Yamaha DX11 User Manual

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TION

OF

THE YAMAHA USERS

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AUGUST

1988

8YAMAHA®

News

&

Information

Welcome
month,
mation
by
product

Special Edition

A Special Edition System
ber SER-7) has been developed to enhance the
Performance
nal DX7.

ROM
the
channels; 2) Full
allows function parameters to be memorized for
each voice; 3) Main Volume Transmit, which
allows
using
(this parameter
voice); 4) MIDI
which
and Control Changes; 5) Aftertouch
which selects whether or

transmitted (this parameter
for each voice); 6) Master Tune Display, which
shows

7)
initialization
voice or for
which allows
OMNI
channels.

The
extensive Instruction Guide
installation and operational procedures.
suggested
details, call
Parts

Backlit LCD Display For

This new LCD display for
(part number LCD-7)
per row), backlit LCD. It allows musicians to
read the information

ations with dim lighting.

The

$75.00.

to

this

on

Yamaha

a new After-

column

new

products

in

support

will

Touch

provide

and

services

of

their

feature.

readers

digital

line.

ROM

For

The

Original DX7

ROM

and MIDI capabilities of

The

new features provided

include:

DX7

the

the

can

Function

Department: 1-800-443-3548.

Backlit LCD's suggested retail price

1)

MIDI Transmit, which allows

to transmit

Function

user

to

transmit MIDI Volume data

Modulation

can

Channel

enable or disable

the

current

Initialization,

of

function parameters for a single

all32

voices; and 8) MIDI Receive,

the

DX7

mode,

Special Edition

There

or

on

retail

price

the

Yamaha Electronic Service

on

is

also a special package price

on

any

of

the

Memory,

Foot

Controller

be memorized for

Information

Program Changes

not

aftertouch data

can

be memorized

Master

to receive MIDI data in

any

is

Tune

which

of

the

ROM

comes with

that

is

$75.00.

The

Original DX7

the

original

a 2-row (16 character

the

DX7

LCD in

Each

with

infor-

being

offered

instrument

(part

num-

the

origi-

by

this

16

MIDI

which

Input

each

On/Off,

On/Off,

setting;

allows

16

MIDI

an

explains all

The

For more

DX7

situ-

available with an order of
tion

ROM

and

the

tion

is

available for a suggested retail price
$100.00.
Electronic Service
443-3548.

Replacement Control
Original DX7

If the front panel
cracked, damaged, or just plain worn out, the
Relacement Control Panel Overlay
ber
retail price
Yamaha Electronic Service
1-800-443-3548.

New

Yamaha has just released
Library for
tering sampler. These new samples were created

is

is

and compiled
& Development facility. Two complete 12-disk
sets are available,
binder/
documentation).

The
tion,"
panpipes, trumpets, trombones, french horns,
clarinets,
phones, violins, violas, basses, and more. There
are also a number
bine these sounds for useful layered sounds and

splits.
these sounds were sampled in
"space,"
them

The

contains samples of various acoustic and electric
guitars, drums, percussion, organs, basses,
thesizers, choirs, saxophones, and pianos. Each
disk
instruments, for sequencing flexibility. There
also a two-disk set of drums and percussion,
which turns
drum tone generator.

For more details, call

CX800540)

TX16W

disk-holder

first set, called the

contains

Of

special interest

thereby making it very easy to blend

properly when creating ensembles.

second set, entitled

contains

is

is

$32.00. For more details, call the

Voice Library

the

TX16W stereo digital wave

by

the Yamaha London Research

samples

soprano

of

a well-balanced collection

the

TX16W into a very capable

both

the Special

Backlit LCD; the

Parts

Department:

Panel

For

on

your original

available.

Parts

the

each

packaged

(with

"Orchestral Collec-

of

saxophones,

performances, which

is

the

the

"Rock

combina-

the

The

(part

The

suggested

Department:

London R&D

in
complete

flutes,

tenor

fact

that

same acoustic

Collection,"

Edi-

of

Yamaha

1-800-

DX7

n_!lm-

fil-

its own

oboes,

saxo-

com-

all of

syn-

of

is

is

2

AFTERTOUCH/Vol. 4 No. 8

-

-

-

-

-

-

-

-

-

August 1988

BABY

4

BONGO/BELL

5

SOUNDTRAK

6

HARPYCHO

7

/GRAND

A new

A new

A new

A new

DXIOO

DXIOO

DXIOO

DXIOO

voice created

voice created

voice created

voice created

Volume

Watkins.

Scott

by

Watkins.

Scott

by

Joe Cranford.

by

Richard Amador.

by

-

-

-

-

4, Number 8

#35

Issue

Editor

Tom Darter

Operations

Sibyl Darter

Editorial Board

Charles Feilding
Bob Frye
Rick Huyett
Mark Koenig

J.P. Lincoln

Phil Moon

Jim Smerdel

Thatcher

Steve

Photograph

Cover

Jim Hagopian

Dee Dee Cawley

TX81Z

8

"StringHorn"
Dean Keith.

TX81Z

9

"Spectrum,"

TX81Z

9

"Mallense,"

DX11 System

10

introduction to Yamaha's new component-style MIDI

An
system.

Music Computer

C1

13

two

Part
computer.

MEP4/QX1

16

Paul

part

No

the

of

Using
By

Questions

18

Answers to questions from readers.

Music Coqx)[ation USA.

Yamaha

© 1988

electronically, mechanically, photocopying, recording,

"Knock Bass,"

and

a new

a new

a detailed introduction to Yamaha's new music

of

By

MEP4
Kurtz.

J.

this publication may

otherwise, without the prior written permission

or

TXSlZ

TXSlZ

Michael A. Huisman.

a programming aid for

as

reproduced, stored in a retrieval system, or transmitted in any form

be

voice

voice

two new

Sylvia Pengilly.

by

Roland Steele.

by

Yamaha International Corporation.

of

TXSlZ

QXl.

the

voices by

any means,

by

or

AFTERTOUCH

lished monthly. Third class
postage paid at Long
Prairie, MN and additional

points of entry.
SUBSCRIPTIONS:
Address subscription
respondence to
TOUCH,
Northridge,

7938.
Send form 3579 to
Box 7938, Northridge,
91327-7938.

4 No.

Vol.

P.O.

POSTMASTER:

AFTERTOUCH

8/

CA

pub-

is

cor-

AFTER-

7938,

Box

91327-

P.O.

Free.

CA

3

DXlOO

BABY/

GRAND. A

NewDXlOO

Voice

Scott

By

Watkins.

I

TRI

WAVE

I

I

SPEED

35

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Notes:
Here

you

of
been

THE

is

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looking

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piano

owners

sound

have

all

POLY

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7

AFTERTOUCH/Vol. 4 No. 8

4

FREOUENCY

1.00

ID1R

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~

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lOOft

~

MIS

IRR

1 4

SCALNG

LEVEL

VB.OCITY

#3

0

0
0

TRI I 35

WAVE

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LFO & FUNCTIONS

0

DB..AY

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DXlOO

BONGO/
BELL.

DXlOO

By

Watkins.

