Yamaha CX5M II-128 User Manual

-

- -

-

THE OFFICIAL PUBLICATION

-

OF

THE YAMAHA USERS

-

- -

-

--

-

GROUP

-

~

-

TM

APRIL

1987

C)

)

YAMAHA®

Editor Tom Darter

Operations Sibyl Darter

Editorial

Bob Frye Bill Hinely Mark Koenig Jim Smerdel

Cover Jim Hagopian

Board

Photograph

- -

-

April1987

4

SONG

-

BELLS

A

new

DX7 voice created

5 STEELPANS

A

new

DX7 voice created

-

---

by

Bruno

by

Edward Ritch.

-

--

- -

-

Volume 3, Number 4

Choiniere.

Issue

-

#19

AFTERTOUCH

lished monthly. Third class

postage paid at Long

Prairie, MN and additional points of entry. SUBSCRIPTIONS:

Address subscription

respondence to AFTERTOUCH,

Northridge,

2338.

POSTMASTER:

Send form 3579

Box 2 3 38,

9132

3~

2 3

2 AFTERTOUCH!Vol. 3 No. 4

is

pub-

cor-

P.O.

Box

2338,

CA

91323-

to

P.O.

Northridge • CA

38.

Free.

re

clct.:tnmtuJI!y, mcchanJcally,

6

SHIMMER

A

new

DX7 voice created

7 MRMOOGFC

A

new

DX7 voice created

8 BassnDyno

A

new

TX81Z

Huisman.

10

12

16

17 18

I9R7 Y,Jmaha

CX5M 11/128

An

introduction

Darter.

RX5

A

drummer

rhythm

perspectives.

programmer,

MoloElPnos

A

new

TX81 Z Performance setup created by

Big

Wash

A

new

TX81Z

BigS

lmernanonal

lap

A

Corporation.

rh•>ttlCtlpymg,

new

TX81Z Performance setup created

No

p,Jrt of

th1~

rccmJJng,

tlr tlthcrv.tst',

puhltccltlon

by

Paul Huang.

by

Bob Lewin.

Performance setup created by Michael

to Yamaha's new music computer.

looks

at

the

musical capabilities

and

offers some new applications

By

Gardy Weber.

Performance setup created

may

he

wtthtmt

reproJuccJ,

rhe

prttlr

stored

111

wnnen

pcrm1s.~Hm

,1

rl'meva!

~y.~tem,

uf

Y,nnah,l lnternatllm,ll Corptlf<ltltltl.

of

Scott

by

Scott

by

Scott

m tran::.m1w:J 1n

By

the

RX5 digital

Plunkett.

,m\

torm

A.

Tom

and

tH

hy

anv

meam,

From

T

OTS

OF

IMPORTANT .Lto to it.

product literature must go directly to Yamaha

[Yamaha Music 6600, AfterTouch are happy to receive specific ques-

tions concerning

music products,

them

ever, requests for general product information

must be sent directty to Yamaha.

1987 issue printed confusing Frequency TX81Z voice patches. were "MaleYoices" voice [AfterTouch, March 1987, page 17]: operators "0" owners know, possible.

explain should have. prototype voicing) program for type version both Fine settings-rather, range 64 parameter

pass

on

this

month,

Product

Last

Well,

possible values for

Literature:

Corporation

Buena

as

we

Month's

the

and

"28"

the

Frequency Coarse (ratio)

(ratio)

of

values for

Park,

the

use

and

we

can

in

the

TX81Z

of

AfterTouch,

Frequency

#3

respectively-and,

both

of

real

problem

TX81Z

The

of a new

(from 0.

data

charts

CAY

the

we

used,

do

not

they represent a value

both

50

The

INFORMATION

so let's get right

All requests for specific

USA,

P.O. Box

CA

90622].

of

Yamaha professional

will answer

Questions column; how-

Voices:

we

data

The

biggest giveaways

Coarse

represent

settings

and

#4

these settings are im-

is

that

charts as well

were created using

(computer-assisted

TX81Z.

the

numbers listed for

and

parameters.

the

Frequency

to

25.95

We

as

many

In

the

March

inadvertently

in

both

of

in

were listed

as

all TX81Z

we

didn't

as

In

the proto-

Frequency

the

actual

within

There

Coarse

if

Frequency

at

of

the

as

we

the

are

Editor

Fine

is

at

its lowest setting),

CAY program simply

There

63. Fine settings associated quency Coarse settings, numbered these from quency settings for

MaleYoices

Op Op Op Op

Tpt&Woodwd

Op Op Op Op

To get these Frequency settings, simply start from quency Fine settings, button numbers

Our patch actual Frequency settings numbers.

AfterTouch/Yamaha

again,

a

ers Your

The

are

#1-1.50 #2-1.49 #3-0.

75

#4-9.06

#1-1.50 #2-1.50 #3-1.49 #4-1.49

the

lowest

the

number

in

the

apologies for

charts

in

we

want

who

participated

response was astounding.

Grand

numbered

either

8 or 16 possible Frequency

the

(ratio) (ratio) (ratio) (ratio)

Frequency

of

charts.

the

this

month's

to

thank

in

Prize

winner

and

the

these from 0 to

with

the

various Fre-

and

the

CAY

0

to

15.

The

two voices are as follows:

Coarse

and

press

the + 1/INC

times indicated

confusion.

issue show

and

Reader

the

our

first Reader Survey.

is

The

the

value range

Survey:

thousands

After

Touch reader

Continued on

prototype

program

actual Fre-

and

Fre-

by

the

TX81Z

both

the

Once

of

read-

page

AFTER,

TOUCH monthly informational publication from Yamaha

20

is

a

Receive

Y

attached you

and ing list, absolutely

nent

AfterTouch

OU

CAN

asking. If you are

postcard. Be sure

really

want

After

you

mail it to us.

and

no

the

(By

way,

mailing list, so you

Also,

don't want to read, to your input.

Free Every

RECEIVE

AFTERTOUCH

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When

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Month!

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sign

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the

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you will receive twelve issues

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and

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other

strings are attached.

issue

in

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limit yourself to just sending

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for

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entire year, absolutely free, just

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our

of

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the

mail, you are already

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another

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your address: Let

card.)

us

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There

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what

We

look forward

by

out

the

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mail-

perma-

you

To receive

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to

Vol.

