Yamaha DX100 Owner's Manual

YAMAHA

AUTHORIZED

PRODUCT MANUAL

DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER

YAMAHA

DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER

OWNER’S

MANUAL

CONGRATULATIONS!

Your Yamaha DX100 Digital Programmable Algorithm Synthesizer incorporates stateof-the-art digital FM tone generation technology, providing extraordinarily vibrant, rich voices and outstanding playability. The DX100 has a programmable 24-voice INTERNAL

memory (RAM) from which any voice can be selected at the touch of a button, two 96-voice PRESET (ROM) memories (a total of 192 fine preset voices!), a 96-voice BANK memory that permits storage of PRESET voices in any configuration for one-touch selection, and a cassette interface that permits unlimited storage of FM voices. Of course,

the DX100 is fully programmable, allowing you to create your own FM voices or sound

effects. Broad MIDI compatibility is also provided so the DX100 can control or be controlled via other MIDI-compatible music equipment.

To ensure that you gain maximum benefit from all the performance and flexibility provided

by the DX100, we urge you to read this owner’s manual thoroughly while actually trying

out all of the available functions.

CONTENTS

UP..

CHAPTERI:SETTING

Audio

Outputs

OptionalFoot

2. Optional

4. Headphones..............................................................

MIDI

Cassette

Battery,ACPower Adaptor..

8. Power-ON, Low Battery LED Indicator

9.LCD

10.ID

11.

When

CHAPTER

DX100 Voice Memory Configuration..

2. The

TheBANK

4. The192-Voice

CHAPTER

Accessing

EnteringFunction

3. The

TuningFunctions..

5. Memory Management Function..

6.MIDI

BC-1

Terminals..

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

Contrast

Function..

II:

INTERNAL

The

PRESET SEARCH..

III: THE

Performance

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

using

dry

PLAYING THE DXl00

PLAY

SHIFT

Mode..

FUNCTIONMODE..

the

Functions

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

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

Switch..

Breath

Control...............................................

PLAY

PRESET

FUNCTION

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

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

Controller..............................

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

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

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

batteries.........................................

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

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

Mode

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

Mode..

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

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

Memory..............................

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

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

Mode..

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

Data

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

Parameters.................................

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

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3 3 3 3 3 3 3 3 4 4

4 5

6 6 7 8 8

10 11

11 11 11 17

17 22

CHAPTERIV: VOICE PROGRAMMING

Synthesis..

TheBasics

2. TheEDIT and TheVoice

4.STORING

5. Two Approaches to Creating Your Own Voices

CHAPTER V: VOICE PROGRAMMING EXAMPLE..

GENERALSPECIFICATIONS.. MIDI

DATA

Transmission

Reception

System

VOICE/FUNCTION

DATANAME..

of FM

COMPAREmodes.............................

Parameters

Voice

FORMAT..

Conditions

Data.. Conditions..

Data.........................................................

Exclusive

DATA..

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

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

Data................................................

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

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

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

Data............................................

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......

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24 24 29 30 38 38

40 44 45

45 46 49

50 53

57 58

1. Location

2. Cleaning

3. Service and Modifications

4. Relocation

5. HandIing

PRECAUTIONS

Avoid locations exposed to direct sunlight or other sources of heat. Also avoid locations subject to vibration, excessive dust, cold or moisture.

Do not attempt to clean the exterior with chemical solvents, as this may damage

the finish. Clean with a soft, dry cloth.

Do not open the cabinet or attempt to make your own repairs or modifications to any part of the instrument. Such actions may not only result in electrical shock or damage, but will also void the product warranty. Refer all servicing to a qualified Yamaha service center.

When moving the instrument be sure to unplug the AC adaptor (PA-1210, optional) as well as all other connecting cables.

Avoid applying excessive force to switches and slide controls, dropping or rough handling. The DX100 is ruggedly constructed using reliable solid-state circuitry,

nonetheless it is a fine instrument that should be treated with care.

6. Electrical Storms (Lightning)

7. EIectromagnetic Fields

Digital circuitry such as that used in the DX100 is sensitive to voltage spikes and

surges. Be sure to remove all connecting cables in the event of an electrical storm.

Digital circuitry is also sensitive to electromagnetic fields such as those produced by television sets, radio receivers, transmitters, transceivers, etc. The DX100 should be kept at least several feet from such sources in order to prevent possible random malfunctions.