0

PM>

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AMD

I

SYNC

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ANew

Voice

Scott

0

PMS

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POLY

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PITCH

WHEaAANGE

FAEOUB<CY I OETlNE

3.00

AA

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AA

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20

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0

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2

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RATE

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OUTPUT

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80

1

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ENVELOPE

3 1 2 1 5

KEYBOARD

RATE

0 0 3

OUTPUT

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99

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I

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DATA

OA

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0

ANS

OFF

MODE

POATAMENTO

0

PITCH

ANS

0

IRA

1

SCALING

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99

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0

ANS

0

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ALGORITHM

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KEY

0

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0 0

AMPL

BAEAlH

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FOOTSWITCH

PITCH

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FREQUENCY

14.13

AA 101A

28

EGBIAS

0

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~

FREQUENCY

1.41

AA

101A

25

EGBIAS

0

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~

#5

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I

SUSTAIN

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0

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EGBIAS

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DETI.INE

ENVaOPE

r·L

8

RATE

OUTPUT

I

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ID1L

8 0

RATE

OUTPUT

I

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DATA

~

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60

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~

DATA

102A

KEYBOARD

LEVa

99

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1

SCALING

LEVEL

VELOCITY

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IRA

31

SCALING

LEVEL

VELOCITY

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99

0

99

0

0

I

FEEDBACK

I

LEVa

6

Notes:
This

patch

is

great

for

sive

or

rhythmic

percus-

chord

playing.

0

5

Vol.

4 No.

8/

AITERTOUCH 5

DXlOO

SOUND
TRAK.ANew
DXlOOVoice

Joe

By

Cranford.

I

33

SPEED

I

TRI

WAVE

I

lFO

30

OEI.AY

FUNCTIONS

&

I

42

PMl

I

0

/>NO

I

OFF

SYNC

I

Notes:
Also,

quency

with

and
release

movie!

the

try

of

rates.

this

00

8.

faster

patch

on

attack

Don't

with

Op.

wait

and

a

#4,

for

fre-

POLY

I

PQ.Y/MONOI

5o

I

PITCH

WHEB.RANGE

I
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PB

4

PMS

5

RANGE

0

AMP!.

0

I>NS

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OFF

MOOE

PORTAMENTO

50

PITCH

FREQUENCY

4.00

AR

7

EGBIAS

0

~

CPO

FRBlUENCY

6.00

AR

7 31

EGBIAS

0

CPO

DIR

I

IDIR

~

I

TIME

AMP!.

lllET\.NE

ENVELOPE

31

RATE

OUTPUT

lllET\.NE

ENVELOPE

RATE

OUTPUT

I

KEY

0

I

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0

1

BREAlH

0 0

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15

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67

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50

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11

ALGORITHM

DXlOO

HARPYCHO.

ANewDXlOO
Voice
Richard

LFO

&

FUNCTfal6

TRI

WAVE

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28

SPEED

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14

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IND

ON

0

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78

Pt.ll

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Amador.

By

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8.48

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35

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FEEDBACK

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LEVEL

6

Notes:
This

patch

is

designed

for

sicians

who

played

a

complete

1)

to

If
however,

To

more

notes,

30,

off

to

need

It

is

superb

voice.

staccato,

strong

(provided

simulate

you

may

make

mellow

Ratio

or

simply

by

setting

0.

electronic

electric

want

change
of

FAEOU94CY

8.48

3

AA

29

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~

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LEVEL

AMS

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LEVEL

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ID1A ID1L ID2A IRA

31

KEYBOARD

RATE

OUTPUT

1

3

0

I

reverberated,
sound.

instrument

If
gives
effect,
harmonics

#

pluck.

notes,

harmonies
liking.
sound

tained

quency

11.

#

1

Level

a

as

the

with

an

these

not

the

Op.

turn
its

mu-

highly-

music

a

lead

patch

harp

complex

by

Op.

amplified

to

sustain

complex

be

to

your
overall
for

sus-

the

Fre-

#

1

to

Op.

Output

Vol.

4

No.

8/

AFTERTOUCH

7

TX81Z

StringHorn and
Knock Bass.

New

Two
TX81Z

By

Notes:

save

To

start
preset

Voices

Dean Keith.

Double

time,

Bass

programming

the

from

(B17).

1

0

-=~~~~

3.00

rate

rate

bias

vel

~

ON ON

86

99

RTO

RTO

255

255

10

o o

-3

+0

8.97

i

13

18
10

5

14

15

0

0
5 6 6

OFF

OFF

1 1

99

0

OFF

OFF

0

0

1

1

ON ON

78

71

RTO

RTO

255 255

27

3

+0

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1.00

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13 13

7 2

14

9
0 0

OFF

OFF

1

99

OFF

OFF

0 0
2

4

o

4

0

99

0

no.

StringHorn

3

voice name:

algorithm

feedback 6

LFO

0

13

sync

delay

sens
sens

waveform~

mod

mod

26

depth
depth

speed

amp

pitch

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

C

o

0

o

r·······

~

:u'

L.

mid

rev rate 5

pb range 4

pitch 0

amp

bias

eg

p bias

......

POLY

mode

vol

FULL

99

portamento

porta time

:········

~pitch

amp

.........

~

p!~~

s.

OFF

8
0

5

2

c

=

0

o

+0

OPERATOR~

on/off

out level

freq. type

fix range

freq. coarse 4

freq. fine

·······:·1·~·····r·····:·2·~·····r·····:·i·~·····r·····~·4::······

decay

detune

i

1.00

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

attack rate

decay

decay 2 rate

1

level

1

release rate

eg shift

SCALING/SENS

level

ams on/off

eg

sens

key

Notes:

bass

This

you

when

line

bass
layering
patches.

voice

want

to

with

it

stand

very

is

each

out.

other

useful

note

Try

bass

of a

1

0.50

rate

level

shift

rate

level

bias

vel

0

ON

ON

ON

74

RTO

255

0

+0 +0

31

0
0

1

OFF

0

71

RTO

255

31

0 0

1.00

~

31
17

0

0

OFF

1

0

OFF

0 0

1 3

99

RTO

255

0 0
0

-3

10.00

31

9 9
0
0
8 8 8 8

OFF OFF

1

0 0

OFF

0
1 1

ON

79

RTO

255

4

+3

31
16

3
7

OFF

0
0

OFF

voice name:

algorithm

feedback

no.

Knock

4
7

LFO

waveform~

mod

mod

33
depth
depth

0
7

speed

amp

pitch

FUNCTION

POLY

mode

rev rate

vol

amp

pitch

amp

FULL

0

99

0
0

50

0

pb range

........

.

~

:

........

:

portamento

porta time

o••aoo•••

~pitch

.........

~

·········

Bass

sync

delay

sens

sens

mid

pitch

eg

p

OFF

0

0
5

2

c

=

C

0
2

50

o

amp

0

~ias

+0

b1as

OPERATOR

on/off

out level

freq. type

fix range

freq. coarse

freq. fine

0.50

detune

~

·······:·1·~·-···r·····::i·~·····r·····:·i·~·····r·····~·;j:·······

ENVELOPE

attack rate

decay

decay

decay 2 rate

1

1

release rate

eg

SCALING/SENS

ams on/off

eg

sens

key

AITERTOUCH!Vol. 4 No. 8

8

TX81Z

OPERATOR

on/off

out level

freq. type

fix range

freq. coarse 2

freq.