3 No.

4/

AFfERTOUCH 3

every

abso,

on

~~~~~

~~~~~~=:~

-----

SONG

BELLS.

A

NewDX7

Voice

By

Bruno Choiniere.

~

TR1

WAVE

CONTROLLER

MOOWHEB.

FOOTCONTRC1

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RANGE

0 0 0 0

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0 ON 0

NolO

SYNC

AMPLITUDE

EGBIAS

OFF OFF OFF OFF OFF OFF OFF OFF

PMS

~

KEY

TRANSPOSE

~

OSC.SYNC

These

voices

DX7

can

also be loaded into all the other Yamaha 6,oper, ator

FM

digital synthesizers and tone generators, including the

DXS,

TX7,

TX216, TX816,

TFl, DXl, DX7

II

4 AITERTOUCH/Vol. 3 No. 4

and

FD/D.

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STEEL PANS. ANewDX7

Voice ward

0

Notes:

Use point creations.

editing

I

patch.

Play dynamics-hit you loudness

By

Ritch.

this

patch

as a starting

for

your

own

It

was

the

factory

this

voice

with

it

would a real

and

brightness.

Ed

steel

created

timpani

vibrant

hard,

pan,

just

for

..

drum

by

as

ALGORITHM #16

Vol.

3 No.

4/

AFTERTOUCH 5

- -

-=-

-

~

SHIMMER. ANewDX7

Voice By

Paul

Huang.

-

-=-

7

0

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I'll<

MRMOOG FC. A

New DX7 Voice By Bob Lewin.

Notes: This

sound

is

intended

for

synthesizer

very

changes

slightest

Controller.

another dimension of

sive If

added, another thesizer

simply,

dramatically movement

control.

desired,

to

important

effect.

work.

but the tone

Aftertouch

Portamento

approximate

It

is

scaled

with

of the Foot

adds

expres-

can yet

lead

syn-

lead

the

be

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DATA

IR3

IR4 IRS

20

IL3 IL4

SCALING

BREAKPOINT

ILio

A-1

IRio

LEV

B. I VELOCITY

I

I"MS

43

I

0

DEPTH

Vol.

3 No.

4/

AITERTOUCH 7

TX81Z

BassnDyno. A

NewTX81Z

Performance Setup

Michael

Huisman.

By

A.

I

micro tune select

inst. number

number

voice number

key

effect select

receive ch.

BassnD:ino

NORM OCT. DELAY

of

notes

limit /L

limit /H c 3 c 3

1 1

I32

1 1 1

C-2 C-2

2

I31

1 : Jaco Bass2

II

2:

JazzWalker

3:

ChorusMeEP 7:

4:

3

I30

C#

G 8

4

6

I01 C-2

3

G 8 G 8 G 8 G 8 G 8

5:

6:

8:

5 6 7 8

0 0 0 0 0

I01

1 1 1 1

C-2 C-2

I01 I01

C-2

I01

1

C-2

Notes: This

TXBI Z

setup

is

based

voice

patches:

"Jazz

Walker,"

"CharusMeEP.

perfarmance

on

three

new

"]

aco

Bass2,

and

"

detune

note shift

volume

out assign

lfo select

micro tune

"

on/off

out level 99

freq. type

fix range

freq. coarse o o o 8

freq. fine

·······:·:c~·····T··

decay 1 level

detune

..

··:·::;·~·····T······:·:;·~·····T······~·;j:·······

0.50 ~ 0.50 ~ 0.50 ~ 2.00

ENVELOPES------------~

attack rate

decay 1 rate 8

decay 2 rate 0

release rate 8

eg shift

+3 +12

99 99

L R

OFF OFF

ON

RTO RTO RTO

255 255 255

o o o o

+0 +3

15

11

OFF

OFF OFF OFF

SCALING/SENS

rate o

level

ams on/off OFF OFF OFF OFF

sans eg bias 0 0 0 0

key vel 1 o 1 1

o

-3 +12

1 1

ON

80

81

-3

15

18

10

11

12

11

0'

15

8 8

------,.

1

0

+0 +0

99

LR

VIB

OFF

ON

70

RTO

255

+0

31

6 2

5

8

1

0

+7 +0 +0 +0 +0 +0

90 90 90 90 90

LR LR

OFF

voice name: Jaco Bass2

algorithm no. 2

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

waveform

amp mod depth o

pitch mod depth 6

FUNCTION--------~

portamento FULL

porta time o

~

+7 +7 +7 +7

LR

1 1 1 1 1

OFF

feedback 1

OFF

tC:...v

speed

25

mode

POLY

vol

99

pitch 0

amp o

50

pitch

amp 0

·········

~

, !

........

LR LR

OFF

sync OFF

delay 8

sans

sans 4

mid

C = c 2

rev rate pb range 2

pitch

amp o

eg

bias o

p bias

OFF

0

50

+0

8 AITERTOUCH/Vol. 3 No. 4

TX81Z

..

OPERATOR

on/off

out level

freq.

range

fix

freq. coarse 4

freq.

·······:·1·~··

decay 1

detune

...

T.

1.00 ~ 0.50 ~ 1.00 ~ 2.00

ENVELOPES

attack

decay 1

decay 2 rate

release

eg shift

SCALING/SENS

on/off

ams

sans

eg

key vel

0 1

ON

99

type

RTO RTO

255 255

fine

+0

·····:·2·~

......

31 31 31

rate

level

rate

OFF

rate

level

OFF

bias

ON

74

65

RTO RTO

255 255

0

0 0 0 0

-3

1

12

OFF

0

+3

.....

T"

17 13

12

27

OFF OFF

~

·······:·)·~

9 9 0 0 0 6 0 9 8 8 8

0 2 0 0

0 0 0 0 1

4

....

·~·4·

:·····

3 3

7

ON

70

8

+3

29 10

24

0

voice name:

algorithm

feedback 7

..

LFO

waveform~

speed 28

amp

mod

4

3

pitch mod depth

FUNCTION

mode

portamento

porta time

pitch

~

........

amp

pitch 75

~

amp

no.

vol

JazzWalker

4

depth

POLY FULL

0

.........

99

0

' amp

:(i'

0

~

........

