Yamaha DXlOO User Manual

-

THE OFFICIAL PUBLICATION

-

OF

THE YAMAHA USERS

--

-

GROUP

-

~TM

-

SEPTEMBER

1987

C)

YAMAHA®

Editor

Tom Darter

Operations

Sibyl Darter

Editorial Board

Bob Frye Bill Hinely Mark Koenig

Jim Smerdel

-

September

-

1987

---

-

~

--

-

~

Volume

3,

Number Issue

-

~

-

#24

9

Cover Photograph

Jim Hagopian

4

5

6

Bacon

A new

FingrBrass

A new

BASH!

A new

7 DXLollipop

A new

8

Flauter

A new

9 Panner

A new

10

12

WX7

DX21

An

introduction to

How to simulate drawbar organ sounds with the DX21. By

Louis

DXlOO

TX81Z Performance setup created

voice created

Zednik,

by

Ken Como.

by

David Barton.

by

Stephen

by

J.

Fritz Orzelek.

Yamaha's new MIDI Wind Controller.

Jr.

Cooper.

by

David Forbus.

by

David Forbus.

AFTERTOUCH lished monthly. Third class postage paid Prairie,

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

7938.

POSTMASTER: Send form 3579 to P.O. Box

7938, Northridge,

91327-7938.

2

AFTERTOUCH!Vol. 3 No. 9

at

P.O.

CA

is

pub-

Long

corAFTERBox 7938,

91327-

Free.

CA

13

14

16

18

electronically, mechanically, photocopying, recording,

DX7 II

RX5

Questions Hot Tips

Yamaha Music Corporation

How to change the voice combinations in memories.

Panning techniques for the RXS.

Answers to questions from readers.

Reader tips for the

USA.

No

part of this publication may

By

Tom Darter.

or

otherwise,

DX7

By

Hank

By

SPX90, YMClO,

be

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

without

the

prior written permission

RXll,

of

Yamaha

Hehmsoth.

Tom Darter.

and more.

International Corporation.

II

Performance

by

any means,

From

LISTENING

FTER

A

our June 1987 issue, many

.1""\..sheet wrote to request more information new MIDI guessed from tains a more detailed introduction to beginning requests, this issue also features more 4-operator patches (all from readers), covering two tions TX81Z. readers, plus answers month surprises!

Keep your suggestions,

questions, and articles coming in. Keep letting

know

us our best to get it into

In closing, here tion for AfterTouch readers. have seen before, read all know how to get

most efficient

the

New new mailing address, beginning with address

7938, Northridge,

Foreign received many requests for AfterTouch from outside Yamaha tried to support these requests. fortunately,

in

Controller. As you may have

Wind

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10.

page

on

instruments-

of

are also articles

There

will have more

you want

what

is

but

these items carefully,

of

the way.

Address:

as follows:

is

the

Please

July 1987 issue.

the

CA

Correspondents:

United

the

States. For a short time,

costs

The

Evatone

the

to

In answer to

DX

the

and

reader questions.

to

same, plus a

the

of

hot

need, and we'll do

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Touch for you.

After

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Some

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AfterTouch, 91327-7938.

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current

Our

P.O.

We

you

of

conWX7, reader

the

it you Please

have a

Box

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Un-

Editor

sup-

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erature lines must be sent directly to Yamaha. address P.O. AfterTouch are happy to receive specific ques-

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to

AFTERTOUCH

9/

3 No.

Vol.

every

abso,

on

3

DXlOO

Bacon.

DXlOO

By

Ken Como.

Notes: This

sound to

wreak

people.

be

achieved

values

effects

engineers

Different

for

sure recording nical can

LFO

andAMD.

ANew

Voice

patch

and

by

altering

Speed,

is

with

tech-

effects

PMD,

havoc

the

S/H

WAVE

I

POLY

PCl.YiMONOI

99

SPEED

I

PMS

I 6 I

I

PB

RANGE

I l

0

I

PITCH

AMP!.

WHEEL

RANGE

FREQUENCY

AR

17

EGBIAS

01'0

FREQUENCY

AR

20

EGBIAS

01'0

8.00

ID1R

31

7

~

3.00

r1R 1D1L

31

7

~

IIJET\.NE

ENVELOPE

ID1L

15 10 15

KEYBOARD

RATE

0 0 0 0

QUTPUTLEVEL

98

l

~~E

ENVELOPE

15

KEYBOARD

RATE

0 0 0

QUTPUTLEVEL

99

LFO &

RJCTlCNi

0

99

99 I ON

I

3

NIB

I

POATAMENlO

0

I

IRR

0

IRR15

0

PM)

I

KEY

0

TNE

0 0

AMP!.

BREAlH

fWD

SYNC

C5

I

TIWISPOSE

I

PORT

SUSTAN

FOOTSWITCH

I

PITCH

BIAS

9.00

11

7

7.85

7

EGBIAS

ENVELOPE

I~R

25

RATE

QUTPUTLEVEL

ENVB.OPE

rR

25

RATE

CUTPUT

RANGE

FREQUENCY

AR

EGBIAS

01'0~

FREQUENCY

AR

EGBIAS

01'0~

..J

0

I

DElUNE

I~L

15

KEYBOARD

99

I

DE1\JNE

ID1L

15

KEYBOARD

99

DELAY

I

0

I

OFF

MODE

0

I

PITCH

INIBo

0

DATA

1-

SCALING LEVEL

VELOCirY

INIBo

DATA

_

6 5

1

SCALING

LEVEL

VELOCirY

I I

ALGORITHM

115

I

•

-3

DATA

1-

I

~

-1

DATA

~-

LEVEL

NIB

0

IRR15

3

SCALNG

LEVEL

VELOCirY

0

NIB

0

r

3

SCALOIG

LEVEL

0

VELOCITY

0

1~1

15

4 AFTERTOUCH/Vol. 3 No. 9

DXlOO

FingrBrass.

ANewDXlOO

David

Voice

Barton.

LFO&RJNC1'k:»r6

OFF

15

0

I

0

DElAY

I

PM>

I

INC

I

SVNC

I

12

SPEED

TRI

WAVE

I

By

POLY

I

PQ.YIMONO

0

I

PITCH

VhiEB.

I

FREQUENCY

6.00

ID1R

AR

31 31

EGBIAS

0

~

DPII

FREQUENCY

6.00

ID1R

AR

17

EGBIAS

0

OPII

11

0

TIME

0

AMPL

BREATH

I

TRANSPOSE

KEY

PORT

PITCH RANGE

FREQUENCY

AR

31

EGBIAS

OPO

FREQUENCY

AR

17

EGBIAS

OPt

F1

I

FOOTSWITCH

0

I

BIAS

6.00

101R

31

0

~

6.00

01R

I

31

0

~

SUSTAN

EGBIAS

I

ENVB.OPE

RATE

OUTPUT

ENVB.OPE

RATE

OUTPUT

0

PMS

I

2

I

RANGE

PB

I

AMPL

RANGE

OETLNE

I

ENVELOPE

ID1L

15

KEYBOARD

RATE

0 0 0 0

OUTPUT

73

0

+3

LEVB.

I

DATA

ln>A

3

IWS

OFF

MODE

PORTAMENTO

0

PITCH

IWS

1

IM

0

SCAu.G

B.

LEV

VELOCITY

0

I

5

l

OETLNE

ENVB.OPE

31

RATE

OUTPUT

I

+3

ID1L

15

KEYBOARD

2

LEVB.

99

DATA

IOOR

0

1/WS

IM

3 5

SCALING

B.

