Yamaha DX200 User Manual

DX200 Editor

Manual

Important Notices

The DX200 Editor is a comprehensive editing software program specially designed for
the DX200 Desktop Control Synthesizer - providing an easy, intuitive way to edit and
create your own original DX200 patterns for the DX200 Desktop Control Synthesizer.

IMPORTANT:

• Do not use any of the panel controls on an external synthesizer while editing the Patterns
with the DX200 Editor, since this may inadvertently change the settings of the DX200.

Copyright Notices

• The software and this owner's manual are the exclusive copyrights of Yamaha Corporation.

• Copying of the software or reproduction of this manual in whole or in part by any means is
expressly forbidden without the written consent of the manufacturer.

• Copying of the commercially available music sequence data and/or digital audio files is
strictly prohibited except for your personal use.

Trade Marks and Registered Trade Marks

• OMS® and are trademarks of Opcode Systems, Inc.

• The company names and product names in this Owner's Manual are the trademarks or regis­tered trademarks of their respective companies.

Notices

• Yamaha makes no representations or warranties with regard to the use of the software and
documentation and cannot be held responsible for the results of the use of this manual and
the software.

• The windows and illustrations in this manual are for instructional purposes only, and may be
slightly different from the ones shown on your software.

Copyright (c) 2001 Yamaha Corporation. All rights reserved.
January, 2001
YAMAHA CORPORATION

About the DX200 Editor

The DX200 Editor is a full-featured editing software program for the DX200 Desktop
Control Synthesizer, providing an exceptionally simple and convenient way to edit and
control all of the parameters on the DX200 Desktop Control Synthesizer --- even provid­ing the same control format as used on the original DX7.

DX200 Editor lets you store your edits as an original pattern and save up to 64 patterns
directly to the DX200. Naturally, you can save additional sets of 128 patterns to floppy
disks or your hard disk drive as DX200 Files. The DX200 Editor also features a conve­nient, easy-to-use DX Librarian that lets you organize your patterns.

Generally, editing on the DX200 Editor is done from the Main window (the window that
automatically appears when you call up the Editor). However, you can also use a sec­ond window (the DX7 Edit Panel) to edit the Patterns. This lets you perform all edits just
as if you were using an actual DX7 synthesizer.

For general instructions and explanations on how to use the DX200 Editor, see Setting

and Changing Parameter Values and Toolbar. For information on specific, commonly

used operations, see Operations.

2

Operations

Selecting a DX200 Pattern

Selecting a DX200 pattern is the important first step in editing. Once you've edited a
pattern you can store it to the DX200 or save it to a flopp y disk/hard disk drive with other
patterns as a DX200 File.

• Make sure to store your edits to a pattern before selecting another pattern. If you've edited
the DX200 Editor parameters and then select a different pattern, all your edited parameters
will be replaced by those of the newly selected pattern.

z

Select "DX200 Pattern List."

Click "Edit" on the menu bar, then select "DX200 Pattern List."

You can also quickly call up this dialog box by clicking any inactive part of the win­dow pressing control key and clicking "DX200 Pattern List" in the pop-up menu. Or,
you can click "Edit" on the menu bar, then select "DX200 Pattern List."

x

Select the desired pattern.

Click on the desired pattern, then close the dialog box (click the close button) to
return to the DX200 Editor window.

• You can play the currently selected pattern by clic king on the keys of the keyboard in the DX7

Simulator window.

3

Opening the V arious Windows

DX200 Editor Main Window

Operations /

Opening the Various Windows

This window provides a comprehensive, at-a-glance display of all DX200 pattern
parameters, and allows you to easily change any desired parameter. (For more

information, see Editing a DX Pattern.)

Alternately, click "Edit" on the menu bar, then select "DX7 Simulator." You can also
call it up from the toolbar.

4

Operations /

• About the [<= DETAIL] button

Clicking this button lets you toggle between the full editing display (with all parameters
shown) and a smaller editing display (with a limited parameter set). The smaller display
leaves out many of the more detailed parameters, making the editing display less clut-

tered and easier to handle.

Opening the Various Windows

Free EG Window

This window contains the versatile Free EG function, which gives you f our tracks for
recording complex real-time parameter changes. To call up the window, click the
"FREE EG" button at the top of the Main window.

5

Step Sequencer Window

Operations /

Opening the Various Windows

This window contains the convenient Step Sequencer function, which allows you to
quickly and easily create sophisticated looped Sequences. To call up the window,
click the "STEP SEQ." button at the top of the Main window.

DX7 Simulator Panel Window

Select this window by clicking "Edit" on the menu bar, then selecting "DX7 Simula­tor." You can also call it up from the toolbar.
No editing functions are directly available from the DX7 Simulator window. How­ever, from this window you can:

• Audition the currently selected pattern by clicking on the keys of the keyboard.

• Open a DX200 File by clicking on the cartridge or cartridge slot.

• Open the Edit Panel windows (below).

6

Operations /

Opening the Various Windows

DX7 Edit Panel Window

This window provides a "virtual" DX7 panel, and lets you edit the patterns much as
you would if you were oper ating the panel controls of an actual DX7 k eyboard. (For
more information, DX7 Edit Panel Window.)

To call up this window, click anywhere on the panel control area of the DX7 Simula­tor Panel window.

7

Operations /

Selecting a Mode – Play, Edit or Function

In the Edit Panel window, you can select from among the three main modes: Play, Edit
and Function.

• Play Mode

In the play mode, you can:

• Select one of the 128 patterns.

• Play the selected pattern (from the DX200's keyboard or from the keys in the DX7
Simulator window).

To select the Play mode:

Click one of the [MEMORY SELECT] buttons: [1-32] or [33-64].

•Edit Mode

In the Edit mode, you can:

• Edit the pattern, using the Edit parameters (printed in lavender above each but­ton).

Opening the Various Windows

To select the Edit mode:

Click the [EDIT] button.

• Function Mode

In the Function mode, you can:

• Edit the Function (global) parameters of the pattern (printed in yellow below the
appropriate buttons). These include other miscellaneous Function parameters as
well, such as Edit Recall and Pattern Initialize.

To select the Function mode:

Click the [FUNCTION] button.

8

Editing a DX200 Pattern

z

Select the desired pattern.

Refer to Selecting a DX200 Pattern.

x

Edit the pattern parameters as desired.

Operations /

Editing a DX200 Pattern

c

Store the edited settings as a pattern, then save it with other

edited patterns as a DX200 File.

Use the Store operation to store your newly edited pattern. Then use the Save
operation to save that edited pattern with other User Patterns to a DX200 File.

Both the Store and Save operations are necessary to ensure that your pattern is
saved properly. Failing to do so would be roughly similar to writing a letter but not
putting it in an envelope. Make sure to execute both operations when you wish to
keep a pattern you've edited.

9

Operations /

Compare

Compare

This function lets you switch back and forth between the current edited condition of the
pattern and its original un-edited condition. This allows you to easily hear and compare
the changes you make to a pattern with its original condition.

z

Edit the pattern as desired.

x

Select "DX200 Compare."

Click "Edit" on the menu bar, then select "DX200 Compare."
You can also quickly use Compare by clicking any inactive part of the window

pressing control key and clicking "DX Compare" in the pop-up menu.

In the Compare condition, a check appears beside "DX200 Compare" in the menu.
All parameter values are ghosted (in gray) and cannot be edited. Play the con­nected MIDI keyboard (or click the keys in the DX7 Simulator window) to hear the
original un-edited pattern.

c

Select "DX200 Compare" again to return to the edited condition.

Do this as often as you wish to go back and forth between the two conditions.

• "DX200 Compare" is ghosted (gray) and cannot be selected if the pattern has not yet been
edited.

• The Compare function can be used with the parameter in the Main Window and with Tempo
and Swing in the Step Sequencer window.

10

Operations /

Initializing a DX200 Pattern to the Default Settings

Initializing a DX200 Pattern to the Default Settings

This function allows you to reset all the parameters of the selected pattern to the factory

"initial pattern default values". This gives you a "blank slate" from which you can create

your own pattern.
Keep in mind that this operation automatically erases all the settings of the selected pat-

tern. If you wish to save the pattern for future recall, use the Store and Save functions.

z

Select "DX200 Pattern List."

Click "Edit" on the menu bar, then select "DX200 Pattern List."
You can also quickly call up this dialog box by clicking any inactive part of the win-

dow pressing control key and clicking "DX200 Pattern List" in the pop-up menu.

x

Select the desired pattern to be initialized.

Click on the desired pattern.

c

Initialize the pattern.

Click the "Pattern Init." button in the dialog box. The specified pattern is initialized
and automatically selected for editing.

To return to the DX200 Editor window, close the dialog box (click the close button).

11

Operations /

Storing a DX200 Pattern

Storing a DX200 Pattern

This operation lets you store your pattern edits as a User pattern.

• To ensure that your new pattern is available for future recall, make sure to also save the pat­tern (with other patterns) to a DX200 File.

z

Select "DX200 Store."

Click "Edit" on the menu bar, then select "DX200 Store."
You can also quickly call up this dialog box by clicking any inactive part of the win-

dow pressing control key and clicking "DX200 Store" in the pop-up menu.

x

Select the destination pattern.

Click on the desired pattern in the dialog box.

c

Store the pattern.

Click the "Store" button in the dialog bo x. The specified pattern is replaced with the
newly edited pattern.

• This operation deletes the original pattern data at the destination.

12

Operations /

Saving Patterns to a DX200 File

Saving Patterns to a DX200 File

Once you've edited a DX200 pattern to your satisf action you can sa v e it to a DX200 File .
Each DX200 File can contain up to 64 patterns, and these can be called up at any time
with the Open command. (Also see Calling Up Patterns from a DX200 File.)

Additional DX200 Files of 128 patterns each can be saved to floppy disks or your hard
disk drive as DX200 Files --- giving you unlimited storage for your original patterns. For
organizing the patterns in the DX200 Files, use the convenient DX200 Librarian func­tion.

z

Select "Save DX200 File."

Click "File" on the menu bar, then select "Save DX200 File."

• "Save DX200 File" can also be selected from the toolbar.

x

Select the desired folder, type in the file name, and click "Save."

13

Operations /

Calling Up Patterns from a DX200 File (Open)

Calling Up Patterns from a DX200 File (Open)

Once you've saved a set of User patterns to one or more DX200 Files (see Saving Pat-

terns), you can instantly call up the desired patterns with this command.

To create a new DX200 File, use the New DX200 File command.

z

Select "Open DX200 File."

Click "File" on the menu bar, then select "Open DX200 File."

x

Select the desired folder and file name, then click "Open."

• "Open DX200 File" can also be selected by clicking on the cartridge slot in the DX7 Simulator
window. (When a DX200 File has been opened, a cartridge is shown in the slot.)

14

Operations /

Receiving Pattern/Voice Data from a DX200/DX7 Series Instrument

Receiving Pattern/Voice Data from a DX200/DX7 Series Instrument

This operation lets you transfer pattern data from an instrument of the DX7 Ser ies. A
single pattern or 128 patterns can be received. (See Receive DX200 Bulk Dump Data).

z

Select "Receive DX200 Bulk Dump Data" from the Setup menu.

x

Select the desired Receive Method ("1 Voice/Pattern" or "All Pat­terns/Voices") and Machine (DX200 or DX7 Series).

c

Click "Start." The "Start" button changes to "Stop" and the
operation is set to standby (waiting for incoming data).

v

Transmit the data from the DX200 or other instrument. (See the
owner's manual of the instrument for instructions.)

• Make sure that the MIDI connections and settings are appropriate. (This includes the "DX200
Editor Setup.")

b

As soon as the DX200 Editor starts receiving data, the progress
bar moves, indicating the amount of data received. When the
bar is completely filled, the operation is complete.
To cancel the operation, click "Stop."

n

Click "OK" to exit the operation.

15

Parameters

Virtually all of the DX200 Editor parameters for editing the DX200 patterns are con­tained in the Main control panel window. From this main panel, you can also jump to
other windows for controlling additional DX200 functions (such as the Free EG, Step

Sequencer, and DX7 Simulator).

DX200 Editor Main Window

This is the primary editing window for the DX200 Editor. Virtually all editing functions
and operations are done from this window.

To change any of the parameter values, click on the desired parameter so it is high­lighted, then type in the value from the keyboard and press [ENTER].

You can also use the mouse to change the values or settings. Click on the desired
parameter, move the cursor to the top or bottom of the box (to select the "up" arrow or
the "down" arrow, respectively), then click the mouse button to increase or decrease the
value. (Clicking with the "up" arrow increases the value; clicking with the "down" arrow
decreases it.)

Alternately, drag the mouse to continuously change values. Click on the parameter and
drag horizontally or vertically as desired. Dragging to the left or down decreases the
value, and dragging right or up increases it. The parameter value changes accordingly.
Any parameter changes are output as MIDI data, to the DX200.

16

Parameters /

DX200 Editor Main Window

• About the EG combo box and EG window

Also contained in the Main window is a special EG window, from which you can use the
mouse to "draw" envelopes for each Operator's EG, as well as the Pitch EG and Filter
EG.

To use this, click on the down arrow above the window, and select the EG you wish to
edit. Then, click on one of the box "joints" and drag it to change the EG settings. The
current relevant EG values appear at the cursor as you drag it.

• About the DX200 Copy Tool

This convenient function lets you cop y the various settings (including EG) from one Oper­ator to another Operator. Click on any inactive part of the panel in the Main window
pressing control key and select "DX Copy Tool" from the pop-up menu. Then, from the
Copy Tool window, click and drag the Operator or EG you want to copy to the destination
Operator or EG. (For more information, see [DX200 Copy Tool] dialog.)

• The Pitch EG is displayed in the DX200 Copy Tool window only for viewing the EG shape. It
cannot be copied to an Operator, nor can an Operator EG be copied to it.

• About the [<= DETAIL] button

Clicking this button lets you toggle between the full editing display (with all parameters
shown) and a smaller editing display (with a limited parameter set). The smaller display
leaves out many of the more detailed parameters, making the editing display less clut­tered and easier to handle.

17

Parameters /

DX200 Editor Main Window

• T oolbar

The toolbar gives you quick access to some important functions and controls. These
buttons let you easily execute the desired function without having to select a menu.

Open DX200 Editor File

This is the same as the corresponding command in the File menu. It lets you select and
open an existing DX200 File. (See File Menus, Open DX200 File.)

Save DX200 Editor File

This is the same as the corresponding command in the File menu. It lets you save the
current set of User patterns as a DX200 Editor File for future recall. (See File Menus,

Save DX200 File.)

DX200 Editor Setup

This is the same as the corresponding command in the Setup menu. It lets you make
various important settings for configuring the DX200 Editor with the DX200. (See Setup
Menus, DX200 Editor Setup.)

Transmit DX200 Bulk Dump Data

This is the same as the corresponding command in the Setup menu. It lets you transmit
the current DX200 Editor settings as MIDI data to the DX200. (See Setup Menus, Trans-

mit DX200 Bulk Dump Data.)

Receive DX200 Bulk Dump Data

This is the same as the corresponding command in the Setup menu. It lets you receive
the current DX200 Editor settings as MIDI data from a DX7, DX7II or other DX-compati­ble instrument. (See Setup Menus, Receive DX200 Bulk Dump Data. Also see Receiv-

ing Pattern/Voice Data from a DX200/DX7 Series Instrument)

Open DX7 Simulator

This is the same as the corresponding command in the Edit menu. It lets you open the
DX7 Simulator. (See Edit Menus, Open DX7 Simulator.)

18

Parameters /

■

Setting and Changing Parameter Values ...................

• The conventions described here pertain primarily to the DX200 Editor Main Window. For
information on the controls in the Edit Panel window, see Edit Panel Window / Play and Edit

Modes.

• Combo boxes

For combo boxes (such as the EG select box in Main, or Track Parameter in Free EG),
click the down arrow to expand the box, then highlight the desired setting.

DX200 Editor Main Window

• Parameter sliders

For parameter sliders, click and hold the slider, then drag as desired. Alternately, click
and hold any position along the slider path; the slider automatically snaps to the new
position.

19

Parameters /

DX200 Editor Main Window

• Incrementing/decrementing values

Values and settings in the Main windo w can be changed b y clic king on the v alue bo x, and
then dragging the cursor up or down (or right/left), in the direction of the desired change.
To increment or decrement a value, click on the desired parameter, move the cursor to
the top or bottom of the box (to select the "up" arrow or the "down" arrow, respectively),
then click the mouse button to increase or decrease the value. (Clicking with the "up"
arrow increases the value; clicking with the "down" arrow decreases it.) The cursor keys
on the keyboard can be used to move around the parameter grid of the DX200 Editor
window.

• Typing values directly

Most parameters in the Main Window can also be set by typing the value directly in the
value box. Click on the box, then type the desired value and press [enter]. Once a value
box has been selected, you can also use the mouse to change the value (as described
above).

• The [enter] key have no effect in the Pattern Name parameter.

20

Parameters /

■

DX200 Parameters .......................................................

DX200 Editor Main Window

Pattern Name

Settings: 1 ... 0, A ... Z, -, ., space, (ASCII 20H ... 7FH)

This determines the name of the pattern being edited. Up to ten characters can be
entered. (In the DX200 Editor window, both uppercase and lowercase letters can be
entered.)

1) Click on the PATTERN NAME box.

2) At the cursor position, type the desired name. Up to ten characters
(uppercase or lowercase) can be entered.

3) Store the pattern, if desired.

FM Level

Range: 0 ... 127

This determines the level of FM signal.

Noise Parameter

• Noise level
Range: 0 ... 127

This determines the level of the Noise. The higher the value, the greater the Noise Level.
When not using Noise, set the value to "0."

• Noise OSC Type
Settings: White, Pink, UpSlow, UpMid, UpHigh, DownSlow, DownMid,
DownHigh, PitchScale1...4, Variation1...4

This is used to select the type of Noise signal.
For detail of types, refer to the DX200 Editor Owner's Manual.

21

Algorithm

Range: 1 ... 32

This determines the algorithm used for the pattern. The algorithm determines how the
operators are configured for the pattern. The FM synthesis system of the DX200 has 32
of these configurations, called "algorithms." (Refer to the Algorithm List.)

This section displays the signal path, showing which operators are "carriers" and which
are "modulators." The carriers are in the bottom row of the algorithm and are the actual
sound producers for the pattern. Modulators are stacked above the carriers and alter the
timbre or tonal quality of the carriers. A modulator stacked on top of another modulator
alters the timbre even further. Simply put, the carr iers produce the sound, and the mod­ulators change the character of the sound.

Parameters /

DX200 Editor Main Window

• Changing the algorithm may result in drastic changes to the pattern, and could pr oduce une x­pectedly loud and noisy sounds.

Feedback

Range: 0 ... 7

This determines the level of feedback. Each algorithm provides a feedback operator, in
which the output signal of the operator is looped back to its input. As its name implies,
Feedback produces harsh noise-like harmonics in the pattern. The degree of harshness
or amount of noise depends not only on this setting, but also on the level of the feedback
operator and its position in the algorithm.

Free EG button

Open [Free EG] window.

Step Sequencer button

Open [Step Sequencer] window.

Filter Parameters

The Filter parameters are a special addition to the DX200, not found on the original DX­series synthesizers. The Filter lets you control the tone in various ways, using the same
filter types, functions and parameters as found on analog synthesizers.

The DX200 also features a Filter EG, letting you control the filter operation over time.
(See Filter EG Parameters.)

22

Parameters / DX200 Editor Main Window

• Filter Type

Determines the filter type used for the VCF section. The filter passes only a specified
range of frequencies while cutting off the rest. There are several completely different
types, as well as a variety of filter slopes (see below).

Settings: LPF24 (Low Pass Filter 24dB/octave), LPF18 (LPF 18dB/octave), LPF12

(LPF 12dB/octave), BPF (Band Pass Filter), HPF12 (High Pass Filter
12dB/octave), BEF (Band Eliminate Filter)

LPF24, LPF18, LPF12

The Low Pass Filter passes only those frequencies below the specified cutoff point.
Cutoff curves of 24dB/octave, 18dB/octave and 12dB/octave can be selected.

BPF

The Band Pass Filter passes only those frequencies in the specified range, with a cut­off curve of 12dB/octave.

HPF12

The High Pass Filter passes only those frequencies above the specified cutoff point,
with a cutoff curve of 12dB/octave.

23

Parameters /

DX200 Editor Main Window

BEF

The Band Eliminate Filter passes only those frequencies outside the specified fre­quency range. The Resonance setting (below) determines the eliminate range.

• Filter Cutoff
Range: 0 ... 127

Determines the frequency at which the Filter effect starts. The higher the value, the
higher the frequency.

• Filter Resonance (res)
Range: -16 ... 100

Determines the emphasis of the resonant peak of the Filter (at the Cutoff frequency).

24

Parameters / DX200 Editor Main Window

• Filter Cutoff Scailing
Range: -64 ... 63

This determines how the Filter Cutoff Frequency follows the keyboard. For a setting of
"0," the particular notes played on the keyboard have no effect on the Filter.

• Filter Input Gain
Range: -12 ... 12 (dB)

Determines the level of the signal sent to the Filter. If the Filter doesn't seem to have
much effect on the sound, try increasing this parameter. If the Filter effect seems too
boomy, loud or harsh, try decreasing this.

Distortion Parameters

Distortion lets you apply a wide variety of distortion and overdrive effects to the
sound, and simulate the effect of various guitar amplifiers and speakers.

• Distortion Switch
Range: On, Off

This turns the Distortion effect on or off.

• Distortion Drive
Range: 0 ... 100

This determines the amount of distortion "dr ive" for the guitar amplifier simulation effect
block. The higher the value, the greater the degree of distortion in the sound.

• Distortion Dry/Wet
Range: D63>W ... D=W ... D<W63

This determines the level balance of the unprocessed (dry) original sound of the pattern,
and the distortion processed (wet) sound. A setting of D=W results in an equal balance
of dry and wet sound. (In the display, "D" indicates "dry," and "W" indicates "wet.")

• Distortion Guitar Amp. Type
Settings: Off, Stack, Combo, Tube

This determines the type of guitar amplifier simulated by the Distortion effect. Each pro­duces a slightly different distortion sound, recreating the characteristics of an actual
amplifier. "Stack" simulates a separate amp and speaker setup, "Combo" simulates a
single cabinet transistor amp and speaker, and "Tube" simulates a single cabinet tube
amp and speaker. When this is set to "Off," some of the guitar amplifier simulation effect
is cancelled (however, Distortion Drive and LPF are still applied to the sound).

• Distortion Low Pass Filter
Range: 1.0 kHz ... 18.0 kHz, Thru

This determines the frequency of the low pass filter that is applied to the distortion sound.
Depending on the Guitar Amp. Type setting, this parameter can be used to "fatten" the
sound or make it piercing and brittle. When this is set to "Thru," no filtering is applied to
the distortion sound.

• Distortion Output Level
Range: 0 ... 100

This determines the output volume of the distortion sound. Keep in mind that this may
not have any effect unless the Distortion Dry/Wet is set to an appropriate value.

25

Parameters /

DX200 Editor Main Window

Filter EG Parameters

The Filter EG parameters determine how the timbre of the pattern changes over
time. This lets you produce subtle or pronounced filter effects (such as wah, for
example).

You can also conveniently edit the Filter EG parameters from the EG window. To
make changes to this, click on the down arrow above the EG window, and select
the Filter EG. Then, click on one of the box "joints" and drag it to change the EG
settings. The current relevant Filter EG values appear at the cursor as you drag it.

• Filter EG Attack Time
Range: 0 ... 127

This determines the attack time of the Filter EG, which is the time it takes for the signal to
reach its maximum cutoff frequency level after a key is pressed (key on). Higher values
produce a longer Attack time. (See illustration below.)

• Filter EG Decay Time
Range: 0 ... 127

This determines the decay time of the Filter EG, which is the time it takes for the signal to
reach its sustain level from the maximum le v el while a k e y is held. Higher values produce
a longer Decay time. (See illustration below.)

• Filter EG Sustain Level
Range: 0 ... 127

This determines the level of sustain of the Filter EG, which is the fixed level of the cutoff
frequency maintained as long as the key is held. Higher values increase the Sustain
level. (See illustration below.)

• Filter EG Release Time
Range: 0 ... 127

This determines the release time of the Filter EG, which is the time it takes for the filter to
reach its initial level after a key is released (key off). Higher values increase the Release
time. (See illustration below.)

26

Parameters / DX200 Editor Main Window

• Filter EG Depth
Range: -64 ... 0 ... +63

This determines the range of movement of the cutoff frequency. This must be set to a
proper level for the Filter EG parameters (Attack, Decay, Sustain, and Release) to have
an effect on the sound. Positive values increase the Filter EG Depth. Negative values
reverse the shape of the envelope.

• Filter EG Velocity Sense
Range: -64 ... 0 ... +63

This determines how the Filter responds to keyboard velocity. The higher the value (pos­itive), the more sensitive the Filter is to your keyboard playing strength. Negative values
produce the opposite effect; in other words, the Filter effect gets stronger the lighter you
play.

2-Band EQ Parameters

This flexible 2-Band EQ gives you comprehensive control ov er the sound, with both
Gain and Frequency parameters --- plus a Resonance control on the Mid Fre­quency band.

• 2-Band EQ Low Gain
Range: -12 ... 0 ... +12 (dB)

This determines the gain or level of the low frequency band. Positive values boost the
level of the frequency and negative values attenuate it.

• 2-Band EQ Low Frequency
Range: 32Hz ... 2.0kHz

This determines the specific frequency that is controlled by the Low Gain parameter
(above).

• 2-Band EQ Mid Gain
Range: -12 ... 0 ... +12 (dB)

This determines the gain or level of the mid frequency band. Positive values boost the
level of the frequency and negative values attenuate it.

• 2-Band EQ Mid Frequency
Range: 100Hz ... 10.0kHz

This determines the specific frequency that is controlled by the Mid Gain parameter
(above).

• 2-Band EQ Mid Resonance
Range: 1.0 ... 12.0

This determines the resonant boost applied to the Mid Frequency.

27

Parameters /

DX200 Editor Main Window

LFO Parameters

The LFO (Low Frequency Oscillator) parameters are used to regularly modulate
the pitch or volume of a pattern, letting you create vibrato , tremolo, or "wah" effects .
These are also related to the Modulation Sensitivity parameters.

• LFO Wavef orm
Settings:

TRI (triangle)
SAW- (sawtooth down)
SAW+ (sawtooth up)
SQU (square)
SIN (sine)
S/Hold (sample and hold)

This determines the waveform of the LFO: triangle, sawtooth down, sawtooth up, square,
sine, or sample and hold.

• LFO Speed
Range: 0 ... 99

This determines the speed or frequency of the LFO, with higher values resulting in higher
frequencies (greater speed).

28

Parameters / DX200 Editor Main Window

• LFO PMD (Pitch Modulation Depth)
Range: 0 ... 99

This determines the amount of Pitch Modulation Depth. This sets the degree to which
LFO modulation affects the pitch of the pattern, or how widely pitch is modulated by the
LFO. This produces a vibrato effect for the pattern. This has no effect if Pitch Modulation

Sensitivity is set to zero.

• LFO AMD (Amplitude Modulation Depth)
Range: 0 ... 99

This determines the amount of Amplitude Modulation Depth. This sets the degree to
which LFO modulation affects the volume of the pattern, or how widely volume is modu­lated by the LFO. When applied to a carrier operator, this produces a tremolo effect;
when applied to a modulator, it produces a "wah" effect. This has no effect if Amplitude

Modulation Sensitivity is set to zero.

• LFO FMD (Filter Modulation Depth)
Range: 0 ... 99

This determines the amount of Filter Modulation Depth. This sets the degree to which
LFO modulation affects the filter of the pattern, or how widely filter is modulated by the
LFO.

• LFO Delay
Range: 0 ... 99

This determines the delay time for the LFO, or the amount of time that elapses between
the press of a key and onset of the LFO effect. This is useful in producing delayed vibrato
or tremolo effects (often used by singers or instrumentalists). Higher values result in a
longer delay time.

• Both Pitch and Amplitude are modulated together by the LFO; LFO cannot be set to modulate
these independently. However, by using the Sensitivity and Depth controls, you can set dif­ferent degrees of the LFO effect for each.

29

Parameters /

DX200 Editor Main Window

• LFO Mode
Settings: sngl (single), mult (multi)

This determines the operating mode of the LFO; in effect, it determines how many LFOs
are used to modulate the pattern (when several notes are played simultaneously).

When set to "sngl," a single LFO affects all notes played. In other words, the LFO effect
begins when the first key is played, and continues in the same way at the same phase f or
all subsequent notes. (This is true when LFO Sync is off; when LFO Sync is on, the
waveform is interrupted and begins anew for each note played.)

When set to "mult," there are sixteen independent LFOs, one for each of the sixteen poly­phonic notes of the DX200. This means that when you play several notes in sucession,
the LFO will affect each note individually, depending on when each note is played. This
creates an exceptionally rich and natural modulation effect for sustained notes in strings
and pad patterns, especially when LFO Delay is set to an appropriate value.

• These illustrations show the various LFO conditions for different Sync and Mode settings.