0

sync

OFF

delay

sens

0 0

mid C = c 2

rev

pb range 4

eg

p bias

OFF

sans

rate

pitch

bias

+0

0

5

0

0 0 0

RTO RTO

255

fine

·····

·:·2·~

...... ~ .......

rate

OFF

rate 2

level

OFF

bias

0 1

ON

99

85 83 83

RTO RTO

255 255 255

0 4 42

0 0 0 0

+3

-3

:·)

·~·····T···

···~·4·

28 31

10

0 0 6 15

0

0 2

31 18

0

10

13

7

8 14

OFF

OFF OFF

1

0

48

0 0

ON

OFF

0 0 0 3 3 3

OPERATOR

on/off

out level

freq. type

range

fix

freq. coarse 4

freq.

detune

.......

:·1·~···

..

T

1.00 i 0.50 ~ 1.00 ~ 14.00

ENVELOPES

attack

decay 1 rate 4

decay 1 level

decay 2 rate

release rate 7

eg shift

SCALING/SENS

on/off

ams

sens

eg

key vel

ON

+3

:····

...

30 14

9

1

OFF

voice name:

algorithm

feedback 6

LFO

waveform~

speed 20

amp

mod

pitch mod depth

FUNCTION

mode

portamento

porta time

.........

~

.........

~

vol

pitch

amp

pitch 50

amp

no.

5

depth

POLY FULL

0

99

0 0

0

ChorusMeEP

.........

~

,

~

sync

delay

sans

2

sens

1

mid C = c 3

rate

rev pb range 2

pitch 50

amp o

eg

bias o

........

p bias

OFF

0 48

2

7

+0

Vol.

3 No.

4/

AITERTOUCH 9

CXSM

11/128

An

lntro

..

duction To

Com

By

New

Tom

Yamaha's Music puter. Darter.

Two

KS

1 0

the

can

sound outputs FM

synthesizer

CXSM

powered

be

used

system

of

the

I/1128.

speakers expensive

stereo

digital

to

..

monitor

as

an

for

SFG

built-in

AMAHA'S computer

Y

improvements over

at

the same time

predecessor-

introduction music making. Even

sents a major

maintains complete compatibility with all

grams

created

the

same time, it

all programs created for

Memory

new

memory. bytes impossible to work ing internal

CX5M

so the

gramming

whole MSX plored

inthe

li

Expansion

Perhaps

music

The

of

internal

System

RAM

II/128

it has more

standard

new

computers-a

with

NEW

offers a

the

maintaining

it

provides a very

to

the

world though

advance

for

the

original CX5M.

is

(of course) compatible with

the

most significant

computer

original

RAM,

with

(MSX-DOS),

of

at

least 64K bytes.

has 128K bytes

than

enough

MSX-DOS

routines.

world

of

world

the

CX5M

number

original

of

computer-assisted

the

in

computing power, it

MSX-based computers.

is its

CX5M

which

the

MSX Disk

which

of

memory

operational

MSX-DOS

disk-based

that

II/128

II/128 of significant

CX5M,

the

goal of its

affordable

CX5M

increased

meant

can music

II

And,

change

had

only

that

requires

The

internal

to

deal with

and

opens

software for

now

computer

mustc

while

repre-

pro-

at

in

the

RAM

32K

it was

Operat-

an

new

RAM,

pro-

up a

be ex-

(when

disk drive).

Increased

also increases

number

for

tridge

CX5M

up this program byte indicator will tell you bytes to work with. Using the new CX5M II/

indicator will tell you totaling 114,751 bytes.

cartridge

ity you boot this program you will be told work with. Using puter find

Increased

music computer, provides more flexibility

Word Processor/Teleword cartridge). column the set

equipped

The

expanded memory

of

the

original

The

YRM301 MIDI Recorder Program car-

is

one

II/128's

128

(with

The

YRM501 Music

is

when

used

(with a disk drive

that

you

In

addition

(when

used in

resolution ( 40 characters per line

monitor),

to

SO-column resolution (80 characters per

line

on

the

with

the

optional FD03 3.5"

Music

Program

the

Yamaha music programs first created

CX5M.

of

many

increased memory. If you boot

on

the

a disk drive

another

with

that

the

have

16,370 available steps.

Word

Processing

to

its increased usefulness

the

conjunction

The

original

but

the

monitor).

Power

of

the

power

and

flexibility

that

benefits from the

original CX5M, the free

that

you have 20,959

connected),

that

you have resources

Composer

that

has

much

the

new

CX5M

on

the

original CX5M,

you have

new

8,359

CX5M

connected),

Power

new

CX5M

as

a word processor

with

Enhancer

CX5M

only offered 40-

CX5M

new CX5M

of

the free byte

II

Program

more capac-

II/128. If

steps left to

II music com-

you will

as

II/128

the TWE01

II/128

also

Program

on

can

be

a

~-~---

10 AITERTOUCH/Vol. 3 No. 4

Internal

CX5M unit. built-in FM digital synthesizer Now owners manual, this built-in synthesizer same year

tal

digital To assist you in programming CX5M Voicing Program II. Housed in a new "small

The

called

as

tone

The

Synthesizer

most

unique

is

of

course offered

CX5M

the

SFG05

an

upgrade

module

SFG

II

is

tone

module

II/128

is

feature

II/128

SFG

II in

tone

to

the

(the

SFGOl).

an eight-voice, 4-operator

that

shipped

of

the

original

as

part

of

the

comes equipped with a

tone

module.

the

new computer

module-offered

CX5M's

is

with

first FM digi-

fully programmable.

the

SFG II, the

the

YRM502

is

new

the

last

FM

cartridge" package, this program ated to fit in tridge"

port

(included in

the

CXSM

is

the

II/

128's "small car-

the

front

the unit).

In order capabilities essary

peripheral keyboard to the CXSM. peripherals have their nal, while MIDI keyboards via SFG

Cartridge

The

CXSM

the

memory management

used either to

house a UDC01

to

take full advantage

of

the

SFG

to

connect

either

(YK01, YK10,

the

MIDI

terminals

II

tone

module.