LEV

99

VB.DCITY

0

I I

ALGORITHM

15

..J

I

0

I

•

DETUNE

-3

ID1L

15

KEYBOARD

LEVB.

73

I

~

DETUNE

I

-3

ID1L

15

KEYBOARD

2

LEVB.

99

DATA

ItER

DATA

tEA

I

IWS

1

IM

0

SCAI.NG

LEVEL

VELOCITY

0

1/WS

IM

3 5

SCALI'IG

LEVEL

99

VB.OCITY

0

5

lFE~~

Notes:

patch

This carrier

detuning

with rus-like

"thickness"

the sound

the

of

ratios

effect,

must

eter

equals

C

non-standard

uses

frequencies

create

to

that

effect

of

dramatically.

frequency

unusual

create

to

used

Transpose

the

so

set

be Fl.

combined

cho-

a

increases

DX

the

Because

this

param-

middle

that

100

---~~----

Vol.

3 No.

AITERTOUCH

9/

5

DXlOO

BASH!

DXlOO

By

Stephen

Cooper.

Notes: This

is

definitely

to

use

as

an

best

or

of

the

results, octaves

the

keyboard.

orchestral

way

is

useful

is

useful-as a

accent. For

notes

half

ANew

Voice

not a

sound

pad!

a gong

sound

rhythmic

play

single

in

the

lower

lFO I

FIMCTIONB

TRI

WAVE

It

33

SPEED

DELAY

6 0

FREOUENCY I DETLNE

AR

4 5 8

EGBIAS

OPt

FRBlUENCY

AR

20

EGBIAS

OPt

19

8.65

ID1R

0

~

2.00

ID1R

0

~

7 0 OFF

C1

-3

ENVELOPEO.r.TA

ID1L

1-

12

kEYBOARD

44

2

LEVEL

SCALNG

VaociTY

RATE

OUTPUT

1

I

DETLNE

-3

ENVELOPE

Dot.

T A

ID1L

KEYBOARD

RATE

OUTPUT

14

84

2

LEVEL

1-

2 8

SCALN;

LEVEL

VELOCITY

13

NIB

LEVEL

N>/6

IRR

99 0

IRR

99 0

SYNC

0

8

0

FRECUENCY

18.84

AR

.l~R

16

EG

BIAS

0

OPt

~

l~

ENVB..OPE

ID1L

7 2

K~RO

RATE

CUTPUTLEVEL

•

2

89

DATA

I~

12

SCALING

LEVEL

VELOCITY

NIB

0

IRR

99

0

8

I FEEt6ACk I

LEVEL

3

6 AITERTOUCH!Vol. 3 No. 9

---~------

FRBlUENCY

1.00

ENVELOPE

AR

ID1R

20

18

EGBIAS

RATE

0

OPt

CUTPUTLEVEL

~

ALGORITHM #3

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

l

I~E

O.O.TA

ID1L

1-

15

7 9

kEYBOARD

2

84

~

N>/6

0

IRR

SCALNG

LEVEL

99

VELOCITY

0

DXlOO

DXLollipop.

ANewDXlOO

Voice

Fritz

LfO & RJNCllCNS

TRI

WAVE

I

35

SPEED

0

DElAY

I

PMJ

I

NID

I

OFF

SYNC

I

By

J.

Orzelek.

6

PMS

I

I POLY I

Pa.YIMONOI

50

I

PITCH

WHEaRANGE

FRECUENCY I DET\.NE

1.00

AR

ID1R

16

EGBIAS

0

01'0

~

FREOUBIICY

1.00

AR

101R

22

EGBIAS

0

01'0

11

2

PB

RANGE

0

I

AMP!..

ENVB.OPE

ID1L

6

11

KEYI!IY.RD

RATE

2 0 2

OUTPUT

67

t

I

DET\.NE

+3

ENVELOPE

ID1L

4 1 3 3

KEYI!IY.RD

RATE

2

OUTPUT

LEVEL

99

I

0

DATA

I~

LEVB.

DATA

I~

0

n.£

0

AMP!.

BREAtH

C3

I

KEYTIWISP06E

PORT

FOOTSWITCH

5o

PITCH

BIAS

RANGE

FRECUENCY

12.11

AR

I~R

14 15

EGBIAS

0

OFO

~

FREOUENCY

4.00

AR

rR

24

EGBIAS

0

OFO

~

I

SUSTAN

I

EGBIAS

I

ENVB.OPE

RATE

OUTI'IJT

I

ENVELOPE

rL

11

RATE

OUTPUT

..J

0

DET\.NE

ID1L

KEYBOARD

DET\.NE

KEYBOARD

0

IWS

I

OFF

I

MODE

PORTAMENTO

0

I

PITCH

IWS

0

t

3 6

SCALING

LEV

B.

VELOCITY

0

IWS

0

IRR

4

SCALING

LEVEL

0 1 0

VELDCrTY

0

ALGORITHM #5

I

IWS

•

+3

DATA

I~

8 3 5

SCALNG

LEVEL

LEV

B.

VELOCITY

67

I

~

IWS

+3

DATA

r~

13

8

SCALioiG

LEVEL

VELOCITY

99

I

0

IRR

l~j

0

IRR

8

0

Notes: This

patch

to

Although

carefully

parameters

room

for

are a few

the

to

11

level

of 2.00

owes

the

Electric

voice

designed

creative

AR

-15 effects;

of

try a frequency

for

genesis

# 1 ROM

DXJOO.

was the is

experimentation.

Here Adjust

down

arpeggiation output

to 63-70;

ratio

portions

Piano

in

the the

patch with

listed,

there

suggestions.

of Op

#4

for

interesting

adjust

Op

#4

down

Op

#2.

of

its

the

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

Vol.

3 No. 9/AFTERTOUCH 7

TX81Z

Flauter. A

Z

based

is

"Per/Flute"

B).

Perfor

Setup

Forbus.

perforrrumce

on

internal

TX81Z

mance

David

Notes:

TX81

This setup patches: "BreathOrgan"

TXBlZ's

the bank

New

two

(both

voice

and

from

ROM

..

By

I

name: assign mode

micro tune select

effect select

inst. number

number of notes

voice number

receive ch.

key limit /L

key limit /H

tune

de

note shift

volume

out assign

Ito select

micro tune

Flauter

NORM

c

5

OFF

2

2 3 3

B31 B32 B32

1

C-2

G 8

C-2

G 8 G 8 G 8 G 8 G 8 G 8 G 8

+0 +12

99

LR

+3 +0 +0 +0 +0 +0 +0 +0

99

L R

1

ON ON

1 : PercFiute

II

BreathOrgn

2: 3 : BreathOrgn

4:

3

1 1

C-2 C-2

-3

99 99 99

1 1

ON

4

I01

+0 +0

LR LR

VIB VIB

OFF

5

0 0 0

I01 I01

4

5

C-2

OFF

5:

6:

7:

8:

6

7

0

I01 I01

7

C-2

+0 +0

99 99

OFF

6

C-2

+0

99

LR LR LR

VIB VIB

OFF

8

0

8

C-2

VIB

OFF

1

OPERATOR

on/off

out level

freq.

range

fix

freq. coarse

freq.

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

decay 1 level

detune

!

02

2 .

ENVELOPE

attack rate

decay 1 rate

decay 2 rate

release rate

eg shift

SCALING/SENS

ams on/off

eg

sans

key vel

0

ON

99

RTO

type

255

fine

-3

00

4 .