1. Audio Outputs

2. Optional Foot Switch

3. Optional BC-1

Breath Con troller

4. Headphones

5. MIDI Terminals

CHAPTER I: SETTING UP

The DX100 has a single mono audio output for its tone generator channel. This

is labelled OUTPUT. It permits sending a mono signal to either a mono or stereo

sound system, or a mixing console for recording or PA applications. The FOOT SW phone jack is for an optional footswitch. It accepts a Yamaha FC-4

or FC-5 footswitch or equivalent for portamento/sustain control: press for por-

tamento or sustain; release to damp or turn portamento off.

Yamaha’s unique BC-1 breath controller is plugged into the mini-jack on the rear panel.

The PHONES jack accepts any standard pair of stereo headphones. The audio signal

is delivered to the headphones in mono. Headphone volume is controlled via the

VOLUME control on the top panel. These terminals are used when connecting the DX100 to other MIDI (Musical

Instrument Digital Interface) compatible equipment such as digital sequence re-

corders, modular FM voice generators, drum machines, etc. The MIDI OUT terminal transmits MIDI data from the DX100 to other MIDI equipment. The MIDI OUT terminal will normally be connected to the MIDI IN terminal of the receiving

equipment. The MIDI IN terminal receives MIDI data from external MIDI equipment

such as a digital sequence recorder, music computer or modular FM voice generator.

The DX100’s MIDI IN terminal will normally be connected to the MIDI OUT terminal

of the transmitting equipment. The MIDI THRU terminal re-transmits the data re-

ceived at the MIDI IN terminal. Thus, data received via the DX100 MIDI IN terminal

can be simultaneously sent to other MIDI equipment.

6. Cassette

7. Battery, AC Power Adaptor

The DIN connector end of the supplied cassette cable is plugged into the DX100

CASSETTE connector. The three plugs on the other end of the cable should be connected to a cassette data recorder (the kind normally used with personal computers, etc.) as follows:

RED WHITE BLACK

cassette deck microphone input.

cassette deck earphone output.

cassette deck remote input (where applicable)

The DX100 operates off 6 “C” size batteries which are inserted in the battery

compartment in the bottom of the synthesizer. Or, insert the optional PA-1210 AC power adaptor cord into the DC IN jack located on the rear panel of the DX100, and then plug the standard 2-prong plug into an AC wall socket. Be sure that your local line voltage matches that specified on the PA-l210. You will find the POWER switch next to the DC IN jack on the rear panel of the DX100.

8. Power-ON, Low

Battery LED Indicator

9. LCD Contrast Control

10. ID Function

NOTE:

When setting up your system, be sure to turn the DX100 and any effects units

used on BEFORE turning the main amplifier system on. This will prevent the initial power-on shock surge from possibly damaging your amplifier and

speaker system.

The DX100 features a Power-ON LED indicator, located immediately to the right

of the LCD indicator on the top panel. It glows when the Power switch on the rear panel is turned ON. Additionally, it flashes to warn of low battery power should such an occasion arise (batteries provide approximately 10 hours of continual use.)

An LCD Contrast Control, located on the back panel immediately behind the LCD

indicator, is provided in the DX100 to provide a clearly visible readout under most lighting circumstances.

It is possible to change the “Welcome to DX!” message which appears when the power is first switched ON to anything you like-your name, for example. To change the ID, hold the KEY SHIFT button while turning the power ON. The current ID

message will be displayed with a cursor over the first character.

The cursor can then be moved to any character position on the display by successively pressing the KEY SHIFT button.

Choose the position to enter a new character, then using the DATA ENTRY slider or buttons, select the new character from the available character set.

Move the cursor to the next character position and enter the next character as described above. When your new ID message is complete, simply press any button other than the KEY SHIFT, DATA ENTRY, STORE or FUNCTION buttons to enter the normal operation mode. The new ID message you have entered will now be displayed every time you turn the instrument ON.

11. W

hen using dry

batteries

DX100 CONNECTIONS

Insert 6 AA size dry batteries (optional). Remove the cover at the rear of the main unit and set the batteries while checking the polarity. When doing so, be sure to

set

the ribbon for removing batteries under the second one from the left.

After inserting the dry batteries, replace the cover of the battery case.

