Yamaha FB01 User Manual

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THE OFFICIAL PUBLICATION

-

-

OF

THE YAMAHA USERS

--

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-

-

GROUP

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-

-

-

JULY 1986

8YAMAHA®

.··.

i

Editor

Tom

Darter

Operations

Sibyl Darter

Editorial

Bob Frye
Bill Hinely
Mark Koenig
Phil

Jim Smerdel

Production

Leslie Bartz
Rick
Pat Gates
Paul Haggard
Chris Ledgerwood

Cheryl Matthews
Joyce Phillips
June Ramirez
Joe Verri

Board

Moon

Eberly

-

-

-

-

-

-

-

-

-

July

1986

4 MEP4

5

6

7

8

9

uBaroque

FB-01

uorgan
uTwinkle Piano"
uz1st

--

--

~---~i=~§

Volume

Use

the MEP4

By

John

McEnary.

G"

A new MEP4 setup created by

Disk

An

introduction
tains four musical performances featuring the
module.

By

B3"

A new

A new

DX9

DX9

Century

A new

DX9

to

create diatonic counterpoint

John

McEnary.

to

our

third Evatone Data Disk, which

Tom

Darter.

voice created by Gary Sharum.

voice created by Brian William Niles.

Organ"

voice created by Brian William Niles.

-

- -

- -

2,

to

FB..01

-

Number

Issue

a solo line.

con~

FM

tone

7

#10

A

product

GPI

Tom

P.O.

ridge,

AFrERTOUCH
lished monthly. Third class
postage
Prairie, MN and additional
points

SCRIPTIONS: Free.

Address subscription cor­respondence to
TOUCH, P.O. Box 2338,
Northridge,

2338.
Send form 3579 to P.O.

Box
91323-2338.

of

Editorial

Darter,

Box

CA

of

POSTMASTER:

2338, Northridge,

Director

2338,

91323-2338

paid

at Long

entry.

SUB-

AFrER-

CA

Services

North-

is

pub-

91323-

CA

10

FB-01

Introducing Yamaha's
tone

module.

By

15 uFlt&Blk"

A new

15
16

18

~

1986
form
International Corporation.

udigilog"

A new

Final

DX7

Yamaha International Corporation.

or

by any means, electronically, mechanically, photocopying, recording,

Touch

Hot
to
QX
Aftertouch data

Tone

Step~by~step

Wheel
trol.

FB~O

1 voice created by Michael A. Huisman.

FB~01

tips

RX11~composed

1 for use with the TX816, and using the MEP4

voice created by Michael A. Huisman.

on

using the QX1 as a teaching tool, adding ufeel"

Control

instructions for setting

(or

Foot

By

John

McEnary.

No

part

of

this publication may be reproduced, stored in a retrieval system,

multi~timbral,

Michael A. Huisman.

songs, setting

to

Breath Controller data.

Controller)

or

otherwise, without the prior written permission

up

to

act as an interactive tone

multi~MIDI~channel

a tuning bank

up

your Modulation

on

to

or

transmitted in any

FM

the

convert

con~

of

Yamaha

2 AFrERTOUCH/Vol. 2

No.7

Frotn

The

Editor

HREE

IN A ROW!

the

third

T

initial series ofEvatone disks. You will find this
month's
complete
contains.

This

FM

tone
8-voice
what

the
four musical compositions
and

to

find

out

Michael A. Huisman's

beginning

So,

our

on

the new;

ten

our

have

written

using

the
digital synthesizer. A few
been

pretty
won't-do-this-but-how-about
them.

Some
simply buried under the weight
there,

and

information

W-ell,

This

month
submitted
answer
DX9 owners in the months

letter.
issues

some

Remember,

The

so

(and

offering

time

module, a new

multi-timbral

FB-0 1

earlier X series

DX9,

I'm

far have been a direct result

bound

with

an

out,

can

out

how

on

page 10.

cover story
but

that

in

asking

Yamaha's first

wistful,

of

you

that

we

on

the "forgotten" DX9.

happy

we are offering

by

readers,

questions we have received

After

proliferation

This issue, we present

final)

installment

between pages 6 and 7,

introduction

we

are

capability.

do,

just

it

does what

and

doesn't

products.

for

with

assumed

had

no

to

say that you were wrong!

and

Touch

ofDX7

to

the

featuring
unit

give a

on

introductory

feature article focus

mean we've forgot-

voices

of

these

an

thatthe

desire

three

to

the

with

complete

To

listen

our

Sound Disk;

it

does, check

Many

and

4-operator

letters

"!-know-you-

...

of

the DX7s

to

DX9

we

also

come.
is a users

patches

of

in

music

FB-0 1

find

to

article

of

tips

have

"tone

DX9

present

patches
plan

from

news-

in

the mail

our

out

the

you

on

FM

to

was

out

to

the

we have
issue are also a
feedback is
kinds

it

a
operator
oblige:
OX
withtheDX21,
have some articles
conversion
owners can translate

DX7 voices

mail
receive specific questions concerning the
Yamaha professional
will
Questions
general
Yamaha
Box 6600, Buena Park,

or
Yamaha
pondence should also be sent
if have a comment about Yamaha's advertising,
marketing,
go
works
hear your thoughts
want
makers, you should send them

received-and

direct

important,

of

information you want.

of

Speaking

lot

of

Next

100

In

closing, a few

to

us.

answer

product

More

suggestion

to

Yamaha as well.

only

your

feedback, we have also received

requests

synthesizers

issue

(which

in

the

to

your instruments.

We

as

many

column;

[Yamaha

importantly,

about

product

or

corporate

on

AfterTouch.

thoughts

the DX9 patches in this

result

because

for

more

in

general.

will

feature

will

of

course

DX27,

at

andDX27S).

on

6-operator

works,

AfterTouch

information

International

or

on

so

some

of

words

(again)

music

of

them

however,

CA

90622

if

you

the

design

product

policies, those

The

staff

these subjects; but,

to

reach

of

that

it

coverage

voices

be

that

our

are

products,

as we

must

have a

of a particular
line, that corres­to

Yamaha. And,

of

We

the

to

mail.

Your

tells us

compatible

to

you
AfterT

requests

Corp.,

AfterT

are

Yamaha.

what

of

Happy

for

We

also

4-operator

OX

100

ouch

about

your

happy

use

and

can

in

be

sent

P

].

complaint

should

ouch

happy

if

you

decision

-TD

4­to

the

to

of

we
the
for

to

.0.

to

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TOUCH

3

MEP4

Diatonic
Harmony&
Counterpoint
With

The

MEP4.By

John

McEnary.

This

basic

MIDI

MEP4,

take

4

techniques

this

in

the

5).