31

12 12 10 10 10

OFF OFF OFF

rate

level

20

ON

bias

ON

99

RTO

8

0

+3

4 .

!

31

12

4

73

RTO

11

-3

02

29

12 10

74

RTO

255 255 255

13

5 7

0

+3

00

2 .

!

29

6 6 6 6

4 4

OFF

0 0 0 0

26

20

53

ON

0 0 0 0 0

0 0

0

voice name:

algorithm

feedback

9

LFO

waveform~

speed

mod

amp

pitch mod depth FUNCTION

4

mode

portamento

porta time

:········

~pitch

.........

amp

pitch

s.

amp

no.

33

depth

POLY

FULL

vol

SpacStngLt

5 7

7

27

mid

rev rate pb range

0

.........

99

0

~

.

0

......

L.

50

0

sync

delay

sans sans

C

pitch

amp

bias

eg

p bias

=

c

50

+0

ON

0 1

5

2 0 5

o

AFfERTOUCH/Vol. 3 No. 9

8

····---··---·-------------------------

--

TX81Z

I

name: assign mode

micro tune select OCT.

effect select

inst. number

number of notes

voice number

receive ch.

key limit /L key limit /H

note shift +0 +0 +0

out assign L R

lfo select

micro tune

Panner

I01 I02 I01

C-2 C-2

G 8 G 8 G 8

detune +0 +0 +0

volume

99 99

OFF

II

NORM

OFF

2 3

4 4

1 1 3

C-2

99

LR

1 1 VIB

OFF

1 : SpacStngLt

2 : SpacStngRt

3:

4:

4 5 6

0

0 0 0 0 0

I01

4

I01

5 6

5:

6:

7:

8:

I01

C-2 C-2 C-2 C-2 C-2

G 8 G 8 G 8

+0 +0 +0

+0 +0 +0 +0

99 99 99 99

LR

VIB VIB VIB VIB VIB

+0 +0

LR

OFF OFF OFF

7

I01

8

I01

7

G 8 G 8

+0

99

LR

OFF

LR

OFF

8

Panner. A

New

TX81Z Perfor mance Setup

By

David Forbus.

Notes: This

TXSI Z

is

based

"SpacStrngLt"

the

two

identical

and

as

follows:

and

stare

second

to

performance

on

two

voice

(both

voice

patches

except

far

names,

Program

it;

then,

and

name

voice,

and

another

memory

and

new).

their

save

one

edit

to

stare

setup patches:

"SpacStrngRt"

Since

are envelopes

time

voice

the

envelope

ate

the

result

location.

..

cre-

OPERATOR~

on/off

out level 99 74 99

freq. type

fix range 255 255 255 255

freq. coarse 5

freq. fine 7 o o 9

·······:·1·~·····r·····:·2·~·····r·····:·)·~·····r·····~·.;j:·······

decay 1 level 0

detune

2 . 02 !

ENVELOPE------------~.

attack rate 6

decay 1 rate 7 decay 2 rate o

release rate 3

eg shift OFF

SCALING/SENS

ams on/off

sens

eg

key vel 0 o o o

0~1

-=~~~~~.

ON ON ON

RTO RTO

-3

4.

00 ! 2 • 00 ! 4 • 02

RTO

13

+3 +3

11

RTO

8

6

5 7 5

0 0 0 0 0 0

1 3 1

OFF OFF OFF

-----,.

rate

level

bias 0 o o o

o

0 0 0

20 53 20

ON ON

ON

11

-3

11

26

ON

voice name:

algorithm

feedback 7

no.

5

SpacStngRt

LFO-------------------,.

waveform~

delay o

~mp

pitch

speed

mod

33

depth 7 depth 27

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

o

·········

A

:"Y

L.

mid

rev rate 0 pb range 5

eg

.....

p bias +0

mode

POLY

portamento FULL

porta time o

=········

vol

99

~pitch

.........

amp o

8.

p!~~

~

sync sens 1

sens 5

C = c 2

pitch

so

amp

0

bias 0

ON

Vol. 3 No.

9/

AFTERTOUCH

9

An Introduc

tion To Yamaha's MIDI Controller.

WX7

MIDI

New

Wind

wind

controller.

..

HE

WX7

is a

MIDI

wind

controller

designed for use by saxophone players

T

those who play

other

Like no

sound by MIDI synthesizer generator produces controls tone

however,

is and pressure are sensed by WX7 articulation sure ume messages)

thesizer you converted to aftertouch data. will respond to Breath

Wind

and

generator.

Unlike

equipped with a saxophone-like mouthpiece

saxophone-like keys. Variations

to

control

can

also control

If you want to

that

can

switch

Control

& Lip Control

other

woodwind instruments).

MIDI controllers,

itself-it

shapes

such MIDI controllers

the

WX7 has

of

does

must be

or

tone

generator.

the

sound,

the

sound produced

no

keyboard. Instead, it

the

wind sensor inside

the

tremolo, vibrato, tone, and

the

sound source. Breath pres-

the

volume (via MIDI Vol-

the

sound source.

connect

not

accept Breath Control,

the

WX7

so

the

aftertouch

data

were being transmitted.

the

WX7 makes

connected

and

as

the

WX7 to a syn-

that

its output

The

tone module

data

exactly

The

the

in

by

KX88,

breath

(and

to a

tone

WX7

as

note

bending)

the

which

of

which

style.

the

goes down a regular saxophone.

is

blowing feel simply by inserting a plug into the instrument's

if

ing three types vidual playing style.

For

mouthpiece playing modes are possible:

1)

The

2)

The

Normally,

to close

or

and

Lip

Gain

(the

WX7 responds to lip pressure),

are fully adjustable to suit your playing

added

Tight

to a normal

applied

tightening this bite lowers

pitch.

Loose Lip mode, which

the when blow. In this mode becomes four times more sensitive to lip mode.

the

partially close

versatility,

Lip mode, which corresponds

embouchure: A bite

to

the

reed, and loosening or

WX7:

No

lip pressure

playing

pressure

when

center

drain

at

normal

the

than

in

you play

of

You

hole. Two plugs are supplied,

of

blowing feel to suit your indi-

the

instrument,

can

the

drain hole, provid-

amount to

both

two

different

or

raises

the

is

unique to

is

applied

pitch-you

WX7 actually

the

WX7,

select a tighter

Tight

the

as

just

Lip

air

with

is

10 AITERTOUCH!Vol. 3

The

WX7 features two providing two modes sure.

You

can

adjust

(the

breath

speak)

which

to

The tures a responds create phone, tent

across

lowest register.

The

(the

minimum

No.9

threshold

and

the

WX7 responds to breath pressure).

WX7's

durable

to

variations in lower lip pressure to

note

bending. Unlike a normal saxo-

note

bending via lip pressure

the

WX7

"Wind

of

response to breath pres-

both

the

Wind

at

which a note

wind

Gain

setting

detachable

transparent

entire

pitch

has two lip settings, Lip Zero

lip pressure needed to produce

mouthpiece

plastic reed

range, even

~-~---------------------~

Curves,"

Zero setting

will

(the

amount

fea-

that

is

consis-

in

the

& Fingering

Keys

The

WX7's keys are highly responsive; due

the

nature

of

the

to is

lighter

and saxophone, enabling fast The

standard Boehm fingering system lized, in Fingering range

does be nique. adjusted by inserting special plastic shims (0.2

an

economical arrangement

is

light

of

the

instrument.