0.

detune

98 i

·······:·1·~·····r·····:·2·~·····r·····:·:;·~·····r·····~·4·:·······

ENVELOPE

attack

decay 1 rate

decay 1 level

decay 2 rate

release rate

eg shift

SCALING/SENS

level

ams

on/off

sens eg bias

key vel

0 1

ON ON

99 99 0 0

RTO RTO

255

fine

0.

rate

rate

-3

87 i

31
15

OFF

2

1.

2 2

1 1
2

OFF

1
0 0

ON

0
0 0 0

ON

RTO

255

255

3

4 4

0 0 0

-3

+0 +0

00

~

1.

31

31

31

15

15 15

0 0

2

15

OFF OFF

0 0 0

0 0

ON

OFF OFF

0 0 0

ON

RTO

255

00

31
31

15

voice name:

algorithm no. 1

feedback o

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

Spectrum

waveform~

speed

amp mod depth o

pitch mod depth 3

FUNCTION------~.

portamento

porta time 0

;········

~pitch

.........

mode

vol

amp 0

32

POLY

FULL

99

o

r·······

~
~eg

L..

~

p!~~

0

~

sync

OFF

delay o

sens 2
sens 5

mid C = C 3

rev rate o

pb range 4

pitch 0

amp o

bias o

.....

p bias +0

Spectrum. A

NewTXSlZ

Voice By

Sylvia Pengilly.

Notes:

As the name
patch

harmonic
it

uses
(Op.
really
Hold
five
to

complete

implies,

swings

up

through

spectrum.

only
#1, andOp. #2), it
packs

the

key

seconds

Although

two

operators

quite a punch!

down

for

to

allow

the

its

long

envelope.

this

the

about

patch

OPERATOR~

on/off

out level 99 75 93 85

freq. type

fix range

freq. coarse 4

freq. fine 8 0 2 o

·······:·1·~·····T······:·2·~·····T······:·:;·~·····T······~·4·:·······

decay

detune +0

1.50 i 3.00

ENVELOPE------~

attack rate

decay 1 rate 8

1 level

decay 2 rate o

release rate 6

eg shift

SCALING/SENS

level

ams on/off

sans

eg

key vel 2

0~1

-=~==~~

ON ON ON ON

RTO RTO RTO

255 255 255

i

2.99 ~ 6.00

16

14

OFF

OFF OFF

rate

1

o

ON

bias o

10

-3

31 31
25

13

----~

ON

9

+3

20

11

0 9 17

1 9

0
0 0 0

OFF OFF

3 0 0

2 2 2

RTO

255

19

-2

31
23

13

10

OFF

1

0

voice name:

algorithm

feedback

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

no.

Mallense

5

o

waveform~

speed

amp mod depth o

pitch mod depth

30

11

FUNCTION-------..

mode

POLY

portamento

porta time o
:········

~pitch

.........

~pitch

.........

FULL

vol

99

amp 0

so

amp

.........

~

o

;-w

:

........ p b1as

0

sync

delay

sans

sans

mid C = F 2

rev rate o
pb range 2

pitch 0

amp 0

eg

~ias

0

+0

ON

4

2

5

NewTXSlZ
Voice By
Roland Steele.

Notes:
This

patch:

timbres

soft

it

takes

provisation.

produces
panying

Mallense. A

is a "mallet

as a solo

of flute, violin,

mallet

are

very

weU

Polyphonically,

very

chords.

ensemble"

voice,

all

evident,

to

jazz

smooth

the

and

and

im-

it

accom-

Vol. 4 No.

8/ AFTERTOUCH 9

DXll

An

Introduction
To Yamaha's
New
Component
Style

MIDI

System.

..

r-rHE

1

cians;

entirely new set

an
musicians to learn. To help
process, Yamaha has designed
tem, a MIDI setup
flexibility without a lot

Each part

tant.

tions
back unit.
functions

and,
The

the

KM602 mixer provides control over the sonic

output from

digital multi effector offers a multitude

and programmable effects. Finally, the KSlO

powered monitor speakers function

plifier and monitor

puts

Here

that

DXll

The
keyboard synthesizer.
tures
erator
aftertouch-equipped keyboard. Also, like most
Yamaha keyboard synthesizers,
both
wheel, plus jacks
Breath
Footswitch, and a volume pedal.

Like
8-algorithm
the
digital synthesizers
than
different waveforms, offering a greater richness

timbre

of
ator unit.

Since the
controls, all editing
much easier to access

mount
new
expanded memory options.

For novice programmers,

Quick Edit section, which allows you to make

System

REVOLUTION

MIDI

a number of exciting possibilities for

same time, however, it has created

the

at

terms and disciplines for

of

that

of

MIDI System

DXll

the

of

QX21 digital sequence recorder

The

a MIDI recorder and a MIDI

both

as

FM

DXll

The

a multi-timbral tone generator

both

as

a MIDI input keyboard for

RX120 digital rhythm programmer adds

percussion dimension to

and RX120.

DXll

the

speakers for

KM602.

the

of

a quick overview

is

combine to form the

FM Digital Synthesizer

Yamaha's first fully multi-timbral

is

DX11

combines all of the

It

the popular

of

with

Pitch

a

Controller,

TX81Z, the

the

TX81Z

and

sine waves. Both give you a choice

than

TX81Z.

parameters,

TX81Z

61-note,

a

Bend wheel

allow connection

that

a

DXll

voice architecture.

FM

are the only Yamaha

DXll

that

ever before available in a

has a full set of front panel

DX11

and

than

addition,

In

new

has opened up

musi-

MIDI education

the

Sys-

DXll

the

offers a great deal

complexity.

impor-

is

func-

play-

digital synthesizer

sequencer.

the

REXSO

of

both

stereo

DX11

addition,

In

of

4-oper-

the

on

The

preset

am-

out-

gen-

of

eight

rack-

offers

has a

system.

the

The

as

the

the various units

of

MIDI System:

DXll

digital tone

FM

velocity-sensitive,

the

a Modulation

and

Controller,

Foot

has a 4-operator,

offer waveforms other

utility features are

they are

DXll

the

editing

features,

DXll

the

of

fea-

has

FM

and

overall sound

fast adjustments in
There
Release, Volume, and Brilliance.

Release

and Release rate of all operators equally.
adjusts the
adjusts
modulators.

of

QX21

a
a

are

adjust the Attack Rate, Decay 1 Rate,

Output
Output

the

For more information

introductory article in the February 1988 issue

AfterTouch.

Digital Sequence Recorder

A digital sequence recorder

stores digital information received via

that
MIDI for later playback through
MIDI-controllable synthesizers,
ators, or drum machines. Information in the

stored

is

QX21

MIDI-transmitted events. These events

of

series
include
information),
Change data (involving controllers such
pitch bend wheel), or

using one of

tions. These are separated into four groups:

B,
described in
outlined in

instrument.

set A using the

can step through set Busing

button. Job function sets C and D are accessed

by

D buttons.

layout

can

"tracks"

ory locations for MIDI data, and operate very

differently

Since a single MIDI

mation

it

to control sixteen different instruments, each

playing different music.