.rystem,

is

all

admntoge

de-

article

(and

MEP

4 setup

that's

of

using

a DX7 and a TX7

with

the

needed

to

the

MEP

scribed

in

featured

on

page

HROUGH

T

possible
will generate a diatonic
part

in

any key.

be

inverted-that

THE MAGIC

to

program the MEP4 so that it

harmony

The

harmony

is,

when the solo line goes up

OF

line

part

will always

MIDI, it

to a solo

in pitch, the harmony part generated by the
MEP4 goes down. It
interesting

quasi~Baroque

further programming the MEP4
inverted harmony

All you will need

is

also possible

part.

to

try

counterpoint

to

out

this technique

to

create

by

delay the

a simple MIDI system that includes one MIDI
keyboard synthesizer (such as the DX7), one
MIDI tone generator (such
MEP4
MIDI

MIDI IN
OUT

MIDI

Event

OUT

of

the keyboard synthesizer

of

the MEP4, and connect the MIDI

#1

of

the MEP4

as

the TX7), and the

Processor.

to

the MIDI IN

Connect

to

of

the

the

the

tone generator (see the accompanying diagram).

To program an

the

harmony

MEP4 setup that will create

part,

first

enter

the

DATA

MODIFIER and select MESSAGE as follows:

that

yy

the

Note

On

data

will

be

O:MSG:9n.xx.

This

means

modified.

Next, Modify the data using REVERSE by

setting Step 1

1:REV:xx,

This

means

as

follows:

FIX=40

that

note

number

"xx"

will

be

modified, around the fixed note 40.

Finally, set Step 2

OFFSET value for the key you will

to

OFFSET; then set the

be

playing

in, according to this chart:

is

is

So, for the key

Major

c

Db

D
Eb

E

F

Gb

G

Ab

A

Bb

B

Key

OFFSET Value

'-3

of

C major, you would set Step 2

-3

-1

3
5

-5

-1

3

5

-5

as follows:

2:0FS:xx,

V=

~3

Relative minor keys, modes, and pentatonic

scales

also work well with this setup. For

ple, using an OFFSET value

of
harmonize your melodies in A minor,
minor, and A and D pentatonic {minor form),
as well as several keys related

to

Gb Major

Major). I feel the blues scale works best around
the dorian minor

OFFSET key. So,
plicity, play the blues scale one step higher
the

Major

Key

OFFSET

setting

chosen.

It

is

often advantageous

to

add 12
your OFFSET Value. This raises the harmony
part one
to
by adding an
the second data byte

or

two octaves. Another nice touch is

lower the dynamic level

OFFSET Value

"yy"

of

the harmony part

of

about

-which

key velocity. For example, set Step 3

3:0FS:yy,

V=

-24

1

1

exam~

-3,

you can

D dorian

for-

you

have

or

24

-24

in this case

as

follows:

(F#

sim~

than

to

to

is

II

4 AFI'ERTOUCH/Vol. 2 No. 7

thru­out-----

;n--

DX7

-th~u

--out

'---;n

~lilli]:!.*:H::-,

.-

•• -•• -•• -•• -••

TX7

--..

Now,

to

add a

quasi~Baroque

to

your melodies, simply set the DELAY
CESSOR
600

to

a relatively long time setting such

milliseconds.

If

you are using several MIDI
tone generators, you may wish to
them

up

for unison

or

octave doubling

melody, and others for the inverted harmony

part.

Experiment with different delay settings

on

different tone generators. As long as you play
in the key( s) you have chosen in your MEP4
setup,

all

of

\

will

lines

your harmony and counterpoint

be

diatonic.

counterpoint

PRO~

as

set

some

of

of

the

~

tT1

~

~

PRESETTER

PROCESSOR 4

DATA

PRESETTER

DATA

PROCESSOR 3

PRESETTER

DATA

OFF)

OFF)

OFF)

OFF)

I

I

I

I

(ON

(ON

(ON

(ON

PITCH

PROGRAM

CONTROL1

CONTROL 2

OFF)

OFF)

OFF)

OFF)

I

I

I

I

(ON

(ON

(ON

(ON

PITCH

PROGRAM

CONTROL1

CONTROL 2

OFF

CONTROL1

8

7

FILTER

CHANNEL

ON/OFF

1 2 3 4 5 6

OMNI:

8

7

FILTER

4 5 6

3

CHANNEL

2

ON/OFF

1

OMNI:

8

7

6

5

FILTER

CHANNEL

ON

1 2 3 4

OMNI:

16

15

12 13 14

11

10

9

16

15

14

12 13

11

10

9

16

15

13 14

12

11

10

9

I OFF

MESSAGE FILTER

NOTE OFF ON

I OFF

MESSAGE FILTER

NOTE OFF ON

ON

I OFF

TOUCH ON I OFF
A.

POLY

NOTE ON ON

I OFF

TOUCH ON I OFF

A.

POLY

NOTE ON ON

OFF

ON

TOUCH

A.

I

ON I OFF

ALL

CHANGE ON I OFF

TOUCH
A.

PROGRAM

CONTROL NO.

CH

I

ALL

TOUCH ON I OFF

A.

CH

CONTROL NO

OFF

OFF PROGRAM CHANGE ON I OFF

CHANGE

TOUCH

A.

PROGRAM

MES. ON I OFF

BEND ON I OFF

MODE

PITCH

CH

MES. ON I OFF

BEND ON I OFF

MODE
CH

OFF

OFF PITCH

MES.

MODE
CH

I OFF

MODIFIER

DATA

SYSTEM MES. ON

I OFF

MODIFIER

DATA

OFF SYSTEM MES. ON

MODIFIER

DATA

i

1

0 MSG

1

0 MSG

-12

xx,V=

OFS

MSG 9n.xx.yy

1

0

2

3

2

3

-24

YY,V=

3

2 OFS

PROCESSOR

DELAY

4

PROCESSOR

DELAY

4

DELAY PROCESSOR

4

I

OUTPUT ASSIGNER

TIME

DELAY

OUTPUT ASSIGNER

DELAY TIME I

600

OUTPUT ASSIGNER

DELAY TIME I

OFFSET

ASSIGN

OUT-CH

OUT-CH

ASSIGN

OFFSET

OUT-CH

OUT-CH

0

1

OFFSET

ASSIGN

OUT-CH

OUT-CH

OUTPORT ASSIGN

OUTPORT ASSIGN

1

=

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PRESETTER

PROCESSOR 1 PROCESSOR 2

DATA

PROGRAM OFF PROGRAM OFF

PITCH OFF PITCH OFF

FILTER

OFF

CHANNEL

2 OFF CONTROL 2 OFF

1

CONTROL

CONTROL

8

7

5 6

4

2 3

ON

1

OMNI:

12 13 14 15 16

11

10

9

MESSAGE FILTER MESSAGE FILTER

NOTE OFF ON NOTE OFF

NOTE ON ON NOTE ON

TOUCH OFF POLY

A.