Unlike many MIDI instruments,

not

have

customized

The

playing

instrument,

more precise

and

responsive throughout

the

feel

of a machine-its

to

suit

your performing

height

and

the

key action

than

that

of

a normal

effortless playing.

of

the

of

each

key may be

is

14

keys

uti-

keys.

the

WX7

can

tech-

or

0.5

mm

thick)

under

the

base

of

the

key.

With

the

WX7,

you

can

change registers

without

overblowing.

There

are five

octave transposition keys conveniently located the

left thumb.

two,

or

three octaves, octaves, for a total range the range the WX7 adjustment

The

pitch

may be raised by

or

lowered

of

a regular saxophone. Also, since

is

a digital device,

is

required

throughout

by

seven

octaves-twice

no

one

embouchure

the

seven oc-

or two

tave range.

As mentioned above, gering may be used of

fingering positions to make playing easier faster, especially in are also

two

fingering

normal

on

the

WX7,

the

middle register.

innovations,

saxohone fin-

with

a variety

There

which

increase the WX7's playing potential greatly:

1)

For

each

note,

three special fingering configurations raised by of

overblowing,

flexibility

allow

one

octave

unavailable

the

note

without

providing

on

to

the

need

melodic

even

finest saxophone.

2)

Execution

ally simpler phone selected according note located trill keys are used half-tone matter played. for alternative fingering

of

trills

on

the

WX7

is

actu-

than

on

a regular saxo-

(where

trill

to

keys

the

must

pitch

of

being played). Two conveniently-

to

execute

and

whole-tone

what

note

or

The

trill keys may also be used

register

of

notes.

trills,

is

being

Other Controls

The

normal playing key

(as with a flute or oboe).

adjust

the

playing key

to

of

It

is

Eb, Bb,

the

WX7

also possible

or

C raised

octave.

Many saxophone players create

by

partially opening MIDI technology comes

complete

certain

to

create

with a Pitch

keys;

the

note

bends

the

WX7

same effect.

Bend

Wheel,

near one,

and

be

the

be

the

no

is

C to

one

uses

It

which

is

operated wheel functions Bend

Wheels

conjunction

in

on

with

by

the

right

the

same way

DX

synthesizers.

lip pressure,

powerful expressive potential.

The

WX7

is

also

equipped

notes

at

key,

a time.

which

can

This

is

be set to

done

one

by

of

functions:

1)

In

the

NORMAL

the

Hold key while playing a

WX7 "remembers"

time you play a

also be heard, until

mode,

note,

that

the

pressed again.

2)

The

FOLLOW mode allows

note

to

follow

the

lead selected interval, for parallel passages.

3)

The

WX7

can

transmit MIDI

two separate MIDI

1

and 2 or 3 and independent sound sources. Using the

DUAL

held

ntoe

(until

the

Hold

one

MIDI

channel,

is

sent

out

on

4)

In

the

DUAL

held

note

is a note; both

the

notes

can

is

pitch, volume,

channels

4) for

control

the

NO

BREATH mode,

continuously

key

is

pressed again)

while

the

other

USE

BREATH mode,

heard only

be controlled by lip

breath pressure.

The

WX7

compact

hooked

six

AA

weighs less

MIDI/Power

onto

the

player's belt) supplies

batteries (or

than a pound.

pack

an

optional

adapter) are needed.

The

WX7's list price

combination

MIDI features, it

of

expression for electronic musicians.

of

extensive is

sure

is

$995.00. performance

to

open

thumb.

as

the

This

Pitch

Used

this

provides

to

play

using

the

Hold

four different

when

you press

note,

note. Every

held

note

Hold

key

the

held

line

at

harmony

data

(channels

completely

of

two

MIDI

Hold

key in

sustained

the

lead line

MIDI

channel.

when

you play

and

tone

(which

can power-

PA-l

power

With

up new worlds

in

two

the

will

any

on

the

on

the

of

and

A

be

its

and

is

This

diagram

shows

the

fingering

scheme

of

the

basic

WX7.

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D D D D D D.

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~ ~ ~

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Do

§;

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• •

§ § § § §

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§

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~

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§ §

D D D D D.

Do Do

~

b b

6

§

-=--

G#(A•)

1

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§

LJ

"i'

~.

..

•

"i'

~

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•

--.--

•

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§

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§ § §

lo

Do Do

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§ §

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0 0 0

§ § §

D

D D D D •

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§

§ §

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keys

are fingered.

--.------a

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0

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D

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3 No. 9/AFTERTOUCH

~

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D D D Do

lo

b b

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§

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)

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11

DX21

How late Organ

To

Simu

Drawbar

Sounds

With The

DX21. By

Louis

Zednik,

Jr.

..

X21

D

for are fortunate keyboard voices. 1986 issue) explained how to set up B-3 #32. it better

cause operator algorithms; but, if you look erators created for use in Dual mode, you are actually

looking

and have a super-algorithm drawbars only simulate six drawbars using algorithm

had essary to use all eight ate

two voices

(or flute footage).

quency ratios to chart are but

An

organ sounds

This

The

of

in

at

the

The nine

out

an

infinite variety

First, visualize

shows

not

given

in low-to-high

Organ

Draw

bar #1 #3 #2 #4 #6 #5 #7 #8 #9

OWNERS

the

Hammond

to

products

earlier After Touch article (February

article will show you how you

with

a DX21. reason its Dual mode.

each

eight operators. If

B voice are set to algorithm

of a Hammond

drawbar

drawbars,

of

nine

as

being equivalent to

the

in

WITH A FONDNESS

drawbar organ sound

have

one

of

the

best Yamaha

for

duplicating

on

a DX7 using algorithm

the

DX21

can

do it better

The

DX21 features 4-

voice

as

part

of

both

that

can

B-3.

Hammond

but

it was very seldom nec-

nine

in

has a powerful potential to cre-

of

each

Next,

each

operator.

choices

their

original order

pitch

Flute

Footage

16'

8'

1

5lf3

4'

1

2

13

2'

1

1213

II/,'

1'

organs actually

a voicing pattern. So,

sounds. of

the

operators in the

assign drawbar fre-

available-the

order.

drawbar

Hammond

at

a combination

the

A voice

#8,

simulate eight

The

DX7

one

drawbar

The

following

drawbars

on

the

Frequency

Ratio

0.50

1.00

1.50

2.00

3.00

4.00

5.00

6.00

8.00

can

the

#32.

is

you

can

B-3,

It

is

also important to duplicate (for each

the

drawbar/operator) that

occur over

On

DX done by means process (for by

Lance Armstrong in

do

above ("Use

Organ Sounds," After Touch, February 1986).

be-

The

DX21 must be scaled

however, it

op-

the

DX7, since

ferent Level Scaling parameters.

the

end

Keyboard Level Scalings.

experimenting

In have found drawbars quency ratios same algorithm. Here technique:

DX21 Operator 1 Bank A

2 Bank A 3 Bank A 4 Bank A

1 Bank B 2 Bank B 3 Bank B 4 Bank B

Alternatively, for the SIN flute footage: Call up

1.57 frequency ratio and adjust with detuning. the

If

the

DX21 's Balance control lever produce pleasing, real-time variations in drawbar combinations.