TRACK

TRACK

from a first recording pass must be moved to

TRACK

Note

the

of

-Most

and

C,

holding RESET and pressing

Let's take a close look at

the QX21, because the terminology

of

be confusing. First

on

than

that

quite possible for one

is

recording

All

1.
is

2

2 if you wish to overdub. If you Record
TRACK

on

again

the

parameters:

basic

four

all carriers.

of

Level
Level and Decay 1 Rate

DXll,

the

on

an

is

one

tone

digital data, representing a

as

data (with or without velocity

On

data,

Off

Note

Program

QX21's operations are carried

instrument's many "Job" func-

the

these Job functions are

of

All

D.

QX21 owners manual, and are

the

diagram printed

the

step through Job function

can

You

JOB STEP

QX21. These are simply

the

tracks

the

"track"

encompasses all16 MIDI channels,

the

on

only live recording track.

the

is

This

storage track, and information

the

1 before moving

Change data.

on

button, and you

A/C

JOB STEP

the

theA/Cor

basic recording

the

all, there are two

of

a tape recorder.

of

contain infor-

can

"track" of the QX21

QX21

a voice.

of

Attack,

and

Attack

Volume

Brilliance

all

of

see the

instrument

or more

gener-

Controller

the

as

out

A,

top of the

BID

mem-

onto

goes

first take

the

B/

AITERTOUCH!Vol.

10

No.8

4

-------------

--------------

digital

RX120
programmer.

rhythm

the original information will be

to TRACK

erased and replaced

So,

received

TRACK 1

on
means
exchanges the data

TRACK

on
very first recording to exchange
corded material

TRACK

To
record channel (if desired), set
playback, and

will

You
ing to the material already in

After you have material

TRACK

and
functions

2,

new recording.

the

by

Record

in

recorded onto

is

can

EXCHANGE

of

This

2.

on

prior to recording

2,

mode, MIDI

TRACK

be moved to

TRACK

on

used most often after the

is

TRACK

information

1.

TRACK

B-1),

(Job

1 with the data

the

1 with

first overdub.

the

This data

by

2

which

re-

newly

blank

the

record the first overdub, pick a new MIDI

listen-

2.

TRACK

useful Job

of

2 for

into RECORD

go

TRACK

on

record

then

TRACK

both

on

2, there are a number

allow you to combine the infor-

that

TRACK

mode again.

1 while

mation in various ways.

MIDI

Remember

that

data can be stored

multiple channels

a single QX21 TRACK,

on

of

with MIDI channel integrity maintained for

be

instrument part

each. For example,
recorded via MIDI channel 1
and exchanged (Job B-1) to
second instrument part
now blank
you

TRACK

are happy with

an

on

TRACK

be recorded

can

1 via MIDI channel

takes, you

both

down (Job B-3) the new material to

be repeated to create up to

This process

separate parts

can

on

MIDI channels.

16

can

TRACK

then

2;

on

2.

track

can

TRACK

the

16

QX21 operates in much the same

The

its older brother, the QX7. For more

as

ner

the operation of the QX7, see

information
the 7 System article in

on

November 1985 issue

the

of AfterTouch.

RX120

Programmer

digital

RX120

Digital

Yamaha's new

Rhythm

grammer takes a different approach to the
ation of electronic drum and percussion parts. It

designed for musicians who want an

is

comes complete with a

sive drum machine

large repertoire
wide range

of

that

patterns, covering a

preset

of

musical styles. Instead

ing the musician to create each stylistic

1

before beginning the creation

RX120 provides a wide variety

the

ture,
preset patterns, which

can

of

be combined into a

number of programmable song structures.

electronic

all

with

As

designed for a specific purpose,

musical

the

bodies a number of carefully-chosen

possible to program

not

is

patterns

not

is

the

into

necessary to spend time

1,

the one hand, it

On

rhythm

basic

a

other

hand, it

programming basic rhythm patterns into the

If

2.

unit-this

The

plement

basic work has already been done.

RX120

comes equipped with a full com-

38 sampled percussive sounds,

of
including acoustic and electronic drum sounds,
percussion instruments, sounds effects, and two

man-

rhythm

pro-

cre-

inexpen-

requir-

of

pattern

a song

struc-

of

devices

RX120 em-

trad~offs:

the

on

unit;

Vol.

4 No.

AFTERTOUCH

8/

11

DXll

FM

The
terns in permanent
the
preset patterns features three basic variations,
plus two fill-ins,
ending, for a total of eight
preset. Given all
ally contains a total of

Since patterns are
unit's
keys; instead, it has
front-panel key for each one
patterns, plus
the

In
ory,
tions to program and store your songs. Each
song memory
can
designations.

For more information
introductory article in
After Touch.

KM602

The

designed with

mind. It features a stereo effects return and a

built-in chorus effect. It also has a stereo
phone monitor jack with a volume control

KSJO

powered

speakers.

monitor

System

percussion voices.

unit also contains

(ROM)

complete story, though: Each

one

of

these options, the unit

front panel does

other

various

pattern

addition

the

RX120

therefore

Mixer

KM602

options.

to

the

also contains

can

be up to

contain

is

a compact, 6-in, 2-out mixer

the

needs

40

preset

drum

memory. This

one

of these

break, one intro, and one

ways

to play each

320

preset patterns.

not

programmable, the

not

have

instrument

pattern

keys to call up each

40

keys. There

.of

the forty basic

preset patterns in

20

memory loca-

500

bars long, and

500

different

on

the

RX120,

the

April 1988 issue of

of

keyboard players in

pattern

see the

pat-

is

actu-

is

one

mem-

head-

that

not

Continued

is

independent

unit's highly-visible faders make it easy to

even

on

dimly-lit stages.

REX50

a compact package.
top-quality preset effects, including digital
reverb, gated reverb, echo, flange, phase-shift,
and a group of distortion effects. These
tion effects actually combine distortion with

a

other effects (such
for extraordinary sound processing versatility.

of

tions, which
of the
also MIDI compatible, which means
can select specific effects via MIDI.
panel
outputs.

KSlO

designed specifically for use in keyboard
tems; its
weight (4 pounds) make it
speaker for setups like the

Mylar/Polymar

production. Volume and Low Boost controls are
mounted
for your convenience.

of the

Boost control boosts low frequencies to a maxi-

mum of

put power.
ers, the
amplifier.
standard
nect
Two KSlO
stereo capability.

Digital

The

REX50

In addition, there are

30

features

Powered Monitor Speakers

The

KSlO

Each

KSlO

on

KSlO

lldb,

A built-in amplifier provides 6.5 watts

DXll

1/4''

the

KSlOs

from

the

main

Multi

Effector

is

a versatile multi-effects unit in

It

offers a selection

as

reverb, flange, and

60 "user memory" loca-

can

be used to store edited versions

preset effect programs.

both

stereo inputs

powered

size

(smaller

features a

the front

speaker

with a peak

Since

System

The

input connector

phone jack, making it easy to

speakers give

than

speaker for

of

the

The

is

20Hz

the

KSlOs

does

to

the

outputs

the

The

monitor

a bread box) and

an

ideal monitor

DXll

System.

4-inch,

clear

speaker enclosure

frequency response

to

20kHz.

of

100Hz.

are powered

not

need

on

of

DXll

output.

distor-

so

REX50

that

The

and

stereo

speaker

full-range,

sound

The

of
speak-

an

external

the back

the

KM602.

System

The

use,

of

on)

you

back

sys-

re-

Low

out-

is

con-

full

30

is

is

a

12

AFTERTOUCH/Vol.

4

No.8

As you
flexible music-making tool.
complete with its own manual, which provides
simple, step-by-step instructions for setting up
and
using the exciting new vistas provided
MIDI revolution.

using

can

the

see,

DXll

the

DXll

The

system

System

to

is

a very

package comes

create music

by

the

Cl

Music Computer

URING
these pages,

D

C1 music computer. For those
this second installment without knowledge
the

first segment, here

main

features:

•

It

is

80286 microprocessor.

•

It

is

•

It's processor can

of

8

•

An
is

available.

•

The
Kbytes
extended memory.

•

The
features a ten-key numeric pad.

•

There
movement keys.

•

The
named in the Yamaha MIDI standard

CS1

•

The
display with
ness

•

There
MIDI communications.

•

There

•

The

a

MIDI

OUTputs!

•

A

SMPTE

•

The
printer
interface).

•

There
modem

•

There
the

use

devices.

At

this point, I'd highly recommend

you have
and want to know more about
architecture, you
issue (July '88}:
tory article contained a lot of detailed
tion about specific features
continue:

not

OUR

PREVIOUS

we

introduced Yamaha's new

is

a summary of

a portable computer

full IBM

or

optional math-coprocessor, the 80287,

unit

keyboard

front panel also includes two sliders,

and

unit features a backlit, supertwist LCD

and

is

bank panel features two MIDI INputs,

unit

are two serial ports for connecting a

is

PC/

10

megaHertz.

is

equipped (standard) with

of

main memory

is

ASCII

are

10

function

CS2.

640 x 400

contrast controls are included.

is

a custom MIDI chip for handling

a separate timer for applications.

THRUput,

reader/generator

includes ports for connecting a

(via

a

and

mouse or

also

an

expansion

of

Toshiba-compatible expansion

read

the

first article

obtain

The

first part

that

AT compatible.

run

at

and

standard,

resolution;

and

parallel

other

a copy of last month's

of

VISIT

of

you reading

the

utilizes Intel's

switchable speeds

512 Kbytes

and

keys

and

cursor-

bright-

eight

MIDI

is

built in.

Centronics

serial device.

port

that

allows

that,

on

this subject

the

C1

's

of

this

introduc-

informa-

the

Cl.

Now, to

on

C1's

640

also

basic

Everything's
In

There?"

of

of

as

if

Computers are everywhere in music today.
There
thesizers made in this decade
marily under

Today's digital instruments are truly computers,
specifically designed
pose of creating sound.
drives, a mouse, external video monitors, and
ten-key pads are visible clues to
of

the
have tried
clues, because there are many musicians who
want to feel

ment,
however,
computers.

A sequencer's true identity
very thinly veiled, because a sequencer makes
no

sound

sound

of

So,

what price do
puters in our musical instruments? First
we

compromise the interface by which

municate with

mean

is
instrument's computer to manipulate data
exactly comfortable.

We

reduce
tial display drastically (just (or
cal computer display
a single line across
twenty lines of text horizontally}.

verely limit
tionships between values graphically.

How important are graphics? Well, we've all
heard the phrase,
words"

oriented alphabet.

We

also remove

(we're

here}

and

keys.

Improving Your Peripheral Vision
the

Cl

It

is

very difficult to see related values in the

displays

instrument products. For example, to edit the
values for operat.or envelope
for a single operator

Gone

Digital; or,

·

have probably been only one or two

the

control

and

mind

of

these instruments. Engineers

to

minimize

that

they are playing

not

a computer.

that

our

of

its own, save for

its metronome.

the

that,

many times, how

the

the

computer's ability

before, and music notation

talking

that

about

replace it with just a

are designed into digital musical

The

current

we

pay for

computer.

size

of

can

the

screen, with more

"a

picture

the

a typewriter keyboard

on

the original DX7, you

"Who

that

of

a microprocessor.

evolved for the

The

inclusion

the

the

impact

fact still remains,

instruments

as

a computer

the

hiding

By

we

the

computer's

reference, a typi-

show 80

computer's

characters

to

is

worth a thousand

is

few

and

level scaling

Is

Really

syn-

are

not

pri-

pur-

of

disk

true identity

of

these

an

instru-

are

mechanical

the

com-

of

all,

we

com­this what I
instruct the

is

not

poten-

on

than

We

also

se-

show

rela-

a

graphics-

keyboard

data entry

With

A Detailed
Introduction
To Yamaha's
New
Computer,
Part

By

Michael

A. Huisman.

is

Music

2.

Vol.

4 No.

8/

AITERTOUCH

13

Cl

Music

Computer

Continued

would have to look
ferent displays just to see what
With

the

DX7
display, those
just two; much better.
however, when
ator rarely works
different operators
gramming, and once
voice may have up to six operators,
the number of displays
just risen by a factor
Il's dual voice play mode,. there are twelve oper­ators to deal with.

The

large display used
many more times
on

a normal synthesizer LCD.
sible to display
DX7-style voice
The

programming
easier when you
sound at once.

And

what about sequencing? In a normal
dedicated hardware sequencer,
see one

chord all
Cl,

worth

all.

but
gig?"
high resolution display competes easily with the
standard computer
only slightly larger
record. Also,
keyboard cover when

Consolidate Your

thesizer? Many, if

ple setup, say
say you have a dozen
sizable investment with
plus a cassette tape
How would you like to save all
single computer disk (easily backed up) with
plenty
Sounds like a really good idea.

and ease
in a big hurry.

note

at

once? Highly unlikely.

you

can

of

data

Okay,

so

now you're probably saying, "Yeah,

who wants to lug a

Therein

How many

of

room

If

you have a large MIDI system, the savings

of

maintenance benefits really add up

at

as

many

as

thirteen dif-

was

going on.

II

series and its improved, larger

thirteen

we

all

at

see several "two-fisted" chords
at

lies

the

of

an

displays are reduced to

The

problem reappears,

consider

by

is

of

the

data

of

the

on

just

of

synthesizer voices

can

see all

a time. So you want to see a

once

the

TV

display screen acts

Data

us

have more

not

original DX7 and TX81Z. Let's

of

to

spare? Yeah,

that

a single oper-

itself.

The

interaction

the

key to

FM

voice pro-

we

consider

we
six.

on

than

parameters

one

without

TV

true beauty

-sized displays, yet it

in

size

not

in

most. Let's look at a sim-

DX7

no

way

sounds for your TX81Z.

that

a single

we

find

that

have to look

If

you use

the

Cl

can

In

fact, it

Cl

display screen.

the

parameters of a

we

any difficulty

set with

of

than

use.

than

RAM cartridges (a

to back up data)

of

that

at

the

DX7

can display

be displayed

is

pos-

of

a single

is

much

can

usually

With

them

to a

the

Cl:

a 45

RPM

as

the

Cl's

one syn-

data

on

thought

has

the

so.

of

at

Its

is

Your

Mother

In

the

were limited by

available. They had to write good songs because
the

sounds were
a performance. Everyone had pretty much the
same access to sounds, and
what you could do with
Sounds a little scary today, right? Well,
good news
those days.
has truly exploded
at our disposal, but some
more colors
one with a hard disk drive installed, a library of
20,000
have a friend who also has a
sand sounds. If you decide to trade sounds with
this friend using
need

to
through
takes just minutes, and
sounds
friend and throw out the sounds you already
have in your existing library.

So, if
our friends and colleagues (remember, listen to
your mother),
lenge

of
turns, because
comes equal, forcing you (us, really) to write
better songs.
own mother and
sand sounds
ageable,

Also,
compatible, you
gram to, you know, send form letters to all of
your favorite family members during those hec-

tic holiday and birthday times. (Don't panic,

is

just computer humor.)

this

Can

We

Most musicians own and use instruments cre-

a

ated

by

This

is
turers understand and accept this fact. Let's
you own a number
variety of manufacturers.
why

the
functions (voicing, library
sequencing) with another manufacturer's key-

Always Told

old days, musicians/ writers/ arrangers

the

not

is

that

we

The

advent

the

than

others. Using a

sounds

on

writing and performing good music re-

so

Talk?

a number

okay, and musical instrument manufac-

can

RAM
sign a year lease somewhere
the

sounds. Swapping a single disk

the

disk you have received from your

we

all share the sounds

we

all benefit. Why?

the

available sound palette be-

Of

course, even if you ignore your

don't

on

RAM

do yourself a favor and get a

since

the

can

of

of

Cl

can't

perform the same kind

You

To Share

number

the principal ingredient of

don't

palette of sounds

be stored easily. Say you

the

want to share,

cartridges are

Cl

use a word processing pro-

different manufacturers.

instruments representing a

of

instruments

the

test

the

standard palette.

have to

of

digital synthesizers

guys

still seem to have

Cl,

Cl

with a

cartridges, you might

Cl

can compare the

we

is

fully IBM

Is

there any reason

management

was

to see

the

go

back to

we

have

especially

few

thou-

to

sift

have with

The

chal-

ten

thou-

not

man-

Cl.

PC/

AT

say

of

and

14

AFTERTOUCH/Vol. 4 No. 8

boards

as

it does with Yamaha gear? No,

all. Yamaha

is

actively utilizing

none

third-party

(independent) software developers for exactly

this reason.
music
instruments you currently own and use.
should see software for the
manufacturer's instruments in
ture.
ments in
announcements and details.

The

computer,

Watch

these pages,

other

C 1

can

and should be your

regardless

keyboard music magazines for

of

whose

Cl

supporting all

the

very near

and

the

MIDI

You

fu-

advertise-

Should I Be Using A Computer For Music?

This

is

a very good question, one
musicians are asking themselves a lot lately.
introduction

more wood to
of

things:

The

•
has been carefully designed
in such a way
Its size,
MIDI hardware,

are all very useful attributes.

• Since the
musical function, it

electronic musical
eral-purpose computer. If you
function, all you need

ware

more tracks for your
tions, simply find a more powerful pro­gram. If you add a new synth
ule

librarian to include

And,
need to do
suits your needs.

Also, since
music device, it may reduce
hardware items, such
and event processors.

The
not

an
people,
badly because some guy told you
be

ignoring

of

a product such

that

fire. Let's consider a couple

Cl

is

a very powerful computer

to

be attractive

backlit

solution to your problem. If you need

to

your

if you want a word processor, all you

the

decision to use a computer for music

easy

one

and

there are many

some

high-resolution
and

SMPTE capabilities

Cl

is

not

dedicated to a specific

is

much more

instrument-it

to

sequencer

setup,

is

buy a program for the

Cl

for some. If you are

simply

the

is

a multi-function MIDI

the

as

MIDI junction boxes

of

huge

new

that

many

The

as

the

Cl

adds

that

and

packaged

to

musicians.

display,

than

an

is

a gen-

need

a new

do

is

find a

soft-

applica-

or

tone mod-

update

new instrument.

need for certain

one

you (so

that

technological

your

Cl

that

of

these

don't

feel

you might

at

advance), just relax. Talk to someone who uses

a computer in their music rig. Find

they feel about it, how they use it,
they recommend. If you

that

who fits

Dealers are
send you out the door.
can be a very valuable resource.
someone
ing, and
one who can give additional assistance if he can't.
And,
reciprocate the dealer's good work
products from him. It's
dealers that provide these extra services.

Once
options, I'm sure you will find
computer fits

The

Cl's

While
article

fully,

we

The

written, tested, and compiled routines

available from Yamaha for a small licensing
(this

fee

such

as

can

be used to manipulate

hardware

two

data
reader/generator.
driver routines for
ment, data management, and a
functions. While these routines are

interest to third-party software developers, they
are also very useful for
want

to
grams.
license these routines.

Well, guess

is

issue. For more information
these pages,
keyboard magazines, because
more coming up

Cl

music computer.

bill, ask your keyboard dealer.
not

there simply to sell you stuff and

is

already doing what you are consider-

may

be

able to hook you up with some-

if you appreciate this help, you should

you have considered all your needs

the

bill quite comfortably.

Programmer Toolbox Routines

we

don't

to

investigate the programmers toolbox

can

touch

on a few

programmers

is

used

to

offset

printing

Contact

and

of

the

Cl,

entry

sliders,

There

input/

write

their

Yamaha for details

what-we're

and

to

on

don't

know anyone

Your

keyboard salesman

He

by

always

good to support

that

have enough room in this

things.

toolbox

packaging). These routines

such

own

the

the horizon for the Yamaha

consists

the

costs

of

the

as

the

MIDI ports, the

and

are low and high level

output buffer manage-

home

hobbyists

specific MIDI pro-

out

of space for this

on

the

pages

of

there

out

how

and

what

may know if

buying new

and

the

Cl

music

of

pre-

that

are
fee

production,

music-related

the

SMPTE

ton

of

other

of

primary

who

on

how to

Cl,

look to

your favorite

is

much

Vol.

4 No. 8/AITERTOUCH

15

MEP4/QX1

HE

Using

the
MEP4AsA
Programming
Aid

For

The

QXl.

J.

By

Kurtz.

Paul

MEP4 MIDI EVENT

a wonderful piece

T

user

to

take full advantage

by

surmounting the limitations of equipment
design or
that
MEP4
sequence recorder.
of

high-end dedicated sequencers; but,
all types
limitations. I have discovered a
which I can use
the

The
done in Edit Mode, because it allows
grammer to be very precise in determining the
information
phrases containing many note messages
entered quite rapidly due to
QXl.
ing,
can

Scaling
value
aftertouch,
wheel, and
order
manual
changes at small intervals, each with slightly
different values.
found that, most
more
smooth operation

For each Control change, five pieces of
mation must be entered. If you want to have
smoothest possible operation
from smallest value to largest value, you would
have

changes
Controller
entering up to

tain

It

will sound great, but,

is

quite cumbersome and time consuming. This

is

where
enter
use
into Continuous Controller messages, thereby

ensuring smooth operation of the controllers
with far
matter
order to achieve

The

human

I have found useful involves using

as

a programming aid for the QX1 digital

of

electronic equipment, it has certain

few

limitations of

majority

However,

the

process

become quite cumbersome.

can

of

a

so

to

insure

suggests

than

several Control changes to guarantee

to

enter

(since

can

an

effect

the

Note

messages very quickly

the

MEP4

less

of

programming

MEP4 should be programmed

operation.

The

the

MEP4 to overcome

the

of

my work with

to

be

entered.

ifl

want

of

entering this information

be defined

Continuous

breath

on) over a specific time period.

that

MEP4

effort

controller,

smooth

entering

In

reality, however, I have

of

the time, it takes many

of

the controllers.

up

to

128 different

the

value

be from

640

pieces

might last only a

comes into

to convert these

than

the

desired result.

PROCESSOR

of

gear.

It

enables the

of

the MIDI system

One

application

QX1

is

the

grandfather

as

method

one

QXl.

the

QX1

the

Long

musical

can

the

design

of

to

do any type

as

a change

Controller

operation,

several

of

of

any

0

to 127). This means

of

information to

as

mentioned before, it

play.

Note

before.
the

It

MEP4

of

in

(such

modulation

the

Control

a Controller

Control

Continuous

few

seconds.

Since I

on

QX1, I can

messages

is

now just a

correctly in

as

follows:

the

with

by

of

pro-

be

the

scal-

the

as

In

QX1

infor-

the

ob-

can

is

PROCESSOR

DATA

PROGRAM: OFF

PITCH: OFF
CONTROL
CONTROL

CHANNEL

OMNI:ON

MESSAGE

is

NOTE
NOTEON:ON
POLY A.

CONTROL

PROGRAM

CH

A.

PITCH

CH

MODE

SYSTEM

DATA

0 MSG:

1 LIM:
2

CNV:

3

4

DELAY

DELAY

OUTPUT

OUT-CH
OUT-CH
OUTPORT

PROCESSORZ

DATA

PROGRAM: OFF
PITCH: OFF
CONTROL
CONTROL

CHANNEL

OMNI:ON

MESSAGE

NOTE
NOTEON:ON
POLY
CONTROL

1

PRESETTER

1:

OFF

2:

OFF

FILTER

FILTER

OFF: OFF

TOUCH:

NO.:

OFF

CHANGE:

TOUCH:

BEND: OFF

MES.:

OFF

MES.:

OFF

MODIFIER

9n.xx.yy

yy,02~D~7F

--+

Bn.07.yy

PROCESSOR

TIME:

0

ASSIGNER

ASSIGN:
OFFSET: 0

ASSIGN: 1

PRESETTER

1:

OFF

2:

OFF

FILTER

FILTER

OFF: OFF

A.

TOUCH:

NO.:

OFF

OFF

OFF

OFF

1

OFF

16

AFTERTOUCH/Vol.

4

No.8

PROGRAM
CH

A.
PITCH
CH

MODE:

CHANGE:

TOUCH:

BEND:

MES.:

OFF

OFF

OFF

OFF

SYSTEM MES.: OFF

DATA MODIFIER

0

MSG: 9n. xx.

1

LIM:

2

OFS:

3 CNV:

yy,Ol

yy,

v

-->

yy

:s:;D:s:;OI

=

-1

Bn.07.yy

4

DELAY

DELAY

OUTPUT

OUT-CH
OUT-CH
OUTPORT

As you can see,
grammed identically except for the Data Modi­fier section; and,
this
sors
used in this application.

The
look for any incoming
will limit the
to those
127; then, it will convert these messages to

Continuous Controller 07
sages, with the same values
Note-On

Processor 2 achieves the same basic result

Processor
messages are limited to those with a velocity
value of
value decreased

=

0);

Continuous Controller messages with a value

0.

The
cessor 2
allow any Note-On messages to be entered with
a velocity of
can only be turned off completely
with a value of
for

the

0.

An

as

follows:

Working with the

PROCESSOR

TIME:

0

ASSIGNER

ASSIGN: 1
OFFSET: 0

ASSIGN: 1

Processors

as

the MEP4

is

where

the

real action takes place.

3 and 4 can be turned

1 and 2 are pro-

manual states,

off,

since they are not

Data Modifier section of Processor

Note-On

Note-On

that

have a velocity value from 2 to

messages to be modified

(Main Volume)

that

messages had.

1,

but here the modified

1.

These messages

by

1,

which makes them

then

and, finally, they are converted

data modification taking place in

is

necessary, because the

0.

Since a Continuous Controller

QXI

by

0, one of the

QXI

must be modified to have a value of

Note-On messages

example of how this application

QXI

now, I want to have a

Proces-

1 will

messages; it

mes-

the original

as

Note-On

have

their

0

(1-1

into

of

Pro-

will

not

a message

is

used

is

chord
softtest over two measures of
at measure 50
change in volume to be
will
to achieve this result. Since two measures
the
to
Note-On

24). Therefore, when entering the

messages, I will make
clocks. I do
what note
will ignore this part of the

decrease in volume from loudest to

4/4

time, starting

on

Track

#3.

Since I want the

as

smooth

use

128 different messages (the maximum)

QXI

contain

use

128 messages, I will need to place

message every

3072

clocks, and since I want

24

clocks

the

not

need to be particular about

is

actually entered, since the MEP4

Note

as

possible, I

(3072/

Length

Note-On

on

my

128

=

Note-On

24

message

during the conversion.

In Edit Mode on the

enter the notes

on

starting with a velocity of

Track

QXI,

I now begin to

#1

at measure

12

7 and decreasing

50,

by

1 each time I enter a new note until I reach a
note with a velocity of
the

QXI,

it actually takes very little time to

enter

this many notes. I now

Mode

on

the

QXI,

#2

(Record Mode Job

QXI

MIDI

OUT
nected to the
MIDI

OUT

to the

QXI

on

the

MEP4

for

Processor

MIDI IN.

QXI,

I record onto Track
the data has passed from Track
to

Processors

the QXI

1 and 2 of the

on

Track

Now, entering Edit Mode

can be seen

that

ume Controller messages in measures

1.

Given the design of

enter

Record

and set it to record

Command

for Track

#1

MIDI IN, and

on

#2).

should be

the MEP4

1 should be connected

With

Record Mode ready

#2;

until all

#1

of the

MEP4

and back into

#2.

on

Track

#2,

the Track contains Main

50

Track

The

con-

QXI

Vol-

and

51. These messages should be quantized (using
Edit Mode Job Command

original
case), since there
takes
MEP4,
enter the

Note

Length

is

the

data

to leave

be processed, leave the MEP4,

QXI.

Now, all I need to do
the original Track
mand

# 14), and

Track

#2

(using Utility Job Command

#3

then

#9)

to whatever the

was

(24 clocks in this

a slight delay in the time it

the

QX

1,

enter

the

andre-

is

merge Track

(using Utility Job

#2

with

Com-

delete Track # 1 and

#15),

since these tracks are no longer needed. Track

#3

now contains

original chord, plus 128 Controller 07

the

Note

messages

of

the

(Main
Volume) messages, starting with a value of 127
and decreasing to
will

now

make

0.

When

a very

played, the chord

nice-sounding

de-

crescendo over two measures.

it

-----------

Vol.

4 No.

8/

AITERTOUCH

·-.

---------------

17

•

est1ons

Answers To
Questions From
Readers.

DX7

II

FD

digital

synthesizer.

FM

Using

(YRM501)
function
not
implement a
Yes:
proper MIDI
MIDI device to transpose, and it will.

Can
and
Yes
other
ers and put
is
ments
(such
or
ory

ferent brands
kinds of information, MIDI does
possible to take a voice from one kind of syn­thesizer and recreate it
kind
gramming, synthesizers speak a number of dif­ferent languages,
with each other.

same basic synthesizer
same approach to voice programming,
can
product lines developed
can
ever, there
ferent synthesizer voice architecture
patches with each other.

I
it. However, since
qualify as a Yamaha "professional" product, I
find
MIDI

the

FM

Composer

for

the

CX5M,

works only for

for

the

MIDI

sounds. Is

MIDI

transpose function?

use

the

sm

(send MIDI) function. Send the

command

you take voices from

put

them

into memory

and no.

not

the

on

Even though MIDI makes it possible for dif-

The

share patches. In the same

also share patches with

own

Yes,

it

Yamaha 6-operator

them

into memory

possible to take voices created

using

other

as,

for instance,

Roland D-50) and enter

a DX7.

of

instruments to share certain

of

synthesizer.

Yamaha 6-operator units all share the

is

no

way

a Yamaha

it

very

capabilities.

CPV-5

hard

to

is

possible to take voices from

synthesizer

the

on

a completely different

On

the level

which

components

by

that

Clavinova, and enjoy

the

unit

to

get

One

recent

II

Program

the

Transpose

the

internal

there

tell

other

on

a DX7?

FM

digital synthesiz­on

Oberheim Matrix-6

them

are

not

other

one

synthesizers with dif-

doesn't

information

example: I was

sounds,

a way to

the

receiving

synthesizers

a DX7. No, it

on

instru-

technologies

into mem-

not

make it

of

voice pro-

compatible

and

so

they

way,

expanded

manufacturers

another. How-

can

share

seem to

on

the

its

intrigued by
the

TXIP
tion of
with

my Clavinova.

Yes,

we
Clavinova
come) the standard basic MIDI functions. Its
back panel includes
OUT
tion

on

information only

In

other
with just about any MIDI-equipped tone gener­ator currently
a tone generator using your Clavinova, simply
connect
tone generator's MIDI IN, and make sure
the

tone generator

on

MIDI channel

from

both
nect both of them to your sound reinforcement
system.

Does Yamaha distribute
banks for
tain

them?
There are number of
information, contact your nearest authorized
Yamaha DMI (Digital Musical Instruments)
dealer. They can provide you with details
prices and contents of the

I

work

controller) and a

sign

the

parameters

assigned to control?
Yes,

it

CS2 to specific MIDI IN Control Numbers (via

the Control Number display accessed using
OX's MIDI 1

same MIDI Control Numbers to CS1 and CS2
on

the

the

recent

AfterTouch

(March

whether

think

is

jacks.

all

16

words, your Clavinova will work

the

units, you will of course have to con-

the

with a KX88

KX88's

that

is

possible. First, assign the OX's CS1 and

KX88 (following

'88),

but

found

such

a module could be used

Can

you help

we

can

help you.

equipped

The

MIDI channels, but sends MIDI

on

the market. In order to control

Clavinova's MIDI

DX7

the

button-#31).

with

both

MIDI IN and MIDI

unit receives MIDI informa-

on

MIDI chanel

is

set to receive information

1.

II

DX7

CSI

DX7

To hear

FD?

disks

the

any

If

so, how can I ob-

available.

disks.

(as a master

II.

Is

and

CS2

II's

CSI

Then,

the

procedures outlined

article ·on

no

me?

The

(what

have be-

1.

OUT

sound output

disks

with

For

it

possible

to

control

and

assign those

indica-

CPV-5

to

patch

on

MIDI

to

CS2

the

that

more

the

as­the
are

the

18 AITERTOUCH/Vol. 4

No.8

in the KX88 owners manual).

I

am

concerned
MTlX.
but
bad for the unit?
board,
ning

The

there
MTlX

I own a DX21 and a Roland
control
and use
DX

time. Also,
JX, the
of the time.

TET
Lfor

I use it primarily for basic mix and

the

drive motor is

or

is
when
Yamaha Service Department reports

is

no reason to believe

will cause problems.

the

the

goes into portamento only some

DX

US

all

looking for many different kinds

Have you created

other

members
for the CX5M
your patches, programs,
credit plus $25.00

Have you discovered a trick
Yamaha After Touch products?
hot

tip, you'll receive full credit plus a check for

about

the

always

Do

I need

the

recorder designed to be

not

in

use?

that

DX21

with

the

portamento mode

when

I

shut

portamento off

portamento does

What

is

the

problem?

HEAR

users

FROM YOU!

of

Yamaha professional musical products,

an

of

the

Yamaha FM digital synthesizer family? How about a program

II

music computer

for each item used.

longevity

running. Is this

to

find a separate

your use of the

JX-SP.

JX-SP

on

not

shut

incredible

and

of

my

EQ,

run-

that

When

via

MIDI

the

JX,

the

of

the

on

the

off most

We

want After Touch to be

of

materiaL

patch

or

a great

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

that

Send

it in to our

Have you developed a new approach to
ments,
paper and send it to

or

have you discovered

us.

Don't

an

important secret regarding their use?

worry about your writing

tion down. If we decide to use your material
write it up,
article always covers
double-spaced pages

By

patches, or manuscripts.

the

put

your name

way,

we

on

at

least

of

typescript.)

cannot

We

it,

and

send you a check for

one

magazine

assume liability for the safe return

will only be able to return unused material if you

MIDI

portamento
Controllers, and (therefore) two MIDI
ler numbers: the portamento switch (Controller
#65)

and portamento time (Controller

the

portamento

tamento time

tamento effect.

One

of

the components of the DX21
mance memory
switch:
respond
mation switch must be

I

to receive MIDI Controller information. Also,
remember

switch
mance memory: for
must be programmed
mance memory.

for

increases

if

only

is

the

DX7 II, the

pattern

the

"Hot

this switch

to note data.

that

programmed

or

musical flexibility

Tips"

involves

switch

is

set to

is

a MIDI channel information

the MIDI channel information

an
so

is

0,

there will be nor por-

is

off,

the

The

on

if you want

as

part
consistent
as

desired for

information network

please join in. We're

DXIOO,

voice for

the

column. If we use your

$25.00.

one

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$100.00.

page-which

translates to

get

(An

of

close a self-addressed, stamped envelope with your submission.

If you just have a question regarding
products, send it along too,
After Touch. (We regret

but

we

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Finally, if you just want to get something off your chest, or if you'd like to
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your publication. Let

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the

use

of

Control-

#5).

ON

but

the

's

Perfor-

instrument will

channel

of

a DX21

operation, it

or

RX5?

of

the

each

any

Send

one

infor-

DX21

Perfor-

Perfor-

of

of

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Put

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