conversion
tables, many
DX7 voices

can be simpli,

fied and

utranslated"

for use with

the CX5M's
internal FM
tone generator.

=

w

Vol. 1

No.3/

AFTER

TOUCH

9

;-~~M

EG

conversion

formulas given earlier:

tables-For

use

with

EO

Continued

93

99

14
15

94 14
99

15

AFrERTOUCH/Vol. 1

10

Attack

DX7

15

18
21
24
27
32 6
34
38 8

40

44

47

50

54

57

60

64

67

70

74

77

80

83

85

87

89

91

93 27 87 27

95

96 29 93
98

99

Sustain

DX7

35 1
39 2

44

48
53
57
62

66

71

75
80
84 12
89

No.3

rate

CX5M

1 10
2
3
4
5

7

9

10

11
12
13
14
15
16
17
18
19
20
21
22
23
24 78
25
26

28
30 % 30

31

Level Release

CX5M

3 32
4
5

6

7

8 60 8

9 65

10

11

13

1st-Decay&

2nd-Decay

DX7

13

16 3
19
21
24
27
30
33 9
36
39
42
45
48 14
51
54
57
60
63
66
69

72

75

81
84

90

99

DX7

21
27

38
43
49 6
54

71

76

82
87 13 70

Output

Rate

CX5M

1

2

4
5
6
7
8

10
11

12

13

15
16
17
18

19
20
21
22
23
24

25

26

28

29

31

Rate

CX5M

1
2
3 48 5 18
4
5 55

7

9

10

11

12

output level
output level for each CX5M operator.
If the DX7 operator
level
tor
the same number) in the CX5M algorithm

Right&

Left&

Rk
board scaling depths left and right are figured for

a DX7 breakpoint

break points higher or lower than C 3, adjust

CX5M keyboard scaling depth

level

of

of

each DX7 operator to get the

of

50, then the correct value for the opera,

with the same position (but

DX7

+1 +1
+2

+3

to

+7 = +3

-1

-2

-3

to

-7 -3

Ks

(key scaling) (key scaling down)

DX7

-LIN

-LIN

(rate

(key scaling) (key scaling down)

DX7

20 1
30 2
38 3
44

52

58
60
62

64

66
67
68

key

LEFT

CX5M

0

1

scaling

of

CX5M

4

6

7

8

9

10

11
12
13
14 39
15

operator-Add

#1

has an output (volume)

De

tune

CX5M

+2

-1

-2

DX7

1&2

3,4,&5

6&7

depth)-CX5M

C3 (Middle C). For DX7

DX7

10 1
12

28 to the

Example:

not

necessarily

Kd

CX5M

= 2
=

by

ear.

RIGHT

CX5M

14

16

21
23
25
27
30
32
34
36

41

10

11
12

13

14
15

is 78.

1

3

key,

2
3
4
5
6
7
8
9

HE

CX5M

now

T

designed
asked for

SFG05
tone
slot, replacing
SFGO 1.
meaning
controlled

With
can
MIDI expander module.

possible
unit
SFG05.
been authorized
change SFGO 1 units
tomers, so
tions

outright. This service will cost
ing
information,
board
CA

capability.
both
sided
troller, while the
must
FD051 disk drive controller. All
grams
fully compatible with these new disk drives.

CX5M
MU01
the
Mouse operation.

DX21
with
synthesizers),
programs

disk drives

programs
These are designed
useful
new STCO 1 T eleword package
sor/phone

device

to

One

of

FM

generator

The

the

function

If

you

upgraded

Eddy

without

shipping

Service,

91604;

The

CX5M

of

which use

disk

be

purchased

in

For

ease

may

Mouse. Many

300

and

New music programs include

Voicing

the

DX21,

In

addition,

as

that

MUSIC

has a number

answer

more

flexibility

the

most

digital

plugs

the

SFG05

that

(unlike

from

an

SFG05,

as

an

are

already a CX5M

to

have

your

to

meet

Reynolds

by

that

they can have the SFG05 func-

having

and

owner's

write

424 7 Kraft

or

call818-508-7983).