Finally, here Level Scaling and frequency ratios in the above setup.

the

instruments, this amplitude shaping

of

the

DX7)

Your

cannot

the

of

this article shows some suggested

that

is

obtained

on

one

"footages" are intermixed in this

changes in amplitude

range

of

the

Keyboard Level Scaling. This

is

described very capably

the

article mentioned

DX7 To Duplicate Drawbar

in

a similar manner;

be scaled in

two instruments have dif-

with

this

the

most pleasing

by

"hop scotching" fre-

adjacent operators within

is

one

Flute

Footage

16'

1

2

13

2' 1' 8'

4'

1

1213

1

II/3

of

the

operators

is a chart

Output

that

Level values for

organ keyboard.

the

same

way

The

chart

approach,

blend

the

example

Frequency

can

gives suggested

of

Ratio

0.50

3.00

4.00

8.00

1.00

2.00

5.00

6.00

can

be used

the

DX21 's

be used to

this

way,

the

is

as

at

I

of

AITERTOUCH!Vol. 3 No. 9

12

Each

of

the

operators (or drawbars) sounds

at

a single sine wave

the

The

each

eight

of

the

Select possible drawbars. may wish to experiment ratios.

that

{or loudness)

by adjusting

its given frequency ratio.

that

you want

The

more avant-garde reader

step

is

to simulate

is

pulled

each

flute footage.

Output

with

other

out-the

Level for

out

each

of

the

frequency

the

amount

amplitude

This

is

operator.

nine

done

Frequency

Ratio

0.50

3.00

4.00

8.00

1.00

2.00

5.00

6.00

Level

Scaling

20

30

40

50

10

25 44 47

Output

Level

86 99 81 90 99 83 81

75

DX7

II

FD/D

HE PERFORMANCE

T

the DX7 II flexibility time, it presents musicians with yet level

of

programming to comprehend.

As with Voice programming, easiest ways Performances mance memories. hear the result without having blank page known

Unfortunately, there aspect

of

a Performance memory

changed in Performance Edit mode: the voice

or voices used "Voice shows you

mance memory, but gives you those selections.

Internal Performance

You consisting

Internal Voice 57 (GuitarBox).

with all aspects

try internal voice 3 (PickGuitar)

voice in do you proceed?

call up the two voices you want

INT

the Performance button. Unfortunately, this calls up

Edit buffer. Does this mean

write down all nal Performance ( one combination?

Voice combinations while retaining all

Mode"

Let's say

know

the

Well, if you use

3) in Voice (Split) mode,

an

at a time

The

answer

FD/D

in

live

performance.

to

start learning how to program

is

to edit already-existing Perfor-

This

of

a change in

to

worry about starting from the

as

the

LCD

the

selected voices in a given Perfor-

that

you are playing the DX7 Il's

that

this

of

Internal Voice 2 7 (String Bass)

of

this Performance, but want to

Split (instead

the

INIT

PERF to

of

the

parameters from

# 3) ,

with

is

no!

PLAY

MODE

opens up new realms

At

the

another

one

gives you

INIT

is

raw sound material. screen

#3

(String Bass-Guitar).

Performance

standard method, you

the

and

There

the

ability to

one

parameter

PERF.

one

very important

that

cannot

under

button

no

way

to

is a Split

You

are happy

as

the

of

GuitarBox). How

(INT

and

then

Performance Play/

that

you have to

the

then

enter

your

new

is

a way to change

ON

of

same

of the

be

The

28

change

and

top

2 7 and

press

origi-

them

Voice

of

the

other

parameters from a desired Performance

This

is

memory.

1)

Pick

edit, use in place

2) Enter Peformance Play mode the

edit.

3) Now, press ton;

change No. " in nore it.

4) While holding down ton, press that

bination Split). button

5) Now, release

select

1-32/33-64,

6) Press

stead

in

the

of

the in step 2 above. Edit buffer now contains all

eters from the have just selected.

7)

At

this point, you may wish to enter Performance Edit mode to change mance name. If not, simply Store this new Performance your choice.

Using Voice combinations in your Performances just as

easily

mance parameters.

how you do it:

the

Performance memory you want to

and

decide

on

the

voices you want to

of

the

current voices.

and

call up

Performance

and

you

will

the

corresponds to

you

The

will go out,

the

voices you want, using

the

Performance

of

seeing

name display, you will see

Performance memory you selected

that

Voice numbers are now the ones you

this

technique,

as

you alter all

memory you

hold

the

Performance but-

see

"Sending

the

Performance but-

Voice Mode Select

the

type

of

want

(Single,

LED above

the

Performance

and

number buttons.

the

The

Performance, except

to

the

but

don't

button

dreaded

"INIT

Performance

of

memory location

you

can

of

the

other

want

to

program

LCD, but

Voice com-

Performance worry.

button

again. In-

the

button

Dual,

the

A/B,

PERF"

the

name

Play-

param-

Perfor-

alter

Perfor-

ig-

or

and

that

of

the

How Change

To

The Voice Combina tions in

DX7

II Performance Memories.

By

Tom Darter.

DX7

II

FD

digital

synthesizer.

FM

..

Vol.

3 No. 9/AITERTOUCH 13

Panning Tech niques

For RX5.ByHank Hehmsoth.

14

AITERTOUCH!Vol. 3 No. 9

..

The

HE

VOICES in

digital

T

capabilities offer eters are enormous. However, there are important elements in parameters. as

much reo field. Each voice achieves a special quality, almost startling in comparison to monophonic the

Copy

and

the Assign Job ing

of

yield amazing results.

The

RX5's

Output specific positions tht

numbers

0

position, 8 left position. the

RX5's twelve

PCM

Nothing

as

panning

voice.

Voice function (Key Assign Job

Output

#6),

the

fixed stereo positions

Pan/Output

channels

pan

positions in

in

the

1 through 15: 1

is

dead center,

The

Output

Channel

1

2

3

4 5

6

7

8

9

10

11

12

There

are a

number

notice about this setup:

1}

There

are two

to

pan

position

ful (more

2}

There pan

to support voices SD1-3 RIM1-2, so can

3}

There equally left the

12 and 4 (channels 4

on

are two

position 9 (just right

that

occur

in

are a

number

and

double

"nested"

the

RX5 are top-quality

sounds.

much

Channel

combined

stereo field are represented by

permanent

output

The

exhaustive edit

exploration-the

the

RX5 beyond

"lifts"

the

sound

it

or

doubling it in

Careful

are fixed permanently to

manipulation

Assign function (Key

with

an

in

Channel

the

stereo field.

is

the

and

15

pan

channels

Stereo

Position

param-

other

the

of

a voice

the

original

#09)

understand-

the

RX5,

Setup

farthest right

is

the

farthest

positions

are

as

follows:

8

9 9

12 10

6

4

13

3

11

5

8

of

important

channels

8-dead

this later}.

channels

the

same

right

(1

center

( 2 and

of

(snare drum} and

rimshots and snare strikes

pan

location.

of

channel of

dead center. First,

pairs with

and

7)

things

and

12) assigned

is

always use-

3}

assigned to

center}. This

pairs

that

pan

positions

and

pan

posi-

edit

ste-

can

Pan

are

tions 10

single pairs

(channels 8 and 9) (channels

channels

instruments such as toms.

4) Do ual diagrams for specifics For example, look

of

nels 8 and 9 chart cover: location values tant a very different impression.

5)

There mented Copy locations. panning group locations for editing.

Panning

The nels pan position from left to right.

and

6 (channels 5

with

pan

positions 13

and

10

and

11).

The

4 through 7 are good for grouped

not

trust

the

arrows

as

shown

on

the

owners

Since

these two channels have pan

of

from center;

are

in

spectrum

of

sounds,

Left

chart

in

a special order, arranged according to

Stereo

Position

the

10

different

the

RX5's layout,

This

other

to

Right

below shows

in

at

the

placement

in

manual

13

and

arrows

pan

fact

for a special

and

still leave you 2 Copy

purposes such

13

12 11 10

9 8

7 6 5 4

to

ning effects Copy locations and assigning those Copy

tions to output channels. Here using the

is

locations,

1)

Copy and

2)

Copy and

3) Copy #8.

