Yamaha MCS2 Owner's Manual

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THE OFFICIAL PUBLICATION

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OF

THE YAMAHA USERS

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GROUP

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~TM

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. APRIL 1986

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8YAMAHA®

Editor

Tom

Darter

Operations

Sibyl Darter

Editorial

Bill Hinely
Mark Koenig
Phil

Jim Smerdel

Board

Moon

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-

-

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April1986

Volume

4 Morton Subotnick & YCAMS

Part 2

of

an exclusive interview.

By

Tom

Darter.

2,

Number

-

Issue

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4

#7

Production

Leslie

Bartz
Pat Gates
Paul Haggard
Chris Ledgerwood
Cheryl Matthews

Joyce Phillips

6 FM-T. BASS

A new DX7 voice created by Reggie Turner.

7

DXYTALK-Y

A new DX7 voice created by Reggie Turner.

8 PEDALSTEEL

A new DX7 voice created by Joel Fairstein.

9

10

14

NEUTRNPLUK

A new DX7 voice created by Ken Como.

MCS2

Use the new MCS2 MIDI
musiCal power
Laubach.

TWE01

An

introduction
TWE01
the CXSM music computer.

Word

Control

of

your MIDI instrument system.

to

the MIDI applications

Processor/TeleWord Enhancer cartridge for

By

Station

Kevin Laubach.

to

increase the

of

the new

By

Kevin

A

product

GPI

Tom

P.O.

ridge,

AFTER
lished monthly. Third class
postage paid at Long
Prairie, MN and additional
points
SCRIPTIONS:
Address subscription cor­respondence to AFTER­TOUCH, P.O.
Northridge,

2338.F()S11MU\S11ER:
Send
Box 2338, Northridge,
91323-2338.

2 AFTERTOUCH/Vol. 2

of

Editorial

Darter,

Box

CA 91323-2338

of

form 3579 to P.O.

2338,

TOUCH

entry.

CA

Services

Director

North-

is pub-

SUB-

Free.

Box 2338,

91323-

CA

18

19

©

1986
form
International Corporation.

No.4

Final Touch

Final Touch

Yamaha International Corporation.

or

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

Hot

tips

on

avoiding uclicks" in QX1 Chain programming,
preprogramming tempos
voice Bulk sets
software, and duplicating

Letters from readers

No

part

into

single Bulks using the QX1 Version 6

about

of

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

on

the

RX

11, transforming

Hammond

Users Groups.

or

otherwise, without the prior written permission

B3

sounds

on

TX816

the DX7.

or

transmitted in any

of

Yamaha

Frolll The Editor

HERE
coming

T

TOUCH.
Evatone

What

one

of
substance.
corded

turntable
record

however,

Yamaha
stored
from

a DXIOO,

In

simply

data

onto a cassette.

directly

Next

tain

new

new

voices

be

two

make

use

in issue

This

tone

Disks: Later in

ing

at
music
musical performances

Also,
new voices for
ments
have

been a lot

instruments

on

it!

ARE

in

the

The

next

Data

Disk!

is

an

Eva

those

floppy

Usually,

material,

simply

and

dropping
is a different

music

data-the

on a cassette

QX21,

order

to

use

play

it

on

into

your
month's
voices

for

for

the

sequences for

of

these

#8

of

AFTERTOUCH.

will

only

least

two

more

computer.

by

mid~year,

4~operator

in

the

pages

like

the

LOTS

issue will

tone

squares

which

by

the

your

From
Yamaha instrument.
Evatone

the

TX7.

two

be

the

These

of

of

OF

NEW

near

future

contain

Data

Disk?

of

black

these

items

can

be

placing

the

(after

the

sets

the

highlighting

AFTER

requests

DX

them

needle.

matter:

kind

being

or

the

Evatone

turntable

there,

Data

DXIOO

In

addition,

QX21

of

voices.

first

of

year, we will

disks will

and

data.

we will

FM digital

TOUCH.

100,

so

THINGS

for

AFTER~

a first:

Well,

plastic~

contain

played

like).

it

start

for

on

on

top

The

Data

It

contains

that

is

usually

loaded

Data

Disk,

and record the

can

be

loaded

Disk

will

(or

DX27)

there

(or

QX7)
Look

a series

we're

of

be

present~

the

CXSM

contain

presenting

instru~

There

patches

working

an

it

is

like

re~

your

of

a

Disk,

there

you

con~

and
will
that

for

it

Eva~

both

for

Finally, we

ing

the

sounds

4~operator

combined
you

get

Many

been

created

ers:

We

make

every

mation

So,

keep

in

g.