POLY

CONTROL NO. CONTROL NO.

CHANGE OFF

MES. OFF

BEND OFF PITCH BEND

TOUCH OFF CH

MODE

A.

PITCH

CH

PROGRAM

CH

OFF SYSTEM MES

MODIFIER

9n.xx.yy

xx, FIX=40

DATA

REV

MSG·

1

0

SYSTEMMES

-1
V=

OFS xx,

2

-24

yy,V=

OFS

3

4

1

600

PROCESSOR

OUTPUT ASSIGNER

DELAY

TIME

DELAY

1 OUTPORT ASSIGN

0

OFFSET

ASSIGN

OUTPORT ASSIGN

OUT-CH

OUT-CH

r-

N

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~

g

~

.

I

@

\11

FB--0

An

Introduc-

tion

Third Eva-

Tom

tone

To

Our

Disk.

Darter.

By

1 Sound Disk

HIS

one

T

the

FB..()

an

idea

of

devoted the entire disk

this time around.

Side

1

Both pieces
Michael A. Huisman. Each piece was composed
and

performed with a

supplied preset voices.

Both pieces were sequenced using a
tosh

Plus

MID

I interface)

Mark

Of

heard

on

and

stereo

two

Yamaha

processors.

There
actual recording
were accomplished
(MIDI
changes were recorded into the actual sequence

data.

Track

capabilities

recently

as a controller

referred

ment
patch which was affected using this new
troller.
arrangement,
event
using a Yamaha MEP4 (MIDI Event Processor)
into Balance controller data (MIDI

10).

recorded
When

data causes the notes played with more velocity

to

rial, while those notes played with less velocity
focus
Notes
middle

controller

1: ttL.A.

This

The

main rhythmic element in the

of

To

of

The

the

focus

to

with

of

A

similar

MONTH'S

in

our

After

1 FM tone module. In order

what

on

computer

The

Unicorn . Some digital effects are

both

pieces:

digital reverb,

SPX90

were

no

FREE

DISK,

Touch

this

new

side

single

(with

and

the

overdubs

of

the pieces. Volume changes

by

#7)-the

series, showcases

unit

can

to

musical performances

one

were composed by

FB..()1,

using factory

an

Opcode

Performer

stereo

digital

accomplished

digital

MIDI

multi~effects

made

Volume

controller

Tin"

piece

showcases

of

the

been

adopted

(In

the MIDI spec, Stereo Pan

to

as "Balance").

"L.A.

Tin"

enhance

the

velocities

the

marimba

Balance

on

a separate

sequence

to

the right side

the

left

side

medium

the program material.

approach

the

Stereo

FB~Ol.

is a

the

controller

is

of

velocity

Stereo

into

the

MIDI

sixteen~note

spatial

track

track
played,

the

was

content

of

each

were

data

of

the

the

of

the program

program

appear

taken

for

the

third

to

give you

do,

we

have

Macin~

Mac+

software

chorusing

during

marimba

converted

controller#

was

sequencer.

controller

material.

by

using

the

Control

data

Panning
Pan

has

standard

is

arrange~

con~

of

the

Note

On

then

mate~

in

the

the

steel

drum

voice

in

this piece

FB~01

's stereo capabilities. The
chords
program
were
material.

in "L.A.
SynBas3, SteelDr, PanFlt, LoString, HuffSyn,
HandDr,

Track

the range
ally
voices. Starting
with 3 different voices playing different parts.

These parts were distributed as follows:

• 1 note

• 3 notes

• 4

Play
EGrand,
EPiano3,

EPBrass,

were

panned

material,

panned

Factory preset

2:

This

to

show several

voice

"comping" voice

notes

melody voices

Factory preset

Outside"

to

Tin"

Include the following: Marimba,

and

Sax2.

nLet's

piece begins with a single voice across

of

the keyboard, changing

at

on

MIDI channel1 is assigned

on

MIDI

on

MIDI

include

COrgan

Clav,

and

NewEP.

to

take advantage

top

to

the

right

while

the

lower

the

left

side

of

the

(ROM)

Play

the

(ROM)

1, }Organ 1, Synbas3, PercPf,

Windbel,

voices that were used

Outside"

of

the

FB..()1

bridge, the

channel2

channel3

the

are assigned

are

voices

following: LPiano2,

Pfbell,

's factory preset

FB..() 1 is

used

of

the

two notes

side

of

the

two

notes

program

occasion~

used

to

a bass

to

assigned

on

"Let's

Zither2,

of

to

Side 2

The

pieces

on

side

two

were

composed
Austin Kelly. Both pieces were sequenced using
a

CXSM
MIDI Recorder Program cartridge (YRM301).
A second CXSM was used
the RX Editor Program cartridge (YRM302)
drive an RX11
were synced,
unit

actual recording process. All
tion
driven in real time by
related software. Digital reverb was
recording
SPX90.

also

music

was

used

There

were

modules

The

used

to

computer

drum

and

the

to

drive the

NO

overdubs

(the

FB..o1s

of

both

pieces,

SPX90's

create a chorus effect.

equipped

in

conjunction with

machine.

CXSM/MIDI

the

Pitch

The

FB..()1

made

of

and

the

two CX5Ms

generated

Bend

two CX5Ms

Recorder

modules.

during

the tone

RX11)

used

setting

Continued

by

with

the

to

the

genera~

were

and

their

in

the

by

the

was

on

page

a

1

20

6 AFrERTOUCH/Vol. 2 No. 7

7

111111

llllllllllilll

11111111111

""·Z

~
~

ga~~>~

--,

t:tj~~

s~~

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~

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FB--01

Introducing

Yamaha's

Multi-

Timbral,

Multi-MIDI­ChannelFM
Tone Module.
By

Michael

A.

Huisman.

FB-or.FM

IWle

module.

HE

FB...o1

T

rithm FM tone generator that can produce

up

to

8 notes simultaneously , The FB...() 1 can be

used

as a MIDI expander tone module in a MIDI

system

source

tone synthesis

arranged
banks
porary keyboard sounds, and orchestral voices
such as brass, strings, and woodwinds are
vided. Synth, bass, percussion, plucked string
sounds, and exciting sound effects are included
as well.
with
accompanying chart).

dom
voices each, for a total
banks
versions
original
through the use
voicing program.

tions
include portarnento time, playing mode (poly I
mono), and pitch bend range. Also, each voice

or

for

The

FB~O

in

of

48

(For a list

the

FB~O

The

FB~1

Access

can

of

user~eated

of

Each

that

IS

A 4..0PERATOR,

as

the

main

FM

tone

those

who

have

not

yet

to

their keyboard setup.