3

You

can

use this arrangement to create

by

duplicating certain voices

the

Electric Tom sounds.

four Electric Tom sounds into

as

follows:

E.

TOM

1

toCopylocations#1,

#3.

E.

TOM

2 to Copy locations

#6.

E.

TOM

3 to Copy locations

and

6};

then,

positions

the

on

the

3, they are

can

the

Channel(s)

Start

11

nested pairs in

owners

pan

placement.

of

"Drum Set"

inside back

in

the

chart

positions imple-

but

there are

give you a full

sound

as

output

Output

8 4

10

5

2,

3

1,

12

6

11

7

9

is

an

example

by copying

ten

#4,

the

and

and 5

man-

chan-

equidis-

give

voice

chan-

pan-

in

the

loca-

Copy

#2,

#5,

#7

and

3

12

or

4)

Copy

E.

TOM

4

to Copy locations

#9

and

#10.

Now assign

the

ten

Copy locations to

output

channels:

5) Assign Copy

6) Assign Copy

7)

Assign Copy

8) Assign Copy

9) Assign Copy

10)

Assign Copy

#1 #2 #3

#4

#5 #6

to

ChannelS.

to

Channel4.

to

Channel

to

ChannelS.

to

Channel

to

Channell

10.

2. or

Channel

12.

II)

Assign Copy

12) Assign Copy

13) Assign Copy

14) Assign Copy

At

this point, it

use

the

RXS I've found KX88

as

a velocity-sensitive MIDI input.

MIDI

note

the

notes

CO signed to Copy locations 1-12. chromatic

#7

to

Channel6.

#8

to

Channel

#9

to

Channel

#10

to

Channel

can

get very confusing to

keys

in

Real

that

it helps enormously to use

Time

11.

7.

9.

Write

mode.

The

numbers 24-35 (corresponding to

through

scale will

BOon

the

KX88) are

Playing

pan

your Electric Toms

a rising

the

as-

from left to right, while playing a downward chromatic scale will pan right to left. various tions,

TOM

so

that

You

voices stored

you will have

can

the

Electric Toms from

also edit

the

in

the

ten

different Electric

pitch

Copy

of

loca-

the

Toms panning left to right!

Variations on Panning

Now

that

you understand

between the pan locations nels, and know how to use tions, you

can

find many ways to experiment with pan locations. For instance, organize pan locations

in

terms

of

and

the

their

the

relationship

the

output

12

Copy

increasing

chan-

loca-

the

dis-

tance from center:

Pan

Output Relation

Location Channels To Center

8

10

6 6

11

5

12

4

13

3 9

1,

10 11

4

8

12

5

7

dead 2 to

2 to

3 to

3

to

4

to

4 to

5

to

5 to

center

the

left

right

left

right

left

right

left

right

The

above

chart

that

spread

shows pairs

out

equally from center. Using

of

output

channels

the Copy locations, these paired positions could be used to good effect.

nels 2

and

3) has

the

RXS, it

is

Another

Copy

locations)

each

copied to 6

them

across

One

sound would move through 13-12-11-10-9-8 while

the

other

Since

pan

location 9

no

complementary position

not

included in this

chart.

possibility (again involving

the

stereo field

involves

Copy

taking

two voices,

locations, and moving

at

a

constant

pan

(channels

8-4-10-5-2-1),

voice would move through

(chan-

the

rate.

locations

pan

locations 9-8-6-5-4-3 (channels 3-12-6-11-7-

9).

Velocity Sensitivity and

Here we'll use

voice

applications

positions.

Output widest dispersal in position locations ChannelS play the

13

to position 3 ). Copy a voice to Copy

#1

and

Copy

the

two voices simultaneously

appropriate notes

locity-sensitive controller such

The

stereo location will depend

velocity

of

the

two notes being played.

Pan

the

beauty

of

stereo doubled

in

combination

channels

the

#2;

#2

8

and

9 have

RXS's stereo field (from

then

assign Copy

to

Channel

(CO

and

C#O)

as

on

the

with

#2.

by

the

pan

the

#1

Now,

striking

on

a

ve-

KX88.

relative

There are some great effects available here. Try it with headphones. Each velocity variant changes "mix"

of

the

stereo

voice,

creating

the

pan

effect.

Using

the

four equidistant pairs from

chart

above, it would be possible to create four doubled stereo voices, moved

in

equal amounts to

Of

course,

could

be

combined ranges (or mutually exclusive example,

ti~ns

another

one

voice could be assigned to

13

and

8

could be assigned to

and 3 (channels 12

each

other

pairs

to

(channels

and

of

which could be

the

left and right.

of

create

off-center

pan

8

and

pan

9).

The

pan

ranges). For

locations 8

first stereo

the

locations

pan

loca-

1),

while

voice would move from far left to center, while the

second would move from right to center.

The

thoughtful

by

assigning two outputs to

RXS

designers allowed for this

pan

position 8 (dead

center).

Here

is

a

great

Electric Tom setup, using doubled (stereo) voices and a locity

MIDI

voices into

keyboard.

Copy

locations, as follows:

Start

and

by

duplicating

Continued

on

Snare

ve-

page

20

on

to

Vol.

3 No.

9/

AITERTOUCH

15

esnons

Answers To

Questions From

FM

digital

By

synthesizer.

Readers. Tom Darter.

DX21

•

OOPS alert! There was a major error in the

July

1987

Questions column. One of our very perceptive readers caught it, and asked about it

as

part of his question to AfterTouch. This month's column opens with his question, and continues and the correction Please accept our apologies error

How only mode? AfterTouch does impossible sette." magazine.

only sible for only

incoming MIDI messages. MIDI messages based therefore,

cross over

the only keyboard must give you

limits for

DX21.

the duction questions

unfortunate

correct information you spotted.

for

any possible confusion, we are reprinting

original

answers.

want

I

with

both the answer to his question

to be printed.

can

you

MIDI

one

split

portion

Also,

page

18

indicated

not

have

a cassette storage feature, so

to

save

Please

First things first.

one

MIDI

other

one

of

Worst things last.

result

of

not

catching

questions

to

explain

channel

one

portion

if

incoming

the

Split

voice

in

the

Split

the

MIDI

of

a mixup

the

July 1987 issue. Originally, two

and

two answers were involved;

mutant

the

load

my

DX21

to

the

July

1987

for

allowing this

another

of

the

falsely

DX21

The

at

on

its MIDI

Point,

the

Split.

voices, your MIDI master

channel

The

that

graft

error.

below,

synthesizer

of a DX21

July

that

voices

this

DX21 receives

a time, so

of a Split

The

own

the

In

the

ability

assigned

error you found was

occurred during pro-

resulted

In

order

with

voices

in

1987

issue

"the

DX21

onto

error

in

it

is

impos-

to

react

DX21 reacts

internal

Note

messages

DX21 will play

order

to

set key

to

in

the

We

apologize

to

clear up

the

correct

(stored

on

error.

to

Split

of

it

is

cas-

your

on

to to

setup;

access

the

an

in-

both

cas-

sette)

into a DX7, nuances ators.