now

Two

disk

drive

FD05

the

300

in

programming

also

500

series are fully compatible with

program

DX2

and

(which

and

the
there

that

go

a general-purpose

modem

plugs

into

COMPUTER

of

new

the

needs

of

users

and

more

important

tone

generator unit. This new

into

original

is fully

external

the

CX5M

inexpensive,

SFGO 1

the

Yamaha

from

to:

also has disk drive storage

drives

3.5"

disks.

comes

double-sided disk drive

in

series

be

equipped

of

7,

updated

will

function

Mouse).

are

beyond

to

make

module)

the

new items is

the

computer's

tone

generator,

MIDI

the

SFGO

source

Music

user,

tone

specifications

Keyboard

to

existing

to

purchase

$55.00,

manual.

Eddy

Reynolds

Ave.,

are

now

The

complete

conjunction

and

the

and

the

CX5M

(which

and

DX

100

versions

now

the

sphere

the

work

is

computer's

System

components,

who

have

capability.

slide

compatible,

1)

it

can

via

MIDI.

Computer

multi-timbral

it

is

generator

of

Service

update

500

with

with

some

(word

an

or

CX5M

the

unit

includ-

(For

further

Key-

Studio

FD03

operator,

the

CX5M

City,

available,

single-

with

con-

with

CX5M

series

the

programs in

YRM305

can

be

used

FM

digital

of

earlier

the

Yamaha

of

music.

more

station.

proces-

expansion

slide slot.

the

the

be

also

the

has

ex-

cus-

the

pro-

are

the

new

new

The

New

ucts For

Prod

The

..

CX5MMusic

Computer
System.

For

more

tailed

de,

product

information,

write

to
Yamaha Inter,
national Corp.,

P.O. Box

6600,Buena

Park,

CA

90622.

Together with the
ment

program,

the

world
communication
also

the

new GARO 1 Graphic Artists program,
which
produce

this

grams,
rent

puter

gives

graphics

Many

of

month's

all currently-available

and

suggested

power

and

flexibility

System is growing rapidly!

TWE01

the

T eleword

of

word

to

the

CX5M
and

these new

cover. Below

accessories, complete with the cur-

retail

Teleword Enhance-

module

processing

the

CX5M

increased

illustrations.

products

you

will find a list

CX5M

price.
of

the

peripherals,

As

you

CX5M

and

user.

power

are pictured

can

Music

Computer & Peripherals

CXSM

MSX based music computer; internal

tone

generating

algorithms,

SFG05

MIDI-compatible FM

STC01

T eleword

module.

YK01

44-note

CX5M.

YK10

49-note

theCX5M.

FD03

Single-sided

FD05

Double-sided
troller.
FD051 disk drive controller.
FD051

disk drive.

Must

Disk drive controller for use with the FD05

MU01

Mouse

PN101

Dot

impact printer for use with

CB01

Printer cable.

PN101PF

Pin-feed adapter for

PN101RB

Printer

RF02

RF

adapter for connecting

standard television set.

system

8-note

Word

mini-keyboard

standard-size keyboard for use with

3.5"

3.5"

be used in conjunction with the

input/

controller device.

ribbon

with 4 operators,

polyphonic.

tone

generator unit.

Processor

disk drive with controller.

for the

/Phone

for

disk drive

the

PNlOl.

PNlOl.

the

Continued on page 1 z

use

without

the

CX5M

opens

up

modem

There

to

on

pro-

see,

the

Com-

$469.00

FM

$120.00

$345.00

Modem

$100.00

with

the

$200.00

$345.00

$345.00

con-

$150.00

$65.00

$345.00

CX5M.

$30.00

$30.00

$10.00

$50.00

to

is

of

8

a

Vol. 1 No.

3/

AFfERTOUCH

11

VC02

Video cable for connecting

CRT

monitor.

the

CAOl

Single cartridge adapter,

tion

of

a second cartridge via the

port.

to

allow

CXSM's

UDCOl

Blank data memory cartridge.