1 features

five

ROM

voices each. Piano voices,

1

in

also

Memory)

be

used

the

preset

of

the voices

can

be

240

preset

(Read

Only

of

the

240

voices

its

ROM

memory,

features two RAM

banks

which

of96

voices. These RAM

to

store

either

voices

voices (that can be created

an external

has

altered

or

computer~aided

a set

of

at

any

tY.tlgo--

generation

added

FM voices

completely

voice

time.

FM

Memory)

contem~

pro--

supplied

see

the

(Ran~

hold

48

modified

func~

These

can be set
an external
foot controller, breath controller,
aftertouch.

implementation

FB~01

messages
intervals
as many
and
data.

to

receive modulation changes from

MIDI

device's

The

FB~01

features a very comprehensive

of

the MIDI specification. The

can

receive System Exclusive event list

to

recognize

or

non~tandard

System Exclusive messages for loading

saving voice

and

temperament,

and

configuration

What Does ''Multi-Timbral"

.

Multi~timbral

tone

generator

more

than

one

FB~O

1 is

multi~timbral.

to

have as many as eight different sounds

bres) playing simultaneously.

The

FB~O

describe a
particular
remember-just
band.
can
You can give (assign)
them a trumpet,

voice-or

sound

In this band, however,

play

any

is a

term

that

is

capable

sound

(timbre)

1 uses

the

term

several

or

patch.

think

of

instrument

one

and

give

The

of

modulation

produce

wheel,

or

keyboard

micro tonal

as

memory

Mean?

used

to

describe a

of

producing

at

a time.

FB~O

1 allows

"instrument"

voices-that

This

is easy

eight musicians

all

eight musicians

that

you

give them!
them a bass, one
the

remaining

well

The

you

(tim~

to

use a

to

in

a

of

six

10

AFI'ERTOUCH/Vol. 2 No. 7

#

ROM3

1

Brass UpPiano Horn2

2

Horn

Trumpet

3

LoString

4

Strings

5
6

Piano PianoS

7

NewEP PhGrand

8

EGrand Grand Brass3 HuffTak

9

Jazz

Gt

EBass

10
11

WodBass LPiano2 HardBr3 Schmooh SmiPipe
E0rgan1

12
13

E0raan2
P0rgan1

14
15

P0man2

16

Flute PfVibe
Picolo NewEP2 String2

17
18

Oboe NewEP3

19

Clarine

20

Glocken NewEPS SoloVio UprtBas

21

Vibes EPiano1
Xvlophn

22
23

Koto

24

Zither

25

Clav

Harpsic High

26
27

Bells HardTin
Harp

28
29

SmadSvn WoodPf LoStrgS SynBas6

30

Harmoni EPStrng
Steel

31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48

Dr
Timpani
LoStrg2
Horn

Lo
Whistle ·
zing Pip
Metal MuteCI2
Heavy
FunkSvn
Voices
Marimba
EBass2
Snare

Dr
RDCvmb Harpsi4
Tom

Tom
Mars to
Storm Celeste
Windbel

ROM4

ROMS ROMS

FnkSyn2
Spiano
Piano2 Horns
Piano3
Piano4 Trombon

Horn3 FnkSYn3

SynOrgn

Flugelh SynFeed C0rgan2

SynHarm

Trumpt2

SynCiar

Brass2 SvnLead

OpGrand

HardBr1 So Heavy EOrgan7

LPiano1 HardBr2 Hollow

EGrand2 HardBr4

MonoSyn Mid Pipe
Honkev1 HuffBrs Cheeky Big Pipe
Honkey2

PercBr1

SynBell SftPipe
Pfbell PercBr2 SynPiuk Organ

String1

CBass3 Guitar

Rub Bass

NewEP4

String3
String4

Sol Bass PluckGt
PlukBas BriteGt

RichSt1 Fretles Zither2
EPiano2 RichSt2 FlapBs
EPiano3 RichSt3
EPiano4 RichSt4

Mono Bas
SynBas1

EPianoS Cello1 SynBas2

Tin

PercPf

Cello2 SynBas3

LoStrg3

SynBas4

LoStra4 SvnBasS HitKoto

Orchest SynBas7 Sitar2
EPBrass 5th Str Marimb2 HuffSyn
Clav2
Clav3 Pizzic2
Clav4
FuzzCiv
MuteCiv Flute4

SynCiv1
SvnCiv2 5th Fit
SynCiv3
SvnCiv4 Bassoon
Harpsi2
Harpsi3

Harps
Circust MonoS ax

Pizzic1 Marimb3 Fantasy

Xyloph2
Flute2 Vibe2
Flute3 Vibe3

Glockn2
Pan Fit
SlowFit

TubeBe1

TubeBe2 WildWar

Bells2

Oboe2 TempleG

Steel Dr Space1
Reed ElectOr SpChime
Harmon2 Hand Dr SpTalk

iS

Harmon3
Harmon4

SvnTimp

clock

Heifer Alarm
Sax 1 SnareD2 Helicop

SQueeze Sax

2

Snare03 SineWav

ROM?

J0rgan1

H0rgan2
C0rgan1

E0rgan3

E0rgan4
EOrganS
E0rgan6

E0rgan8

FolkGt

Gt

Fuzz

Lute
Banjo
SftHarp
Harp2
Harp3
SftKoto

Sitar1

Synvoic
M.Voice
VSAR
Racing
Water

Ghostie

Wave

Winds
Smash

This

chart

shows

preset

ooices

the

FB·OI

memory.

contain

the

while

Banks I and

of

RAM memory

user-programmable.

supplied

in its

Banks

ROM

the

ROM

3

through

ooices,

2 oonsist

that

240

with

7

is

Vol. 2 No. 7 I

·--

--

--·-·

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

AFTER.

TOUCH

11

FB--0

1

Cmmn~

Configuration

Number

Voice

Function

Combine

lnst

Assign

Voice

Select

lnst

Function

Voice

Function

This

chart

shows

Configuration

presets

supplied

oi

in

its

There

are

other

16

Memory

used

to

store

configurations.

one

Memory

with

ROM

memory.

4

such

presets;

Configuration

loauions

can

wer-creaied

Instrument
MIDI
Number
Key
Key
Voice
Voice
Output
Octave

Channel

Of
Number
Number

Bank
Number

Level

Transpose

Detune
Stereo
LFO Enable
Pitch

bender
Portamento
Poly/Mono
ln_Qut

of

the

be

Controller(PMD)

the

musicians
piccoloists are playing different notes,

FB-

hear

the

same

The
You can assign each
different
can operate
using
polyphonically.