DX7 does impossible

cassette. Also,

the the

direct way

instrument

Is DX100 perform on without

Granted, face; however, it voice cassette interface

that

nal memory (or from

it mation sette interface.

quencer; while editing form edits

storage feature either; still have the data

thesizers are compatible: Voices created

DX21, DX27, DX27s, DX100, consistent from

structure-as other the using panel. pure permanent no ones. FB-01

(Computer-Aided use

provided

How

do

There

is

no

not

to

load

DX21

is

completely different from

6-operator DX7.

to

transfer a voice

to

the

it

possible

them,

There

data

have

would

Next,

Finally,

DX100

of

Most

one

The

ability

nothing

and

direct way

In

with

to into a QX5 some

and

transfer

the

use

are lots

the

DX100 does have a cassette inter-

from cassette into a QXS:

been

not

be able

stored

on

the

of

sequence data,

on

voice data.

the

one

more problem:

is

the

FB-0 1.

of

the

with

unit

to

FB-01 voice, however, has a different

does

instruments

to

edit

more

The

FB-01, however,

simple. It

internal

to

order

to

to a computer

the

FB-01.

and

then

add

the

by

the

two

additional oper-

I proceed?

way

to

proceed. First

have a cassette interface, so it

anything

the

4-operator architecture

In

other.

load

4-operator

sort

of

System

of

a computer?

of

problems,

is

impossible

is

designed

saved

to

that

to

cassette via

QXS

it

has

an

FB-01 does

not

compatible

current

each

other,

another

the

mentioned

voices

than

contains voices (240),

edit

these voices

do

that,

(via MIDI)

Voicing) program created for

into

other

words, there

sequencer

Exclusive editing

them

into

to

cassette from its inter-

of

another

read DX100 voice infor-

the

is

simply a digital

extensive Edit mode for

it

has

not

and,

if

it

The

Yamaha 4-operator syn-

and

via MIDI.

FB-01 itself.

or

create new voices

the

instrument's front

is a tone

a large

you must

of

a DX7 from

patch

from

voices from a

via cassette,

an

FB-01-all

with

this idea.

to

load

The

load sequences

QXS), so

DXlOO's cas-

no

ability to per-

have a cassette did, you would

voice

with

the

and

TX81Z are

may be loaded

All

above give you

number

but

gives you

or

create new

connect

and

use a CAY

extra

all,

the

is

of

that

of

is

no

one

DXlOO

QXS

se-

data

of

voice

on

the

of

the

module

of

the

16

AFTERTOUCH!Vol. 3

No.9

Is it possible to record

sequencer

mode from Single

and Single" DX21

programmable (RAM) Voice memories.

Performance memory specifying Single, Dual, voice Performance).

Performance binations of voices in Single, Dual, and Split mode-and gram Change messages. In order to take tage of this, you must set the DX21 to Performance mode MIDI

setup, Change messages from the DX21 to your quencer and to receive sages from your sequencer with your DX21.

that

The

DX21 has two basic

Performance. Play

mode:

's

various

mode,

locations,

or

voices

In

other

words, you

mode memories to set up 32

these can be called up via MIDI

and

Channel

it

Info parameter

is

possible

MIDI

commands

will change

to

Dual

It

is

used to play through

permanent

includes

to

make sure

the

or

Split?

Play

mode

is

which

be

both

has 32

or

Split mode (plus

called

can

that is

to

Program

onto

DX21's

modes:

really a "Play

(ROM)

parameters

up

use the DX21

ON.

send

Change

Internal

for

advan-

the

DX21's

With

Program

Play

the and The

the

each

com-

Pro-

this

mes-

for

se-

a

7

8

's

In seven

ator shift

In the case of the DX9's algorithm ever, the operator shift

of

is

the same:

DX9

Operator

1 2 3 4

the eight translations,

is

different:

31 32

the

DX7

Operator

3 4

5

6

#3,

oper-

how-

DX9

FM

digital

synthesizer.

Even though I very interested DX9

patches AfterTouch. voices

into

Since the DX7 and the DX9 share envelope generator architecture, it easy to program DX9 voices into a DX7.

First, you must find gorithm ator algorithms have the feedback loop nected to operator

only four operators, always has the feedback

loop connected to operator

simplest way to transfer algorithms ciate operators 3-6

tion, the translation from DX9 algorithm to DX7

on

the DX7.

algorithm

Algorithm Algorithm

own

a 6-operator

in

checking

that

How

can I program these

my DX7?

the DX7. Most of the DX7's

#6,

1-4

on

Once

is

quite straightforward:

DX9

1 1

2 3 4

out

the

have

been

an

appropriate

while the DX9, with

#4.

Therefore,

the DX9 with operators

you make this

DX7

DX7,

4-operator

printed

the

is

relatively

6-oper-

is

to

connec-

14

8

7

I am

in

DX9

same

al-

con-

the

asso-

5 5

6

24

DX9

Operator

(Algorithm

#3)

1

2

3

4

In all cases, however, operators

the DX7 will

The gramming DX7 has a very sophisticated Level Scaling scheme, involving a while single Level Scaling parameter of equivalent to Depth curve always Negative Exponential, "Break Point"

Therefore, in order to translate DX9 Level Scaling values to the DX7, you need to do the following: operators to A

0;

3)

Set tial; 4) Enter the DX9 Level Scaling values Right operators.

not

be used.

other

important

is

in the area of Level Scaling.

number

that

of the DX9

that

parameter.

for the curve

1)

Set

1;

2)

all Right Curves to Negative

Depth

values

is

of

the

The

the Break

Set

all Left

for

DX7

Operator

(Algorithm

#8)

3

5

6

4

#1

and

#2

difference in

of

parameters,

much simpler.

the

DX9

DX7's Right Scale

DX9's

is

fixed

Point

the

(Right

Depth

Scale)

and

at

Al.

for all DX7

values to

Exponen-

appropriate

on

proThe

The

is

the

as

Vol.

3 No. 9/AFTERTOUCH

17

Hot

Reader For

SPX90,

YMClO,

And

Tips

The

RXll,

More.

Tips

Using

The

SPX90 To Expand Your

Machine Sound Library

By Chris Corso

One

of

the

constant recordist most sound all brands effects. of

in sound drum Using I've found some unique ways old Change to yield results

#

21 give it a lowering stantly gives a new identity Other hat, when handclaps, try this preset

sound a entire mix from preset

recreate machines, Hop,

or

small studio manager

out

of

a limited

of

us

are fortunate

of

synthesizers,

One

obvious solution

outboard gear.

One

particular problem

that

results

machine

the

boring

presets

alter various instruments in your

One (A)

instruments, such

and

their

#

23}

L Pitch: + R Pitch: Lfine: R fine: L delay: . 2ms R delay: .1ms

If

you'd like

for most

SPX90 digital multi-effects processor,

drum

on

that

favorite trick

to

lower

nice

fat pocket}.

or

raising

handclaps, take

pitch

for a really full chorus

12

-12

+8

-8

bit

more electronic, try running

of

drums through this

# 23

+8

-8

raising

the

sound

which

Techno

-6

-12

with

the

L Pitch:

R Pitch: L fine: R fine: experiment

By

and

enough

when

sounds.

the

SPX90 (numbers 21-24)

range from startling

of

the

pitch

the

pitch

is

altered.

patch

to

make your entire drum kit

or

preset # 22):

delays

respective pitches, you

of

those old electronic drum

can

sound great for Rap, Hip-

Pop.