Ports

most obvious physical

is

the inclusion

unit's

top

panel.

connect

data

cartridge.

of

the

tone

module, it

a Music Keyboard

or

YK20)

The

Music Keyboard

own

connection

can

be

associated

change

of

two cartridge ports

The

extra

port

much

easier: it

an

FD03 disk drive

In addition to these two cartridge ports, CXSM port located in present, this included the YRM502 computer. tridges

Ill

128 also has a third, smaller cartridge

the

port

should be used

FM

Voicing Program

FM

In

the

in

this

smaller

front portion

Voicing Program II)

future,

II

other

format

of

the

to

connect

(equivalent

program

will

available. Increased

The connection easier to hook als. For example, the composite output

Interface

new

can

now be

Options

CXSM

terminals,

the

unit up

connected

Il/128

which

has

many

make

to

various peripher-

video/

using

first cre-

portion

of

musical

is

nec-

or

a MIDI

termi-

connected

with

the

in

the

new

on

makes

can

be

or

to

the

unit.

At

the

to

the

car-

become

new

it

much

audio

standard

RCA

connectors (which means

VC02 cable

is

no

longer needed).

In addition, the CXSM cated RF you

can

output

connect

connector, which means

the

unit directly

sion set (without needing

nector

cable). A

you to choose between

connecting

when also a dedicated RGB tion to an

The switch or setting displays

All

RGB

new CXSM also has a monitor-select

that

"black-and-white."

can

on

standard CXSM are There

is a port a PN

101

printer, also retained (so storage

(which

equipped

medium).

fits

with

channel

channel 3 and

to a standard

output

monitor).

allows you to choose

be useful for increasing

sub-standard video monitors.

connections

of

course retained in

that

allows direct

and

the cassette interface

that

cassettes

The

into

the

CXSM's

both

audio

that

the

II

now has a dedi-

to

your televi-

to

use

the

RF02

select switch allows

channel

TV

set.

There

(for direct

The

black-and-white

from

either

the

new unit:

connec-

"color"

clarity of

original

connection

can

be used

SFG

II

tone

module

slide

slot)

and

MIDI terminals.

old

that

con-

as

4 is

of

is

a

is

F003 3.5"

This

table

voices

of

built-in

SFG

synthesizer.

disk

drive.

lists

the

internal

the music computer's

II

digital

FM

01 02 03 04 05 06 07

08 09

10 11 12

BRASS BRASS 2 TRUMPET STRING 1 STRING 2 EPIANO 1 EPIANO 2 EPIANO 3 GUITAR EBASS 1 EBASS 2 EORGAN 1

1

13 14

1 5 16 17 18

19 20 21 22

23

24

EORGAN 2 PORGAN 1 PORGAN 2 FLUTE PICCOLO OBOE CLARINET GLOCKEN VIBRPHN XYLOPHN KOTO ZITHER

25 26 27 28 29 30 31 32 33 34 35 36

CLAV HARP

SIC BELLS HARP SMADSYN HARMON I STEELDR TIMPANI

LO

STG 1

HORN

LO WHISTLE STORM

37 38 39 40 41 42 43 44 45 46 47 48

Vol.

3 No.

RM.

BRAS

RM.

FLUT GUIT

RM. RM.HORN R1. BASS R2.

BASS

SNAREDR

RD

CYMB

PERC

1

PERC

2

CSM

4/

AFTERTOUCH

11

RX5

A Drummer

digital

At

And

New

In

..

By

Weber.

rhythm

..

Looks A Digital Rhythm Pro grammer, Offers Musical sights. Gardy

RX5

programmer.

12

AFTERTOUCH!Vol. 3 No. 4

O

PLAY

THE

SNARE

ing virtuoso spends years in avid practice.

T

At

the beginning, as the movements are awkward, difficult, familiar. warded. As one learns damentals, the urge to find next the ability. Rudiments, the core for technique. these early steps Jones or a Tony Williams. Teachers listening tools of

What have in field of knowledge, a new incentive to art

tool for non-drummers, a professional ment drumming?

Having world, my feeling about electronic instruments had

mer my first reaction miss

Several years

my approach I was

However,

step grows. From

movement

The

student works through

As musical

and

practice; these are

the

learning experience.

place,

the

world

of

drumming?

for

the

drummer,

taken

long

been

through

and

open

many years

ignore

and

to

when

the

of

the

wrists, a player

can

preage

then,

of

a drummer?

Or

is

a lengthy hiatus

one

of

extreme distaste. A drum-

to

drum machines was

them,

of

musical

altered

new musical experiences.

DRUM,

one learns

efforts

and

masters

and

the

grip

the

development

growth

the

skills

does

the

"Drum

or a technician's

of

practice

somewhat vehemently.

hibernation

the

initial abhorrence.

an

aspir-

to

walk,

and

are

soon

the accomplish of

the

sticks

hones

the

26 Basic

of

takes

place,

of

an

Elvin

and

books,

the

sources

Electronic Age

Is

this a new

learn

Machine"

replace-

idea

fro·m

the

music

and

work,

to

changed

un-

re-

fun-

the

to

his

and

the

of

dis-

Enter the

the name itself duction machine" moniker. sounds sounds-these attracted my

to a demonstration

and

over

new electronic world.

With

can

grasp

out

undue difficulty. As you proceed through

this article, you may need

ory

of

ring to the manual.

The prehension music. In

a

of suggestions for ways on

the

a drummer.

Real Time Write

The

drum composing/recording scheme called Real Write. flexibility shows all accessible while composing in

Write

RXS

Digital

Rhythm

is a much

than

that

provided

and

the

ability

capabilities

attention.

I was ready

the

RXS

and

the

operation

the

instrument's basic operation

intent

here

is

of

the instrument,

what

follows, you will find a

RXS

that

originate from

fundamental operational system

machines

The

within

of

Mode.

almost

RXS

offers an impressive amount of

this function.

the

functions

more inviting intro-

by

The

quality

to

manipulate

After

of

the

RXS, curiosity took

to

sit down

its owners manual, one

of

the

to

refresh your mem-

to

further

of

manipulating sound

always

Programmer-

the earlier

immediately

having audience

and

instrument with-

the

and

the

The

that

the

"drum

of

the RXS's

those

explore this

by

refer-

use

and

com-

then

to

make

number

sensibility

of

most

involves

Time

list below

are directly

Real Time

of

a

INSlRUMfNl{

LJD[]LJ[][]LJ[J[]LJ[]C

Kf'S

INTE:RNAL

VOICFS

CARTRIDGE

VOICFS

RAM

One

tions, changing without stopping tion. While you are using one

tions,

is

disabled,

as

it repeats, and compare your new parameter

settings

LJLJLJ[]LJ[]LJ[]LJ[]LJ[]

BO

Poe;

VO'Cf'

l

802

BO

l1mpn

tor'

Cp1 BO

can

enter

the

"Write"

but

you

to

those already recorded. As soon

so 1 so 2

so 3

3

FM

pre 1

1

Cp2 Cp3

so 1

and

exit any

the

parameters they control,

the

Real

portion

can

still listen to the

Time

of

Real

RIM 1 E

RIM2

Cga

HMT

OX

mrmb

RIM 1

of

these func-

Write

of

these func-

Time

Cga

Pattern

you are satisfied with a new setting, you begin to record again in Real ply

by

pressing

Here

is

a list

the

Real

of

all operational parameters available for alteration Write

mode:

Time

within

Time

Write

the

Write, sim-

button.