What

The
MIDI devices
more

FB~01

more

have

instruments.
can

place
channels
useful when controlling
sequencer
controller such as the

Independent
ments

The
functions
instrument's level can
ing

of

20

ON

Number
Notes

Limit/L
Limlt/H

Number

Range

Time

piccolos

six

piccolos,

instrument-a

FB~O

instrument

all

eight

Does

phrase

than

one

's

instruments

than

one

independent

each

as

or

but

1

works

the

~1

voices

ttMulti-MIDI-Channel"

Multi~

that

are capable

MIDI channel

timbre

Since

MID

instrument

needed.

a

multi~

Control

FB-01 has a variety

that

may

be

voices.

Octave

Name
Key-Code

Receive Mode

1 2 3

1 1

4 4

C3

G8

3 3

1

127 127

0 0
0 0

C-2

82

L+R L+R

ON ON

2 2
0 0

POLY

WHEEL

if

you

want.

they

piccolo.

in

a very similar fashion.

of

the

eight notes

or

patch.

in

the traditional

to

play

MID I channel

are

capable

at a time,

control

I has

on

This

proves

the~

MIDI

channel

KX88/76.

Of

of

edited

be

set for accurate

transposition

POLY

WHEEL

If

all six

are

all

playing

Of

course,

the

same

of

"listening"

at

a time. Since the

of

it

is

of

each

16

channels,

different

especially

1 from a MIDI

keyboard

The 8 Instru-

useful instrument

and

saved.

allows

Dual

Number

1

of

the

you

will

the

to

play a

you

way-

patch

Mean?

refers

to
to

playing

useful

to

of

those

we

MIDI

Each

balanc~

for

ALL

4 5 6

I

transposing each instrument plus

or

two

octaves. Also included for each

ment

is a fine detune function, a stereo

ment

function,

As

stated
playing 8 notes
different sounds.
is

entirely
assign 1
guitar

voice, 1

note

to

a sax voice, for a total
this setup,
sounds,

Configuration

The

configuration
settings
voice

numbers,

Configuration Memory.

For

each

control over the following items:

• MIDI channel

•

number

• low note limit

• high note limit

• instrument

• octave transposition

• detune

• stereo panning position

• LFO

• pitch

on/

bend

and

an LFO

above,

up

to

note

to a bass

you

all

from a single FB-0

the

simultaneously,

How

you.

For

note

to

could have a small

Memory

for

each

instrument,
and

so

instrument,

of

notes assigned

output

amount

off

amount

level (volume)

switching

on/

FB~O

1 is

you allocate

example,

voice, 5 notes

a jazz

flute

of

1.

of

the

entire

MIDI

on)

can

you

have

to

the instrument

7 8

or

minus

instru~

place~

off

function.

capable

with

up

the

8 notes

you

could

to

voice,

and

8 notes.

jazz

be

With

combo

FB~O

channels,

stored

complete

one

of

to

8

a jazz

of

1 (all

in

1

12

AFrERTOUCH/Vol. 2 No. 7

• portamento time

•

poly/mono

mode

• pitch modulation source device

• which voice (timbre)

The

FB,Q 1 has
locations, 16
where
plus 4 more

you

of

can

ROM

which are

store

to

play

20

configuration

RAM

configurations

your

own

conf~gurations,

configurations that are set
the factory. (For a complete listing
tents

of

one

of

the

FB,Q 1

's

configurations

ROM

memory, see the accompanying diagram.)

u1

Was

A

~Op

Snob

••••

"-Are

memory

of

the

con,

You Still?

at

in

ALGORITHM

#1

ALGORITHM

#2

What

is a

six,op
dominated
TX?,
capabilities
is

an oversight that many

of

for quite some time.
number
have
patch.

by

DXS,

and

of

ofL.A.,area

been

raving

It

turns

pretty good) uses only 2

on

available
that

FM synthesis packs quite a

the DX?!

that whether we are talking

4~perator

most

CAV:

The

FM,

of

what's available.

Computer-Aided

FB,Q 1
patches using its extensive MIDI
but

not

by

editing
musicians
voices,

interested

the

FB,Q1

snob?

In a musical

the

sounds

DX

the

4~perator

of

the

DX?,

1,

it

is easy

to

instruments. This

of

us have been guilty

For

example, there are a

electronic musicians

about a particular

out

that this brass patch (yes,

out

of

the 6 operators

The

moral

of

lot

of

about

6~perator

it

is worth

our

time

Voicing

has

the

ability

to

capabilities-

from

the

front

in

creating

can

be

voiced

world

TX816,

ignore

who

OX?

brass

the story is

power and

to

make the

voice

new

panel.

by

their

using

For

own·

the

it

is

or

an
external computer and fB,Q1 voicing software.
This concept is
the

CXSM
Apple
voicing
this method

One

program,

II,

or

other

programs,

of

such

new: Many

the

similar

and

most

creating and editing voices.

FB,Q1

voicing program is avail,

of

us have used

DX,PRO

FM

computer,aided

musicians

for

prefer

the

not

able for the CXSM computer. Yamaha's fB,Q1
Voicing
you
are displayed

written
company who wrote and now distributes
PRO),

Program

to

create voices

Another

by

is

designed

cartridge

on

the screen.

or

(YRM506)

edit configurations that

fB,Q1 voicing program,

Digital

Music

for

the

Services

Apple

allows

fB,PRO,

(the

same

DX,

Macintosh

ALGORITHM

#3

c:pQ]

~

ALGORITHM

ALGORITHM

computer.
voices
There

ing

programs

your

pages

of

CA

Why
The

As

It

was

that

appear in this issue

will

undoubtedly

for

authorized Yamaha dealer,

of

After

Touch

V programs for your particular computer.

Should

FB-01?

mentioned
instruments have quite a bit
tial.

The

FB,Q 1

(we're

still finding

units

do

not

include.

examples,

use with your FB-o I tone module.]

you

will

used

other

You

has

need

#5

#7

to

voice

the

of

be

similar fB,Q1 voic,

computers

and

regarding

Be

Interested

before,

at

more)

of

least

that

the

the

untapped

two

the

[Note: To try these two

to

have

a

CA

ALGORITHM

two

FB,Q 1

After

Touch.

as well. See

watch

the

availability

In

Voicing

4,operator

poten,

capabilities

6,operator

V

program

Here

are

two

ALGORITHM #6

ALGORITHM

Here

forms

tone

algorithms

DX.2z,
DXzoo,

syntheskers.

to

#4

me

the

used

module.

DX27,

and

#8

in

are

eight

the

These

used

DX27S,

DX9

algorithm

FB-oz

FM

same

in

the

Vol. 2 No. 7 I AFTER

TOUCH

13

FB--01~·

L

E

v

E

L

This

diagram,

dTawn

trate.s

the

ing

the

en.elope

the

greater

faster

the

modified by key

although

at

tTI4e

scale,

ronapt

attack

Tate

with

key

the

velocity,

attack Tate.

ATTACK RATE

of

of

velocity:

velocity

not

iUus-

modulat-

an

the

SUSTAIN

TIME

quick

voicing

experiments

you

can

try

to

explore these new capabilities:

Experiment

principal
initial

sound

of

a stick

and

the
sampled
sound.
it's

LFO (low#frequency oscillator) can

fast

that
works
synthesizers available from Y alnaha, such

1:

Noise

part

of

of

a pick

on a drum
breath
sound)

of a voice
are

TheFB#01

Generation.

many

musical

on

a guitar string, the hit

head, the breath

(a

all

examples

can

produce

Noise is a

sounds.

very

of

The

of

a flute,

popular

noise

noise because

turn

the result is noise. (This principal also

on

most

of

the

other

4#operator

FM

as

in

so

the
DX21,DX27,DX27S,andtheDX100.)Totry
one

experiment

with

noise generation, follow

these steps:

1.

Set the LFO waveform

2.

Set the LFO speed

onthe~1).

to

SIHOLD.

to

its fastest setting (255

3. Set the PMD pitch modulation depth all the
up

(127

on

the

way

4. Adjust the PMD sensitivity

7onthe~1).

~1).

to

taste (try 6

or

FB#O 1 so

that a note

played

with

light velocity
will swell, yet a note that is played with a heavy
velocity will sound immediately.
of

how this concept works, see the accompany#

(To

ing diagram).

How

Can

You

Use

The

FB-01

MIDI

System?

While
can
your
FB#O 1 can
DX7.
string
part

Start
DX7
fierI
OUT
Now

the

be

used

needs

For

sound

number

in

your

and

imagination,

be

used

this

basic

from the

of

system

in a simple

example,

~1

played from the DX7.

by

connecting the audio outputs

and

the

~1

to

a suitable mixerlampli#

speaker

of

turn

system.

the DX7

both

Then

to

the MIDI IN

instruments

ways

that

is

limited

let's

system

we

to

an electric piano

connect

of

ON,

these steps:

a

OntheFB#01,usetheDATAENTRYI+1

1.

and

DATA

play reads

ENTRYI#1 keys until the

as

follows:

#1 [ 17] single

2.

On

the
and then press
This

will

named

3.

Call

up

~1.

"Strings."
an electric piano voice

press VOICE SELECT once,

OAT

A ENTRY I+ 1 4 times.

select

bank

3,

voice

on

and begin playing. Adjust volumes

of

how

to

This is a basic example
sounds via MIDI using just two

create layered

sound~enerat#

ing units and one MIDI cable.

get

an

In

Your

an

FB#O

only

see

how

with

will

add

of

the

MIDI

the

~1.

and

follow

5,

which

your DX7

to

taste.

idea

1

by

the

a
a

the

dis#

is

14

AFrERTOUCHNol. 2 No. 7

Experiment
Rate

With

isn't.

This

rate (time)

2:

Modulating

Velocity.

is

the

ability

of

an

envelope by how
the note. This effect is
ments.
notes
rate),
(a
or
require
attack rate,
not

For

example, a

up

to

their

full

or

bite into notes from the very beginning

fast attack rate).

analog,

to

two

and

necessary with

With

play

both

different sounds;

one with the slower rate. This is

the~

The

Attack

Sounds

common

brass

intensity

to

speed

section

intimidating?

up

the

attack

hard

you play

on

many instru#

can

(a

slow

attack

many synthesizers, FM

types

of

attacks

one

1.

You can voice the

with

would

the

It

swell

fast

A

Final

Note:

With

the

adaptor

(featured

AfterTouch),

FB-01

optional

two~1scaneasily

Expansion

RFB#01

on

the

cover

rack

mount

of

this

issue

be mounted

side#by#side in a standard equipment rack.

~1s,

note numbers and the
odd
tion as a

can be a powerful addition

with one set

to

receive only even MIDI

other

set

to

receive only

MIDI note numbers, can be made

1~voice

As you can see, the

tone generator.

~1

FM tone module

to

your MIDI music

to

system!

of

Two

func#

FB--01

Voice

FUNCTION

input

pitch

LEVELS

output

ENVELOPES

decay 1 rate

sustain

decay 2 rate

release

velocity

vel

attack

on/off

level

rate

level

rate

Name:

sens

mod

transpose

porta
control

bender

opl
108 93

Flt&Blk

mode

speed
range

ON

7 4

14

0 0 0

0
31
15

8

C3
POLY

0

pmd

WHEEL

4

op2

ON

30 31

0

20 20 18

14

5 6 9

ON

3

6
7

op4

ON

27

13

op3
121 96

5

0
0

LFO

load

amp

pitch

PITCH

inharmonic
freq

ratio

de

tune

frequency
SCALING
level

adj
rate

type

depth

for

depth

algorithm

speed

waveform

enable

mod

depth

mod

depth

opl

0.5

OFF

tl

feedback

5

197
TRIANGLE
ON

sens

0
71

sens

op2
0 0
1 2 4
3

2.0

OFF
0 5 0 5
0 0 0 0
1

op3

7

6.3

OFF

0 0

sync

0
3

2 1
3

7

OFF

op4

4.3

OFF

uFlt&Blk." A
NewFB-01
Voice
MichaelA.
Huisman.

3
7

1

By

FB--01

Voice

FUNCTION

LEVELS

output

vel

ENVELOPES

attack

decay 1 rate

sustain

decay 2 rate
release
velocity

input

pitch

on/off

level

sens

rate

level

rate

Name:

bender

mod

digilog

transpose

porta
control

mode

speed
range

opl

ON ON ON ON

127

2

31

0 0 0 0

14

11

8
6 5 6

C2
POLY
0

pmd

WHEEL

4

op2

op3

98

123

2

31
13

15

2 14 5

1

31

13
18

op4
127

31
12

12

2

6

LFO

load

amp

pitch

PITCH

inharmonic
freq

ratio

de

tune

frequency
SCALING
level

adj
rate

type

depth

for

depth

algorithm

speed

waveform

enable

mod

depth

mod

depth

opl

1.0

OFF

t1

feedback

2

205
TRIANGLE
ON

sens

0

sens

0

op2 op3 op4
0
1

7

0
0
2

0
1
0

10.0

1.0

OFF OFF

3
0
0 0

sync

0
5

0 0

10

7

4 4

0 0

7

OFF

udigilog." A

NewFB-01

Voice

By
MichaelA.
Huisman.

