Yamaha Jerry Goldsmith Owner's Manual

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TM

]UNE/)ULY

1989

YAMAHA®

SPECIAL NOTICE!

HE

RESPONSIBILITY

corporation.

T

Yamaha

Corporation

An

independent
''AfterTouch"
mailing list. Tesladar,
on

this responsibility in order to

tween musicians

After

name

that

of

corporation, Tesladar Communications, has licensed

and

headed

can

After Touch provides information
tion: material
and

the
patches for
covering

Here are some

about

DX7 II,

both

the

basics

past Yamaha instruments (including

the

TX81Z,

past

and

of

today's music industry.

important

FOR

this issue, AfterTouch will

America.

logo,

only be provided

present Yamaha gear,

things

&

this publication has

and

has

been

given

by AfterTouch founding editor Tom Darter, took

maintain

the

SPX90,

that

that

the

flow

by

a users group magazine.

cannot

be found

the

FB~Ol,

readers should know:

been

assumed

no

longer

control

of

specific information

and

and

solid educational articles

be

published

over

the

AfterTouch

in

any

other

both

the

original DX7

many, many more),

by

a new

by

the

be~

publica~

• If you write to
of

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majority

After

from
magazine will be

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In

order to

modest subscription fee

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tion

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By

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July '89

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expected,

double

Yamaha Bulletin Board

The
new computer Bulletin Board
The
hours a
tially provide two conferences, a Dealer con­ference

issue,

Yamaha

system operates at 1200

day,

and a Cl

June '89 issue. However,

so

Yamaha decided

the

June/July '89 issue you are now reading.

SGD

Division has just

7 days a week.

conference.

envelope says

were

printed

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two final issues:

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This

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modem)
After

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dealers

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registration, please allow

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and

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most

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the

users will be able
Cl

The

this issue) will come

The

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envelope

plan

took

and

Cl

customers are wel-

their

with

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requested conference.

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(Software Develop-

production

focus

of

the

its readers.

subscrip~

bound

with

was

to

end

its

more

time

one

more

computer

new

one

week for au-

to

Continued

(via

service.

download

on

pa~

34

2 AFTERTOUCH!Vol. 5 \los. 6-7

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June/July

4

Questions & Answers

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1989

Answers
Tom Darter.

-

to

questions from readers.

-

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---

Volume

By

Steve Deming and

--

--

-

-

5,

Issues

8 TX81Z Voice

"A.d.

Vibe.3," a new TX81Z voice by Larry Mueth.

9

10

11
12

14

TX81Z Voices

"Doublelo," "Doublehi," and ''Biotoxic," three new TX81Z
voices by Gregory Thomas Meyers.

DX7 Voices

"Nightshade"

Gregory

Thomas

DX7 Voices

"Dharma" and "Pop Bass," two new DX7 voices by Ben Moore.

RX5 Voice

Edits

"Large Gong,"
"Eko Snare," four new

New Products

A quick look
products for the second

and

"femalevibe," two new DX7 voices by

Meyers.

"Chant

at

some

Cymbal," "Gliss Snare," and

RXS

voice edits by Douglas Masla.

of

Yamaha's major new Pro Audio

half

of

1989.

-

Numbers

#45-46

-

-

-

-

~

6-7

Editor
Tom Darter

Operations
Sibyl Darter

Production
Sibyl Darter
Tom Darter

Administration
Christina

Editorial
Steve Deming
Charles Feilding

Bob Frye
John
J.P.

Phil
Jim Smerdel

Gerry Tschetter

Steve

Cover

Neil Zlozower

Cover

in

his
(bottom
KX88,

DX7

Prophet

McVey

Board

Gatts

Lincoln

Moon

Thatcher

Photograph

photo:

Jerry

home

studio

to

top)

Yamaha

II

FD,

and

VS.

Goldsmith

with

Yamaha

DX7,

Sequential

Yamaha

16
18

24

28
32

©1989 Yamaha
electronKally, mechanically, photocopying, recording,

V

50

Applications

Understanding

Jerry

Goldsmith

A film scoring legend talks about his use
work with the

By

Tom Darter.

DX11 & TX81Z

Adding TX81Z voices to the
non-programmers.

Hot Tips

Reader tips for

C1 Users Central

Windows-a

Corporation

of

America.

No

part

of

the

VSO

sequencer,

Cl

music computer, and his score for

By

Steve Ahola.

the

SPX90, QX3,

graphic interface for DOS.

this

publication may be reproduced, stored

or

otherwise,

without

the

prior

written

DXll-a

and

in

a retrieval system,

permission

of

part

2.

of

tutorial for

more.

By

or

transmitted

Yamaha

Corporation

By

Chris

Cotton.

synthesizers, his

Star

Trek

Scott

Plunkett.

in

any form

or

of

Amenca.

by any means,

V.

AFTERTOUCH
lished monthly. Third class

postage paid at Long

Prairie, MN and additional

points of entry.

SUBSCRIPTIONS:

Address subscription cor­respondence to AFTER-

TOUCH,

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Send form 3579 to P.O.

Box 7938, Northridge, CA

91327-7938.

VoL

5 Nos. 6-7 I AFTERTOUCH 3

P.O.

Box

CA

POSTMASTER:

is

pub-

7938,

91327-

I

recently
without any literature.
owners manual for this instrument?
R.

McNair, Seat Pleasant, MD.
Contact
and ask them to order a manual for

It

would
sounds in
used with

David Bieling, Tallahassee, FL.
No. First
PF2000 are 6-operator
patch charts exist. Secondly, the PF2000 nei­ther sends nor receives MIDI System Exclusive
data,
internal patches to another unit.

I recently received a set of Demosoft (2.1 ver­sion) voices for
tion. After spending many dollars for third­party
using
TX81 Zs.
awesome!
Yamaha to
voices
Hanford,
Unfortunately,
ued,
voices

I need
Exclusive data for

1).

How
Miller, Tempe,
For

the
contact
sion's Product Information service: Call 1-800­854-3619, and ask for extension

purchased

your local authorized Yamaha dealer,

be

good

the

PF2000

the

DX7

of

all, even though the sounds in the

so

there

is

no

data

cassette

only

the

These

Are

put

out

for

the

CA

93230.
the

so

Yamaha has

for

the unit.

to

know

can

I obtain this

AZ.

answers to your SPX90 MIDI questions,

the

Yamaha Electronic Service Divi-

a DX21

How

to

get

so

II

FD/D. Is this possible?-

FM

way

to

the

TX81ZIWX7 combina-

voices, I find

Demosoft

voices and performances are

there

any

additional sets of Demosoft

TX81

TX81Z has been discontin-

no

plans to create more

the

complete

the

Yamaha

second

can

I obtain an

-Reginald

you.

the

internal

that

they could be

digital sounds, no

send

the

instrument's

that

voices

future

Z?

-Mike

information?-

MIDI

SPX90

in

plans

Smiley,

System

(version

piano

my

1.

~~

..

~~·-

___

,::.---

hand

I am

for

Tom

4.

Answers To
Questions From
Readers.
Steve Deming

& Tom Darter.

2

SPX90

multi-effects

processor.

By

&

Can

you explain

not

accept
mation in
tempt

a complete memory data dump from a

DMX

drum
"Buffer
accept
What
the
Since the QX3 does accept single patterns
the

the

Full" message

larger
be accepted
to
mode
possible

two instruments

there
from these two

standard

For answers to
Oberheim to be sure.

I have played classical

years.

tronic piano, I decided

ano

with

works by Beethoven

of

ent.

polyphony by adding a

erator

neously via

Royalton,

If you simply buy a TX1P module and connect it

to

respond

board-you

have created a MIDI function

this problem. Called the Alternate Note func-

tion, it allows

ment

bers, and to set

even MIDI note numbers. This makes it pos-

Full"

individual

condition causes this

QX3?-Gene

DMX, compatibility does

problem.

than

disk. However, the QX3's buffer in MDR

is

480K, which

that

is

also

the

After

and purchase a

it

is

the

16-note polyphony become very appar-

Is

it

possible for me

to

my setup and playing

your PF85 via MIDI,

to

Yamaha

to respond

why

the

QX3

sequencer will
Oberheim
the

machine

message, although

The

is

the

by

the bulk dumps from each of these

the

QX3 looks for in some respects.

trying

that

MIDI?-Dameon

OH.

each

will have 16-note polyphony.

(and

the

System Exclusive infor-

MDR

mode?

or

patterns

Ryan, Orlando, FL.

usual meaning of the "Buffer

that

the material being sent

buffer

of

the

buffer before it

is

larger

possibility

instruments

these

two questions,

out

PF85.

when

I'm

or

note

played

other

user to set one MIDI instru-

only

to odd MIDI note num-

the

other

Whenever

a Matrix 6, I get a

the

QX3 does

from

the

error

message in

not

seem to be

the

QX3-all

is

quite large. It

than

that

piano

a Yamaha

to

sell my acoustic pi-

My only complaint

performing complex

Bach,

to

double

TX

1 P piano tone gen-

both

on

MIDI manufacturers)

to respond

data must

can

be stored

the

QX3's buffer;

the

bulk dump

varies from

for

almost 25

PF85

the

limitations

the

them

simulta-

Likowski,

instruments will

the

PF85's

that

will solve

contact

I at-

DMX.

from

is

still

the

elec-

unit's

North

key-

only

to

is

4 AFTERTOUCH/Vol. 5 Nos. 6-7

sible to set two instruments to
channel and effectively double

the

same MIDI

the

available

polyphony.

Unfortunately,

the

Alternate

your polyphonic (simultaneous

ity),

you

need to use a MIDI processor like the

Yamaha

MEP4 MIDI event processor.

Therefore, it

capability of your

an

MEP4 and another tone generator such

the

TX1P. Here

the

PF85

is

not

equipped with

Note

feature. In order to double

note

is

possible

to

double

PF85-based system,

is

the

basic procedure (explana-

capabil-

the

by

adding

note

tion to follow):

1)

Connect
MIDI IN

2)

Connect

the

3)

Connect

the

4) Make sure
nel

of

5)

On

6) Program

MIDI IN

MIDI IN

is

the

both

the

the

PF85,

the MIDI
of

the

the MIDI

the MIDI

that

same

PFSS

the

OUT

of

the

PFSS

MEP4.

of

of

turn

the

the

the

as

and

OUT 1 of

PF85.
OUT
TX1P.
PFSS's

the

MIDI receive channel

the

MIDI Local

the

MEP4 to

2 of

the

MEP4 to

MIDI send chan-

TX1P.

off.

MEP4's Processor 1 to send only

to the

odd MIDI note numbers back to the PF85

(via its MIDI

7) Program the MEP4's Processor 2
even MIDI note numbers to
its MIDI

In

order for
together, it
the same MIDI channel.
turned off

will

not

respond internally to any notes played

on

its keyboard; this allows
note data from
cessing and

PFSS

will respond only

receives via its MIDI

The

procedures for programming the MEP4's

processors to accomplish

OUT

1 port).

OUT

2 port).

the

PFSS

is

obvious

on

the PFSS, it means

back-since

the

that

PF85

MIDI Local

IN

port

to

send only

the

TX1P (via

and

TX1P

to

work

they have to be set to

When

MIDI Local

that

the

unit

you

to send MIDI

to

the MEP4 for pro-

is

off,

the

to

the

note

data

(from

the

MEP4

the

tasks mentioned

above are outlined in the unit's owners manual.

I

own a number
(needless
Yamaha
need

to

products

of

a more complete
tion regarding the operation of
current
vague.
that

owners manual is

Are

will help

of

Yamaha

say) I

support

300%!

However, I

and

just

there any books

me?

-Michael

J.

products,

and

and

believe

am

extensive publica-

the

QX3.

The

too

sparse and

or

publications

Walters, Peoria,

IL.

Shortly after the QX3
Corporation

of

America created a detailed Sup-

plemental Booklet

was

introduced, Yamaha

on

the operation

of

the

QX3

as

is

it

).

in
in

QX3

digital

recorder.

sequence

digital sequence recorder. Designed
ment

to

the

QX3 owners manual, this docu-

ment

covers the unit in such detail

actually replace

The

Booklet

tions.

The

plement, includes material

the

existing manual.

is

divided into three basic sec-

first section,

an

owners manual sup-

on

as

that

the

unit's Record!

a supple-

it can

Play mode, a list ofRecorci!Play Job Commands,
a list of Edit Mode Job Commands, additional

information
tions sections in
errors in
and
applications guide, and Section Three

the

an

appendix.

on

the

Chain

Edit and

the

original manual, a list of

Other

Func-

original manual (with corrections),

Section

two

is

a detailed

is

a useful

Operations Map.

For more

information

on

this

QX3 Sup-

plemental Booklet, write to: Yamaha Corpora-

tion

of

America,

Department,

SGD

Division, Literature

P.O.

Box 6600, Buena Park,

CA

90622-6600.

I have a Yamaha

purchased a Korg

Ml's

internal

the

DX's disk drive?

Centre,
The

MA.

DX7

DX7

II

FD

Ml.

Can

sounds

and

-Alfred

II

FD

has a Disk MDR mode

and have recently

I dump and save the

RAM

sounds

Gross,

onto

Newton

that
set up to record MIDI data from another MIDI
instrument (via
However,

if

the

bulk dump from

20K, this

One

way

install an
drive buffer
more information
the

manufacturer, Grey

the

MIDI jacks

the

OX's

buffer

is

the

is

not

possible.

to increase the

E!

kit for the DX7

is

128K in its MDR2 mode. For

onE!

for the DX7 II, contact

Matter

on

only 20K in

M 1

is

OX's

buffer

II

FD.

Response,

the back).

size,

so

larger than

size

is

The

E!

disk

to

at

1-408-427-3678.

Continued

on

page

is

6

Vol.

5 Nos. 6-7 I AFTERTOUCH 5

I have read your
with

interest. I have

about

the

other

Yamaha

them

into

the
possible
Clavinova (any
of
"grand
one
A.
There are many questions buried in this ques­tion, and
of

equipped to perform MIDI System Exclusive

'transfers,

grand piano patches to a

ano sound,
the

10

AWM (sampled) voices, including piano.

ommend
"grand piano" patch. We have offered many
such patches in our pages over
and
ever, the judgement of any particular sound
very subjective thing, and

to

presenting any single patch

a particular sound problem.