• LFO Sync (Key Synchronization)
Settings: ON, OFF

This determines whether LFO Key Synchronization is on or off. When Sync is ON, the
LFO is automatically reset to the beginning of the selected waveform each time you play
a note. When sync is OFF, the LFO waveform continues in a "free running" condition;
when you play a note, the result will vary depending on where the LFO is in the cycle.
The effect can be easily detected at low LFO frequencies (i.e., LFO Speed settings belo w

10).

30

Key T ranspose

Range: C1 - C5 (MIDI notes 36 - 84)

This determines the overall pitch (key) transposition setting for the pattern. The default
value is C3 (60). Use this control to change the octave setting of a pattern, or change it
to a key for ease in playing. For example, to play the pattern in the key of C but have it
sound in the key of F#, enter a value of F#3 or F#2 (depending on whether you want to
transpose up or down).

In the DX200 Editor window:

Click KEY TRANSPOSE, then type in the value MIDI note value (36 - 84; note names
cannot be typed) and press [enter] on the computer keyboard. Or use the mouse but­tons to increment/decrement the values.

In the Edit Panel window:

1) Click on Pattern Select button [31] (KEY TRANSPOSE).

2) Select the DX200 Editor window.

3) Click the desired key on the "virtual" keyboard. (The DATA ENTRY controls in the
Edit Panel window cannot be used to change the value.)

4) Return to the Edit Panel window to continue editing or save the pattern.

Parameters / DX200 Editor Main Window

Pitch Bend Parameters

These parameters determine how the Pitch Bend wheel (on the connected MIDI
keyboard) affects the pitch of the pattern.

• The Pitch Bend parameters are Function mode parameters in the Edit Panel window.

• Pitch Bend Range
Range: 0 ... 12 semitones

This determines the maximum amount of pitch change with the Pitch Bend wheel, up or
down. When set to "0," there is no pitch change. When set to the default of "2," pitch can
be raised or lowered by a maximum of 2 semitones (1 whole step). The maximum setting
of "12" gives you a full two-octave range (one octave down, one up).

• This parameter is automatically set to "12" and cannot be changed unless Pitch Bend Step
(below) is set to "0."

31

Parameters /

DX200 Editor Main Window

• Pitch Bend Step
Range: 0 ... 12 (semitones)

This determines the size of the increments by which the Pitch Bend wheel (on a con­nected MIDI keyboard) changes the pitch. A setting of "0" results in perfectly smooth
pitch bending. Values other than "0" represent the number of semitones by which the
pitch will "jump" as you move the wheel. For example, the maximum setting of "12" will
cause the wheel to change the pitch in a single, one-octave jump.

• When this parameter is set to a value other than "0," Pitch Bend Range (above) is automati­cally set to "12." (In order to change Pitch Bend Range, this parameter must be set to "0.")

Portamento

These three parameters are used to set portamento (glide) and glissando (stepped
glide) effects, and to control certain sustain characteristics of the keyboard. The
particular effects available will change, depending on the Poly/Mono setting of the
pattern.

•The Portamento parameters are Function mode parameters in the Edit Panel window.

• Step
Settings: 0 ... 12 (semitones)

When Glissando is set to 1...12, the glide in pitch occurs in discrete semitone steps. This
effect is best heard with a slower rate and when two widely separated notes are played
one after the other. When Glissando is set to "OFF," normal (continuous) Portamento is
available.

• Time
Range: 0 ... 99

This determines the time of the Portamento or Glissando effects. A setting of "0" pro­duces no effect, while a setting of "99" produces the longest (slowest) pitch changes.
This is contrary to the operation of most DX200 rate controls for which higher values
result in faster (shorter) times. In order to turn P ortamento or Glissando off, mak e sure to
set this to "0."

• Mode
Settings:

In Mono mode:

Fingered Porta
Full Time Porta

In Poly mode:

Sus-Key P Follow
Sus-Key P Retain

32

Parameters / DX200 Editor Main Window

When the keyboard is in Mono mode, the available settings are "Fingered Porta" and
"Full Time Porta." Fingered Portamento is glide that occurs only when you play legato --­in other words, playing successiv e notes smoothly, not releasing a previously played note
until after the next note is played. Full Time Portamento produces glide from one note to
the next even when you play staccato (releasing one note before playing the next).

When the keyboard is in Poly mode, the available settings are "Sus-Key P Follow" and
"Sus-Key P Retain." In Sustain-Key Pitch Follow mode, if you play a note or chord and
then play another note or chord, the sustain from the original note/chord glides to the
pitch of the most recently played note/chord. In Sustain-Key Pitch Retain mode , the pitch
of the new note or chord glides from that original pitch(es) without interrupting the sustain
of the original note or chord.

Unison Parameters

These parameters let you "fatten" up sound of a pattern, by grouping together four
detuned "copies" of the pattern for every note played.

The DX200 features sixteen-note polyphony, meaning that sixteen notes can be
played simultaneously. In effect, a pattern is made up of sixteen sound generating
"elements," one for each note of polyphony.

The Unison parameters let you reconfigure the element assignment of the DX200
such that four elements sound together in unison when you play a single note. The
elements can be detuned from each other by a variable amount, adding warmth
and richness to the sound of the pattern.

• The overall polyphony of the DX200 is reduced when Unison is on. Normally, polyphony is
sixteen; when Unison is on, it is four. (Naturally, when Poly/Mono is set to "Mono," polyphon y
is fixed at one, no matter what the Unison setting is.)

• These parameters are not available in the Edit Panel window.

• Unison Switch
Settings: ON, OFF

This determines whether the Unison function is on or not. When set to "ON," four of the
DX200's sixteen sound generating "elements" are sounded in unison for each note
played. Keep in mind that this reduces the overall polyphony of the instrument.

• Unison Detune
Range: 0 ... 7

This determines the amount of detuning applied for the Unison function. This setting has
no effect unless Unison Switch is set to "ON." A value of "0" results in no detuning;
higher values shift the tuning of the four sound generating "elements" further away from
each other, creating a warm, fat sound.

33

Parameters /

DX200 Editor Main Window

Poly/Mono

Settings: Poly, Mono

This determines how notes of the pattern are allocated. The "Mono" (monophonic) set­ting allows only one note to be sounded at a time. This is useful for reproducing "classic"
synthesizer lead and bass sounds, and is also ideal for playing parts in which you delib­erately want the end of one note to be cut off by the ne xt. The "Poly" setting allows you to
play up to sixteen notes simultaneously.

• Poly/Mono is a Function mode parameter in the Edit Panel window.

Random Pitch

Range: 0 ... 7

This function lets you randomize the overall pitch of the pattern for each note you play.
When this is set to "0," Random Pitch is turned off. Higher values produce greater
amounts of random pitch change for successively played notes.

Pitch Envelope Generator (Pitch EG) Parameters

These parameters (eleven altogether) determine how the pitch of the pattern
changes over time. The Pitch EG parameters affect all operators equally.

The four Level parameters determine the pitch of the operator at five different
points, and the four Rate parameters determine the amount of time that elapses
between changes of pitch. Range, Rate Scaling, and Velocity Switch parameters
give you further detailed control over the Pitch EG effect.

Pitch EG can be used to reproduce the subtle pitch changes of acoustic instru­ments (for example, at the beginning and/or end of a note). At extreme settings, it
also can be used to create unusual special effects.

You can also conveniently edit the Pitch EG parameters from the EG window. To
make changes to this, click on the down arrow above the EG window, and select
the Pitch EG. Then, click on one of the box "joints" and drag it to change the EG
settings. The current relevant Pitch EG values appear at the cursor as you drag it.

• A real-time pitch controller, such as the Pitch Bend wheel on a connected MIDI keyboard, can be
used to augment (or cancel) the "automatic" pitch changes made in the Pitch EG parameters.

34

Parameters / DX200 Editor Main Window

• Pitch EG Rate 1 - 4
Range: 0 ... 99

These determine the amount of time that elapses between changes in the pitch (as set in
Level 1 - 4 below).

• Pitch EG Level 1 - 4
Range: 0 ... 99

These determine the overall pitch of the pattern at five points in time. A value of "50" cor­responds to normal pitch, or no pitch change. Values under "50" lower the pitch, and val­ues above "50" raise it. The actual pitch range here depends on the Pitch EG Range
parameter setting. (Higher Pitch EG Range settings result in greater pitch variation.)
The amount of time that elapses between these pitch change points is set in Rate 1 - 4
above.

In the Edit Panel window:

Click button [29] (PITCH EG RATE) repeatedly to call up Rate 1, 2, 3, and 4 in suc­cession. (This includes the Pitch EG Rate Scaling parameter.) Likewise, click button
[30] (PITCH EG LEVEL) repeatedly to call up Level 1, 2, 3, and 4 in succession.
(This includes the Pitch EG Level Range parameter.) Use the DATA ENTRY controls
to set the value for each parameter.

• Pitch EG Range
Settings:

1/2v (six semitones)
1va (one octave)
2va (two octaves)
8va (eight octaves)

This determines the maximum range of pitch change with the Pitch EG. For example,
when this is set to "1va," the full range of the Pitch EG Level 1 - 4 parameters is one
octave (six semitones above and below the normal pitch value of "50"). The minimum
setting of "1/2v" lets you create subtle pitch changes, whereas the maximum setting of
"8va" is for extreme pitch variations.

35

Parameters /

DX200 Editor Main Window

• Pitch EG Rate Scaling
Range: 0 ... 7

This determines how the Rate times of the Pitch EG respond to keyboard position. In
other words, this lets you automatically speed up or slow down the overall Pitch EG time
(Rate 1 - 4) of the pattern depending on which range of the keyboard you play. This
parameter controls the degree of scaling; a value of "0" produces no scaling, and higher
values produce a more pronounced scaling effect. For values other than "0," the higher
the note played, the shorter its overall Pitch EG time.

Pitch EG Rate Scaling is useful for simulating the natural pitch scaling found on many
acoustic instruments --- for example, as on a cello or double bass, for which the begin­nings of lower notes may have a slower rise in pitch. It's also useful for producing
unusual pitch change effects depending on key position.

• Pitch EG Velocity Switch
Settings: ON, OFF

This determines whether Pitch EG intensity is touch sensitive or not. When set to "ON,"
the range of pitch change of the Pitch EG is affected by key velocity. This gives you
exceptionally realistic and expressive control over Pitch EG changes.

Oscillator Parameters

The Oscillator parameters give you detailed control over the pitch or frequency of the individ­ual operators of a pattern.

• Oscillator Mode
Settings: Ratio, Fixed

This determines whether each operator changes pitch according to the notes playes.
When set to "Ratio" (Frequency Ratio Mode), the corresponding operator tracks the key­board pitch normally . In other words, playing higher notes on the keyboard results in cor­respondingly higher frequencies on the operator. When set to "Fixed" (Fixed Pitch
Mode), the keyboard does not affect the operator's frequency; the operator plays at the
same pitch no matter what key is played.

• The term "oscillator" refers to the frequency or waveform generating element of the operator.

36

• Oscillator Sync (Key Synchronization)
Settings: ON, OFF

This determines whether Oscillator Key Synchronization is on or off --- whether or not the
waveforms of all operators start at the beginning of the wave cycle when a key is
pressed. Note that this affects all operators together.

When Sync is ON, the oscillators are automatically reset to the beginning of their wave­forms each time you play a note. When sync is OFF, the waveforms continues in a "free
running" condition; when you play a note, the result will vary depending on where the
waveform is in the cycle. This creates subtle differences in the sound, even when you
play the same note repeatedly. Keep in mind that for certain patterns, there may be little
or no audible effect.

Frequency Coarse/Fine

Range (in Ratio mode): 0.500 ... 61.69
Range (in Fixed mode): 1.000 Hz ... 9772 Hz

This determines the frequency for each individual operator.

Type in the desired value in the appropriate value box or use the mouse to change the
value.

Parameters / DX200 Editor Main Window

Detune

Range: -7 ... +7

Detune is a "super fine" frequency adjustment for each operator. Mild detuning between
carrier operators can make the overall sound of the pattern more full, rich and natural,
and reproduce the subtle pitch differences found in actual acoustic instruments. Maxi­mum detuning between carriers can be used to produce chorusing effects or simulate an
ensemble of multiple instruments.