Programs & Cartridges

YRMlOl

FM Music

YRM102

FM

CX5M's

YRM103

DX7 Voicing program.

YRM104

FM Music

YRM105

DX9 Voicing program.

YRM301

MIDI Recorder program.

Composer

Voicing

internal

Macro

program,

FM

tone

program.

program.

for

use

generating system.

$10.00

CX5M

to

$25.00

connec~

back

$75.00

$50.00

$50.00

with

the

$50.00

$50.00

$50.00

$55.00

YRM302

a

RX

Editor program.

YRM305

DX21 Voicing program.

YRM501

FM

Music

Composer

II program.

YRM502

FM

Voicing II program.

YRM504

FM Music

Macro

II program.

TWEOl

Teleword Enhancement program.

GAROl

Graphic Artists program.

CMW31

Keyboard

Chord

Master program.

CMW32

Keyboard

Chord

Progression program.

CMW33

Guitar

Chord

Master program.

FVDOl

FM Voice data cassette tape #1.

FVD02

FM Voice data cassette tape #2.

$55.00

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$50.00

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CP~CQJM

HE

CP60M

of a new

T

with MIDI. Since
generated acoustically
of

course

from

another

unit only has a

However,
CP60M
among MIDI instruments. Instead
mating
weighted,
CP60M
perienced
obvious:

siveness

piano action, connected (via
generating circuitry

MIDI
the
playing.

is

the

is

With

and

The

basic

OUT

synthesizer

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electro/

series

the

impossible

MIDI

keyboard-that

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precisely

acoustic

action
wooden
an

piano

get

that

of

acoustic

players,

the CP60M,

tactile

of

setup

is

of

the

CP60M

you

wish

the

full feeling

acoustic piano is

of

instruments

sound

of

the

and

then

to

control

OUT

port.

the

gives

it a unique

an

acoustic

keys,

the

piano

the

difference will

you

feedback

MIDI)

a synthesizer.

simple:

to

to

control,

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of

equipped

instrument

amplified,

the

CP60M

is

why

fact

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of

approxi~

piano

action

action.

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of

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acoustic

to

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connect

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place

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tum

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MIDI.

the

volume
only
synthesizer.
difference
keyboard

weighted~wooden

To
nuance, choose patches in which velocity
tivity plays a large part. After working with your
synthesizer
yourself adjusting some
ity settings
istics

Unlike
series,
keyboard folds
ment,
transportation.
your
piano,
looking for.

of

the

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listening

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of

and

synthesizers

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to

the

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should

in

the

kind

gives

you

action).

full

advantage

sounds

to

maximize

the

acoustic piano action.

the

other

the

CP60M

up

the

entire

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you

CP60M

down,

sounds

notice

of

responsiveness

(as

compared

of

for a while,

of

the velocity

the

response

pianos

comes

into

the

body

unit

is

on

are

interested

the

way

you

could

be

so

coming

an

to

the

you

in

the

in

one

of

casters

play

just

what

that

you

are

from

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immediate

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a plastic

keyboard's

character~

CP~MIDI

piece.

the

in playing

or

sensi~

may

find

sensitiv~

The

instru~

for

easy

acoustic

you're

12 AFrERTOUCH!Vol. 1

No.3

MIDI

AS

Understand
ingThe

Four

Basic MIDI

Modes.

Tom

Here

is

Mode 3 with

module

sec

(in

Mode

channel
channel

rerminal

Darter.

a

basic

setup

the

TX8r6.

of

the

TX8r6

3)

so

matches

the

of

the

QXI

to

which

it

By

using MIDI

Each

should

that

its MIDI

MIDI

MIDI

is

a>rmectaL

..

be

OUT

INFORMATION

.n.

cable,
number
may
depending
other
of
modes
to

nels
the
ments

form

"note-on"
an
the
ing this information,
ities-either
recognize
specific
respond
channel.
"OMNI."

it
channel
may
different ways, depending
to
MONOphonic

different ways

to

modes
of
above:
binations
simple
OMNI
phonic
tions

of

respond

words,

different

determine

MIDI

information.

