Yamaha CX5M User Manual

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THE OFFICIAL PUBLICATION
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OF
THE YAMAHA USERS
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GROUP
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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
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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,
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OU
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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
WAVE
POLY
POI..YIMONO
FOOT
BREATH
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#11
RHODES. A
DX7Voice By
Fernandez.
DETU;E
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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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L1
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FREQUENCY
R1
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OPfl
ENVELOPE DATA ENVEL
R2
L2
KEYB ARD SCALING K YB
RYE
I OUTPUT LEVEL I VELOCITY
N
R2 R3
L2
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I OUTPUT LEVEL I VELOCITY
EN L
R2 R3
L2
y
I OUTPUT LEVEL I VELOCITY
FUNCTIONS
j
STEP
BEND
PITCH
RANGE PITCH AMPLITUDE EG BIAS
WHEEL
DETUNE
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L3
B
DETUNE
L3
DETUNE
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DETUNE
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L2
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L1
OPfl
EN' /ELOPE DATA
R2
R3
L2
l3
KEY
OARDSCA
OUTPUT LEVEL
1
FREQUENCY DETUNE
PE
R1
L1
OPfl
FREQUENCY
R1
L1
NV
R2
L2
lOUTPUT
R2 R3
L2
R3
l3
I SCALING
LEVEL I VELOCITY
DETUNE
L3
~
OPfl
FREQUENCY DETUNE
R1
L1
URVE
OPfl
I OUTPUT LEVEL I VELOCITY
R2
R3
L2
l3
I OUTPUT LEVEL I VELOCITY
lAMS
R4
RS
L4
lNG
INT
rELOCITY
lAMS
DATA
R4
RS
L4
I
T DEPTH
rMS
TA
R4
RS
L4
lAMS
DATA
RS
R4
L4
AI
T
DEPTH
PTH
6
AFrERTOUCHNol.
1 No. 3
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