This

Drum

struggles for

amount

drum

is you use

or

all

to

Utilizing

mine

of

Along

to

as

cowbell,

on

a new personality

edit (starting from

of

really makes your

the

is

to

of

gear.

to

own

machines,

is

the

creative use

the

redundancy

the

of

your work.

avoid

the

"kit"

to

is

to

use Preset

just

the

snare (to

these lines,

of

the

hi-hat

your drum sound.

open

Speaking

of

clappers:

patch

{starting

1ms

to

8ms

home-

get

the

Not

several

and

same

Pitch

can

bizarre.

in-

hi-

of

the

can

drum

machine

ferent,

and

Incidentally, all

great

with percussion instruments. Depending mix your balance total

control

enhance

RX

11

Programming Tips

become something entirely dif-

more personal.

of

these patches

acoustic

over just

the

overall sound.

of

drums,

wet/

how

as well as

dry signal, you have

much

sound

with

on

how you

you change or

By Chris McGrone

I would like

and

tips I gram my RX11 the

last couple

While convenient ments

of

the song memory numbers. check

for transitional problems between patterns, since you entire song memory question. For example, you might how abruptly you tween

patterns two-pattern allow for very facile determine

to

tempo

vidual voices are working on. voice, press neously striking the objectionable voice at the desired Make sure the corded, since you easily with a lower quantize value cleaning

can SD2, setting snare, for instance), varying their normal accent volume levels to taste, individual snare hits to almost impossible to record with two fingers "live" (all at once, in real time). Adjusting instrument levels

change.

Sometimes you may want

moment

same ratio

the

Very effective, human-sounding snare rolls

be accomplished

create a finely-syncopated roll

to

share some useful shortcuts

have

garnered while learning to pro-

with

increasing efficiency over

of

years:

assembling

to

song

44

song using these

the

at

the

that

as

voice.

them

patterns

start

by assembling

into

don't

have

to

get

want

and

45 (verse

experimentation

degree

Rather

the

to

certain points in a

than

CLEAR

(in Real

Quantize function

it was

when

can't

wipe

by

both

to

at

varying quantize values

and

accent levels

into a song, it

"sub-songs"

This

makes it easy to

to

scroll through

to

the

to

change tempo be-

which

to

wipe

button

Time

Record mode}.

the voice was re-

out

taking

the

same voice {light

and

transitions in

and

patterns

you want the

remove indi-

out

while simulta-

an when

both

that

short

seg-

on

unused

the

not

know

refrain}. A

would

as

you

pattern

overdubbing

on

the

whole

is

set

"off'

note

you are

SD1

would be

the

you

to

and

two

is

18 AFTERTOUCH/Vol. 3 No. 9

~---~----

------

snares makes four separate strike volumes sible-ample variation for some very expressive nuances.

If you have a to experiment with it, save it to memory number and "play may

turn

refrain in a song,

remains unaffected.

Using

A Breath Controller With

By

Mark Turner

As

you

Breath Controller data only trol modulation, and velope. However, certain Yamaha keyboards,

TET

US

Lfor

all

pattern

into a good development for a later

may

HEAR

users

that

you like but want

another

with

and

the

original

know,

the

not

FB-0

as

a means to con-

to control

FROM YOU!

of

Yamaha

it"

The

professional musical products,

looking for many different kinds

Have you created

other

members

for

the

CX5M

II

an

incredible

of

the

Yamaha FM digital synthesizer family? How about a program

music computer your patches, programs, and patterns. If credit plus

$25.00

for

each

item used.

Have you discovered a trick Yamaha hot

After Touch products?

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

Have you developed a new approach to one ments, paper tion down. If we decide write it up, article always covers double-spaced pages

patches,

By

or

have you discovered

and

send it to

put

your

us.

name

of

the

way,

we

cannot

or

manuscripts.

Don't

to

use your material

on

it, and send you a check for

at

least

one

typescript.)

assume liability for the safe return

We

will only be able to return unused material if you

pos-

pattern

there.

pattern

FB-01

1

accepts

the

en-

We

want AfterTouch to be

such

as

the KX88 and

able controller functions. This gives you a promise solution, if you want to control 01's

envelope with a Breath Controller. If you assign

It

it

controls blowing Controller will result in a louder from

Breath Controller (when assigned to Bias key with

the example, if volume how hard Breath Controller

harder

the

FB-01.

This

is

on

a DX7). For example, you

on

the

Breath Controller.

This MIDI assignment

traditional use

of

the

volume

or

similar to

keyboard and create a crescendo

of

the

voice has touch sensitivity, any note played will depend the

key

is

struck and how hard

is

blown into.

an

so

of

material.

patch

or

that

Send

for the DX7 II, the

a great

pattern

we

use your material, we'll give you full

or

voice for

increases the musical flexibility

it in to our

"Hot

Tips"

column. If we use your

$25.00.

of

the

Yamaha

an

important secret regarding their use?

worry about your writing

as

a full article in After Touch, we'll

style-just

$100.00.

magazine

page-which

translates to

the

DX7 II, have

Breath Controller

of

softer

the

traditional use

is

Breath Controller. For

information network

please join in. We're

DXlOO,

the

After Touch

get

(An

of

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

If you just have a question regarding the use products, send it along too, After Touch. (We regret but we will use all

of

your questions to guide

that

we

and

we'll do our best to answer it in the pages

won't

be able to answer questions through

of

Yamaha

us

in our choice

professional musical

of

future topics.)

Finally, if you just want to get something off your chest, or if you'd like to lish direct to our numbers

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contact

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of

all those who are interested in starting up regional users groups.

with

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Yamaha After Touch product users, send in something

column. We'll do our best to print names, addresses, and

is

your publication. Let

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assign-

com-

the

FB-

so

that

the

FB-0

1,

then

into

the

Breath

or

softer

tone

of

the

EG

can

play a

also different from

the

on

both

the

or

any

of

the

RX5?

of

one

Send

of

in

the

instru-

Put

it

on

the

informa-

After Touch

at

least four

unused ideas,

en-

of

the

mail,

estab-

phone

Vol.

Write

AFTER~

To:

TOUCH,

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7938,

Northridge,

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3 No.

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Continued from

TOM

E.

Copy

1) #9.

TOM

E.

Copy

2) #8.

TOM

3) Copy

4) Copy

5)

Now channels:

6) Assign Copy

7)

8) Assign Copy

9) Assign Copy

10)

11) Assign Copy

12) Assign Copy

13) Assign Copy

E.

#4.

TOM

E.

#3.

SD

Copy

#12.

assign

Assign Copy

the

page 15

1 to Copy locations

2 to Copy locations

3 to Copy locations # 2 and

4 to Copy locations

locations

Copy

to

2

Copy

#1 #2 #3 #4

#6

#7

#8 #9

to to to to

to to to

to

locations

Channell. ChannelS. Channel Channel ChannellO. Channel4.

Channell!. Channel

to

8.

6.

7.

#7

#6

#1

#10

output

and

14) Assign Copy

15) Assign Copy

This creates the following setup: Instrument

TOM4

E.

3

TOM

E.

2

TOM

E.

1

TOM

E. SD2

Each doubled voice

a MIDI keyboard, and the relative

on

notes

the two notes (when played simulta-

of

locity neously) will determine each doubled voice.

As you can see, there are many possibilities

creating unique stereo effects

for RX5's Copy locations in conjunction with the stereo positions of the twelve output channels.

#10 #12

Pan

Channel12.

to

Range 13-8 10-6

11-5

12-4

8-3

represented

is

the

MIDI

CO/DO

C#O/D#O

FO/GO

F#O/G#O

AO/BO

position

pan

by

Notes

two

by

ve-

of

using the

Channel9.

to

AFTERTOUCH/Vol. 3 No.

20

9

Yamaha DXlOO User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual