Yamaha DX21 User Manual

YAMAHA

AUTHORIZED

PRODUCT MANUAL

DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER

YAMAHA

DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER

OWNER’S MANUAL

CONGRATULATIONS!

Your Yamaha DX21 Digital Programmable Algorithm Synthsizer incorporates the state-of-the-art in digital FM tone generation technology, providing extraordinarily vi-

brant, rich voices and outstanding playability. The DX21 actually has two FM tone

generators, permitting two voices to be combined and played simultaneously, or in a split keyboard configuration. The DX21 has a 32-voice programmable RAM memory from which any voice can be selected at the touch of a button, a built-in 128-voice preset

ROM memory from which voices can be called into the RAM memory as desired, 32 special “performance” memories which can be programmed with combinations of voices and some function parameters, and a cassette interface that permits unlimited storage of FM voices. Of course, the DX21 is fully programmable, allowing you to create your

own FM voices or sound effects. Broad MIDI compatibility is also provided so the DX21

can control or be controlled via other MIDI compatible music equipment. To ensure

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

DX21, we urge you to read this owner’s manual thoroughly while actually trying out

all of the available functions.

PRECAUTIONS.. CHAPTER

AudioOutputs

2. Optional Foot Controllers & Foot Switches

Optional

Headphones.............................................................

MIDITerminals

Cassette...................................................................

7.ACPower.................................................................

8. Music Rack Installation

CHAPTER II:PLAYING THE

The 32 Voice

The SINGLE

The

CHAPTER III: THE FUNCTION MODE

Accessing the

EnteringFunction

2. The Performance Parameters

TuningFunctions

MemoryManagement Functions

MIDI

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

SETTlNG

BC1

DUAL

SPLIT

128 Voice ROM Memory

Functions

UP...........................................

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

Breath

RAM

Play Play Play

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

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

DX21

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

Mode..........................................

Mode.............................................

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FUNCTION

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

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Mode..............................

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CONTENTS

CHAPTER IV: THE PERFORMANCE MEMORY..

3 3 3 3 3 3 3 4 4

5 5 6 6

9 9

9 10 14 15 20

Performance

Accessing

Programming the Performance Memory

ThePerformance

CHAPTER V: VOICE PROGRAMMING

The

The EDIT and

The

STORING

Two Approaches to Creating

Your

GENERALSPECIFICATIONS MIDI

DATA

Transmission Parameters.......................................

Transmission Data

Reception

System

DATA

CHART

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

Memory

thePerformanceMemory......................

ofFMSynthesis...................................

Basics

COMPARE

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

Voice

VoiceData..............................................

Voices.....................................................

Own

FORMAT

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

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

Exclusive

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Organization........................

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Name.........................................

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modes.............................

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Data

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22 22 22 22 22

23 23 28

28 36

36 37 38

38 41 42

1. Location

2. Cleaning

3. Service and Modifications

4. Relocation

5. Handing

PRECAUTIONS

Choose the installation location for the DX21 with caution. Avoid locations exposed

to direct sunlight or other sources of heat. Also avoid locations subject to vibration,

excessive dust, cold or moisture.

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

the finish. Clean with a soft, dry cloth.

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

Yamaha service center.

When moving the instrument be sure to unplug the AC mains cord as well as all other connecting cables.

Avoid applying excessive force to switches and slide controls, dropping or rough handling. The DX21 is ruggedly constructed using reliable solid-state circuitry, nonetheless it is a fine instrument that should be treated with care.

6. Electrical Storms (Lightning)

7. Electromagnetic Fields

Digital circuitry such as that used in the DX21 is sensitive to voltage spikes and surges. Because of this, the DX21 should be turned off and unplugged from the AC power outlet in the event of an electrical storm.

Digital circuitry is also sensitive to electromagnetic fields such as those produced by television sets, radio receivers, transmitters, transceivers, etc. The DX21 should kept at least several feet from such sources in order to prevent possible random malfunctions.

1. Audio Outputs

2. Optional Foot

Controllers & Foot

Switches

3. Optional BC1

CHAPTER I: SETTING UP

The DX21 has two audio outputs, one for each tone generator channel. These are labelled MIX/A and B. When a plug is plugged into the MIX/A output only, the sound from both the A and B tone generator channels will be mixed and delivered via the MIX/A output. When plugs are inserted into both MIX/A and B jacks,

however, the channel A signal will be delivered via the MIX/A output and the channel B signal will be delivered via the B output. This permits sending a stereo signal to a stereo sound system giving you the full impact of the DX21’s dual and split play mode capability.

The remaining three phone jacks are for optional foot controllers and footswitches. The VOLUME jack accepts a Yamaha FC-7 or equivalent foot controller for volume or “swell” control. The SUSTAIN jack accepts a Yamaha FC-4 or FC-5 footswitch or equivalent for sustain control–press for sustain, release to damp. And the

PORTAMENTO jack also accepts a Yamaha FC-4 or FC-5 footswitch or equivalent

permitting ON/OFF switching of the programmed portamento effect.

Yamaha’s unique BC1 breath controller is plugged into the mini-jack on the rear

panel.

Breath Controller

4. Headphones

5. MIDI Terminals

6. Cassette

The PHONES jack accepts any standard pair of stereo headphones. When a plug

is plugged into the B output only, the channel A and channel B signals are delivered to the headphones in stereo. When the B output is not connected, both A and B signals are mixed and output from PHONES jack. Headphone volume is controlled via the VOLUME control on the top panel.

These terminals are used when connecting the DX21 to other MIDI (Musical Instrument Digital Interface) compatible equipment such as digital sequence re-

corders, modular FM voice generators, drum machines, etc. The MIDI OUT terminal transmits MIDI data from the DX21 to other MIDI equipment. The MIDI OUT terminal will normally be connected to the MIDI IN terminal of the receiving

equipment. The MIDI IN terminal accepts MIDI data from external MIDI equipment such as a digital sequence recorder, music computer or modular FM voice generator.

THe DX21’s MIDI IN terminal will normally be connected to the MIDI OUT terminal

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

ceived at the MIDI IN terminal. Thus, data received via the DX21 MIDI IN terminal

can be simultaneously sent to other MIDI equipment.

The DIN connector end of the supplied cassette cable is plugged into the DX21

CASSETTE connector. The three plugs on the other end of the cable should be

connected to a cassette data recorder (the kind normally used with personal

computers, etc.) as follows:

RED

WHITE

BLACK

cassette deck microphone input. cassette deck earphone output. cassette deck remote input (The DX21 does not output cassette remote control signals, so this jack may be left unconnected).

7. AC Power

8. Music Rack lnstallation

Plug the DX21 AC power cord into an AC wall socket. Be sure that your local line voltage matches that specified on the DX21 rear panel. The POWER switch is located next to the AC cord on the rear panel. NOTE: When setting up your system, be sure to turn the DX21 and any effects units used on BEFORE turning the main amplifier system on. This will prevent the initial power-on shock surge from possible damaging your amplifier and speaker system.

The music rack supplied with the DX21 fits into the two sockets on the rear panel

(see diagram).

CHAPTER II: PLAYING THE DX21

1. The 32 Voice RAM Memory

The DX21 has 32 RAM (Random Access Memory) locations which contain voices which may be immediately selected by pressing the appropriate memory button while the DX21 is in one of the three normal play modes described below. The two

rows of 16 buttons- row A and row B-are the voice memory selectors. The row

A and B selectors correspond to DX21 tone generator channels A and B.

These same buttons actually serve a number of functions. In the FUNCTION and

EDIT modes--which are covered in later sections of this manual--they serve to select

the function or edit parameter to be programmed.

Since RAM memory can be written to as well as read from, it is possible to load new voice data into the 32 available RAM memory locations. This can be done by loading new voices from the DX21’s internal 128-voice ROM (Read Only

Memory) into the RAM memory (see “5. The 128 Voice ROM Memory”, below),

or by loading a new set of 32 voices from data stored on an external cassette tape

(see CHAPTER III: THE FUNCTION MODE, Memory Management Functions).