Specific
possible) in
eral

requests

what

to

very important!

Also,

Users

Group

letter:

Include

your

telephone
"Touch
your

area
meetings,
gatherings.

Remember
tended
tion.If
send
our
or a hot
(For
AFTER
keep

as a vehicle

you

it

to

readers.

details

the

plan

right

algorithm

you

want-for

instruments.

with

other

the

most

out

of

these articles

as a

result

do

pay

attention

effort

you

ask for.

those

questions

the

Questions

for

information

put

in

upcoming

if

you

want

in

your

your

number.

Response"

will

be

able

informational

too

have a new

us

and

we'll

How

about a new

tip

on

the

use

on

TOUCH,

flow

of

information

to

a series

questions

that

for

how

please

of

articles

for

programming

both

6~operator

These

articles
programming tips
of

your

instruments.

and

new features have

of

feedback

to

your

give

you

the

and

will

be

column;

can

issues.

to

belong

area,

please

address

of

and

We'll

column),

to

contact

swap

AFTER

the

exchange

DX7

or

share

it

the

QX

to

send

see

going!

printit(inour

meets,

TOUCH

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with

CXSM

1?

page

on

choos~

will

to

from

questions,

kind

of

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dealt

with

more

help

us decide

Your

input

to

or

start

send

(if

you

wish)

and

others

you

to

set

or

other

of

informa~

100

patch,

the

rest

program

Send

it

along.

material

19).

Let's

-TD

AFTER-

the

and

help

TOUCHisa
monthly

be

informational
publication

read~

and

com~

gen~

us

is

from Yamaha.

(if

is

a
a

in

up

in~

of

to

Receive

Y

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list,

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For

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detailed pro­duct
tion, write
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is

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Park,

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to

Vol. 2 No.

4/

AFTER

informa-

to

Buena

CA

TOUCH

3

Morton

OR

Part2

Of

An

Exclusive

Interview.
Tom

u1

Darter.

used [the
KX88]
all

of

the

trol data:

By

to

enter

con~

It

was all entered

with either
sliders

or

with
the breath
controller."

MORE

Subotnick has been a leading composer

F

music produced by electronic means, as well
a restless experimenter in a variety
contexts, including multimedia presentations
and compositions for acoustic instruments plus
electronic sounds. His famous electronic
position
Nonesuch in 1966, was the first piece
tronic music
company.

musical instruments
tions. Most recently, he has turned his attention
to
tern (YCAMS). His 1986 piece Return,
posed for TX816 and
Albion records.

Yamaha instruments for a short time, his deep
understanding
him

In

in last month's issue
discussed his initial work with the TX816 and
QXl.
describes some

Return,

musical projects.

Return

did The
to
directly. But I did use
chords.

mode

Silver

Subotnick has used a variety

the Yamaha

Although

to

a number

part 1

of

In

this month's installment (part 2], he

and

TD:

How

was

MS: Well, I didn't have the KX88 when I

Key

enter

notes-!

TD:

Did you

on

the

THAN

Apples

Of

to

be commissioned by a record

Computer~Assisted

Subotnick has only worked with

of

the electronic medium has led

of

innovative uses ofYCAMS.

this exclusive interview (published

of

the techniques he used in

outlines

* * * *

much

of

entered

using

To

Songs;

didn't

it

use

the

QXz

to enter

Subotnick &

twenty years,

The Moon, released by

to

produce his

QX

1,

is

available

of

AFfERTOUCH],

some

of

The

Key

the

KX88?

I had a DX7. I

play

anything

to

enter all the notes and

Insert

portion

data

one

Morton

of

musical

of

of

electronic

composi~

Music

on

his

upcoming

To

Songs and

used

of

EDIT

step

at

a

of

as

com~

elec~

Sy~

com~

New

he

it just

on

it

time?

