Yamaha FB01 User Manual

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THE OFFICIAL PUBLICATION

-

-

OF

THE YAMAHA USERS

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-

GROUP

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-

-

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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,
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Send form 3579 to P.O.

Box
91323-2338.

of

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Darter,

Box

CA

of

POSTMASTER:

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Director

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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

=

o::J~

~~W>r;S

z

~
~-

;!

B'

j

~

a.

[?

~

s·

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1'1

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iil

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,.

~~

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lr~

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R

ll

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a~~:

;:f

tlll~~~~~

~s-~'T.I::-:~ogll

...

.

·~(4~.5";7"~~-&

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

~

~

~

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