2. The SINGLE Play Mode

If you’re just starting out, you’ll want to try out the voices that are pre-programmed into the RAM memory. You can do this in any of the three play modes discussed

below. Make sure your DX21 is properly connected to a sound system--or you could simply plug a pair of headphones into the PHONES jack (see CHAPTER I: SETTING UP), set the VOLUME control to about its center position, and set the A/B BALANCE control to its center position (you’ll feel a “click” stop at dead

center). Now you can start experimenting with the DX21 voices in the SINGLE

play mode.

Enter the SINGLE play mode by pressing the PLAY SINGLE button to the left of the LCD (Liquid Crystal Display) panel. When you do this the LCD will look

something like this.

The top line of the LCD reads “PLAY SINGLE”, indicating that you are in the SINGLE

play mode, and the bottom display line will indicate the selected memory location number (A1 through A16, or B1 through B16) followed by the name of the selected voice.

In this mode you can play any of the voices currently in the DX21’s RAM memory individually.

3. The DUAL Play Mode

4. The SPLIT Play Mode

Enter the DUAL mode by pressing the PLAY DUAL button.

“DU” in the upper left display corner indicates that the DUAL mode has been selected. The upper display line now shows the number and name of any voice selected from the “A” row of memory selectors, while the lower display line shows the number and name of any voice selected from the “B” row of voice selectors. The number in the lower left display corner indicates the value of the DUAL MODE DETUNE

(see CHAPTER III: THE FUNCTION MODE).

In this mode any of the 16 voices from tone generator “A” can be selected and combined with any voice from tone generator “B”. As you try out various combinations of voices you’ll notice that some voices are louder than others, resulting in one voice overpowering the other when two are combined. This can be adjusted by using the A/B BALANCE control. Moving this control more towards the “A” end of the scale increases the volume of the “A” voice while decreasing the volume of the “B” voice. Moved in the opposite direction—towards “B”—it has the opposite effect. Use this control to achieve the best balance between the two selected voices in the DUAL play mode.

Enter the SPLIT mode by pressing the PLAY SPLIT button.

“SP” in the upper left display corner indicates that the SPLIT mode has been selected. As in the DUAL mode the number and name of one voice selected from the “A” row will be shown on the upper display line, and the number and name of a voice selected from the “B” row will be shown on the lower display line. Unlike the DUAL mode, however, the two selected voices do not sound together. The “A” voice will be assigned to all keys to the left of and including the programmed “split” key, while the “B” voice will be assigned to all keys to the right of the split key. This type of arrangement lets you assign a bass voice, for example, to the left side of the keyboard and a piano voice to the right side of the keyboard so you can play bass and piano lines simultaneously.

The next step is to decide on and program the desired split point. Note that at the extreme left of the lower display line there is a number followed by a colon. This

is the number of the selected split point. To program the split point, simply press

the S POINT button (notice that this is the same as the PLAY SPLIT button you

used to enter the SPLIT mode) and while holding it down press the key on the DX21 keyboard at which you want the split point to be programmed (C3=60).

SPLIT POINT set at 60

The split point number on the LCD will change to the number of the pressed key,

the “A” voice will be playable on all keys to its left (Including the split key), and the “B” voice will be playable on all keys to the right of the split key. This process can be repeated as many times as necessary, but you must press and hold the S

POINT key again every time you re-program the split point.

5. The 128 Voice ROM Memory

As in the DUAL mode, the A/B BALANCE control can be used to balance the volume

levels of the “A” and “B” voices.

The DX21 comes with 128 different pre-programmed voices in an internal ROM

(Read Only Memory). These voices can be loaded in groups of 8, or singly, into

the DX21’s selectable 32-voice RAM memory. The ROM voices are organized into

16 different categories, each containing 8 voices (see next page).

To load these voices into the DX21's RAM voice memory for selection and use, see A11: LOAD INTERNAL MEMORY and A12: LOAD SINGLE INTERNAL ME-

MORY in the following chapter.