3

0

3.0

OFF

1

Vol. 2 No. 7/AFrERTOUCH 15

Final Touch

Hot

Tips For

TheQXl,
RXll,

TX816,And

MEP4.

Using

By

standy searching for new ways
will
necessary in music. Originally,

QX1 sequencer, a DX7 synthesizer, and various

modules including a TX216 stricdy for
formance
proven

motivator and

music skills.

of
scored for
When
make a recording
QXl.

piece
record each hand separately and you have a

four~track

your taste. For more advanced students, I like
the
Inventions and Fugues would
though fugue parts should
rately

or

arranged by the teacher. Start with sheet music.
Then write
dividing
accompaniment lines. It helps
recording and

used

arrangement
ment and the level
playing it. Keep your arrangements simple, as
they will probably prove
think. After
stuff for an eight year old!
pieces everyone will like

a sure winner), and never
score unless you happen
over.

do
write down your procedure step by step.
ing which part goes
voices

your future recording sessions with students.

The

QXl

As A Teaching Tool

Steve

Berg

AB

piano teachers, my wife and I are

of

teaching that

help

students

use.

to

be

Our

technique

a piece, either

our

the student learns all

The first step

of

music. Piano duets work

arrangement which can be voiced

Arganbright

master

However,

helpful

as

a way

is

to
classiCal
configuration

of

is

Three Baroque Pieces. Bach

the

various

we

purchased a

this

setup

in

teaching,

to

develop important

give a student each part

or

pop, which we have

the entire piece into the

to

select an appropriate

both

of

instruments.

of

the parts, we

nicely-just

also adapt easily,

be written

or

highlighted with different colored pens

pencils.

Popular

to

While your students are learning the

your own QX1 recording

music

out

the

play each part. The complexity

will depend

all,

to

use will gready enhance the quality

will usually have

parts

for each "instrument,"

piece

into

melody,

to

try

to

hear what instruments were

on

both your

of

the students who will be

to

be harder

a

three~part

on

piece

is

To

save time, arrange

("Chariots

give

out

your original

to

like copying music

of

the piece and

which track and which

bass,

listen

still big time

Of

con~

skills

per~

has

also

as a

to

out

sepa~

to

be

and

to

of

your

equi~

than

you

Fire"

parts,

Know~

of

When

the student
can play them
move

to

the QX1 while the student plays the various

parts,

starting with whichever part seems
the most logical first track. A piano
5ound probably works best for recording, since
it is what the student
a precise attack. Once recorded, the modules
can be set
can

write

Program function.

AB

amazed

Also,

there
product for the student, because they know that
they did the entire thing.
ferent voicings might be

used

as the subject

dents

will
ensemble playing, balance, and the importance
of

counting accurately.

enjoyable and challenging way.

on

the DX7 and

to

any voice desired, and the teacher

them

the piece builds up, the students are

as they hear how the

is

a real satisfaction with the finished

learn

has

learned each part and

the piano with a metronome,

begin

recording. I handle

is

used

to

hearing and it has

into

the

recording

parts

If

time permits,

tried-this

of

a class lesson. The

much

about

orchestration,

And

they will

* * * *

Adding

By

changes periodically during a song programmed

on

drum track.

a

key here. I start by mapping
patterns,
every so often, I alter the tempo as I am
programming
"every so often" because I
that there
"pinch

radical. Let's assume that the baseline tempo

is

96

signature).
alter the tempo randomly between
beats per minute. The difference in tempo
ever so slight,
want it
tasteful.

"Feel"

Thomas

I've found that by introducing slight tempo

the RX 11, I can get a better "live" feel

AB

with any other "trick," moderation

of

Also,

beats per minute (with a basic 414 time

to

To

RXll..COmposed Songs

F.

Sheehan,

repeats,

the

patterns

is

a fixed formula.· It's more
this and a dash
the tempo changes should never be

To

get more

but

it

stick

out

Jr.

out

breaks,

like a sore thumb, so be

and

so

into

don't

want

of

that"

of

a "live" feel, I might

is

there-and

* * * *

to

be

type

of

with

the

fit together.

dif~

might be

stu~

do

it in an

to

the

is

the

the song (the

on);

then,

st~

songs. I say

to

imply

of

type

of

thing.

is

94

and

98

is

you

don't

a

16

AFrERTOUCH/Vol. 2 No. 7

Tuning
QXl

By

Gerry

The

TX816

Olszowy

With

The

Aid

Of

A

7.

Now press the right cursor key until you see

this

display:

CH

A.TOUCH

=OFF

An

easy way

"tune"BankforyourQXl.

a
a measure
include Pitch Bend

of

A--440

to

tune your TX816 is

On

quarter~notes;

OFF

and Modulation

to

track

1,setup

make sure

set up

to

OFF

commands.

Copy this measure several

and then copy track 1

When

you want

to

to

tune your TX816, plug

hundred

all

of

the other tracks.

your tuner into the headphone send
mixer and PLAY your
can now solo any one
for tuning without having

QX 1 "tune"

of

the TX816's modules

to

play notes

times,

of

your

Bank. You

on

your

keyboard controller.

* * * *

Use

The

Data

To

cording

By

Tom

As

you

incapable

MEP4

Breath

On

Darter

of

To

The

QX1

Convert
Controller
QXl

owners

Aftertouch

Data,

know,

the

For

unit

Re-

recording Aftertouch data. Using

is

the MEP4 MIDI Event Processor, it is possible
to

convert Aftertouch data
data, which the QX1
effect, program the MEP4

to

Breath Controller

can record.

as

follows:

To

achieve this

8. Press the INC button. The display will now
read:

CH

A.

TOUCH=

9. Press and hold the

ton,

then

press

the

the display reads

GROUP

as

right

cursor

follows:

ON

SELECT

key

but~

until

DATA MODIFIER

When
ton, you will see

you release the GROUP SELECT

this

display:

but~

O:MSG:**

10. Press the INC button until the display reads
as

follows:

O:MSG:Dn.xx

Now

press

the

right

11.

·see this:

Also, make

sure

4

that

cursor

·***·

. .

the

cursor

key

until

is

positioned

you

over the right asterisk("*").

Find a blank

1.

memory

position

on

the

MEP4.

to

2. Press the UTILITY button

enter Utility

mode.

3. Press and hold
the

right

display reads

PresstheiNC("yes")buttontwice.

4.
have now

GROUP

and

left

as

follows:

initialized

SELECT, then use

cursor

keys

the edit buffer.

until

the

You

5. Enter Edit mode by pressing the EDIT key.

6. Press and hold the

GROUP

SELECT

but~

ton, then use the right and left cursor keys

as

until the display reads

follows:

MESSAGE FILTER

12. Press the INC button until the display reads
as

follows:

4:CNV:--Bn.xx.yy

13. Press the right cursor key once; then press

as

INC until the display reads

follows:

4:CNV:--Bn.02.yy

14. Press the right cursor key once; then press
DEC once. The display should now read:

...

4:CNV:

At

this point, the setup is programmed, and

all

you

need

to

do

memory

by following

Bn.02.xx

is name

the

it

and

store

instructions

it

in

into

the

MEP4 owners manual.

Vol.

2 No. 7 I

AFTER

TOUCH

17

~~-~?

~~--

--

--

- -

Program

Your Mod

Wheel To Be
ATone
Control. By

John

McEnary.

HERE

IS

A CONVENIENT way

your

T

Wheel
active
and set the timbre
the
TX7
tone setting without the use

you
troller,

subtly vary the timbre

form.
control, especially when combined with velocity
sensitivity and vibrato.

voicefrom
(Voice #5 ). Set the Modulation Wheel function
parameters

DX7 voices

(or

Foot Controller) acts

tone

control.

EDIT

mode.

or

TX816 can also be adjusted

Setting

As

up

your

to

use the Modulation Wheel, Foot Con-

Breath

This

allows a great

an

example,

the

as

follows:

MODULATION

RANGE 99

PITCH OFF
AMPLITUDE OFF
EGBIAS

so

that

the

This

allows

of

a voice without going into

Voices

Controller,

factory

set

up

of

voices this way also allows

or

of

a voice as you per-

deal

take

the

BRASSHORNS

ROM

WHEEL

ON

to

set up

Modulation

as

an inter-

you

to

adjust

this

way

in

to

a desired

a computer.

Aftertouch

of

expressive

#A

Cartridge

the

to

OP#

1 0

AMS

2 2
3 3

4 3

5 1

6 1

Notice that the modulators that have the great­est effect
raised
control a smooth, natural feel. Experiment now,
using the Modulation Wheel as a tone control.

est position, the timbre

nal voice.

the
control a wider

brighten
raising the
an example, raise the Operator
each modulator by a value
levels
output
carrier):

on

the overall timbre ( #3 and #4) are

the

most.

This

When

the Modulation Wheel

As

the Modulation Wheel

sound

mellows.

range

the

voice.

output

(there

of

levels

is,

of

operator

helps give

is

identical

At

this

of

This

can

of

of 4 to

course,

# 1,

which

your

new tone

is

at its high-

to

the origi-

is

lowered,

point,

in

order

timbre,

easily

the

no

I usually

be
modulators. As
Output

the following

change

is

the

done

Level

in

only

to

by

of

the

You will notice that the Modulation Wheel
longer controls vibrato. This can be added later.

As

an alternative, you could use the Foot Con­troller
Control
Modulation
above.

Foot Controller)
order
raise
(AMS)
operators should be raised (and how much),
need
for the voice. Press EDIT
HORNS
display will show Algorithm 18. Looking at the
algorithm
that algorithm
rier; operators
with
and
ing
modulation sensitivity (AMS) as follows

six
operator # 1

to

control

function

At

this

point,

to

achieve the desired effect, we must now

the

amplitude

on

some

to

examine the algorithm that

voice,

chart

feedback

#6

form a short modulating stack modulat-

operator

operators

timbre

parameters

Wheel

):

function parameters listed

the

Modulation

has

no

effect

modulation

of

the operators.

the

upper

on

the

front

#18

uses operator #1

#2-#4 form a row

on

operator

#4.

Now,

(all

are

being

by

setting

exactly like

Wheel

on

the sound.

sensitivity

To

is

being

-for

the BRASS-

left

corner

panel, we can see

of

modulators,

#3.

Operators

raise

the

amplitude

changed

no

the

Foot

the

(or

In

see which

we

used

of

the

as

its car-

#5

on

the

except

OP#

1

2

3

4

5

6

Changing
and
voice. Individual experimentation is necessary
to

create the most pleasing tone.

turned
tion parameter at the beginning
Increase the Pitch Modulation Sensitivity
For a more
vibrato with
the
the Pitch Modulation and

to

use Aftertouch

Afterouch RANGE

tion Wheel is now set
the voice and

variations in articulation and phrasing.

modulator

dramatic

Now, let's add the vibrato

off

LFO Delay

This completes the example. The Modula-

way

the Modulation Wheel's Pitch func-

natural

the

Modulation

to

45.

to

to

let the performer create subtle

OUTPUT

99

71

83
83

74
83

output

to

sound

An

bring in the vibrato: Set the

to

up

levels is a simple

edit

the

timbre

we

lost when we

of

this example.

(similar

Wheel), increase

alternative

LFO Delay would be

36

with PITCH

to

vary the timbre

to

to

changing

of

any

to

4.

adding

ON.)

of

18

AFrERTOUCH!Vol. 2 No. 7

--~

..._.

,_,.

~

---

---

SET

D

KEY ASSIGN MODE I sinqle I dual I split

NUMBER

MIDI CHANNEL I A I

TRANSPOSE I A I

-=-~-=-

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I I I

Series

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mCS2

II

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mcs4

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7E

INVITE

VV

developed a novel use

send

it

to

us.

If

we

decide

ourselves, write

Don't

to

use

it

YOU

worry

your

up

in

TO

of

about

idea

the

magazine,

CONTRIBUTE

one

of

the

AFTER

your

writing

as a full

put

article

your

$100.00.

If

you've

receive full editorial credit, plus a check for

Do

you

RXll?

the

By
patches,
you enclose a

If

you

it

send
(We
use all

establish direct contact with
uTouch Response."
are interested

along too,

regret

of

Finally,

AFTER

got a hot

have a great new DX7 patch, a

Send

them

way,

we

or

manuscripts.

self~addressed,

just

have a question regarding

that

we

your questions

if

youjustwant

in

starting

TOUCH

in-we'll

cannot

and

we'll

won't

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Continued from page 6

20

AFI'ERTOUCH/Vol. 2

1 Sound Disk

Track

Two

The

piece.
SynBell
here are factory supplied preset voices.

Track

No.7

2: uMass

1: uSonic

FB..() 1 tone

dominant

preset.

Rise"

modules were used for this

sound

on

the

track

All

of

the

FB~O

1

voices

Transit"

is

the

heard

A

total

of

four

FB~O

1

tone

used

on

this recording. Given

tone

generators,

timbre.from each

single
on

each module's

lead

sound

the

FB~O

instrument's permanent preset

here

1

voices

the

basic approach was

unit

(instead

multi~timbral

is

the

MonoSax

heard

here

modules

the

luxury

capability).

preset.

are

part

(ROM)

of

to

of

relying

All

of

library.

were

four

use a

The

of

the