*AC power operation When operating this unit on AC power, it is recommended to use an economical AC adapter (optional).

CHAPTER II: PLAYING THE DX100

1. DX100 Voice Memory

Configuration

The DX100 has three different voice memories which serve different purposes. They

are:

The 24-voice INTERNAL memory.

This voice memory is used for quick selection of voices for performance, and it is to this memory that original voices you have edited or programmed are initially stored. Cassette LOAD and STORE operations are also carried out to and from the 24-voice INTERNAL memory. Voices from the 192-voice PRESET memory may also be stored in the INTERNAL memory.

The 96-voice BANK memory (4 BANKS x 24 voices each).

The BANK memory incorporates four 24-voice BANKS-A, B, C and D. The BANK

is most useful for storing groups of voices you have arranged for specific purposes.

The different banks may be programmed with different voice groups you need for

different “sets” in a performance, you can categorize your voices into BANK

(i.e.

piano-type voices in one bank, brass in another, etc.), any combination you like.

The BANK can be loaded with voices from the PRESET memory (described below)

or from the INTERNAL memory using the EDIT BANK function.

The 192-voice PRESET memory.

This is a read-only memory which contains 192 FM voices. These are organized

into two groups of 96 voices each. The first group is accessible in the NORMAL

mode, while the second group is accessed in the SHIFT mode (these modes will be described below. These voices may be selected and stored in the BANK or

INTERNAL memories as desired. They can also be directly accessed and played

using the PRESET SEARCH function. The chart below shows the overall DX100 voice memory configuration. The VOICE

EDIT BUFFER is a special memory into which a voice is called when selected. Whether you select a voice from the INTERNAL memory, the BANK memory, or the PRESET memory, it is placed in the VOICE EDIT BUFFER from which it can

be played, edited, stored in another memory location or saved onto cassette.

2. The INTERNAL PLAY Mode

NOTE:

The voices in the PRESET memory are numbered as follows: each group of 96 voices–the NORMAL group and the SHIFT group–is further subdivided

into four groups of 24 voices each (101–124, 201–224, 301–324, and 401–424). Thus you have NORMAL group voices 101–424, and SHIFT group voices 101–424.

To access the 24–voice INTERNAL memory, enter the INTERNAL PLAY mode by

pressing the INTERNAL PLAY button.

Next, select a voice from the INTERNAL memory by pressing the corresponding voice selector button (1–24). At this point, the LCD display will indicate the voice number, and voice name. These are preceded

by a "P", indicating that the INTERNAL PLAY mode has been selected.

3. The BANK PLAY Mode

In this mode, you can play any of the voices currently in the DX100’s 24-voice INTERNAL memory individually.

The BANK PLAY mode enables you to access the 96 BANK memory locations. These initially contain the first group of 96 voices from the 192-voice PRESET

ROM. Using the SHIFT mode, however, you can also access the second group

of presets while in the BANK PLAY mode. Later, you can store any voices you like

in any order in the these BANKS. While in the INTERNAL PLAY mode, press any of the BANK buttons;BANK A–BANK D. This will select the appropriate BANK, and the 24 voices in that bank can be selected by pressing any of the DX100’s 24 voice buttons.

PA 2 NewElectro

The SHlFT Mode

By entering the DX100 SHIFT mode while in BANK PLAY, the correspondingly numbered voice from the second group (SHIFT group) of preset voices will be

selected. Note that in the BANK PLAY mode this only applies to voices which have been stored in the BANK memory from the 192-voice PRESET memory. Voices stored in the BANK from the 24-voice INTERNAL memory will not change when the SHIFT mode is selected. To enter the SHIFT mode, hold down the INTERNAL PLAY button and press the

+1 button. To return to the NORMAL mode hold down the INTERNAL PLAY button

and press the -1 button.

The DX100 comes with 192 different pre-programmed voices in an internal ROM

4. The 192-Voice

PRESET Memory

(Read Only Memory).These voiced

24-voice INTERNAL memory, or into any location in the DX100 bank memory.