THE 128 VOICES PROVIDED IN THE INTERNAL ROM

GROUP 1 : PIANO

DeepGrand

Uprt Piano 2

2 3

Honkey Tonk Ivory Ebony

4 5

Phase Grand Elec Grand

Piano bells

Acous Elec

GROUP 2 : ELECTRIC

Old Electra

New Electra High Tines

Hard Tines

Perco Piano

WoodPiano

Vibrabelle

GROUP 3 : ORGAN

1 2

3 4

5 6

7 8

GROUP 4 :

3 4 5

brass

Piano

Click

Organ

Jazz Organ Ham < n > Eggs Drawbars Club Organ

<6 Tease>

Gentle Pipe

8 Full Ranks

STRINGS

Strings Silk Cello

Orchestra Solo Violin Box Cello

Rich string 5th String

Pizzicato

PIANO GROUP 6 : PLUCKED

GROUP 5 : BRASS GROUP 9 : PERCUSSION 2

Electro

Horns Brite Brass

Flugel horn

Trombone

Hard Brass

Power Brass

BC1 Horns

BC1 Trumpet

Pluk guitar

Brt Guitar

3 Soft Harp

4 Sitar

5 Jazz Guit

Old Banjo

Kotokoto

8 Folk Guit

GROUP 7 : COMPING

Easy Synth

Easy Clav

2 3

>> WOW <<

Metal Keys

Cheeky

Rubber

Pick Pluck

S/H Synth

GROUP 8 : PERCUSSION 1

Glocken

Hamarimba

Steel Drums

3 4 Tube Bells 5 Temple gong

6 Mamarimbs

Good Vibes

Bells Bells

Band

1 2

3 4

5 Synballs

Clock werks

GROUP 10 : LEAD

3 Feed Lead 4 Mono Lead

6 Lyrisyn 7 Schmooh

8 Huff Talk 8 Birds

GROUP 11 : OTHER

1 2 3 4

6 7 8 Circus time

GROUP 12 : WIND REED

Bassoon

Pan Floot

4 5

<BC1>Sax

7 8

Tom Timpani Breakin Xylo snare

Hand Drum 6 Elec Bass

Heifer Bell

SYNTH Heavy synth Harmo solo

Hollow lead

KEYBOARD

Harpsi low Harpsi Hi

Fuzz Clav Clear Clav

Mute Clav

Squeeze box Celeste

Claranette

Lead Reed Mono Sax

Flute wood

BC1 Hrmnca

GROUP 13 : BASS

Solid

3 4

7 8 Fretless

GROUP 14 : SOUND EFFECT 1

1 Racing Car

2 3

4 5 6 7

GROUP 15 : SOUND

2 3

4 5 6 7 8

GROUP 16: SOUND EFFECT 3

1 Wind bells

2 3

4 5

6 7

Bass

Pluck Bass Synthe Bass

Mono Bass

Flap Bass

Uprt Bass

Helicopter Alarm Call Ghosties Dopplar FX

Storm Wind Space Talk

EFFECT

Diesel

Hole in 1

<<Smash>> FM SQUARE FM PULSE

FM SAW TOOTH LFONOISE

PINK NOISE

Synvox Punk funk Whistling

Voices Zing Plop Valve Plop

Mars to ??

CHAPTER III: THE FUNCTION MODE

The FUNCTION mode permits access to four groups of functions:tuning functions, MIDI functions, memory

management functions, and performance functions. In this chapter we’ll describe each of these functions; what

they do and how they are programmed.

The FUNCTION mode is accessed by pressing the FUNCTION button to the left

1. Accessing the

FUNCTION Mode

of the LCD display. Individual parameters to be programmed are then called by pressing the appropriate voice selector button. Note that when the FUNCTION mode is active pressing a voice selector button calls the corresponding FUNCTION parameter—these are the functions printed in brown below each voice selector.

Note that there are two exceptions: the PB (Pitch Bend) MODE SET and KEY SHIFT

KEY SET buttons are NOT included among the voice selectors. These function selectors are located immediately above the DATA ENTRY -1 and +1 switches. When the FUNCTION mode is called, the LCD should look something like this.

The top line of the display will. read “FUNCTION CONTROL”, indicating that the

FUNCTION mode is active, and the lower display line will show the name of the

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

2. Entering Function Data

Once the desired function has been selected, its value can be altered using either

the linear DATA ENTRY control located to the left of the panel, or the adjacent

-1 /NO/OFF and +1 /YES/ON switches.

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

DATA ENTRY control is valuable for quickly approaching the desired value with

parameters that have a large data range, the +1 and -1 switches permit precise step-wise location of a specific value. The switches are also easier to use with

parameters that only have two values–e.g. ON (1) or OFF (0). In some cases you

will be required to answer YES or NO to prompts which will appear on the LCD

display. The -1 /NO/OFF and +1 /YES/ON switches are used for this.

3. The Performance Parameters

“Performance parameters” are programmable parameters which pertain mainly to real-time performance effects such as how the pitch bend and modulation wheels affect the sound. All performance parameters can be memorized for each voice.

If you wish that the edited data will remain in the memory, you have to store it

using STORE function (see CHAPTER V: VOICE PROGRAMMING, “4. Storing

Voice Data”).

B1: POLY/MONO

This function selects either the POLY or MONO note output mode.

There are two possible settings: POLY and MONO. In the POLY mode the note output configuration depends on the currently selected play mode. When the play mode is set to SINGLE up to 8 notes can be played simultaneously. When set to SPLIT up to 4 notes may be simultaneously played on each side of the split point

(4 + 4). When set to DUAL up to 4 notes may be played simultaneously. In the MONO mode, which can only be selected when the DX21 is in the SINGLE play mode, the DX21 acts as a last-note-priority monophonic keyboard. In the SPLIT

mode it is possible to select one POLY voice and one MONO voice. In this case

up to seven notes can be played simultaneously on the POLY voice and one on

the MONO voice.

Once the POLY/MONO function is selected, subsequent presses on the B1 button alternate between the POLY and MONO modes. The DATA ENTRY switches can

also be used: the -1 switch selects POLY and the +1 switch selects MONO.

B2: PITCH BEND RANGE

This function sets the pitch range of the pitch bend wheel located to the left of the DX21 panel. The pitch bend wheel automatically centers at normal pitch. It then

may be moved upward (away from the player to raise the pitch, or moved downward

(toward the player) to lower the pitch by the specified amount.

The data range is from 0 to 12. At 0 the pitch bend wheel is off. Each increment

between 1 and 12 represents a semitone. Thus if this function is set to 12, maximum

travel of the pitch bend wheel produces a one-octave pitch variation, both above and below center position–i.e. plus or minus one octave. The DATA ENTRY control and -1/+1 switches can be used to enter data. Once the PITCH BEND RANGE function is called, subsequent presses on the B2 button

increment the data value.

PB MODE: MODE SET

This function selector, located immediately above the DATA ENTRY -1 button,

offers a choice of three pitch bend wheel modes: Low, High and K-on. In the Low

mode, the pitch bend wheel affects only the lowest note played on the keyboard.

In other words, if a chord is played, the pitch bend wheel affects only the pitch of the lowest note in the chord—this makes it possible to produce some interesting effects. The High mode is just the opposite—only the highest note played will be

affected by the pitch bend wheel. In the K-on (Key on) mode, all notes played are affected simultaneously by the pitch bend wheel, while notes sustained using the sustain footswitch will not be affected. The DATA ENTRY control and -1/+1 switches can be used to select the desired

mode.

B3: PORTAMENTO MODE

Two different portamento modes are available: Full Time Portamento and Fingered

Portamento. When the POLY/MONO function is set to POLY (button B1), only the Full Time Portamento mode is accessible. In the MONO mode, you have a choice between the Full Time and Fingered portamento modes.

(1)“Full Time Porta” (MONO and POLY modes): Aconventional portamento effect

in which portamento occurs whenever a new note is played.

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

played note is held while the next note is played. This mode is useful in recreating the effect of guitar string bending techniques, wood bass slide effects, etc. If you lift your hand off the DX21 keyboard between notes, there will be no portamento effect.

Once the PORTAMENTO MODE function is called, subsequent presses on the

B3 button alternate between the two available portamento modes only if the MONO note output mode is selected. The DATA ENTRY switches can also be used to select the desired portamento mode.

B4: PORTAMENTO TIME

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

Data can be entered using the DATA ENTRY control and -1/+1 switches. Once

the PORTAMENTO TIME function has been called, subsequent presses on the

B4 button increment the data value.

B5: PORTAMENTO FOOT SWITCH

This function turns the rear-panel PORTAMENTO footswitch jack ON or OFF.

When OFF the PORTAMENTO footswitch will NOT function. When ON the

PORTAMENTO footswitch connected to the PORTAMENTO jack can be used to

turn the portamento effect ON or OFF. (accepts Yamaha FC-4 or FC-5 foot

switches)

Once the PORTAMENTO FOOT SW function has been called, subsequent presses on the B5 button alternate between the ON and OFF settings. The DATA ENTRY switches can also be used to turn this function ON and OFF.

B6: FOOT CONTROL VOLUME

This function sets the control range of a foot volume controller (Yamaha FC-7,

optional) connected to the rear-panel VOLUME jack. The data range is from 0 to 99. At 0 the foot controller is OFF and will have no

effect on the sound. At 99 the foot controller can be used to adjust output volume

over the full range from maximum volume to zero volume. Intermediate settings

permit corresponding degrees of “expression” or “swell” control.

The DATA ENTRY control and -1/+1 switches can be used to enter the data for

this function. Once the FOOT CONTROL VOLUME function is called, subsequent

presses on the B6 button increment the data value.

B7: FOOT CONTROL SUSTAIN

This function turns the sustain footswitch (Yamaha FC-4 or FC-5, optional) connected to the rear-panel SUSTAIN jack ON or OFF. When ON the sustain pedal can be used to control the sustain effect. When OFF the sustain pedal will not function. Once this function is called subsequent presses on the B7 button alternate between the ON and OFF states. The DATA ENTRY switches can also be used to select the desired mode.

B8: WHEEL RANGE (MODULATION WHEEL), PITCH

As you move the DX21 modulation wheel away from you an increasing amount

of LFO (Low Frequency Oscillator) modulation is applied to the selected voice. LFO modulation can be made to modulate the pitch of the voice producing a range of vibrato type effects. This function is used to set the maximum depth of pitch modulation which can be applied using the modulation wheel. The actual effect

produced depends on the settings of the LFO parameters—these will be discussed

in CHAPTER V: VOICE PROGRAMMING. Note, however, that the appropriate voice PITCH MODULATION SENSITIVITY parameter must be set to a value higher than 0 for pitch modulation to be effective. The voice PITCH MODULATION SENSITIVITY parameter will also be discussed in CHAPTER V. The data range is from 0 to 99. At 0 pitch modulation is OFF, and rotating the modulation wheel

will cause no pitch modulation to be applied to the voice. A setting of 99 produces

the greatest possible pitch modulation depth.

Data is entered using the DATA ENTRY controls or switches. Once this function is called, subsequent presses on the B8 button increment the data value.

B9: WHEEL RANGE (MODULATION WHEEL), AMPLITUDE

As you move the DX21 modulation wheel away from you an increasing amount

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

to modulate the amplitude (level) of specified voice elements (operators), producing

a range of tremolo or timbre modulation (wow-wow) type effects. This function

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

using the modulation wheel. The actual effect produced depends on the settings

of the LFO parameters—these will be discussed in CHAPTER V: VOICE PRO-

GRAMMING. Note, however, that the appropriate voice AMPLITUDE MODU-

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

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

the modulation wheel will cause no amplitude modulation to be applied to the voice. A setting of 99 produces the greatest possible amplitude modulation depth.

Data is entered using the DATA ENTRY controls or switches. Once this function is called, subsequent presses on the B9 button increment the data value.

The Yamaha Breath Controller

The optional Yamaha BC1 Breath Controller is a unique way of adding expression

to the sound as you play the DX21 keyboard. The BC1 is held in the mouth just like the mouthpiece of a wind instrument. Blowing harder or softer into the BC1 mouthpiece then produces a corresponding effect. The Breath Controller can be used to apply varying amounts of pitch or amplitude LFO modulation, just like the modulation wheel. In addition it can be set up to directly affect pitch, amplitude or timbre in response to breath pressure. Set to directly affect amplitude (EG BIAS),

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

will affect the DX21 sound. These parameters may be set individually, or combined

for more complex effects.

B10: BREATH RANGE, PITCH

This function is used to set the maximum depth of LFO pitch modulation which can be applied using the Breath Controller. The actual effect produced depends on the settings of the LFO parameters—these will be discussed in CHAPTER V: VOICE PROGRAMMING. Note, however, that the appropriate voice PITCH

MODULATION SENSITIVITY parameter must be set to a value higher than 0 for pitch modulation to be effective. The voice PITCH MODULATION SENSITIVITY

parameter will be discussed in CHAPTER V: VOICE PROGRAMMING. The data range is from 0 to 99. At 0 pitch modulation is OFF, and applying breath

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

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

function is called, subsequent presses on the B10 button increment the data value.

B11: BREATH RANGE, AMPLITUDE

This function is used to set the maximum depth of LFO amplitude modulation which can be applied using the Breath Controller. The actual effect produced depends on the settings of the LFO parameters—these will be discussed in CHAPTER V: VOICE PROGRAMMING.Note, however, that the appropriate voice AMPLITUDE

MODULATION SENSITIVITY parameter must be set to a value higher than 0 for

amplitude modulation to be effective. The voice AMPLITUDE MODULATION

SENSITIVITY parameter will be discussed in CHAPTER V: VOICE PROGRAM-

MING.

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

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

Data is entered using the DATA ENTRY controls or switches. Once this function is called, subsequent presses on the B11 button increment the data value.

B12: BREATH RANGE, PITCH BIAS

This function permits breath pressure applied to the BC1 Breath Controller to directly control the pitch of the voice. In other words the LFO has no effect—only your

breath pressure directly affects the pitch of the voice. The data range is from 0 to 99. At 50 pitch bias is OFF. A setting of 99 permits the greatest pitch increase to be produced through the Breath Controller, while a setting of 0 permits the greatest pitch decrease.

Data is entered using the DATA ENTRY controls and -1/+1 switches. Once this function is called, subsequent presses on the B12 button increment the data value.

B13: BREATH RANGE, EG BIAS

This function permits breath pressure applied to the BC1 Breath Controller to directly control the amplitude or timbre of the voice, according to settings of the corresponding voice parameters which will be covered in CHAPTER V. The LFO has no effect—only your breath pressure directly affects the amplitude or timbre of the voice. The data range is from 0 to 99. At 0 EG bias is OFF. A setting of 99 permits the greatest amplitude or timbre variation to be produced through the Breath Controller.

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

function is called, subsequent presses on the B13 button increment the data value.

B14: CHORUS

The DX21 has a built-in chorus effect which can be used to add a pleasant stereo chorus effect to any voice. Chorus is only effective, however, when both the DX21’s A and B audio outputs are connected to a sound system in a stereo configuration. The full impact of the chorus effect will not be heard if the A/MIX output only is

used, or if the A and B outputs are externally mixed to a mono signal. This function turns the chorus effect ON or OFF. Once the CHORUS function is

called, subsequent presses on the B14 button alternate between the ON and OFF

states. The DATA ENTRY buttons can also be used to select the desired mode.

B15: TRANSPOSE

This function permits transposing the pitch of the entire DX21 keyboard up or down two octaves in semitone steps. The data range is from C1 to C5 (C3 is middle C, C2 is one octave lower than

middle C, C4 is one octave higher than middle C, etc.). Immediately after this

function is called the desired new key can be selected simply by pressing any note

on the keyboard between C1 and C5 (within a plus or minus two octave range of middle C). The keyboard’s C3 key then assumes the pitch of the key played, and all other keys are adjusted automatically. Pressing any key higher than C5 on the keyboard results in a transposition to C5. This method of data entry can only be used once, immediately after the TRANSPOSE function is called. Further alterations may be made using the DATA ENTRY control or switches.