I have a

sively
great. Since
duo, I
in
Mono
bass
controller) and send individual patch

ume

have
to
NJ.
Yes,

separate program changes for each instrument

in

and

vidual."

volume change messages, go

ity mode

"normal."

to

the

DX7?
piano" voice

found in

Rebhahn,

we

them

as

of

First

so

If

what

Yamaha EMT-10 to your system.

is

a portable expander unit

Finally, it would be impossible

we

consider all of

ignore

TX81Z,

with

want

the

Performance

8 mode

and

commands

to

write performances (which limits me

24 possibilities)?-Jeff

this

is

a performance,

set

the

To

Question & Answer

been

particularly excited

possibility

6-operator

memory

put

in

If

the

Marietta,

will

we

can.

all,

none

it

is

you

want most

you

a specific DX7

the

value

my

Guitar

I'll

to

know

with

MIDI

possible.

Program Change parameter

set

and

set

of

taking

of

the

the

grand piano voice

the

series)

not,

can

that

sounds as good as

Clavinova series?

OH.

do·

our best

of

the

impossible to transfer their

DX7.

is

might want to consider adding

them

we

of

our

which I've

Controller, and

be

working

if I

can

Edit

MIDI

channels 1

channels

through

go

the

a merger, so I won't

To

set

to

the

unit

to

Control

voices from

units

and

DX7. Would

into

you

recommend

to

answer

Clavinova units are

a realistic grand pi-

that

for

sound

the

last

to be usable. How-

would never want

readers' ears by

as

the

best

been

in

a computerized

leave

mode

3-8

for

Guenther,

the

unit to receive

Single Utility mode

receive individual

to

the

Change

column

putting

it

of

the

the

memory

the

-Marilyn

as

many

The

EMT-

features

us

to

rec-

as

the

best

few

years,

is

answer

using exclu-

it

works

the

TX81Z

(using

Single Util-

and

2 for

the

guitar

or

Wayne,

to

"indi-

function

the

vol-

I

hope

you can help me
having
pedal.
as piano

be

zero sustain rate such as flute
notes
played.

a

sustain pedal wouldn't normally be used with
these voices.

split keyboard performance sharing a piano
and,
the
tain pedal operates
on

Marvin

To

ing, check
possible to give
assignments in performance mode.
manual,
Switch Assign: "In performance mode, the first

10

voice in
mine the Foot Switch assignment." In other
words, the Foot Switch setting in
of any performance memory will establish the
Foot
performance.

a

standing
begin with, there
the

to

simpler function
ano: it
DXll's
been created with a D2R
continue

piano-like voices use the D2R setting to repli­cate the slow sound decay heard when notes
played
held down or sustained using a pedal. Even
the
sound
disappear, because
sive sounds such

violin) have a very different D2R setting, be­cause their sounds need to be continuous
long
held down. After all,
would
tain
violin would

with

my

DXll

The

pedal works fine with voices such

and

guitar. However, for voices

just

hold

on

This

should

The

problem occurs

say,

a violin. I can't find any way

voices

or

the

performance so

the

violin.

Shapiro,

understand one

Switch

Your

other

DXll.

is

keyboard. Therefore, if

is

This

on

key

or

is

programmed to decay slowly and finally

However, other voice types (such

as

they are engaged-as long

not

his or

Can

Huntington,

the

DXll's

the

page 14,

the

performance memory will deter-

assignment

problem stems from a misunder-

of

the

sustain pedal's function:

The

sustain pedal

than

the

same

as

as

long

as

a very important understanding: Most

a piano (or piano-like instrument) are

the

pedal

as

decay

as

her

airstream, and the sound from a

not

decay

with

a problem I am

concerning the sustain

and

overlap as

not

be a problem, since the

when I try

on

the

piano voice and not

you suggest

NY.

of

the problems

owners manual. It

sustain pedal two different

under

is

the

that

those created

long

the

heading

for

no

"sustain" parameter in

on

the

the sustain pedal

holding down a

of

0,

the

pedal

is

held down.

is

held down forever, the

is

the

nature of percus-

the

sound from a flute

as

the

flautist can main-

as

long

as

or

violin, the

the

melody

to set

that

the

anything?-

you

are hav-

To

quote the

the

first voice

the

entire

DXll

on

key

the

voice has

sound will

by

a piano.

as

flute or

as

the

the

violinist

with

up

to

edit

sus-

is

Foot

has a

a pi-

on

key

a

is

a

im-

To

the

if

as

is

6 AFTERTOUCH!Vol. 5 Nos. 6-7

continues
other
for sounds like these,
maintained
ever, this setting also means
continue
down (since
effect

If
this effect
must disable the effect
in the voice,

parameter
footswitch

than

to

move the bow up and down. In

words,

the D2R setting must be set

as

long

as a key

for

as

long

the

sustain pedal has

as

holding down a key).

you

do

not

want

on

a voice like flute

as

follows:

to

"portamento"

is

assigned

sustain); 2)

Set

so

that

the

sound

is

held down. How-

that

the sound will

as

the

sustain pedal

the

sustain pedal to have

or

of

the

sustain footswitch

1)

Set the

(so

to

portamento,

the

Portamento

to

can

is

the

violin,

FS

Assign

that

rather

parameter to 0, which turns portamento
The

footswitch will now have

no

effect

on

voice.