Operator Parameters

These parameters let you set the Output Level and Velocity Sensitivity for each operator.

• Operator Output Level
Range: 0 ... 99

This determines the level of each operator. The setting made here affects the workings
of many other parameters. For example, Feedback, EG Level 1 - 4, and Velocity Sensi-

tivity may hav e little or no audible effect if Output Level is set too low. On the other hand,
Keyboard Le vel Scaling settings ma y ha ve little or no eff ect if Output Le vel is set too high.

When applied to a carrier operator, this aff ects the v olume of the pattern; when applied to
a modulator, it affects the timbre.

37

Parameters /

DX200 Editor Main Window

About Operator On/Off Controls

Each operator can be independently turned on and off during editing --- an important
tool in hearing the effects of your edits. For example, you may want to temporarily
mute one carrier operator to better hear the edits you are making on another carrier.
Or you may want to turn an operator alternately on and off to hear how its presence
and absence affects the overall sound.

The numbers in the top row indicate the operators' on/off status:
"1" for on, "0" for off. In this example, operator 3 is off.

Click the appropriate "OP No." (Operator Number) button (1 - 6). When an operator is
off, all its parameters are ghosted.

Keep in mind that Operator On/Off is used only temporarily in editing and the on/off sta­tus is not saved with the pattern. To actually turn an operator off, set its Output Level to
"0."

• Operator Key Velocity Sensitivity
Range: 0 ... 7

This determines the touch sensitivity of an operator, or how its level responds to your
playing strength. When Velocity Sensitivity is set to a value other than "0," the harder you
play a key, the greater the level of the corresponding operator. The softer you play a key,
the lower the level. When this is set to "0," the operator level remains the same, no mat­ter how softly or strongly you play the key. Higher values give you greater dynamic range
between low and high levels. Setting this to an appropriate value for a carrier operator
gives you touch control over volume; setting it for a modulator gives you touch control
over timbre.

38

Parameters / DX200 Editor Main Window

Envelope Generator (EG) Parameters

These parameters (eight for each operator) determine how the level of the operator changes
over time. EG applied to a carrier operator changes the volume of the sound ov er time, while
EG applied to a modulator changes the timbre or the tonal characteristics.

The four Level parameters determine the levels of the operator at five different points, and
the four Rate parameters determine the amount of time that elapses between changes of
levels. Together, these eight settings give you detailed control over the shape (attack, decay,
sustain and release) of the sound, both in volume and timbre.

You can also conveniently edit the Operator EG parameters from the EG window. To make
changes to this, click on the down arrow above the EG window, and select the desired Oper­ator's EG (1 - 6). Then, click on one of the box "joints" and drag it to change the EG settings .
The current relevant EG values appear at the cursor as you drag it.

The EG Copy function (in the Edit Panel window) and DX Copy Tool (in the DX200 Editor
window) let you easily copy all EG Rate and Level values of one operator to another opera­tor.

• Rate 1 - 4
Range: 0 ... 99

These determine the amount of time that elapses between changes in the operator level
(as set in Level 1 - 4 below).

• Level 1 - 4
Range: 0 ... 99

These determine the levels of the operator at five points in time. The amount of time that
elapses between these points is set in Rate 1 - 4 above.

• For most normal applications --- and especially for carrier operators --- the Level 4 parameter
(which determines both the starting and ending level of the operator) should be set to "0."
Otherwise, the pattern will continue to sound indefinitely. Also, Level 1 should be set to an
appropriate value, such as "50" or greater, for proper EG operation.

Type in the desired value in the appropriate value box or use the mouse to change the
value.

39

Parameters /

DX200 Editor Main Window

Modulation Sensitivity Parameters

The Modulation Sensitivity parameters (Pitch and Amplitude) determine the degree to which
LFO modulation affects the pattern --- in other words, the intensity of the LFO effect. Modu­lation Sensitivity is effectively a master control for all modulation --- whether it is automati­cally applied when the notes are played, or whether it is applied only by using the "real time"
modulation controls on the MIDI keyboard, such as the Modulation Wheel, Foot Control,
Breath Control or After Touch. If the Pitch or Amplitude Modulation sensitivity is set at zero,
then none of the external controllers can affect the patterns.

• Pitch Modulation Sensitivity
Range: 0 ... 7

This determines sensitivity of the pattern (all operators) to LFO pitch modulation. Higher
values result in greater sensitivity, or greater intensity of pitch modulation. This parame­ter setting affects all operators of the pattern equally.

• Amplitude Modulation Sensitivity
Range: 0 ... 7

This determines sensitivity of each operator to LFO amplitude (volume) modulation.
Higher values result in greater sensitivity, or greater intensity of volume modulation.
When applied to carrier operators, this produces a tremolo effect. When applied to a

modulator operator, this varies the timbre, producing a "wah" effect.

• These settings may have little or no effect on the sound if the Operator Level is set to a low
value.

40

Parameters / DX200 Editor Main Window

Keyboard Level Scaling Parameters

The Keyboard Level Scaling parameters determine how the Output Level settings of the
operators track the keyboard. In other words, these let you automatically change the level of
individual operators depending on which range of the keyboard you play. Each operator can
be programmed to respond according to any of four curves on either side of an adjustable
break point.

Keyboard Level Scaling can be used to make the tone and/or volume change as you play in
different octaves, for more realistic acoustic instrument simulations. Extreme settings can
also be used for "split keyboard" effects.

The Depth of each curve can also be adjusted.

• Keyboard Level Scaling Break Point
Range: A-1 ... C8

This determines the middle point for the curve. The level is scaled up or down indepen­dently on either side of the Break Point in the curve. For most applications and best
results, this should be set somewhere near the middle range of your connected MIDI k e y­board (for example, C3).

In the DX200 Editor window:

Type in the desired value in the appropriate value box (MIDI note numbers only; for
example, to select C3, type "60") or use the mouse to change the value.

41