KEY SHIFT: KEY SET

During any of the normal DX21 play modes, pressing the KEY SHIFT button instantly

transposes the pitch of the entire DX21 keyoard up or down to a key programmed

using this function. When KEY SHIFT is engaged the letter “K” will appear at the upper left corner of the LCD display until the KEY SHIFT button is pressed again, returning the keyboard to normal pitch.

Pressing this button in the FUNCTION mode permits programming the desired pitch to be shifted to when the KEY SHIFT button is pressed during any of the play modes.

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

data range is from -24 to +24, with 0 corresponding to standard keyboard pitch.

Each increment corresponds to a shift in pitch of one semitone—a setting of 2 would therefore raise the pitch of the entire keyboard a whole tone.

Immediately after calling the KEY SET function, data can be entered simply by pressing a key on the keyboard within a plus/minus two octave range of C3 (middle

C). The pressed key then assumes the pitch of C3 and all other keys are adjusted accordingly. Pressing the A2 key, for example, produces a setting of -3. Pressing a key higher than C5 results in a +24 setting, and pressing a key lower than C1 results in a -24 setting. This method of data entry, however, can only be used once after this function is called. Subsequent changes can be made using the DATA

ENTRY control and -1/+1 switches.

4. Tuning Functions

This group includes just two functions: MASTER TUNE and DUAL MODE DETUNE.

A1: MASTER TUNE

This is the DX21 MASTER TUNE function. All voices are affected simultaneously. The programmable data range is from the A3 key is the standard 440 Hz. At the lowest setting of -64 the overall pitch of the keyboard is 100 cents (1 semitone) lower than standard pitch, and at the

highest setting of +63 the overall pitch of the keyboard is 100 cents higher than standard pitch.

Use the DATA ENTRY control or -1/+1 switches to enter the data for this parameter.

Once the MASTER TUNE function is called, subsequent presses on the A1 button

increment the data value.

-63 to +63. When set to +0 the pitch of

A2: DUAL MODE DETUNE

This function makes it possible to detune the pitches of channels A and B to create

chorus-type effects. DUAL MODE DETUNE only functions when the DUAL play mode is selected. The data range is from 0 to 99. At 0 no detune effect is produced. The greatest

(deepest) detune effect—a pitch difference between channels A and B of approx-

5. Memory

Management

Functions

imately 1/4 semitone—is achieved with a setting of 99. The detune effect is produced by simultaneously increasing the pitch of channel A while decreasing the pitch of channel B. Use the DATA ENTRY control or -1/+1 switches to enter the data for this parameter. Once the DUAL MODE DETUNE function is called, subsequent presses on the A2 button increment the data value.

The memory management functions include functions for loading voices from the

DX21’s internal ROM voice memory, for storing and loading RAM memory voices to and from cassette tape, initializing the voice memory, recalling voice data from a special “safety” buffer memory, and turning the DX21 memory write protect function ON and OFF.

A9: EDIT RECALL

In addition to the voice edit buffer, the DX21 has a special edit recall buffer memory which maintains the last edited voice data. If, after editing or creating a new voice,

you inadvertently call new data into the voice edit buffer by pressing one of the

voice selector buttons before storing the edited voice data, the voice you had spent so much time editing will be erased from the edit buffer. If only one error of this

type has been made, the edited data still resides in the edit recall buffer and can

be recalled into the voice edit buffer using this function. When this function is initially called the LCD will read “Recall Edit ?". Confirm your intention to recall the data into the voice edit buffer by pressing the DATA ENTRY YES button. The DX21 will then reconfirm with “Are You Sure ?". Press the DATA ENTRY YES button again to actually execute the edit recall function. The EDIT mode will then be automatically entered, and the voice edit buffer will contain the data called from the edit recall buffer. Pressing another function button, a PLAY mode button or the EDIT mode button during the above process will abort the edit recall function.

A10: INIT VOICE

This function sets all voice parameters in the voice edit buffer to their “initialized” values, permitting voice programming from an effectively neutral set of values—a “clean slate”.

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