I am using
merge

PF85

MIDI

the

MIDI
(both
input

the

YMM2

outputs

switched

of

the

QX5.

MIDI

of

my

to

Local Off)

The

merge box

DX7

II

into

MIDI

output

FD

zero

be

held

same

you

the

Time

off.

this

to

and

the

of

the

QXS is
DX,
MIDI
except
darn
flashes, and
It

doesn't
am playing.
son,
Your
unit

run

back to

and

the

DX

MIDI

input

of

the

that

at

least once

YMM2 locks up,

the

sound

matter

Mount

how many

Any

suggestions?

Hope, WV.

problem could be

you

have-the

opto-isolator components

the

PF85.

in

the

comes

the

MIDI

input

of the

thru

is

run

to

This

works

every session the

"buffer

or

full" LED

to

a sudden stop.

how few notes I

-C.

Lloyd Gib-

particular YMM2

the

fine,

are sometimes a problem with this particular
unit. Take your YMM2

to

your dealer, set up a
similar MIDI system, and try it (to show the
dealer the problem).

Then

switch with another
YMM2 and try again. If the problem disappears,
you

will know

that

you have a faulty unit, and

should look into making a trade.

Another

MIDI

always sends. If

could be sending a
present) aftertouch data through your

potential

aftertouch

you

problem could be

messages,

which

play with a lot

lot

of

unused

of

force,

the

DX7

(but

YMM2.

the

you

still

OX

11

FM

digital

synthesizer.

Vol. 5 Nos.

QXS

digital

recorder

sequence

.

6-7

I AFTERTOUCH 7

z

"Ad. Vibe.3

!'A

NewTX81Z

Voice

Larry

Mueth.

Notes:

In

case

you

are

the

additive

the

use

guise

wondering

of

Algorithm

experiment­synthesis

of

FM.

and

about

#8,

Waveform # 1,

Feedback, I was

ing

with

under

zero

-OPERATOR

on/off

out level 99 94 84

freq. type

fix range

freq. coarse 4

op1

op2 op3 op4 I

ON

ON

RTO

RTO RTO RTO

255 255

13

ON

255

34

. voice name:

ON

~~~~~~~~~~~~~~

86

algorithm

no.

feedback

8

o

255

56

Ad.Vibe.3

II

.

freq. fine 0 1 1 o

·······:·1·~·····r·····:·2·~·····r·····:·:;·~·····r·····~·~·:·······

detune +0

1.00 i 4.06

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

attack rate

decay 1 rate 5

decay 1

level

decay 2 rate 1

release rate 5

eg

shift OFF

~

SCALING/SENS

rate

level

ams on/off

sans

eg

bias 0

key vel 4

-3

i

11.06 i 20.41

26

26

6

12

12

2

5

OFF OFF OFF

---------..

2

2

5

8

ON

ON

0

5

+2

+3

25

24

5

12

12

3

5

3

23 3 28

ON

OFF

0 0

6 7

-LFO--------------------~.

waveform

speed

6

amp

pitch

3

r--

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

5

portamento FUIJ..

porta time o

:........

~pitch

C:>..v

18

mod

depth 0

mod

depth o

mode

POLY

vol

99 . ........

o

amp

0

pitch o

amp

65

sync OFF

delay o

sans
sans

mid

C = C 3

rev rate
pb range 1

pitch 0

;

amp

f!J

eg

~ias

;

........

p bias +0

2

0

0

0
0

Notes:

This

is

a

big

fat

lead

voice

a

great

deal
as

it

very

keyboard.

note

on

these

diagrams,

listed

And

not

represent

range

of

both

parameters.

operator's

properly,

possible

the

value

indicated

the

chart;

Fine

value

the

by

The

for

within

bottom of

of

of

you

vary

pleasant

the

diagrams:

for

both

Frequency

value

values

Coarse

both

values;

Coarse

finally,
and

number of times

the

actual

each

dotted
the

the

chart.

change
find
the

A

In
bers
Coarse

do

settings-instead,
representa
the
for
each
value
Frequency
quency Fine
est
Frequency
ment

times
in

quency
the
indicated
chart.
values
shown
the
portion

harmonic

frequency
start

b~

operator

the

pitch.

all

the

num-

Frequency

the

actual

they

level

within

available

To

with

and

Fre-

at

their

then,

and

Incre-

the

number of

the

number

go

to Fre-

increment

number in

frequency

boxes

Operator

with

across

Fine

set

the

low-

go

are

8 AFTERTOUCH!Vol. 5

the

at

to

I

Nos.

6-7

OPERATOR~

on/off

out level 99

freq. type

fix range

0~1

-=~~~~~-

ON ON

RTO

255 255

ON

85

78

RTO RTO

255

freq. coarse 4 o 8 32

freq. fine 8 4 4 1

.......

:.1·~·

..

1.50 i 0.

detune +1

··-r-···

..

:·i·~

75 i

-3

....

'T

......

:·:;·~··

2.25 i 10.48

...

T

+2

......

ENVELOPE-------------..

attack rate

decay 1 rate 3

decay 1 level

decay 2 rate 9

release rate 4

eg shift OFF

SCALING/SENS

level

ams on/off OFF OFF

sans

eg

key

25

19

12

14 15

OFF OFF OFF

-----,.

rate

bias 1 2

1

9

vel 3 3

10

9

13 12

0 7 11
3 1 8

0 0 0

4

10

ON

4 3

3 4

algorithm

RTO

255

-1

~·~·::····

..

4

14

portamento

20

ON

voice name:

no.

Biotoxic

4

feedback 3

LFO--------·--------~.

waveform

speed

amp

mod

pitch

mod

C:>..v

20

depth 20
depth 0

sync OFF

delay 0

sans 2
sans 0

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

mode

POLY

FUIJ..

porta time 0

:........

vol

99

~pitch

.........

amp

~pitch

.........

amp

o
0

o

0

·········

A

;wag
;

........

mid

C = F 2

rev rate 4
pb range 0

pitch 0

amp

o

~ias

ro

p bias +0

1Z

OPERATOR~

on/off

out level

freq. type

fix range

freq. coarse 4

0~1

-=~~=-~~

ON

ON ON

99

82

76 69

RTO

RTO

RTO RTO

255

255 255

10

255

19

freq. fine o 0 o o

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

decay 1 level

9.~!-~!:l.~

.....

:I:.L

....

:.L

.....

:.?.

-1-

:

-2-

;

-)-

1.

00 ~ 3.

ENVELOPE------------~

attack rate

decay 1 rate 11

00 ~ 6.

22

12 15 15

00 ~ 12 . 00

16
20

;

13

14

......

-4-

decay 2 rate 8 5 4 3

release rate 6 1

eg

shift OFF OFF

SCALJNG/SENS

rate

level

ams on/off

sans

eg

bias 1

-------~

1 1

3

ON

key vel 2

2 5

OFF OFF

2 2

13

15

ON

ON

2 3 4

2 2 3

voice nama:

ON

algorithm

36

:::~

..

.

LFO------------------~

waveform~

o

10
15

18

ON

pitch

FUNCTION-------~

portamento

porta time 0

·········

~pitch

•eooooooo

~

•........

no.

feedback 4

speed

amp

mod

mod

mode

vel

amp

pitch

amp

Doublehi

1

20

depth 17
depth 0

POLY

rev rate 4

FULL

pb range 0

99

r······

A

o

:OW

0

L..

.....

0
0

sync

delay

sens
sens

mid

C = C 3

pitch 0

amp

eg

bias

p

bias~

60

0

1

0

0

ON

"Doublehi,"

Doublelo,"

"Biotoxic!'
Three New
TX81Z

Voices
By Gregory
Thomas

parch
with

channel.

voices

with

•

is

designed

"doublelo"

the

Tbgerher,

sound

very

keyboard

very

delicate

some

sweeping

same

Meyers

Notes:

This
used
performance on
MIDI

two

like a stringed
instrument,
rich,
harmonics.

&

to

be

in a split

the

much

and

OPERATOR~

on/off

out level

freq. type

fix range

freq. coarse o 4

0

~1-==-==~~-

ON

ON

ON ON

99

88

79

77

RTO

RTO

RTO RTO

255 255

255 255

10

19

voice name:

algorithm

feedback 4

no.

Doublelo

1

freq. fine o 8 o o

·······:·1·~·····T······:·2·~·····T······:·:;·~·····T······~·~·:

derune

0.

50

~

ENVELOPE-------~

attack rate

decay 1 rate

decay 1 level

decay 2 rate

release rate 7

eg

SCALING/SENS

level

ams on/off

sans

eg

key vel 2

+1

1.

50 ~ 3.

22

13

15
12

shift OFF

rate

ON

bias 1

-1

00 ~ 6.

15
15 14
15

OFF

------,

0
2

ON

-2

-3

......

00

5 o

13

15

14

5

4

1

2

OFF OFF

1 1 2

8

13

15

ON ON

2 3 4
2 2 3

.

LFO------------------~

waveform~

speed

amp

pitch mod depth 0

3

FUNCTION-------~

5

portamento

porta time o

·········

~pitch

.........

~.:········

.........

20

mod

depth

mode

POLY

FULL

vel

amp

pitch o

amp

17

rev rate 4
pb range o

0

r·······

o

~

0

: eg
:

........ p b1as

0

mid

sync

delay

sans
sans

C = C 3

pitch 0

amp

~ias

60

~

ON

0

1

0

o

Notes:

This

patch

used

with

"doublehi"
performance
MIDI

channel.

two

voices

with

sound

some

like a stringed
instrument,

rich.
harmonic.\.

is

designed

on

keyboard

very

to

in a split

the

same

'Tbgerher,

very

much

delicate

sweeping

be

the

and

Vol. 5 Nos.

6-7 I AFTERTOUCH 9

"Nightshade"

& "felamevibe!'

TwoNewDX7
Voices

By
Gregory
Thomas
Meyers.

~N~i~g~h~t-s~h-ad_e

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

transpose C 3
feedback 3

sync

OFF

__

'la~l-g_2_1----------~rLFO----------------------,

:

~ ~

~~

j""""~i·t-~h

:

.....

~~-~~-~

.... 7 ....

~

~

' step

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

range pitch
mw
fc

be

8
8
8

~

0

: tlme 0

amp

ON

OFF

OFF

ON

OFF

OFF

key

porta

egb

mode

POLY

m~de

RETA

OFF
OFF
ON

wave~

speed

delay o

mode

~FREQUENCY/OUTPUT--------~

on

CD

rn

Q)
(iJ

(ID

off

ON
ON

ON
ON
ON

I N

0

S I

out ,
lev
95

95
88
85
87

sync

pmd
amd

NGLE

..........

crs

0 .

1 .
3 .
0 .

1 .

OFF

pms 0

o

...........

o

DillaJCiHID®

0 0 0 0 0 0

freq

..........

, vel

fin

mode

so

X - 1 4

00

X - 1 5

00

x + 1 5

SO

x + 1 4

585

Hz + 0 4

ams

..........

det sens

.

Notes:

The

voice

most

trombone

is

like a raspy

sound,

of

legato.

resembles

sound.

but

it

allows

combination plucked chime/

bowed

Notes:

This

voice
mallet
the

use

~at~YJiO(i"::O:F:F:::OF=F=O=F=F==::::-~

r

SCALING

a

mode
NORM

CD

NORM

rn

NORM

rn

(iJ

NORM

(ID

NORM

(!)

NORM

....

~=~~-~-=~-~-~=

transpose C 3 6
feedback 7 2 4 S
sync

r

..

·~i·t-~h

.....

~

' step

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

:

range pitch
mw
fc
be
at 8

left

dep

20

18
14
18
14
12

ON

~~-~~-~

.... 7 ....

8

ON

8

OFF

1 5

OFF
OFF

break

crv

i point

"-

l c

"-

~

c

/'" ~ c 3

"-

l c

"-

l c

"-

I c

....

j

al~g

1 3

~

key

i porta

0

: tlme 0

amp
OFF
OFF
OFF
OFF

right

crv

3

./

3

./

"""

3

./

3

"""

3

./

7

mode

m~de

egb

OFF
OFF
ON
OFF

dep

18
14
16

24

12
16

POLY
RETA

~SCALING

CD

rn

rn

(iJ

(ID
(!)

mode
NORM

NORM
NORM
NORM
NORM
NORM

left

dep

0
0
0
0
0
0

crv

/'"
/'"
/'"
/'"

/'"

/'"

break

point

A-1
A-1
A-1
A-1
A-1
A-1

right

crv

"""
"""
"""
"""
"""

dep

0
0
0
0
0
0

(!)

ON

98

0 .

SO

x + 0 5

....-ENVELOPE

R1

85

CD

45

rn

54

rn

(iJ

43

(ID

85

(!)

32

..

6.7

@)

r-LFO

wave

speed

delay

~FREQUENCY/OUTPUT

I N

CD

rn

rn

(iJ

(ID
(!)

R2

35
24

4 1 71 l

24

10
16

..

C:...v

35
35

SINGLE

out
lev

99
77
93
92
65
76

L2,
57l
42

94 l 23 85
6 1 l
71 l

·s·a·~

sync

L1

91
98
95
9 1
92
99

...

saT.94

mode

on

off

ON
ON
ON
ON
ON
ON

l 5 37

...

pmd
amd

,

..........

crs

1.00

3.00

1.00

0.50

1.00

5.

R3

L3

R4

0 64

28

13

40

9.s

OFF

0
8

freq

fin

10

25
28

62

25
28

53

28

7 1

28

...

sa

.. ~ ..

6a

pms 4

...........

ams

DillaJ(i)CID®

2 0

0

..........

,

mode

X
X +

X -

X
X

X

L4.

0 2
0
0 2
0 2
0 0
0 0

...

s.a·T

...........

2 0 1

det

sens

1 2

-

1 3
1

-

1 2

-

1 4

+

1 3

RS

2

...

a

vel

3

..

..-ENNYYEEijLOOPPEE=========~

R1

L1:

R2

L2,

R3

L3

R4

L4.

RS

CD

68

rn

rn

(i)
(ID
(!)

®

96 ' 30

6o

99

47

92

27

76

17

89

38

88

...

1.s

...

4a·r6a

61 l

49

48

sg

l

41

19

gs

l

12

2 1 92 l 8

8 90 l 0
0

84 l 11

... 5 .. ( ...

9.s

14

36

o 2

39

4o

o 4

88

39

o o

84

33

0 2

70

32

0 1

85 23 0 : 2

...

sa·r6a

...

s.a

.. ~ ....

a

..

"""

10 AFTERTOUCH/Vol. 5

Nos.

6-7

Dharma ! a

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

transpose
feedback
sync

r

..

·~i·t·~h

!

~

:

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

mw
fc 0
be 0
at

SCALING-----------------

(D

rn

(ID
(i)

~

(§)

C

7

OFF

.....

~~·~~·;

step

range pitch amp egb

0

0

mode

I'IORM

I'IORM

I'IORM
I'IORM

I'IORM

I'IORM

dep

lg

:

.... ? ...

! key mode

j

porta

0

: tlme 0

OFF

OFF

OFF

OFF

OFF

OFF

OFF

OFF

left

0

1 '-.!c 3

0

4
0

0

break right

crv

: point :

'-! 8-

'-! 8-

'-

! G 3 !

/"

! B 2 !

'-! F•2

. :

2

m~de

OFF
OFF
OFF
OFF

1 !
1 !

crv

-'

!""'

-'
""-

""-

!

""-

POLY
RETA

dep

0

5

0

13
22
45

LFO----------------------

w

ave

~

speed

35

delay 0 amd 0

mode S II'IGLE 0 0 0 0 0 0

FREQUENCY/OUTPUT

on

out

off

11'1

m

m
rn

m

~

(§)

ENVELOPE

R 1

m

99

rn

99

rn

99

(!)

99

~

99

(§)

99

®

..

s.7

01'1
01'1
01'1
01'1
01'1
01'1

L1 : R2

99 1 25
99

1 o

99 ! 18
99 ~ 30
99 ! 49
99!

...

sa

..

!"94

lev

99
76
99
87
77
44

42

...

sync

pmd

..........

,

crs

1.259

2.00

2.00

2.00

8.00

2042

L2.

97
98
95
98
90
99

5.a

..

01'1

pms 1

11

...........

ams

omrnffi~(§)

freq

..........

,

fin mode

R3

L3 , R4

22

86 1 45

o

97 1 3o

11

92 ! 55

0

90 i 35

55

80 ! 45

50

99!

r

....

a

...

sa

Hz

X
X
X
X

Hz

60

..

!

.....

det

- 1 2

- 7

-

+ 0
+ 3
+ 5

L4,

o 1 4
o ~ 1

o ! 2

0 i 3
0 ! 2
0!

a

...

s.o

..........

vel

sens

1

..

!

....

0
7
0
2
0

RS

0

a

.

..

"Dharma" &
"Pop Bass!'

TwoNewDX7

Voices By Ben
Moore.

Notes:

This

is

the

have

in my

percussive

can

be

used

anything.

most useful

collection.

string

for

sound

It

sound

just about

is

that

I

a

Pop

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

~sCALING

Bass

transpose C

feedback 7
sync

~

....

~i·t·~h

.....

!

~

:

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

range pitch amp egb

mw 0
fc 0
be
at

mode dep

I'IORM

m

I'IORM

rn

I'IORM

rn

I'IORM

m

I'IORM

~

(§)

I'IORM

2

01'1

~~·~~·;

....

step

OFF
OFF

0

OFF OFF

0

OFF OFF

left

0
0
0
0
0
0

17

! alg

:

T

?

....

! key mode
!

porta

0

:

OFF
OFF

break

crv

point

A-1

/"

A-1

/"

A-1

/"

A-1

/"

A-1

/"

A-1

/"

POLY

m~de

RETA

t1me

OFF
OFF
OFF
OFF

right

crv

""'

""'

""'

""'

""'

""'

5

11'1

0

.-ENVELOPE

dep

m

rn

0

rn

0

m

0

~

0

(§)

0

®

0

.-LFO

wave~

speed

delay

mode SII'IGLE

~FREQUENCY/OUTPUT

on

off

01'1

m

01'1

rn

01'1

rn

01'1

m

01'1

~

(§)

01'1

R 1

L1 : R2

99

99:

59

99 99

59

99 99

59

99 99
99 99 99
99 99 99

..

9.9

...

sa"!"99

sync

35

pmd

0 amd 0

,

..........

out
lev

crs

99

1.00

69

3.00

75

0.50

63

9.00

70

9.00

94

6.00

L2.

64

86
86
99
99
99
99

...

5.a

..

r·9·9

pms

01'1

...........

0

freq

fin mode

R3

33
22

99 99
41

38

62

...

ams

ornrnffi~®

0 0 0 0 0 0

..........

,

X
X
X
X
X
X

L3

R4

0

71

0

71

71 0 5
0 71 0 5
0

99
0

99

sa·r99

3

...........

vel

det

sens

+ 2
+ 5
+ 0

- 1 7

+

0 7

+ 0

L4.

0 0
0 5

0 5
0 4

...

5.o'T

... a ..

2
5
0

5

RS

Notes:

This

bass

sound

offers
dynamics
music.

These

for

up-beat

DX7

great

rock

voices can also
be loaded into

all

of

the other

Yamaha

6,oper,
ator FM digital
synthesizers and
tone generators,
including the

DX7

II

FD/D,

DX7s,

TX816,
TFl,

and

TX802,

TX216,

TX7,

DXl.

DXS,

Vol.

5 Nos. 6-7 I AFTERTOUCH

11