[explained

MIDI modes are the

that

musical sleight-of-hand.

Most

informational "flag"

16

MIDI

MIDI

to

When

responds

to

respond

act

like a POLYphonic

in

All

incoming

are specified

the

three
OMNI,

conditions:

or

or

in

mind,

it

may

be

sent

instruments;

to

this

information

on

how

it

has

been

MIDI

instruments have a

modes

contribute

basic

or

channels.

the

and

all

This

an

instrument is not set

only

which

all, there are

MIDI

are

not,

MONOphonic.

of

operation,

how

the

Along

in

last

month's

to

MIDI

information

"note-off'')

that

For

there

instrument
respond
channel,
MIDI

to

instrument.

that

MIDI

POLY,

pretty

the

to
or

information, regardless

second

to

information

it

is assigned.

this

channel

four

an

instrument

information.

by

different

mode

and

obvious,

An

and

it

may

four

MIDI

travels

but

MIDI's ability

instrument

down a MIDI

to

(or

through)

each

instrument
differently,

set

to

operate. In

number

and

these

instrument

with

most

comes complete with

assigns

instruments receiv-

are

will
information
it

will

condition

on

whether

instrument

MIDI

messages

MONO.

be

With

modes

will react

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chan-

MIDI

article],

important

to

(such

it

to

one

two

possibil-

be

assigned

on

be

assigned

is

called

up

in

OMNI,

on

the

MIDI

In

addition,

information

it

is set

Modes-four

may

respond

These

combinations

outlined

The

based

on

can

either POLY-

these condi-

are easy

ele-

per-

as a

one

or

four

com-

two

be

understand. Here they are:

Mode

a

in

Mode 1 will

sent

mode

assigns

16 MIDI channels
mode,
phonically
much
MIDI

an

instrument

information being sent

of

it

is

mode.

to

mode,
information being sent

to

it is assigned,

of

mation
as

MONO
timbral
assigned

it

phonic,

in

least

up

OFF,

a

when a number
with a sequencer.
TX816

often involve

were
mode
setting
much
DX7,

(MODE 3 },
assigned

MONO)
timbral
X

pander.
operate like a complete
sizer. By assigning each voice
channel,
polyphony
multi-channel

in

Modes.
instrument

to

the

1:

over

any

is sometimes called

Mode

MIDI

an

information is being

channels.

Mode

3:

assigned.

Mode

an

instrument

monophonically.

instruments,

to

Since

most

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common

POLY)isthemostcommon,

with

In

the

early days

programmed

when

is

still

as

it

for

instance,

to

As

mentioned

is usually reserved for use with multi-

instruments

it

So,

there

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16MIDichannels.

OMNI

ON,

respond

of

the

2:

OMNI

information

to

instrument

(one

note

OMNI

OFF, POLY.

will

only

Mode

4:

OMNI

and

it

will

mode,

is

a separate

synthesizers

of

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of

instruments

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the

QX

Mode

3.

of

so

turned

quite

was

at

the

functions

and,

when

MIDI

channell.
above,

Each

of

the X pander's

is

possible

by

controlling
MIDI
is

the

determine

will

respond

POLY.

An

instrument

to

MIDI

information

16

MIDI

channels.

ON,

one

OMNI

voice.

MONO.

sent

over

When

mode.

will always play

at

a time},

on

3 is

OFF,

will only

on

most

where
MIDI

four.

basic

1,

for

MIDI, many instruments
that

on.

common,

beginning

turned

such

create

sequencer.

story

no

sent

over

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respond

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also

the

respond

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often used in multi-

ON,

they

This

Mode 4 (ONMI

monophonic

how

to

to

channel

known

MONO.

respond

channel

to

4,

each

voice

channel.

today

MONO)