THE 192 PRESET ROM VOICES

NORMAL MODE VOICES

can

be loaded singly into the DX100's selectable

Group 1

IvoryEbony

Oprt piano

03 Honkey Tonk

Elec Grand

04 05

Pianobells Acous Elec

Old Electro

NewElectro

HighTimes09 Wood Piano

Vibrabelle

Pianobrass

JazzORGAN

Ham<n>Eggs14

ClubOrgan

<6 Tease>

17GentlePipe

18FullRanks 19

Plukguitar

SoftHarp

JazzGuit 22OldBanjo 23

Kotokoto

FolkGuit

Group 2

Solid Brass

Synthe Bass

02 03

Mono Bass

Elec Bass 05 Fretless 06 Horns 07

Flugelhorn

Hard Brass

08 09

Power Brass 10 BC1Trumpet 11 Strings 12

Silk Cello 13 Orchestra 14

Solo Violin 15 Box Cello 16 Richstring

5th String

17 18

Harpsi low

Harpsi Hi

Fuzz Clav

20 21 Clear Clav 22

Squeezebox 23

Celeste

Circustime

Group 3

01Easy Synth

Easy Clav

>>WOW<<

Metal Keys04

PickPluck05 S/H Synth

06 07Heavysynth

Harmosolo

09Feed Lead

Mono Lead

Lyrisyn

11 12

Schmooch Claranette

13 14Pan Floot

15Lead Reed

Mono Sax

Flutewood

<BC1> Sax

BC1 Hrmnca

Timpani

Xylosnare

22Synballs

Clockworks

24HeiferBell

Group 4

Glocken

01 02Hamarimba

Steel Drums

Tube Bells

Templegong

05 06

Good Vibes Racing Car

08Helicopter

Alarm Call

09 10

Dopplar FX

11Storm Wind

Birds

Hole in 1

<<Smash>>

FM SQUARE

FM PULSE

17FMSAWTOOTH

LFO NOISE

18 19

PINK NOISE

Windbells

Synvox

22Whistling

Voices

Mars to ??

Shift Mode Voices

Group 1

01 Piano 1 02

Piano 2 Piano 3

Piano Vel Honkeyton 2

Deep Grand PhaseGrand

08Left Hand

09Elec Grnd

10E Grnd Vel

E Piano 1

E Piano 2

12 1314E Piano 3

E P String

Hard Times PercoPiano

Organ 1

Organ 2 ElecOrgan

16842F

Theater SmallPipe

23MidPipe

BigPipe

01 02 03 04 Fuzz Guit

07 Harp 1

08 09

10 11

12 13 14

15 Bass 1

16 17 Brass 3

18 19 20 Brass 6 21 Brass 7

Group 2

Clickorgan

Drawbars

Guitar 2

Brt Guitar

Zither

Lute

Sitar

SynthBass1

SynthBass2 Pluck Bass

Flap Bass Uprt Bass

Bass 2

Brass 4 Brass 5

Strings1 Strings 2

Strings 3

Group 3

Rich Strg 1

Rich Strg 2 Rich Strg 3

Pizzicato

05Harpsicrd 1

Harpsicrd 2

Clav 1

Clav 2

Mute Clav 1

10Mute Clav 2

LeadSynth 1

11 12

Cheeky RubberBand

Hollowlead

Huff Talk

Harmonica 1

Harmonica 2

17 18 Horn

Flute 1

Flute 2

21 Oboe

Trombone

22 23

BC1 Horns

Bassoon

Group4

Snare Bass

Snare Drum 1

02 03

Snare Drum 2

4Tom Toms

Steel Drum 2

Synth Perc

06 07

Xylophone 1

Xylophone 2

08 09Marimba

10Mamarimba

Glocken 2

Vibe

Tublar Bells

13 14Bells

Wild War!!

YS11

16 17

Wave Winds18

Shogakko

Fantasy

ace chime

21 22

Ghosties

3Space Talk

Zing Plop

The PRESET voice can also be accessed directly and played using the PRESET SEARCH function.

PRESET SEARCH

This function allows you to directly access the voices in the PRESET memory, in

the order they appear in the PRESET memory.

PRESET SEARCH is accessed in the FUNCTION mode. To enter the FUNCTION mode press the FUNCTION button. Then press any of the PRESET SEARCH selectors to access the corresponding voices (these are the same as the BANK A–D selectors used in the BANK PLAY mode). In the NORMAL (NON-SHIFT) mode,

the PRESET SEARCH selectors call PRESET voice groups 101–124, 201–224,

301–324, and 401–424 from the NORMAL preset voice group. In the SHIFT mode (described in “The BANK PLAY Mode”, above), the correspondingly numbered

voices from the SHIFT preset voice group are selected. The 24 voices in each group are selected by pressing the corresponding voice selector. After selecting PRESET SEARCH 101–124, for example, the LCD will appear as follows:

“F” indicates that you are in the FUNCTION mode PRESET SEARCH function. This function lets you review the voices in the PRESET memory. It is also possible

to store a voice selected in this mode into any of the 24–voice INTERNAL memory

locations using the STORE function described later in this manual.

CHAPTER III: THE FUNCTION MODE

The FUNCTION mode permits access to four groups of functions: management functions, and performance functions. In this chapter we’ll describe each of these functions; what they do and how they are programmed.

The FUNCTION mode is called by pressing the FUNCTION button. Individual

1. Accessing the

FUNCTION Mode

2. Entering Function Data

parameters to be programmed are then called by pressing the appropriate voice button. Note that when the FUNCTION mode is active, pressing a voice button calls the corresponding FUNCTION parameter. These functions are printed in brown

below each voice button. Note also that there are two exceptions: the PITCH B

(Pitch Bend) MODE SET and KEY SHIFT KEY SET buttons are NOT included among

the voice buttons. These function buttons are located immediately above the DATA

ENTRY -1 and +1 buttons. When the FUNCTION mode is called, the LCD should

look something like this.

The display will read “F M.Tune= 0”, indicating that the FUNCTION mode is active,

plus the name of the selected function and its current data. In the example above, the MASTER TUNE function is called (press the 1 button), and the data is currently set at 0.

Once the desired function has been selected, its value can be altered using either the linear DATA ENTRY slider located to the left of the panel, or the adjacent -1 /+1

buttons.

tuning functions, MIDI functions, memory

3. The Performance Parameters

Moving the DATA ENTRY slider away from you increases the value of the selected parameter, and moving the control towards you decreases the data value. Pressing the -1 button decreases the value of the selected parameter by one (decrements), and pressing the +1 button increases the value by one (increments). While the

DATA entry slider is valuable for quickly approaching the desired value with parameters that have a large data range, the +1 and -1 buttons permit precise step-wise location of a specific value. The switches are also easier to use with parameters that only have two values, i.e. ON (1) or OFF (0). In some cases you will be required to answer YES or NO to prompts which will appear on the LCD

display. The -1 /+1 buttons are also used for this purpose.

“Performance parameters” are programmable parameters which pertain mainly to

real-time performance effects, such as how the pitch bend and modulation wheels

affect the sound. After a function is selected using the corresponding button, it

can be incremented with further pressing of the same button.

Note that performance parameters 13 through 24 can be individually stored for each voice. They must therefore be stored in the appropriate INTERNAL RAM voice memory location after editing using the STORE function (see

CHAPTER IV:

VOICE

PROGRAMMING, 4. Storing Voice Data).

13: POLY/MONO

This function selects either the POLY or MONO note output mode. Voice programmed with the POLY mode permit simultaneous playing of up to 8 notes. In the MONO mode the DX100 acts as monophonic keyboard. Once the POLY/MONO function is selected, subsequent presses on the 13 button alternate between the POLY and MONO modes. The DATA ENTRY buttons can also be used: the -1 button selects POLY and the +1 button selects MONO.

14: PITCH BEND RANGE

This function sets the pitch range of the pitch bend wheel located to the left of the DX100 panel. The pitch bend wheel automatically centers at normal pitch. It then may be moved upward (away from the player) to raise the pitch, or moved downward (toward the player) to lower the pitch by the specified amount. The

Pitch Bend direction can also be reversed: Hold down the PITCH B MODE SET

button while switching the DX100 power ON. This provides the same depth of effect, but in the opposite direction of wheel movement, which can be useful in performance situations. The data range is from 0 to 12. At 0, the pitch bend wheel is off. Each increment between 1 and 12 represents a semitone, i.e. the pitch variation between any white key and a black key immediately next to it. Thus, if this function is set to 12, maximum travel of the pitch bend wheel either above or below center position produces a one-octave pitch variation. The DATA ENTRY slider and -1/+1 buttons can be used to enter data. Once the

PITCH BEND RANGE function is called, subsequent presses on the 14 button

will increment (increase) the data value.

PITCH B MODE: MODE SET

This function button, located immediately above the DATA ENTRY -1 button, offers a choice of three pitch bend wheel modes: Low, High and Kon. In the Low mode, the pitch bend wheel affects only the lowest note played on the keyboard. In other words, if a chord is played, the pitch bend wheel will affect only the pitch of the

lowest note in the chord-this makes it possible to produce some interesting effects.

The High mode is just the opposite, only the highest note played will be affected

by the pitch bend wheel. In the Kon (Key on) mode, all notes played are affected simultaneously by the pitch bend wheel. The DATA ENTRY slider and -1/+1 buttons or PB MODE button can be used to select the desired mode.

NOTE:

The PB MODE parameter is NOT individually programmable for each voice.

15: PORTAMENTO MODE

Two different portamento modes are available: Full Time Portamento and Fingered Portamento. When the POLY/MONO function is set to POLY (button 13), only the Full Time Portamento mode is accessible. In the MONO mode, you have a choice between the Full Time and Fingered portamento modes. (1) “Full T. Porta” (MONO and POLY modes): A conventional portamento effect

in which portamento occurs whenever a new note is played.

(2) “Fingered Porta” (MONO mode): Portamento only occurs if the previously

played note is held while the next note is played. This mode is useful in recreating the effect of guitar string bending techniques, acoustic bass or bass guitar slide effects, etc. If you lift your hand off the DX100 keyboard between

notes, there will be no portamento effect. Once the PORTAMENTO MODE function is called, subsequent presses on the 15 button alternate between the two available portamento modes only if the MONO note output mode is selected. The DATA ENTRY or -1/+1 buttons can also be used to select the desired portamento mode.

16: PORTAMENTO TIME

This function sets the speed of the portamento effect. The data range is from 0 to 99. At 0, portamento is off. A setting of 99 produces the longest portamento effect.

Data can be entered using the DATA ENTRY slider and -1 /+1 buttons. Once the PORTAMENTO TIME function has been called, subsequent presses on the

16(PORTAMENT TIME) buttons will increment the data value.

17: FOOT SWITCH ASSIGN

This function selects SUSTAIN or PORTAMENTO footswitch operation for the Yamaha FC-4 or FC-5 footswitch plugged into the rear-panel footswitch jack. Depending upon which of the two functions has been called via the 17 button (select using -1/+1 buttons), the footswitch, when pressed, will operate correspondingly. When it is not pressed, the selected effect is OFF. The PORTAMENTO function parameters are adjustable via the PORTAMENTO MODE and PORTAMENTO TIME buttons (15 and 16, respectively). In the SUSTAIN mode, the footswitch will sustain notes played to the limit set by the ENVELOPE GENERATOR D2R parameter (see 18: D2R, this chapter) when it is set to a rate other than 0, even though the keys have been released. If the EG D2R is set to 0, then the D1L level will be maintained until the footswitch is released.

18: MODULATION WHEEL RANGE, PITCH

As you move the DX100 modulation wheel away from you, an increasing amount of LFO (Low Frequency Oscillator) modulation is applied to the selected voice.

LFO modulation can be made to modulate the pitch of the voice, producing a range of vibrato type effects. This function is used to set the maximum depth of pitch modulation which can be applied using the modulation wheel. The actual effect produced depends on the settings of the LFO parameters, these will be discussed in

CHAPTER IV:

VOICE PROGRAMMING. Note, however, that the appropriate voice PITCH MODULATION SENSITIVITY parameter must be set to a value higher than 0 for pitch modulation to be effective. The voice PITCH MODULATION SENSITIVITY parameter will also be discussed in

CHAPTER IV.

The data range is from 0 to 99. At 0, pitch modulation is OFF, and rotating the modulation wheel will cause no pitch modulation to be applied to the voice. A setting of 99 produces the greatest possible pitch modulation depth.

Data is entered using the DATA ENTRY slider or buttons. Once this function is

called, subsequent presses on the 18 button will increment the data value. NOTE:

Modulation Wheel control direction is reversed simultaneously along with the Pitch Bend Wheel when the PITCH B MODE SET button is pressed while

turning on the power to the DX100.

19: MODULATION WHEEL RANGE, AMPLITUDE

As you move the DX100 modulation wheel away from you, an increasing amount

of LFO modulation is applied to the selected voice. LFO modulation can be made

to modulate the amplitude (level) of specified voice elements (operators), producing a range of tremolo or timbre modulation (wah-wah) type effects. This function

is used to set the maximum depth of amplitude modulation that can be applied

using the modulation wheel. The actual effect produced depends on the settings of the LFO parameters, these will be discussed in

CHAPTER IV:

VOICE PROGRAMMING. Note, however, that the appropriate voice AMPLITUDE MODULATION SENSITIVITY parameter must be set to a value higher than 0 for amplitude modulation to be effective. The voice AMPLITUDE MODULATION SENSITIVITY parameter will also be discussed in

CHAPTER IV.

The data range is from 0 to 99. At 0, amplitude modulation is OFF, and rotating the modulation wheel will cause no amplitude modulation to be applied to the voice.

A setting of 99 produces the greatest possible pitch modulation depth.

Data is entered using the DATA ENTRY slider or buttons. Once this function is

called, subsequent presses on the 19 button will increment the data value.

The Yamaha Breath Controller

The optional Yamaha BC-1 breath controller is a unique way of adding musical

expression as you play the DX100 keyboard. The BC-1 is held in the mouth just like the mouthpiece of a wind instrument. Blowing harder or softer into the BC-1 mouthpiece produces a corresponding effect. The breath controller can be used

to apply varying amounts of pitch or amplitude LFO modulation, just like the

modulation wheel. In addition, it can be set up to directly affect pitch, amplitude or timbre in response to breath pressure. Set to directly affect amplitude (EG BIAS),

for example, the breath controller can be used to apply realistic tonguing effects to brass and other wind instrument sounds. The four BREATH parameters listed below determine just how the breath controller

will affect the DX100’s sound. These parameters may be set individually, or combined for more complex effects.

20: BREATH RANGE, PITCH

This function is used to set the maximum depth of LFO pitch modulation that can

be applied using the breath controller. The actual effect produced depends on the

settings of the LFO parameters-these will be discussed in CHAPTER IV: VOlCE

PROGRAMMING. Note, however, that the appropriate voice PITCH MODULATION SENSlTlVlTY parameter must be set to a value higher than 0 for pitch modulation to be effective. The voice PITCH MODULATION SENSITIVITY parameter will be discussed in CHAPTER IV: VOICE PROGRAMMING. The data range is from 0 to 99. At 0, pitch modulation is OFF, and applying breath pressure to the breath controller will cause no pitch modulation to be applied to the voice. A setting of 99 produces the greatest possible pitch modulation depth.

Data is entered using the DATA ENTRY slider and -1 /+1 buttons. Once this function is called, subsequent presses on the 20 button will increment the data value.

21: BREATH RANGE, AMPLITUDE

This function is used to set the maximum depth of LFO amplitude modulation that

can be applied using the breath controller. The actual effect produced depends on the settings of the LFO parameters–these will be discussed in

CHAPTER IV:

VOICE PROGRAMMING.Note, however, that the appropriate voice AMPLITUDE

MODULATION SENSITIVITY parameter must be set to a value higher than 0 for amplitude modulation to be effective. The voice AMPLITUDE MODULATION SENSITIVITY parameter will be discussed in

CHAPTER IV:

VOICE PROGRAM-

MING. The data range is from 0 to 99. At 0, amplitude modulation is OFF, and applying

breath pressure to the breath controller will cause no amplitude modulation to be applied to the voice. A setting of 99 produces the greatest possible pitch modulation depth.

Data is entered using the DATA ENTRY slider or -1 /+1 buttons. Once this function

is called, subsequent presses on the 21 button will increment the data value.

22: BREATH RANGE, PITCH BIAS

This function permits breath pressure applied to the BC-1 breath controller to directly control the pitch of the voice. In other words, the LFO has no effect. Only your

breath pressure directly affects the pitch of the voice.

The data range is from 0 to 99. At 50, pitch bias is OFF. A setting of 99 permits

a 4-octave pitch increase, and a setting of 0 permits a 4-octave pitch decrease to be produced through the breath controller. Data is entered using the DATA ENTRY slider and -1 /+1 buttons. Once this function is called, subsequent presses on the 22 button increment the data value.

23: BREATH RANGE, EG BIAS

This function permits breath pressure applied to the BC-1 breath controller to directly control the amplitude or timbre of the voice, according to settings of the corresponding voice parameters which will be covered in

CHAPTER IV.

The LFO has no effect–only your breath pressure directly affects the amplitude or timbre of the voice. The data range is from 0 to 99. At 0, EG bias is OFF. A setting of 99 permits the greatest amplitude or timbre variation to be produced through the breath controller.

Data is entered using the DATA ENTRY control and -1/+1 switches. Once this

function is called, subsequent presses on the 23 button increment the data value.

24: VOICE NAME

This function moves the LCD cursor from left to right, allowing you to name any

new voice or sound you have created before storing it. When button 24 is pressed,

the cursor flashes over the first letter in the name of the voice presently occupying a space in the lNTERNAL memory. The DATA ENTRY slider or -1/+1 buttons are used to increment or decrement the alphabetical selection (A to Z), along with

many other symbol selections, while subsequent presses on the VOICE NAME CURSOR button move the LCD cursor to the immediate right.

KEY SET

During either of the normal DX100 play modes, pressing the KEY SHIFT button instantly transposes the pitch of the entire DX100 keyboard up or down to a key programmed using this function. When KEY SHlFT is engaged, the letter “K” will appear at the left side of the LCD display until the KEY SHlFT button is pressed again, returning the keyboard to normal pitch. Pressing this button in the FUNCTION mode permits a shift to the desired pitch when the KEY SHlFT button is pressed while in either of the play modes.

The transpose range for the KEY SHIFT function is plus or minus two octaves. The

data range is from -24 to +24, with 0 corresponding to standard keyboard pitch. Each increment corresponds to a shift in pitch of one semitone-a setting of 2 would therefore raise the pitch of the entire keyboard a whole step.

lmmediately after calling the KEY SET function, data can be entered simply by pressing a key on the keyboard within a plus/minus two-octave range of C3 (middle C). The pressed key then assumes the pitch of C3, and all other keys are adjusted accordingly. Pressing the A2 key, for example, produces a setting of -3. Pressing a key higher than C5 results in a +24 setting. This method of data entry, can only

4. Tuning Functions

be used once after this function is called. Subsequent changes must be made using the DATA ENTRY slider and -1 /+1 buttons after the INTERNAL PLAY mode and

KEY SHIFT function have been entered in succession. and KEY SHIFT function have been entered in succession.

NOTE:

The KEY SET function can not be individually programmed for each voice

This section includes a single function: MASTER TUNE ADJ.

1: MASTER TUNE ADJ

This is the DX100 MASTER TUNE function. All voices are affected simultaneously. The programmable data range is from -64 to +63. When set to 0, the pitch of the A3 key is the standard 440 Hz. At the lowest setting of -64, the overall pitch of the keyboard is 100 cents (1 semitone) lower than standard pitch. At the highest setting of +63, the overall pitch of the keyboard is 100 cents higher than standard

pitch. Use the DATA ENTRY slider or -1 /+1 buttons to enter the data for this parameter. Once the MASTER TUNE function is called, subsequent presses on the 1 button

will increment the data value.

5. Memory

Management

Functions

The memory management functions include functions for loading voices from the

DX100’s 192–voice PRESET memory, for storing and the 24 INTERNAL memory voices to and from cassette tape, initializing the voice memory, recalling voice data from a special “safety” buffer memory, and turning the DX100 memory write/protect function ON and OFF.

6: RECALL EDIT

In addition to the voice edit buffer, the DX100 has a special edit recall buffer memory which maintains the last edited voice data. if, after editing or creating a new voice, you inadvertently call new data into the voice edit buffer by pressing one of the voice selector buttons before storing the edited voice data, the voice you had spent so much time editing will be erased from the edit buffer. If only one error of this type has been made, the edited data still resides in the Backup voice buffer and

can be recalled into the voice edit buffer using this function. To do this, first press the FUNCTION button, then the RECALL EDIT button. The

LCD will read “Recall Edit ?” Confirm your intention to recall the data into the voice

edit buffer by pressing the +1 button. The DX100 will again respond, this time

with “Are You Sure ?” Press the +1 button again to actually execute the recall edit function. The EDlT mode will then be automatically entered, and the voice edit

buffer will contain the data called from the Backup voice buffer. Pressing another

function button, the PLAY mode button or the EDIT mode button during the above

process will abort the recall edit function.

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