MS:

Yes,

it

was one step at a time,
course
time, instead
of
specifying the right octave, I just entered the
note
the KX88 keyboard for Return, I programmed
in the same way, except that all the chants in
Return-the
the 14th
in real time, partly
believe it
for the CXSM, the

at

note
Return. The reason I
board
traditional

and I felt that I needed
input
and played with them
was a better scoring system in there;

CXSM sure

note

data: It was all entered with either sliders
the
program the KX88
would be control
options. The stereo location in

that
for overall amplitude, and then blew the right
channel and the left channel and the center
channel,
qualities

controller, used
slight
"whooosh"
by an

32nd~note

would have the same note material,
would occupy different positions in the stereo
mix, and the control data would be displaced, so
that the sounds would warble back and forth,
following my my breath control data.
a little practice

an
in?

you

can enter an entire chord at one

of

just single notes. And, instead

hitting the C # key

and octave using the keyboard.

section from Christianity through

century-were

or

not,

TD:

Did you enter

a

time

as

well?

MS: Yeah. All the material was entered one

at a time,

is

that

those

tw~

them

on

the CXSM, printed them out,

is

a nifty little computer.

TD: Did you

data?

MS:

Yes,

breath

way.

TD:

How

MS:

With

displacements. I started

eighth~note,

TD:

Did

overdub,

use

I used it

controller.

I made location tracks by using 007

so

that

it

of

smashing across the room.

did

the control data from the breath

shape, and then I would displace

for use

to

you

enter

after

the

on

the

QX

played

on

on

the KX88, and partly,

on

the little Yamaha keyboard

YKOl.

the

Scarlatti

except

the

used

particular

and

three~part

to

on

the

KX88 to enter

to

enter all

For

so

that

007. This

has these almost

you

do

the

on

a number

quarter~note,

on

another track. Both tracks

get the right output. . . .

that

note

material

sections

chant

the little CXSM

parts

counterpoint,

look

at

the page. I wish there

of

instance, I would

the breath controller

gave

Return

panning?

of

control

code

had

but

of

1 and then

When

I got

the keyboard

one

note

section

them. So, I

things

the control

me a lot

breath~like

tracks with

with

16th~note,

It

material

been

key~

were

but

the

beside

or

with

is

done

a basic

but

they

did take

entered

in

in

of

it

or

as

4 AFrERTOUCH/Vol. 2 No. 4

YCAMS

MS:

Yes.

Well,

no-1

did

it

both

ways. I

built

up a number
of

kinds
second
these
Sometimes it worked,
give
part; then I would
after the fact.

approach: Take
on
thenote information itself,
control information in, from another bank.

instance, I
the C major scale,
on
tion
control
displace
merge those
the
up
tedious,
changed
3 as
entire phrase
detune
Doppler effect

displacement I was talking
lished using Clock Moves
but
result
space.
would hear it go
track 1,
begin a little
3 would begin a little later again.
track 1
can
breath

written into

gestures

to

10

seconds long,

on a note

me

an idea

If

anyone wants

a separate bank

For

moving

put

a separate bank, I

on

track
information

it

on

onto
original
displacing the

TD:

MS:

not

do

TD:

note

but

the

Pitch Bend between tracks 1, 2,

standard

it again

Did you

Yes.

on

the

sounds

If

I go

but

bit

is

coming

it

with

because it gives a

So

all
the

MS: Right.

TD:

And, when

turned

the

QX

MS:

That's

two

QX1s

and

have

to

edit, because
the piece,
around,

and

I'm

of

control

that

ranged

passage

the

1.

both

it

detuning.

and

as

That's

original

like

"whoooew"

the

later,

pots

of

QXr?

I on and

they're all full. But, next time

going

that
but

of

what I needed

put

in

the

to

try

your

note

so

you're

the

sound

same

on

tracks 1, 2,

input

Next, I would transfer

to

tracks.

the

tracks 1, 2,

information; so

note

information.

works

on

use

right.
two

incredibly

detune
track

it moves across space.

Clock Moves on whole

what I was

note

the

the

crescendo/

crescendo

and

up

again, it makes a circle. You
as well,

more

the panning effects in

you

recorded

let

The

TX816s

there

to

tracks with all

from a quarter

and

then

I would try

was already entered.

usually it

correct

this, here is

information,

and

from

note

the

tracks 2 and

So I would

it

3,

giving

about

on

the

information.

notes are flying across

with my breath, you

on

the

crescendo

but

the

tape

only reason we used

was

are seven disks for

use a 32,track

would

to

add

to

control

the

put

not

playing with

then

add

left

to

right, for

information, say

and

3. Then,

control

Finally, I would

on

dimenuendo

natural feel.

informa,

3,

and

3 that have

you

don't

And

well. I also

take

track 2,

it a kind

tracks?

saying-the

was

accomp,

control

track 2 would

I preferred

Return, you

tracks,

on

And

then

Return

run?

so I wouldn't

of

just

the

data

best

it

the

that

and

end

it's

and

the

and

of

The

on

track

if

the

are

just

tape

a

recorder
disk
each successive disk
previous disk.
as it stands
places where they
them-they're
be better

and

at

a time,

if

TD:

The intention

two

TX816s,

and

The

one

now

is

shouldn't

at

cadence

I overlap

have tape sync,

so

that

problem

that

there are time gaps in

points-but

them

is

not

MS: Right.

TD:

Where did

from?

MS:

That
Records commission. But
ago,

and I just
ment. I actually
go

to

a large center like

the

piece.
TD:

Was that after

ideas

for

how

was

didn't

thought

the

piece

the

commission

originally a Nonesuch

that

feel I

I was going

IRCAM

you

started having specific

should

MS: Yeah. I knew what I wanted

didn't

have

the

... I didn't
without
years ago, really before

Nonesuch
leaders
paid,
piece
Albion,
joint
companies.

Da
celebrate
combined
That's

the large computers.

the

And

then, when I realized I could

had

changed leaders,

weren't

but

out

and

commission

In the meantime, a

Camera Society, wanted me

how

TD:

interested in the piece. I still got

they weren't interested in putting

any more.

they

the

all

it came about.

And

took

return

of

the

is

Return

So

then

the

piece.

between

group

of

Halley's Comet,

commissions

usually performed

MS: No, it's been tape for

ances.

The

problem

I'm

going

to

do

QX

1s, for performances in San Luis

and

July

isn't
the
presence
range is greater.
least
places­and
trouble
tape, because they
at

the

London

any great advantage

tape is

we intended

so

of

sound,

twice

that I know

I mean, it's been

that

they finally

same time.

is

that

it live with

in September.

to

good,

but

and

So

I'm

going

to

do

it live,

ended

had

to

two

doing it live, because

you

certainly

done

do

and

we'll

do

it

and

lay in

it will overlap

with

the

record

be. I

don't

mind

it would

a little bit.

to

have

those

gaps?

for

Return

come

was several years

had

the

right

equip,

to

have

or

MIT

to

sound?

to

do, I just

think I could

That

TX816

and

I went over

In

the

two

in Los Angeles, the

to

do

most

change in

TX816s

There

do

get a

the

to

do

it

of.

But,

in Planetariums,

but

it was so

up

putting

their

own

Continued

do

was three

and

QXl.

do

the

new

to

New

a way, it's a

record

a piece

and

into

one.

live?

perform,

the

disks.

and

Obispo

really

better

dynamic

that

way

for

most

much

it

sky show

on

page

one

the

to

do

it

it,

the

to

so I

two

in

at

one

20

ui

built
number
control

up

a

of

tracks
with all kinds
of

gestures
ranged
quarter
second

that

from

of

a

to

10
seconds long,
and

then

I
would
on a note

sage

try these

pas~

that

was

already
entered."

a

Vol. 2 No. 4/AFTERTOUCH 5

FM

..

T.

BASS.

ANewDX7

Voice

By

Reggie

Turner.

A1

L1

POLY I

POLY/MONO RANGE STEP

(CONTROLLER) RANGE

MOO WHEEL

FOOT

CONTROL

BREATH

CONTROL

AFTERTOUCH

FREQUENCY

A1

99 62

L1

99

CURVE BREAKPOINT DEPTH

L
R

OP•

IDETUOE

0.50 0

ENVELOPE DATA

I R2 I A3

IL2

IL3

50 0

KEYBOARD ALIN

I

-L J C1

I

-L

I

I

OUTPUT

2

R2

99 99 99

L2 L3

50

50

PITCH ENVELOPE

0 0

PITCH

BEND

NA
NA
NA
NA

FUNCTIONS

AMS

R4 I AS

75

50

L4

0 I 1

L

0

l

R

I

99

VELOCITY

LEVEL

99

0

A3

••

99

L4

50

NA

MODE

PITCH

OFF
OFF
OFF
OFF

50

0 0

GLISSANDO

PORTAMENTO

AMPLITUDE

OFF OFF
OFF OFF
OFF OFF
OFF OFF

FREQUENCY

1.00

A1

L1

OP4

ENVEL

1"2

0

99

IL2

75

99

KEY

A

j

-L

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