Mode

are

operation

example,

were

basic

though

of

in

POLY

on,

as

the

to

a different MIDI

multi-timbral

the X pander

of

the

any

information sent

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This

mode

any

of

set in this

mono-

matter

the

various

this mode,

the

MIDI

to

which

as

POLY

In

to

MIDI

to

which

that infor-

also

known

can

are

poly-

is

3 ( 0

MNI

especially

being

used

of

will

most

in

OMNI

"default"

not

MIDI.

mode

is

initially

OFF,

Oberheirn

six

voices

synthe-

with

four

MIDI

given

MIDI

the

how

this

be

the

the

as

The

a

on

Vol. 1

No.3/

AFfERTOUCH

13

HE

RXll

rhythm

T

difficult

to
functions, many
played through

The

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CXSM gives
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each
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selects

14

AFTERTOUCH/Vol. 1

you

to

input

such

as

the

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Vol. 1 No. 31

AFfERTOUCH

15

REV7

HE

REV7

berator is a programmable, MIDI-controll-

T

able signal-processing device with stereo

put.

It

offers a wide

delay,

and

The

30
divided
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ECHO,
ing Phase, Chorus,
these presets can

resultant new effect can
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the REV7's internal memory.

ing

preset program has its

grammable parameters.

ters"

elements

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ters (ones that

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to
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parameters.
grammable
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into

and

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total

All user programs

from

As with instruments like the DX7, "parame-

in

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5)

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6)

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7) Diffusion

AFTERTOUCH!Vol. 1

Professional

variety

ambient effects.

preset programs in

the

following

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(Early

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of90

one

of

REV7

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parameters

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and

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be

edited by

different

must

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own

are

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up

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can modify). Because

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of

and

the resulting effects will

due

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are

REV

Digital

of

reverb,

the

REV7

basic

types:

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user,

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stored

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programs

be created by start-

presets.

specific set

separate,

each

effect.

in

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set

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to

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up

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the 7 programmable

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in

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parameters

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Of

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Darter.

far

effects.

far

effects.

"early

rewr-

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here

are

the 7 programmable

for

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Type presets:

1) Initial Delay

2)

1st Reflection Delay

3)

1st Reflection Level

4)

Liveness

5)

Room

Size

6)

Diffusion

7)

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SIGNAL

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the

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allows

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tional

modes:
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name

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tions

typical

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designed
most

cases, a
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creation
many

of
retain its basic character, while the 7 program­mable

parameters

effect

to
fundamental
think

of
cated, stand-alone signal processor with
front

panel controls.

these, each with its

To

understand this
preset #1,
effect.
parameters,
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DELAY

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way,

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1)

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each
or
of

in

this

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one

of

to

create a specific

number

parameters

of

these

these values fixed, the effect will always

suit

your
character

each

one

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For

each

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followed

5)

mode

effect,

but

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environment

of

preset.

the

REV7's

of

specific

will allow

needs

of

of

the

The

own

more

one

of

are

the

Plate;

indicates a typical

only the early reflec-

"invisible" (non-pro-

are
effects. By

without
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presets as being a dedi-

REV7 gives

set

the 7 programmable

settings

by

parameters

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(TIME)

SIZE

(TIME)

parameter

case,

2)

Large Hall;

and

30

kind

involved

you

effect. You

of

controls.

clearly, let's look at

the

overall range

one

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or

effect are

presets

of

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to

adjust

altering

up

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Type

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in

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the

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range,

range,

10.0 seconds.

2)

Initial Delay,

0.1~

100.0 milliseconds.

3)

1stReflectionDelay,

2.6

30.0

milliseconds;

seconds; overall

lO.Omilliseconds;

overall range, 0.1 ~ 100.0 milliseconds.

4)

1st

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0%~100%.

5)

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quency reverb time; overall range,
the

mid~frequency

6)

Low Reverb Time, 1.2 times
quency reverb time; overall range,
the

mid~frequency

7)

Diffusion, 5; overall range,

As

you

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parameters settings. Using preset #1 as

Level,

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overall

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reverb time.

0.1~2.4

reverb time.

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see, this preset offers

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the

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you

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effects

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channels

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to

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internal

respond

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voice

synthesizer.

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to

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to

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presets

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Vol. 1

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No.3/

L___

_______

--~-'------

AFfERTOUCH

400

__._____

400

____

--

-

500

-~

500

17

Final

Touch

Hot

Tips

On
Preprogram
mingRXll

Song

And

Tempos,

Pro­gramming
RXDrum
Patterns

Via

TheQXl.

Pre-Programming

RXll

..

By

Jim

When

only

problem
tween
tune

the
could somehow preset
to

do
START,
here is what I came

Let's
song at 125
make sure
bpm

using the coarse

to

do

this
turned
bpm

as a

CHANGE

Use

a song

1.

Designate

1/32

so I always

2.

In

the

PTRN99.

3.

Enter
using
reads:
CHANGE

4.

Advance
and program the rest

5.

After
enter
using
reads:
TEMPO

This
always
START
above,

tempo

125.

At

commanded

fore

back

song.

Tempos

Rhythm

Programmer.

Mancuso.

I first started using

I had was setting the tempos be-

songs. I

was

on. All tempos are

to

the

to

didn't

have a lot

tempos, so I needed a system

select

the

and

go.

After

up

say,

for

example,

bpm

[beats-per-minute]. First

that

the

machine is always set at

tune

once

each

time

starting

function in

the following procedure

playback

time

SONG

TEMPO

the+ 1 /YES

''TEMPO

the

TEMPO

the

"TEMPO

is

what

be

"preset"

button

machine

125

the

to

point)

at

125 bpm:

an

unused pattern

and

leave

know

where

EDIT mode, assign

CHANGE

UP+

mode.

to

PART 2 in

last

pattern

CHANGE

-1

/NO

button

CHANGE

happens:

to

is

pressed

is

bpm.

The

end

of

the

to

return

the

"preset"

my

the

tempo

SONG
much
with:

the

it

button

DOWN

mode.

commanded

to

number,

experimentation,

that I need

slider. You only have

the

unit

then

preset (using

using

SONG

blank. I use pattern

it

is.

mode.

until

25.''

Exit

SONG

of

the

song as normal.

at

the

end

mode

until

-25."

The

machine

100

bpm.

for

the

entire song is played

song,

the

100

bpm

value

With

RX

11live,

of

time

to

by

which I

so

that

all

to

is

set

up

the

TEMPO

EDIT mode.

to

preprogram

to

read 1 bar

PART 1 to

Advance

the

display

the

TEMPO

EDIT

of

the

and

advance

the

display

Exit

should

When

song

entered

to

raise

machine

and

is there-

before

the

The

the

fine

I

had

push

play a

of

all,

100

and
100

of

99

mode

song,

the

the

the

at
is

next

You

may

find

it

easier

to

program

first

and

then

the

beginning

This

saves

you

tempo

every time

programming.

This

method
program
just
the
of
song
then
should
the

take

them

final

Tempo

100

bpm.
ends
the

be

machine

tempo

up

final

"TEMPO

to

program

by

the

into

Change back

For

at

TEMPO

100

in

the

using

the

INSERT

time

of

having

you

listen

to

does

not

make it impossible

changes

example,

60

within

account when programming

to

if

bpm

becvause

CHANGE

UP

+40,"

bpm

prior

* * * *

Building
With

By

RX

1. Fill
TERNS/SONGS

2.
TERNS/SONGS

3.

basic technique
us a nice way
step.
ments
also
drums;
velocity information.) Here is
cedure:

1.

Up

RX

Drum

The

QXl.

Gary

Leuenberger & David

There are basically three ways

Series

rhythmn

the

RX

internal

CLOCK
drum

Fill

track
OUT
CLOCK; take the
of

Play
and

We

get

To
OUT
MIDI

from

QX 1 terminal

machine.

the

RX

internal

of

the

QX

1.

#8

into

the

the

QX1

and

the

RX live from a

RECORD

find

(Of

course, when

from

the

the

start

to

THRU

that info into the

method 3 most

that

of

building

an external keyboard via MIDI you

added

QX 1 records

with,

connect

the

QX1

to

Tracks

controllers with the QX1:

memory

and

simply

memory

and

record that data

Do

this

by

RX; assign

OUT

of

the RX into the IN

record the data.

OX

effective.

works well for us, and

up

drum

you

play

benefit

the RX MIDI IN.

and

MIDI

of

the

IN,

the

tempo

the

change

function.

to

reset

your

song while

the

song;

the

preset value

tempo

of a ritard,

command

which

to

the next song.

Bristow.

to

control the

with

use

#8

to

with

taking

the

the

RX

or

KX

keyboard

QXl.

Here

tracks step

the

RX instru-

velocity

plays

back

our

basic

DX/KX

and

the

song

the

you

of

the

returns

PAT-

MIDI

run

the

PAT-

onto

QX

to

MIDI

is a

gives

on

the

this

pro-.

MIDI

QX1

at

to

a

1

by

18

AFrERTOUCH/Vol. 1

No.3

2.

RECORD
we lay
KICK
For
QXl's
MIDI
PLAY
needed

3.

Now
tight, why screw
It

is
tracks, and then mix
you
what
same
the
two
which notes
respond
time, create sounds
are close

similar envelopes.
new
hear something in the correct ballpark while

TRACK

RX. Withallofthiis
the notes for a cowbell

on

TRACK

down

the

and

SNARE,

playback,

MIDI

OUT

and

to

much

are sure. Unfortunately,

you've
time, as

RX.

RX

track

diisconnect
THRU,
#8

determine

to

tighten

overdub. Since

safer

done

there

What

you

units)

is

on

to

which

to

the

RX

you

can

#8

is

playing

8.

foundation-basically

maybe

and

to

the

RX

if

any

up

this

"foundation"

TRACK 8 is

it

up

with bad overdubbing?

to

do

overdubs

them

and

play

is

only

must

do

to

become

the

DXIKX

drum

sounds.

on

your

sounds.

Then

as you overdub

trigger

the

in

mind,

on

On

this

first pass,

a few

HI

the

RX

from

connecttheQXl's

MIDI IN.

QUANTIZE

on

all together when

you

cannot hear

the

RX

one

MIDI

(short

of

familiar

keyboard

If

you

TX

modules

or

at

least

the

module

basic track

try

recording

track #7.

HATs.

the

Then

is

part.

nice and

other

at

the

IN

on

having

with

cor~

have

that

have

on

and

on

the

QX1 digital

recorder.

4.

To

hear

the

results
maintaining
track 7 to
and

both

voices.

5.

Continue
Terminal
individual track can
and

a

6.

quantized

achieved.

When
TRACK
the drums are done!

separate

Terminal

tracks

to

build

#8

for

the

part

MIX all tracks

on

the

RX

tracks,

#8

[]

ob

Command

will

play

the

tracks

, assigning each

proper

until

playback.

be

independently edited

the

final

is

to

your

liking,

down

while

simply

proper

Now

results

simply

to

track 8 and

still

assign

03]

RX

to

each

are

sequence

''

7E

INVITE

VV

developed a novel use

send

it

to

us.

If

we

decide

ourselves, write

Don't

to

use

it

YOU

worry

your

up

in

TO

of

about

idea

the

magazine,

CONTRIBUTE

one

of

the

AFTER

your

writing

as a

full

article

put

your

$100.00.

If

you've

got a hot

tip

on

applications

or

receive full editorial credit, plus a check for

Do

you

have a great new

RXll?

patches,

you

send
(We
use all

establish direct

Send

them

the

way,

By

or

we

manuscripts.

enclose a self,addressed,

If

you

just

have a

it

along too,

regret

of

your questions

Finally,

that

if

you

and

we

contact
!!Touch Response ."
are interested

AFTER

in

starting

TOUCH

in-we'll

cannot

question
we'll

won't

just

We'll

is

DX7

patch, a

pay

$25.00

assume

We

stamped

will

liability

only

envelope with

regarding

do

our

best

to

be

able

to

answer questions

to

guide us in

want

to

get

something

with

other

X users,

do

our

best

to

up

regional users groups.

your

publication.

CX5M

for each

be

able

the
answer

our

send

print

Let

TO

AFTER

TOUCH

style-just

in

AFTER

name

on

use,

send

$25.00

.

program,

one

for

the

to

return

use

of

Yamaha professional

it

in

the

choice

off

of
your

something in

names

us

hear

TOUCH.

products,

get

the

information

TOUCH,

it,

and

send

it

along.

or

a great

If

used.

safe

return

unused

your

pages

through

of

material

material.

of

AFTER

the

future topics.)

chest,

and

addresses

from

to

you!

or

our

If

you've

write

it

up

down.

we'll

try

you

a check for

we

use

it,

you'll

pattern

unused

for

ideas,

to

you

products,

TOUCH

mail,

but

we will

if

you'd

like

letters column,

of

all

those

who

and

it

the

if

to

Write

AFfER

TOUCH,
P.O.

2338,

ridge,

91323

.

To:

..

Box

North

CA

..

2338.

..

Vol. 1 No.

3/

AFTER

TOUCH

19

AFTER

P.O.
Northridge,

Box

2338

CA

TOUCH

91323-2338

Bulk

Rate

U.S.

Postage

PAID

Lang

Prairie,

Permit

No.

MN

56

John Chowning

rich

interaction. I
ways using
piano

replicate exactly,

the

feeling for

piano-like.

TD:

sources

JC:
were assigned
That
polyphonic
you
sustain
less often. By assigning a small
notes
second, a few
up
which
You
piano
it

quite

prematurely.

there

JC: I don't

of

the
such a subtle
biggest reason.
it's
there
tion

TD:

of

the

JC:

the

sounds.

And I think

Did you find yourself using

of

the

Right.

is a nice way

know

for a long

to

the

a system where

helps

can

create a sonic

literature will

well.

TD:

Is

it

is

only

tones

hearing a

is

only

is

probably

Is

that

string?

Yes.

think

TX816

It's

but

the

player

8 I 6?

For

example,

to

different

limit

in

in

typical

time

first

module,

more

the

pianolike-ness

The

easier

to

one

string

think

is

so

great

way. I

It's

easier

low

piano

one

string,
greater

because

It's

pretty

we

worked

to

create

some

not a question

to

produce a sound

and

the

listener

we succeeded.

the

various

parts

of

the

to

get

around

the

OX

piano

but

to

the

third,

there

form

work,

at

bass

tones

get

bass

down

so.

The

that

think

to

sound.

the

complexity

than

of

the

mysterious. Piano's a

the

series, because as

music

they're

number

a few

more

etc.,

are beating effects,

of

in

which

least,

and

don't

piano tones

there?

inherent

we

don't

that

is

probably

make

the

Even

in

the midrange.

wrapping and

out

some

very

good

of

trying

where

both

the

full

re-

modules

keyboard.

16-voice

low

tones

also played

of

bass

to

the

you

build

the

sound.

most

of

the

some

of

go away

because

richness

hear

it

the

ear

think

though

of

vibra-

the

size

to

is

in

hard

instrument.

probably

use
theory,

basic acoustic
quite
incredibly
and

algorithm
the
now
you
being
of a rough

people
they
there.
with
monics
levels
99
and
sounding.
(which
fundamental),
there,
hear
which
monics
guess.
algorithm

second

TD:

What

of

the

DX7

but

for

JC: I think

easily using

powerful

psycho-acoustics

Beating is

#

1,

two

carriers. Listen

detune

increase

Residual

hear a pitch,

algorithm

is

at 6 or

you

that

1 a little

amplitude

sound.

who

work

There's a nice

1,

3,

that

peak

something.

hear a pitch

Now

is

supplying

but

if

pitch.

one

hears it. It

and

the

That

can

#32.

is

as

things

there

phenomena

one

turn

the

modulation

frequencies

#32

4,

5,

above

then

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20

AFTERTOUCH/Vol. 1

No.3