Real

CLICK

On/Off

Volume Sounding

Subdivision

QUANTIZE

On/Off Note

Value

SWING

On/Off

Off-Beat Delay Percentage

TEMPO

Metronome

Setting

(slider

or

numeric)

REVERSE

On/Off

Tom

1

Tom 1

Hop

T1mbiH

Cp4

Tom

1

func-

Write

as

can

Time

E

Tom2

Tom

CgaLO

T1rTbl

CpS

Tom2

E

2 Tom 1

Tom3

Bgo

L

FM pre 2

Cp6

Tom 3

E Tom 4

Torn~

HI

Bgo

FM

pre

Cp7

Tom4

LO

HHclos

HH

3

open

Ago

C stnt Whstl

Cp8

HH

clos

DAMP

On/Off

CLEAR

Erase (single notes)

KEY

ASSIGN

Voice Assign

Parameter Assign Multi Voice Multi

Step Accent Output Save Key Load Key Copy

As

Voice

you

Levels

Channel

Data

can

see, all of

Assign

the

Jobs in Key Assign mode are available during Real This

feature gives you changes rhythm

is

the

ability

before

patterns.

very useful, especially since it

to

preview voices

actually

The

recording

following examples illus-

trate this capability.

Example 1.

mode, you decide

Working

to

in

Real

use a different snare drum

voice. Follow these steps:

1)

Press

the

KEY

ASSIGN

2) Select Job

3) Press

#01

Instrument

(Voice Assign).

Key

B.

HI

Time

button.

Edge

Cup

Ago

LO GlsCsh

OX

clav

Cp9 Cup

Write.

and

voice

them

Write

Continued

into

Ch1na

Crash

Gun

OX

Cp10

Crash

arch

This chart preset

ments

able

Tambrn Shaker

Claps

Hey Wao Ooo E

Cp11 Claps

shows

output channel

fur

all

on

the

This chart

position

assigned

RX5's

12

output

64

RX5.

shows

CowbAI

Cure

E bass H

bass

Cp12

Cow

the

factory

voices

the

to

each

channels.

a

L

bel

as<ign-

avail-

stereo

uf

the

DDDDDDDDDDDD

OUTPUT

CHANNfL

STEREO

POSITIONS

{

DDDDDDDDDDDD

S

1

t

8

2

3

t

9

'

9

4

II.

12

'"rRu~,E~r

'\

10

5

6

,.

6

7

.If

4

13

"'

8

9

3

....

10

II

11

Vol.

3 No. 4/ AITERTOUCH 13

11

Jf

5

12

t

8

RXS

picked alter tion. Follow these steps:

Cymbals

sounds, which have produce recent technological advances, managed

Drummers

comes time

This

chan

shows

the

ment

the

cymbal

the

steps

article.

key

and

stereo

setup

outlined

instru-

layout

created

in

the

using

drum kit cymbal setup

of

using ious cymbals of a drum set by placing

Continued

4)

Scan

the

snare voices available using

-

1/NO

and

+ 1/YES

the

snare voices as you scan

Instrument

S)

Once press

6)

You

are mode again, using

Example

is

still

the

voice

1)

Press the

2) Select Job

3)

Press instrument Key

4)

Change

parameters, following lined

S)

Preview the Key

6)

Once snare voice REAL

7)

You

are now recording in Real mode again,

using the altered snare voice.

Cymbals

with

The

distinctive sound

the

RXS. It

Key

B.

you find

the

now

the

2.

in

parameters

B.

you have altered

TIME

to

capture excellent cymbal voices.

no

to

the

voice you

REAL

TIME

recording in Real

and

can

new

snare voice.

The

snare drum voice you have

not

quite

what

with

the

Parameter Assign func-

KEY

ASSIGN

#02

(Parameter Assign).

Pitch, Level,

the owners manual.

the

voice changes while altering

by

tapping

to

your satisfaction, press

WRITE

and

can

continue

produce

authentic

longer

program

been

is

possible

have

particularly

qualities.

the

and

can

buttons;

WRITE

continue

you want.

button.

B.

Attack, the

procedures out-

the

button.

most difficult

to cringe

"brass plates."

arrangement

also be reproduced

to

position

preview

by

tapping

want

to

button.

Time

to compose

You

and

Decay

instrument

sound

of

Time

to

compose

complex

But,

the

RXS has

when

the

them

Write

to

with

the

use,

can

the the

re-

of

var-

in

the stereo field.

output

"around" example illustrates cess. It

Follow these steps:

With cymbal arrangement in cymbals are set up as they tic situation. (See

it

specific color for

a

choice of cymbal each

ite players will show you

type

channels,

the

is

an

1)

Press

the

2) Select Job

3) Copy

4) Copy Int-Edge to location S)

Copy Cp4.

6) Copy and

Cp7.

7)

Select

Assign)

8) Assign Cp1

9) Assign

10) Assign

11) Assign

12) Assign CpS

13) Assign

14) Assign 1S) Select Job

16) Assign Cp1

17) Assign

18) Assign

19) Assign

20) Assign CpS

21) Assign

22) Assign

these assignments, we have created a full

From this point, we

drummer. Listening

and

tone

By

assigning voices to various

they

can

set.

The

following step-by-step

one

way

to

invitation to your

KEY

ASSIGN

#09

(Copy Voice)

Int-Cup

Int-China

Int-Crash

Job

Cp2 Cp3 Cp4

Cp6 Cp7

Cp2 Cp3 Cp4

Cp6 Cp7

to

location

to

locations

to locations CpS, Cp6,

#06

(Output

to

channel

to

channel

to

channel

to

channel

to

channel

to

channel

to

channel

#01

(Voice Assign).

to

Key

K.

to

Key

W.

to

Key D.

to

Key I.

to

Key C.

to

Key

E.

to

Key

U.

the

might

the

accompanying diagram.)

can

proceed

each

cymbal in

tone

colors

to

some

how

build

their

be

arranged

go

about

this pro-

own

invention.

button.

Cp

1.

Cp2.

Cp3

Channel

11.

04.

09.

03. OS.

09.

stereo field.

be

in

an acous-

to

create a

the

"kit."

is

a trademark

of

your favor-

each

uses cymbal

characteristic

and

The

of

DDLJDLJDDD~DI;~~~)ID

CDLI:JLI:JUWWO~WWaU

14

AITERTOUCH!Vol. 3

No.4

sound.

Through the altering various cymbal voices to meet your musical requirements. ples below show

one

of

voice parameters,

on

the

RXS

can

be varied

The

exam-

attempt at creating some

of these individual cymbal sounds. Starting from the cymbal setup

we

have just created, follow these steps (to avoid confusion, initialize all Key

Assign parameters before you begin Voice

Editing):

1)

Press the EDIT VOICE button.

2) Select Job Press

3)

4) Select Job

5) Enter

6) Select Job

7)

Enter

value 45, Decay 1 Level value

#01

Key

C (CpS-Crash).

#02

pitch

value + 0600.

#03

Attack

value

(Select Voice For Edit).

(Pitch

Edit).

(Envelope Edit).

99, Decay 1 Rate

60, Decay 2 Rate value 3 7, Release Rate value 99, and

Gate

Time

value 6500.

8) Select Job Enter

9)

Range value

10)

Select Job Press

11)

12) Select Job

13)

Press

14) Select Job

15) Enter pitch value

16) Select Job

17)

Enter

#04

(Bend Rate/Range)

Bend

Rate

value

00.

#07

(Store Voice).

the

+ 1 /YES

#01

button

(Select Voice For Edit).

Key D (Cp3-China).

#02

(Pitch

Edit).

-0300.

#03

(Envelope Edit).

Attack

value 99, Decay 1

00,

twice.

and

Bend

Rate

value 35, Decay 1 Level value 58, Decay

2 Rate value 43, Release Rate value

and

Gate

Time

value 6500.

18) Select Job

19)

Enter Range value

20)

Select Job

21)

Press

22) Select Job

23)

Press

24) Select Job

25) Enter

26) Select Job

27)

Enter

#04

(Bend

Bend

Rate

01.

#07

(Store Voice).

the

+ 1/YES

#01

(Select Voice For Edit).

Key

U (Cp7-Crash).

#02

(Pitch

pitch

value

#03

(Envelope Edit).

Attack

value 99, Decay 1

Rate/Range).

value 30,

button

Edit).

-0500.

twice.

and

01,

Bend

Rate value 41, Decay 1 Level value 60, Decay 2 Rate value and

Gate

28) Select Job

29)

Enter

Range value

30)

Select Job

31)

Press the + 1/YES

50, Release Rate value 60,

Time

value 6500.

#04

(Bend

Rate/Range).

Bend

Rate

value 00,

00.

#07

(Store Voice).

button

and

twice.

Bend

Snare

Drum-Sustained

The

Long Roll. It

that

takes years

ficult

as

it

is

of

to

perform

Sounds

is

a snare drum technique

practice to perfect. As dif-

on

the

snare drum, the Long Roll presents a special challenge for drum machine programmers.

The

characteristics of

the technique used

to

perform it

the

sound stem from

on

an

acoustic drum. If you strike a snare drum head, the stick rebounds strikes the head again in decreasing levels. Roll produce multiple strikes per stroke, mer strikes are, weaker in relation to the initial strike.

of

technique

alternates

by

its

own

momentum,

and

then

The

uses

this

hand

to

rebound

hand.

as

The

effect

a drum-

bounce

the laws of physics, progressively

This

to

makes the bounce strike aurally different from the initial strike, difficult to reproduce

and

makes the overall effect

on

a drum machine. Most

attempts sound like a machine gun roll.

After trying to create this effect

each

note

without decided to take sound effects. give some

that

would

The

two attempts offered below may

direction

suitable

another

mimic

for

approach:

the

by

entering

success,

to

create a

short

grace-note

development

it

was

of

drum roll voices.

Example

1)

2) Select Job

3) Assign Int-SD2 to Key

4) Press

5) Select Job

6)

7)

8) Enter

9) Select Job

.10)

1. Follow these steps:

Press

the

KEY

ASSIGN

#01

the

EDIT VOICE

#01 Press Key Select Job

B.

#02

Pitch value

#03

Enter

Attack

button.

(Voice Assign).

B.

button.

(Select Voice For Edit).

(Pitch Edit).

-0200.

(Envelope Edit).

value 49, Decay 1

Rate value 43, Decay 1 Level value 60, Decay 2 Rate value 63, Release Rate value and

Gate

Time

value 6500.

11) Select Job

#04

(Bend

Rate/Range).

12) Enter Bend Rate value 01, Range value

13) Select Job

14)

Press

the

Example

1)

2)

2.

Press the Select Job

3) Assign Int-SD3 to Key

01.

#07

(Store Voice).

+ 1/YES

button

Follow these steps:

KEY

ASSIGN

#01

(Voice Assign).

button.

N.

Continued on

twice.

and

01,

Bend

page

19

·

Vol.

3 No.

4/

AITERTOUCH

15

TX81Z

MoloElPnos.

ANewTX81Z

Performance Setup Plunkett.

By Scott

I

micro tune select 7 7

inst. number

number of notes

voice number

key limit

key limit /H

name:

assign mode

effect select

receive ch.

MoloElPnos

/L

1 :

II

NORM PAN

2

2:

3:

4:

3

3 5 0

A16

I09

1

I01

1 1

C-2 C-2 C-2 G 8 G 8

G 8

Reed

Piano

RatRhodes 6:

5:

7:

B:

4

I01 I01

C-2 C-2 G 8 G 8 G 8 G 8 G 8

5 6 7 B

0 0 0

I01

1

1 1 1 1

C-2

0

I01

C-2

0

I01

C-2

Notes: This

TX81 Z

setup

is patches: voice) (from

ROM

performance

based

on

"RatRhodes"

and

"Reed

the

TX81Z's

bank

A).

two

voice

Piano"

internal

(a

new

detune

note shift

volume

out assign

lfo select

micro tune

OPERATOR~

on/off

out level 87

freq. type

fix range

freq. coarse

freq. fine 8 8 o o

·······:·s:-;·····T······:·:a·;·····-r-·····:·:;·;·····T······;·;j:·······

detune

5.49 l 2944Hl

-2

+0

87

L

OFF

0~1

~~~~~~

ON

RTO

255

15

-3

0.50 l 0.50

ENVELOPES-------------

attack rate 31

decay 1 rate 21

decay 1 level 13

decay 2 rate 10

release rate 5

eg shift

OFF

SCALING/SENS

rate 2

level 7

ams on/off OFF

sans eg bias o

vel 7

key

+1 +0

+0 +0 99 0

LR

1 2

OFF

ON

89

FIX

RTO

4K

255

44

+0 +0 +3

31 24 12

2 4 8

6 5 8

OFF OFF OFF

--------~

1 2 0

0 4 43

OFF

0 0 0

1 6 7

ON

99

o o

31

25 15

ON

OFF

ON

99

RTO

16K

31

10

ON

LR

1

OFF

algorithm no. 5

LFO-------------------

waveform

9

portamento FULL

~

+0 +0

LR

voice name:

amp mod depth

pitch mod depth 7

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

porta time 0

·········

+0 +0 +0 +0 +0 +0 +0 +0

0

1 1

0 0

LR

1 1

OFF OFF

RatRhodes

feedback

speed 20

mode

pitch o

pitch 50

~

POLY

vol

99

amp

amp 51

o

12

mid

rev rate pb range 2

.........

~

, eg bias o

o

i

........

0

LR

OFF

sync

delay 22

pitch 47

p bias +0

OFF

sens 24 sans 4

C = c 3

amp

39

LR

o

0

1

16 AITERTOUCH/Vol. 3

'

No.4

I

number of notes 4 4

micro tune select

effect select

inst. number

voice number

receive ch. 1

key limit /L

key

BigWash

limit /H

NORM OCT.

DELAY

C10 C-2

I28 C-2

G 8 G 8 G 8

II

0

2

I01

1 1

C-2

1 : SqncrBass

2:

BigWash

3:

4:

3

0

I01 C-2

G 8 G 8

4

0 0 0 0 0 1

5:

6:

7:

8:

5 6 7

I01 C-2

I01

1

C-2 G 8

8

I01 I01

1

C-2 C-2 G 8

G 8

TX81Z

BigWash. A

NewTX81Z

Performance Setup Plunkett.

1

By

Scott

de tune +2

note shift

volume

out assign

lfo select

micro tune

OPERATOR~

on/off

out level

freq. type RTO

fix range 255

freq. coarse

freq. fine o

4 .

00 1 6.

detune

·······:·1·~·····T······:·2·~·····T······:·:;·~·····T······~·;.·:·······

+12 +0

99

LR

OFF OFF OFF

0~1

~~~~~,

ON

99

13

+0

00

1

12.

-2

96

LR

1 1 1

ON

92

82

RTO

255 255 255

19

36

0 0 0

+1

-2

00 1 6.

ENVELOPES------------,

attack rate

decay 1 rate

decay 1 level 14

decay 2 rate 8

release rate 7

eg shift OFF

SCALING/SENS

level 0

ams on/off OFF

sans eg bias 0

key vel 4

rate

31

31 31

16

25 5 0

12

8 0

10 2 5

24

12

----------,

1 1 2 2

0

94

OFF OFF OFF

0 0 0

3

ON

84

RTO

19

-3

00

31

0 0

14

OFF

24

4 2

+0 +0

LR

+0 +0 +0 +0 +0 +0 +0 +0 +0 +0

0

0 0 0

LR

1 1 1

OFF

voice name:

algorithm no. 3

OFF

feedback 0

OFF

BigWash

LFO----------------.

waveform

speed 26

amp

pitch mod depth 3

mod

~

depth 0

FUNCTION----------------,.

mode POLY

portamento FULL

porta time 0

·········

~

vol

99

pitch o

amp o

pitch 40

amp o

0

LR

1

OFF

sync

OFF

delay 22

sens OFF sans 5

mid

C = c 1

rev rate 0

pb range 2

·········

pitch 30

A amp 0

;'W

eg bias 0

!

........

p bias

+0

0

LR

1

OFF

Notes:

This

TXBI Z

setup

is

patches: voice)

(from

ROM

based

"BigWash"

and

"Sqncr

the

TXBIZ's

bank

C).

performance

on two

voice

(a

new

Bass

internal

Vol.

3 No. 4/

AITERTOUCH

17

TX81Z

BigSlap. A TX81Z Perfor

New

.. mance Setup By Scott Plunkett.

Notes: This

TXBl Z performance

setup

is

based

on

two

C).

voice

(A

new

patches: voice) (from

ROM

"SlapBass"

and

"ElecBass 1"

the

TXBlZ's internal

bank

I

micro tune select

effect select

inst. number

number of notes

voice number

receive ch.

key limit /L key limit

note shift

out assign

Ito select

micro tune OFF

OPERATOR~

on/off

out level 99

freq. type RTO

fix range

freq. coarse 4

freq. fine 0

.......

decay 1

detune +0

:·1·~-

....

1.00 ~ 0.50 ~ 9.00 ~ 7.85

ENVELOPES------------~.

attack rate 31

decay 1 rate 9

decay 2 rate

release

eg shift OFF

SCALING/SENS

ams on/off OFF OFF OFF OFF

sans eg bias 0 0 0 0

key vel 1 o 6 7

BigS

lap

NORM OCT. 0

OFF

2 3

4 4

de

IlS

C-2

/H

G 8 G 8 G 8

tune

-1

C09

1

C-2

+1

+0 +0 +0

volume

99

LR

99

LR

1 2 OFF

OFF OFF

0~1

-=~~~~.

ON

72

75

RTO RTO

255

255 255

0

28

0 0

-3

T

......

:·:a·~

...... ~ .......

level 9

rate 9

0

+3

:·:;·~··

...

T

......

31 31 31

1 9 0

12

0 6

8 8 8

OFF OFF OFF

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

rate 0

level o 0 27 0

2 3 3

II

I01

C-2

RTO

255

24

+3

~·;.·:

.......

15

10

Slap Bass

1 :

2:

ElecBass 1

3:

4:

0

I01

1

4

0 0 0 0 0

1

5:

6:

7:

8:

5

6

I01 I01 I01

1

C-2 C-2 C-2 G 8 G 8 G 8 G 8 G 8

+0

+0 +0 +0 +0

0

LR

0 0 0 0 0

LR

OFF OFF OFF OFF OFF OFF

voice name:

algorithm no. 1

0

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

waveform~

6

OFF

feedback 0

speed 28

amp

mod

pitch mod depth

OFF

SlapBass

depth

FUNCTION-----------,.

mode POLY

portamento

porta time 0

.........

~

.........

~

vol 99

pitch o

amp o

p~t~~

rev rate 0

FING

pb range 4

i

........

A amp 0

;'W

~

........

8~

C-2

OFF

sync

delay

sans

0

sans

0

mid

pitch 60

eg

p bias

7

I01

1 1

C-2

+0

LR

OFF

C = c 2

bias 0

+0

8

+0

+0 I

LR

0

5

18 AITERTOUCH!Vol. 3 No. 4

Continued from page 15

4) Press

5)

6) Press

7)

8)

9) Select Job

10)

11) Select Job

12) Press

Damping

Each

only

nel

is

channel,

TET

Lfor looking for many different kinds

Have you

other

the

for patches, programs, plus

Have you discovered a Yamaha your

Have you developed a ments, paper tion write it up, article always covers double-spaced pages

By patches, close a self-addressed,

If you just products, After but

we

Finally, if you just

lish direct to

our

addresses,

the

EDIT

VOICE

Select Job

Enter

value 36, Decay 1 Level value 58, Decay

2 Rate value 64, Release

and

Enter Range value 00.

output

one

voice at any given

monophonic.

US

all

#01

Key

N.

#02

Attack

Gate

Time

#04

Bend

#07

the

+ 1 /YES

Technique

channel

the

tapping of

HEAR

users

of

(Select Voice For Edit).

(Pitch

value 64,

value 6500.

(Bend

Rate

(Store Voice).

Since

FROM

Yamaha professional musical products, so please

button.

Edit).

Decay 1 Rate

Rate

value 60,

Rate/Range).

value

00,

and

button

on

one

twice.

the

RX5

can

sound

instant-each

there are two keys per

key initiates

YOU!

chan-

We

of

created

members

of

CX5M

$25.00

for

each

AfterTouch

hot

tip, you'll receive full

or

have you discovered

and

send

it to us.

the

music

and

an

incredible

Yamaha FM digital synthesizer family?

computer

patterns.

item

used.

trick

products?

or

If we use your material, we'll give you full

that

Send

credit

new

approach

an

Don't

worry

down. If we decide to use your material

put

your

name

on

it,

and

at

least

one

magazine

of

typescript.)

the

way, we

or

manuscripts. We will only be able

send

Touch. (We regret

will use all

contact

letters

and

cannot

assume liability for

stamped

have a question

it along too,

that

we

of

your questions to guide us

want

to

with

other

column,

phone

"Touch

numbers

envelope

regarding

and

won't

get

something

Yamaha

Response."

of

all those who are interested

users groups.

AfterTouch

is

your publication. Let us

voice sound, while

Bend

the

want

key will stop second voice sound. instrument techniques

The because offers. Also, drum of

the

introduced a

ied,

and drummer's opment.

As a reproducer rhythm quality

ing

these

experimentation.

AfterTouch

the

first voice

can

be used

when

applied to sustained sounds.

Electronic

of

the

many

drummer.

new

have introduced a new tool for

professional

units are still a

of

the

sounds

to be

material.

patch

important

send you a

we'll do

for

a great

increases

it

in

to

plus a

to

about

your writing

with

the

DX7,

pattern

the

our

"FinalTouch" check one

of

the

for

the

musical flexibility

for

$25.00.

the

Yamaha

secret regarding

style-just

as

a full article

check

for $100.00.

page-which

the

safe

to

return

unused material if you

your submission.

use

of

Yamaha professional musical

our

best to answer it

translates

be able to answer questions

in

our

choice

off your chest,

After

Touch

hear

product

We'll do

from you!

our

the

tapping

sound

This

operating logic

to

produce damping

Age

cannot

musical

machines

Rhythm

field

of

bit

and

offer

exciting

an

information

possibilities

are

not

programmers

knowledge

and

artistic

playing

cumbersome,

the

potential

join

DXlOO, or

How

about

RXll?

Send

of

column.

After

Touch

their

use?

get

the

in

AfterTouch,

(An

to

return

of

unused ideas,

in

the

through

of

future topics.)

or

if you'd like

users,

send

in

best

to

print

in

starting up regional

of

the

second

and

begin

of

be

ignored,

the

demise

have

to

be stud-

devel-

technique,

but

for alter-

new

areas

network

in. We're

any

of

a program

in your

credit

one

of

If we use

instru-

Put

it

informa-

we'll

After

Touch

at

least four

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mail,

to

estab-

something

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it

the

of

Write

To:

AFTER-

TOUCH,

the

P.O.

Box

Northridge,

91323-2338.

the

on

en-

of

Vol.

3 No. 4/ AFrERTOUCH 19

2338,

CA

Bulk Rate

U.S. Postage

PAID

Long Prairie, MN

Permit No. 33

From

Joel Balin, a musician who lives in

Florida. and not does some work with Disney in Florida, plays

Joel's than Congratulations Grand Reader Survey.

By

to

send issues, know

20 AFTERTOUCH/Vol. 3 No. 4

The

Although

Yamaha customer for some time,

owned

a full

with a Christian

name

4500

surveys

Prize

the

way,

in

requests for

and

that

Joel has

YCAM

was drawn from a pool

returned

to

Joel Balin,

in

the

first

those

of

AfterTouch

you are due for some disappoint-

Editor

been

an

system (until now).

music group

before

AfterTouch/Yamaha

you who used

product

subscriptions

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the

winner

literature, back

Orlando,

Ace

Music

he

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-TD

Yamaha CX5M II-128 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual