Yamaha QX3-MSS1 User Manual

-

- -

-

- -

-

- -

-

THE OFFICIAL PUBLICATION

-

- -

-

OF

THE YAMAHA USERS

--

-

GROUP

-

~

-

TM

AUGUST

1987

G

YAMAHA®

-

Editor

Tom Darter

Operations

Sibyl Darter

Editorial Board

Bob Frye Bill Hinely Mark Koenig

Jim Smerdel

Cover

Photograph

Jim Hagopian

-

- -

-

August

4

5

1987

FUNK SYNTH PIANO FULL

-

A

new

LEAD

A

new

6 Harmallets

A new DXlOO voice created by Dave Anderson.

7

Great

88

A

new

-

--

---

-

Volume 3, Number 8

DX9 voice created

PIPES

DX9 voice created

DXlOO voice created by S.E. McMayon.

by

Brian William Niles.

by

Brian William Niles.

Issue

-

~

-

#23

AFfERTOUCH lished monthly. Third class postage paid Prairie, MN and additional points of entry. SUBSCRIPTIONS: Address subscription respondence to AFTERTOUCH, Northridge,

POSTMASTER:

7938.

Send form 3579 to P.O.

Box

7938, Northridge,

91327-7938.

2 AFfERTOUCH/Vol. 3 No. 8

at

P.O.

CA

is

Long

Box

91327-

pub-

Free.

cor-

7938,

CA

8 9

COSMOS

A new DXlOO voice created by Daniel

MSS1

Yamaha unveils its new MIDI

10 QX3

An

introduction to Yamaha's newest digital sequence recorder.

By

Tom Darter.

12

14

MEP4

Using Scott

StringsUp

A

new

the

Plunkett.

16 Hot Tips

Reader tips for

18 Questions

Answers

electronically, mechanically, photocopying:, recording,

USA.

No

part

of

P.

Estabrooks.

SMPTE synchronizer.

MEP4 MIDI event processor in live applications.

MEP4 setup created by

the

SPX90, CXSM,

to

questions from readers.

this publication may

or

otherwise,

without

be

reproduced, stored

the

prior wrirren permiSSion

Scott

Plunkett.

FB~Ol,

By

in

a retrieval system, or rransmmed in any form or

of

Yamaha

and DX7

Torn Darter.

lnrernational

Corporation.

II.

by

any means,

By

From

ANY

OF

YOU may have recognized

cover art from last

M

the

Reader" AfterTouch poster year. It was a special project, photographer Wynn Miller. Unfortunately, we

didn't

give Wynn credit last cover photographer, Jim Hagopian, was listed on

the

masthead, and notice with the proper credit for cover.

Our oversight, and our thanks to a great job

This

patches from readers, covering two generations

instruments-the

of are also plus the from an earlier issue.

introductions to on and the

erator patches from readers, ing two generations and too, plus more there will be information from Yamaha. we anticipated article patch conversion.

questions, and articles coming in. Keep letting

Hot

the

cover: the QX3 digital sequence recorder

MSS 1 MIDI

will finally publish

So, keep your suggestions,

issue

that

apologies to Wynn Miller for this

on

this After Touch poster

month's

MEP4 applications article postponed

month,

TX81Z.

issue

DX9

Tips and Questions from readers,

the

two

we'll

of

There

Hot

Tips

And,

before

on

The

month's

as

being

appeared earlier this

month.

we

neglected

features

and

You

will also find short

new

SMPTE

continue

instruments-the

will be reader articles

and

on

the

long-promised, long-

6-operator

"Return

part

put

together

Our

to

the

"Reader"

him

for doing such

and

4-operator

the

DXlOO.

products featured

synchronizer.

with

more 4-op-

once

again cover-

Questions. Also,

more

new

end

of

to

4-operator

hot

tips, patches,

regular

products the

the

of

an

by

add a

cover.

There

DXlOO

year,

Editor

us

know

what

you

want

and

need,

and

we'll do

our best to get it into After Touch for you.

that

Also, please notice ing address, which became effective beginning with last month's issue. follows: Northridge,

In some information

Back combined with a subscription request material, chances are it will requests for AfterTouch subscriptions must

to

our addresses are entered, kept

regulations. To be absolutely sure receive any available back issues make back issue requests separately, the indication velope. Please do

on

the

Product erature Yamaha. poration CA receive specific questions Yamaha professional music products, will answer as many Questions column; however, requests for general product information must be

to Yamaha.

AfterTouch,

CA

91327-7938.

closing, here

we

Issues:

Mailing List

on

file, in

attached subscription postcard.

on

(The USA,

90622.)

If

keeping

"ATTN:

not

Literature:

specific products must go directly to

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We

at

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The

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en-

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Vol.

3 No.

8/

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LFO & FUNCTtoNS

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Notes: This

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playing

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the

keys

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patch

a

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These

DXlOO

voices can also be loaded into the

DX21,

0

DX27, and DX27S 4,oper,

ator

FM

digital synthesizers, and into the newTX81Z 4,operator

FM

digital tone generator.

Vol.

3 No.

8/

AFTERTOUCH 7

DXlOO

COSMOS.

A

NewDXlOO

Voice

Daniel

By

P.

Estabrooks.

Notes: You

should

be

able

with

it.

DXl 00

release.

to "feel"

of

a range of

flat

should

and

highest

for 7 sec-

lOOdb

this

one!

@ 3

feet 80Hz about

do

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the

notes on

onds,

then

Amplitude

w 20kHz

lowest the

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8 AFTERTOUCH!Vol. 3 No. 8

HE

YAMAHA

T

compatible MIDI synchronizer designed

for use in home recording

ture, television, applications. way

to synchronize MIDI devices to SMPTE

time code. driven MIDI device precisely code replayed from a multitrack tape recorder or

video tape unit.

The SMPTE formats: 30-frame, 30-drop-frame, 25frame, and 24-frame. In addition, a precision SMPTE time code generator MSS

1, own SMPTE time code tracks type of audio or video reproduction equipment.

The

mit

MIDI Change messages timed to SMPTE time code from a master tape.

The beats-obviously, it can record extremely long compositions. into

10 in any order in compositions from smaller parts.

Tempos

ply

by

tapping a does away with stiff, robotic performances, and adds a new sense music.

It

The

MSSl

is

so

that

you

MSS 1

can

Program

MSS

1 's

The

memory banks, which

Chain

can

MSS

1 is a

as

well

and

professional recording

provides

fully compatible with all four

be entered into button

an

easy,

MSSl

in

memory

can

generate

also be programmed to trans-

Change

a precisely-timed sequence

holds

overall memory

mode to create full-length

on

the front panel. This

of

human

feel to sequenced

SMPTE-

as

motion pic-

cost-effective

lock any clock-

to

SMPTE time

is

built into the

and

record your

on

virtually any

and

Control

up

to

7168

is

divided

can

be called up

the

MSS1 sim-

MSSl

mode, shows command type, step number, MIDI channel, and command data.

Green

Red

Front-Panel

front-panel controls, including six MODE keys, six entry pad (which, in addition to bered keys, has a an ENTER key), These give you control over

MODE

FUNCTION

LED

(SYNC/CLOCK lights when SMPTE data.

RUN

MSSl

METRONOME

a visual tempo display.

The

MSSl

FUNCTION

Keys: These allow you to access the MSS PLAY, ERATOR, and UTILITY.

the

MSS1's six basic function modes, JOB,

SONG

CHASE, and METRONOME.

mode, the

REPLACE, COPY, DELETE,

SERT

the

MSS1

is

LED

indicator:

is

in RECORD

Controls

gives

keys, a 10-key numeric data-

</NO

and

1 's six basic

RECORD, EDIT,

Keys: These allow you to access

CUE,

the

last four function keys access

functions.

or

LED

the

user a

key, a YES/>

START and

modes

TIME

indicator):

locked to received

lights PLAY

indicator: blinks

multitude

the

STOP

the

following:

of

CHAIN,

CUE,

when

the

mode.

as

of

10 num-

key,

and

keys.

operation:

GEN-

BANK,

In

EDIT

and

IN-

Yamaha

Unveils Its

New MIDI

SMPTESyn

chronizer.

..

Front-Panel Displays

The

MSS 1 provides a number displays to give you constant feedback status

of

the

unit's operations, including a

1 backlit LCD, two rows

8-segment LED displays, a green LED indicator

light, and two red LED indicator lights. These various information.

16

Upper

Lower LED

displays

x 1

LCD

(Message/Data Display): shows operating modes, program data, prompts when necessary.

LED

(Time SMPTE time code onds, and bits.

(MIDI and RECORD modes, shows bank, measure, beat,

and

give

Code

Data

tempo.

of

you

in

of

front-panel

on

the

16

large, 10-position,

the

following

and

user

Display):

hours, minutes, sec-

Display): in

In

shows

PLAY

MIDI Event

10-Key

x

START

Yamaha cost-effective time-code offers operation.

(+)Numeric entering virtually all types NO

and tain types of data (as well trol over incrementing and decrementing

data).

The

obvious.

and

STOP most functions; to cancel or exit in

With

its list price

MSS1 MIDI-SMPTE synchronizer

both

Pad: These keys are for

YES

keys allow selection

as

function

great

of

the ENTER key

Keys: These start and stop

the

STOP

key

certain

of

flexibility

situations.

$1195.00,

controller-one

of

data.

The

of

cer-

allowing con-

is

also used

the

new

is

that

and

ease

is

a

of

Vol.

3 No.

81

AITERTOUCH 9

QX3

An lntroduc

tion To Yamaha's Newest Sequence Recorder. Tom Darter.

..

Digital

By

HE

NEW

QX3 digital sequence recorder

T

a 16-track MIDI sequencer with a built-in

3.5" disk drive. Each tain

unlimited simultaneous polyphony. total capacity velocity notes

can resolution note.

The quencer though,

improvements over its older brother. Some the

most obvious ( disk drive durable 3.5" disks) are mentioned above, but

there

are QX3 receives generates

Pointer,

clock

playback. RAM, long

"executing

QXl.

Finally,

Record mode functions, cantly easier than

the

The features designed for ease of operation. These include a control, numeric keypad for entering data, Track Select keys,

an

much

more. tempo, move through measures mode), move through events in a track (in Edit mode),

to

or

loading from disk). ture allows you 128 keystrokes long to

of

(in

Chain

be recorded in

of

the

QX3

is

like

the

QX3 offers a number

that

many

and

can

or

tape The

which

almost completely eliminates

the

both

and

QXl.

unit's front panel includes a number

40x2

Note

Editing

The

or

to

select a file

of

the

16 tracks

the

QX3

is

48,000

Play mode).

one

unit

is

96 clocks per quarter-

designed to be a full-feature se-

the

QX1;

at

16

tracks instead

uses

the

smaller, denser, more

more.

Unlike

and

records aftertouch data. It

receives

be synced to

clock

QX3 features 512K of internal

now!"

and

of

less time-consuming to operate

LCD

Value

Editing Dial

to

MIDI

for

both

delays found

QX3 offers a combined Play/

greater accessibility to all

which make

with a variable contrast

and

Note

Dial,

F1

and

number

The

assign any procedure

the

F1

notes with

Up

to 24,000

pass.

The

the

same

of

significant

of

the

QX1,

Song

an

external MIDI

recording

the

QX3 signifi-

Name

F2

keys,

can

be used to set

(in

Play/Record

(when saving

Function Key fea-

or

F2

keys.

can

con-

The

time

time,

8 and a

the

Position

the

on

the

keys, a

and

up

is

of

or

of

to

Record/Play Mode

The

QX3 offers Real Punch-In recording. be

performed Punch-In the

middle of a measure),

conjunction

Locate feature.

The

QX3 offers great range in defining time

signatures.

ranges from whole notes

manually

can

begin or

with a fully-implemented

The

basic

Time,

Step

Punch-In

end

beat

recording may

or

automatically.

anywhere (even in

and

can

for a time signature

(x/1)

to thirty-second

Time,

and

be used in

Auto-

notes

(x/32), from 1 to 64. As with the QX1, different time signatures may be used in a single song, and

time signature changes are shared by all tracks.

However, unlike a measure has been recorded.

Each track MIDI channel. not

recorded.

data

is

determined by the ting for each track. If you want to record incoming data nels simultaneously, you or more tracks, a different MIDI and

Output

The each track may be assigned these two an

Echo Back function

MIDI

data

at

data

The

the Record/Play mode,

1) Click

2) Click Beat

3)

4) Measure Locate

5)

6) Foot Switch

7)

8) Setup Load

9) Song Clear

10) Erase Track

11) Sync Clock

12) Echo Back

13)

14)

15) Receive

16) Receive Event

17) Remote

18) Remote

19) Song Select

20) MIDI Monitor

21) Memory

22) Disk Status

23) Disk Format

24) Disk Copy

25) Number ofFiles

26) File Rename

27) File Kill

28)

29) QX1 Data In

and

the

number

the

QX1,

cannot

that

QX3 has two MIDI

OUTs

the

QX3 has 32 Job Commands available in

Count

Auto

Setup Save

Output Output

E-Seq File Load

be changed once

on

the

QX3 holds data for one

In

other

words,

The

MIDI

involves a number

need

and

set each track

channel.

Channel

to

unit's MIDI

Punch Point

settings may be different.

for playback.

be merged with outgoing MIDI

OUT

as

In

Channel Port

Channel

In Out

In

Status

of

beats ranges

the

time signature of

channel

Output

that

follows:

Channel

of

MIDI chan-

to record

to

Receive

OUT

to

either or

The

unit also has

allows incoming

ports.

the

measure

data

of

outgoing

on

receive

Channel

ports, and

both

set-

two

on

is

of

10 AITERTOUCH!Vol. 3

No.8

30) QX1 Data

Out

31) Rel Tempo Record

32) Time Display

Edit Mode

In the Edit mode,

the

QX3 offers

sive set of 29 Job Commands,

1)

Clock/Beat

2)

Gate

Time

Ratio

3) MIDI

4)

Control

Event Display

5) Measure Copy

6) Measure Erase

7) Measure Create

8) Measure Delete

9) Mix Track

10) Erase Track 11

) Transpose

12)

Note

Shift

13)

Gate

Time

Modify

14) Velocity Modify

15) Crescendo

16) Quantize 1

7)

Chord

Sort

18)

Chord

Separate

19) Clock Move

20) Rel Tempo Erase

21) Memory Status

22) File Include

Note Ctrl

Extract

23)

24)

25) P.Bend Extract

as

follows:

an

exten-

26)

Prog Extract

27) A. Touch Extract

28) Excl Extract

29) Spot Extract of

Many

these Jobs access functions

that

are

self-evident, and still others will be familiar to

QX1 users. Here

is

a quick rundown

on

some of

the new Edit mode features: Transpose allows you to shift all notes a fixed

of

amount over a specific area

Note

Shift allows you to convert any given note

to

another

note

over a specific area

a track.

of

track.

Chord

Sort

allows you

to rearrange chords

vertically.

Chord

Separate allows you

by

a given clock interval to create "instant

to

separate chords

arpeggios."

File

Include

a new song; additional parts can

allows you

to

combine 2 songs into

then

be

added to this new song.

Spot

Extract

allows you to remove all data in a

specific range.

The

QX3 combines

of

the

QX1 with

bility

of

the

QX5. Moderately $1595.00, this newest addition to offers

the

operating ease

only a dedicated

the

professional features

the

ease of operation and flexi-

priced

the

and

reliability

hardware

sequencer

at

QX series

that

can

provide.

QX3

digital

recorder.

sequence

a

Vol.

3 No. 8/ AFTERTOUCH

11

MEP4

ITH

Using

MEP4

The

In

Live

Applications.

By

Scott

Plunkett.

W

the

MEP4 MIDI event processor has proven itself to be a great tool One though,

If you have never worked you will stand cessor has four microprocessors,

is

capable appears microprocessor has six programmable sections,

as follows:

1) Data

2)

3) Message Filter:

4)

5) Delay

6)

Each processor and

any

to

create complex effects.

To show you performance, I will describe a MIDI system I recently used preparing problems-those MIDI systems. problems by offering alternatives have

The boards-a

·tone sampler,

ITS ABILITY to solve MIDI

tem

problems

of

the

is

its usefulness

need

what

follows:

of

at

its

Presetter: send a program position, messages. Channel

to filter incoming that

only nized.

Any

be selected.

selectively-like recognize only and

ignore others.

Data

Modifier: alter MIDI messages. of

possible changes

any selected message.

Processor:

to

delay

to

for up Output

to select port

(there are four MIDI

the

MEP4).

number

the

been

possible otherwise.

system consisted

KX88

generators, including a Yamaha TX816, a

and

create MIDI effects,

in

studio applications.

hidden

a brief tour before you

in a number

an

strengths

in

The

MEP4 MIDI event pro-

manipulating MIDI

IN

This

change, a pitch

and

any

Filter:

This

certain

combination

This

the

certain

This

the

MIDI

three

seconds.

Assigner:

the

can

system, I encountered familiar

The

analog synthesizer.

This

output

be programmed separately,

of

processors

the

usefulness

that

are

MEP4

and

a DX7

of

the

MEP4,

live applications.

with

the

MEP4,

can

under-

each

of

which

MIDI

data

independently.

section allows you to

two

controller

section allows you

channel

channels

section

section allows you to

There

that

output

channel

of

inherent

of

messages so

are recog-

of

channels

can

be used

channel

section

section allows you

can

live shows. While

helped

two controller key-

Il-plus

filter-to

MIDI

messages

are a number

can

be made to

can

of

a processor

and

OUT

ports

be combined

of

the

MEP4

to all large solve these

that

would

a rack

The

be used

OUT

DX7

sys-

that

Each

bend

may

on

in

not

of

II

could

also

be

accessed through MIDI (as well own keyboard). controllers were merged together, sent to the MEP4, through a Yamaha controller.

this generators will be split up. each rately solutions generators by MIDI the and use key limiting

on access the entire MIDI

tone generator without affecting any generator. play multiple tone generators channels unless your controller keyboard has split and dual modes one different can number at

keep all

MIDI at

isn't overlapping into adjacent zones. stantly transpose all on or lower

the

they all respond to

pitch

sounds only one

system which would allow me to address four sounds separately,

allow me to combine all

at times to create

than-life, MIDI monstrocity, sounds.

Using

the system four ways (by MIDI

and

The

biggest setup problem with a system like

is

deciding

tone

and

tone

generators

The

advantage

different MIDI

channel

way,

address simultaneously will depend

of

the

same time.

The

advantage

of

channel,

the

same time.

always easy

whether they appear

part

tone generators are

bend,

my

In

at

main

The

solution to my problem was to divide

The

distributed

how

generator be addressed

in

a group?

to

this problem: 1) Separate

The

disadvantage

at

a time. Or, to

the

number

channels your controller will output

the

tone generators

so

it's easy to address all

to

of

the

and

controller information.

case, I needed three

my disposal during some songs, but

sound for others. So, I wanted a

one

MEP4

as a

tone

as

being controlled by its

MIDI outputs

to

the

MJC8

the

controllers and tone

That

There

channel;

on

the

same MIDI

or

zoning to separate them.

of

putting

channels

note

range

on

that

will

of

key zoning

The

disadvantage

keep musical

of

your voices, depending

in

a zone

keyboard.

on

the

same program change,

but

which would also

of

the

of

those tasteless, larger-

To

Channelize

of

tone generators

MIDI

is,

both

are basically two

or 2) Keep all of

the

instruments

is

that

of

other

is

that different MIDI

output

more

put

it a slightly

tone modules you

is

that

on

parts

You

on

And,

since all of

same channel,

or

four separate

tone

generators

channel),

generator

the

two

junction

how can

sepa-

the

tone

channel

you

can

any single

tone

you

can't

than

on

the

you

can

the

same

of

them

is

that

from

must

con:-

the

upper

at

least

and

it

12 AITERTOUCH/Vol. 3

No.8

MEP4

MIDI

et~ent

proc

essor.

let the MEP4 change the controller channel

assignments.

were set

Controller KX88 DX711 Tone TX816 modules 1-4 Analog Synthesizer TX816 modules 5-8 DX7 Sampler

With this setup in mind, let's

want the

The

as

follows:

Generator

II

KX88

to

MIDI channel assignments

Transmit

Channel(s)

1,2

3

Receive

Channel

1 1

2

3

4

say

that

you

control

the

first four modules

of the TX816, the analog synthesizer, and the

sampler. This means puts chan

to

you

nell,

channel 1 and channel 4. Let's also say

want the modules of the TX816, the

DX7

II's output from MIDI

channel

take care Filters

2.

You

can

use

of

the KX88. First, set the

so

that both processors only recognize

data coming in

antees

that

no data from

that

when

the

KX88 out-

its output needs to be converted

that

DX7

II

two of

to play

the

second four

so

you

want to convert

channel

MEP4 processors to

3 to

Channel

on

MIDI channel

the

DX7

1. II

This

(which

guar-

transmitting on MIDI channel 3) will be mistakenly sent to the wrong tone generators.

can

then

set the processor Assigner

on

Similarly, you can handle the output of the Channel Filter will MIDI channel 3, and you'll signer to send

The

advantage

using

the

Channel

on

the MEP4, any of accessed in any combination controllers. And, since

to

channel

Output

Assigner on

1,

and

the second processor

use

a single processor to

DX7

II. This time, the

be

set to recognize data

use

the

data out on MIDI channel

of

this system

Filters and

the

Output

tone modules can be

the

MEP4

the

by

the

to

either

channel4.

Output

is

You

the

first

Output

on

As-

that,

Assigners

of

the

can

make

2. by

program changes (via its the relationship between tone

modules

can

60 different programs),

the

controllers and

be

chan

ged as

necessary.

Program Changes

By

using

the

Data Presetters

you

can

send

up change commands changing board, you

a program

can

to

four

at

once. This means that,

on

send

four different program

separate

your

on

controller

changes on four different MIDI channels.

For instance,

on

the

KX88, you could make the following

changes in

by

pressing program number 1

the

system described above:

Tone MIDI Program

Generators

Channel

Change

analog synth 1 3 TX816 1-4 1 3 TX816 5-8

DX7

II

Sampler

The

that

you

particular song to

is

you

were accessing all of these instruments on

great thing about this arrangement

don't

have to set all

2 5

3

4

of

the patches for a

the

same program number. If

the same MIDI channel, they would all jump to the same program when you made a program

the

change from

KX88. If you wanted to use the same sound from a particular tone generator in different MIDI configurations, you would be forced to save ferent

patch

that

sound to at least two dif-

memories.

The

MEP4 lets you

avoid this problem.

Another

advantage

of

this system

easy to set up and modify. If you decide to mix a

of

group ators, you

mixed

brass sounds from different tone gener-

can

easily change which sounds are

by

changing

the

programs

that

from the Data Presetters.

Co

ntinued on

often

as

the MEP4,

program

by

key-

2

9

is

that

it

are called

page

15

is

Vol.

3 No.

8/

AITERTOUCH 13

MEP4

StringsUp. NewMEP4 Setup

By

Scott

Plunkett.

Notes:

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This

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an

MEP4 that I use that

is

very described article.

The

split,

and a high

played

from

the

keyboard. A slightly

part

is

being hand.

Here's

tion

of

what

program

to

solve a problem

similar

to

in

the

accompanying

KX88

keyboard

string

the

lower

played

in

a bnef

each

processor

the

one

sound

half

busier

the

right

descrip-

doing:

Processor I sends a program change ( 15) mand modules analog sound

the half

half

ting

the

accept

appear

the

recognized

except

Aftertouch,

doesn't

The

transpose

octave,

to

output

Continued

(07,55) to

of

synthesizer.

that

right

hand

of

the

KX88.

of

the

KX88

on

MIDI

Channel

only

on

this

messages

for

Polyphonic

transmit

Data

Modifier the

and

on

and

volume

the

TX816

first

and

the

This

is

being

played

on

the

upper

The

upper

is

transmit-

channel/,

Filter

is

set

messages

that

channel.

on

(Message

since

voice

the

All of

channel I are

Filter),

the

KX88

this

message.

is

used

down

processor

MIDI channel/.

on

page

15

com-

four

is

by

so

to

an

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of

the

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set

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14

AITERTOUCH/Vol. 3 No. 8

Setup

Notes,

Continued.

Processor 2 sends a program change

(9)

and

volume

mand

(07,

of

the

sound

by

the

half

of

half

so

the

Channel

accept

only

on

all

for

is

used

up

three

is

channel2.

(I

I)

(07,46) to

that

set

to

receive

channel2,

will

also

the

lower

keyboard.

example

allows

one·

tone

the

same

Filter

processors.

out

' ' ' '

Changes

The

processor 4 wiU

Control

for

the Modifier up

three

is

sent

for

Since

used

being

put

again,

is

set

to

The

offsets (Bn,

07)

processor

MIDI

channel

this

setup

DX7

II's

in

relation

last

four

modules

55) the

that

left

the

of

the

on

this

of

the

Polyphonic

The

to

set

and

the

be

of

processor 3 is

than

Polyphonic

the

Control

means

reason

DX7

out

the

here,

to a

the

receive Message Control

The

the

modules is played lower lower transmitting

2,

to

appear Again, channel 2 are except Aftertouch. fier voice processor

MIDI

Processor 3 sends a program change mand Notice is

MIDI

II from KX88

good

MEP4

than play sage differently two filtering Aftertouch, filtering (the Control nored). that modify sages Data voice data channel3.

Processor 4 is reserved setup. being is Once ter nel2. recognizes messages. then sage the on ally, the down

TX8I6.

to

the

last

TXB I

6.

is

being

hand

KX88.

KX88

MIDI

channel

Filter

messages

channel.

messages

recognized

Data transpose octaves,

to output

volume

the

DX7

Channel

messages

so

the

playing

parts

half of

the

This

of

how

the

you

to

use generator part.

The

that

of

In

addition

processor

Changes

that

are

igfor be

Change

II.

The

moves

the

octaves,

on

MID

normally

sampler

the

processor different Channel

only

Filter

Channel

Data

Modifier

volume

by

-20,

sends

data

3.

Basic-

is

used

to

volume

mixed

to

that

of

the

com-

four

This

on

The

is

that

Modi-

the

and

on

com-

Filter

on

DX7

is

a more

to

Mes-

the

all

this

used

mes-

and

I

in

isn't

use.

chan-

only

mes-

and

out

keep

of

MEP4

Transposing Voices

In

live performance, you are play parts that, part

the

fairly busy right at

the

line will

set

the that

on

you will have

addition, if you voice show, you would

the

sions generator.

The

care

II.

simple, messages. dealing can learning just a few

In order modify a MIDI consists those

set

first

tant

to

about most

is

more

like this:

is

to

9n,xx,yy The

Very simply,

the

On

MIDI data number: It tells the

my

to play

to

transpose

"yy"-indicates

Fil-

and

With use value "xx" byte

On

Now, here comes

MIDI lesson.

the

ple, let's say we want three octaves. Since adding

on

the

lower

part

of

ideally, should be located

of

the

keyboard. For instance, if there

hand

part

that

same time as a

end

up being played by

lower

part

high

string

with

four different transpositions during a

of

the

same sound for

Data Modifiers

of

this problem.

but

requires some knowledge

If

you normally go glassy-eyed

with

technical

save yourself a

to

of

three bytes (bytes, bits,

other

computer

to

the

musical applications

here-

The

of

these terms if you would like

about

them).

first

byte-

the

message,"

channel

byte-

"xx"

(and

is

the

is

called

the

high

string line,

of

the

keyboard. Unless you

part

to

sound like a 'cello part,

to

transpose

want

need

the

to

use

to

store four different ver-

each

in

the

This

sort

of

things,

don't

lot

of

time

of

the

most useful messages.

transpose a voice, you

Note

On

message.

terms

aren't

MEP4 owners manual explains

The

Note

On

"9n"

-is

called

"9" says

while

that

-corresponds

the

byte we will

voice).

how

the

tone

hard

that

"n"

message

to

generator

The

second

the

velocity byte.

the MEP4's Data Modifier, you

the

Offset feature

to

either

(the

"xx" MIDI

to

or

note

add

"yy."

number)

or

If

message, you will transpose

the

payoff

In

the

case

of

our

string line exam-

to

transpose

12

Continued from page 13

often

forced

to

the

keyboard

on

the

upper

is

a

has

to

be played the

string

the

left

hand

on

want

string voice.

the

same string

affected

MEP4

change

panic.

and

This

and

really impor-

we

are talking

message looks

the

status byte.

"This

is a Note

represents

is

in.

the

MIDI

which

want

to

data

note

is

subtract a fixed

you Offset

of a Note

the

voice.

of

this little

the

to a note

In

tone

can

take

is

very

of

MIDI

when

You

work by

need

to

message

all

of

to

know

the

The

first note note

change

byte-

played,

can

the

voice

up

num-

ber will move it up a voice up 3 octaves

+ 36. [NOTE:

of

system

into a problem drome, you may have other

sending

processors

an

octave, we

by

setting

Not

all keyboards use

Note

Off

with

the

dreaded stuck-note syn-

to

use

to

offset

can

an

"xx"

messages.

one

of

the

transpose

Offset

the

If

the

Note

messages.]

You

can

also use the idea

offset volume.

time-only volume program

ume pedal, all

to

the same volume. Normally, you will want

one

tone

the

others.

mix

as

you change the volume ume pedal. MEP4, you

The

Data Presetter sends a one-

command

is

selected, but if you move a MIDI vol-

of

the

tone

generator

The

By

to

have a lower volume

tricky

applying a volume offset

can

do this.

MIDI message for volume

outlined

when

generators will jump

part

is

keeping

with

a MIDI vol-

is

above

an

the

with

as

follows:

Bn,07,yy

The

status

byte-"Bn"-says

MIDI

Control

Change byte-"07"-indicates control MIDI volume. the

data

byte,

and

its value will be determined

of

by the position

the

that The

volume pedal.

that

message."

this

final

"This

The message will byte-"yy"-is

The

ble values for "yy" are 0-127.

By

offsetting

can

control the relative volumes between tone

generators.

the

processors, for

always

subtract pedal position. affected

by

lower volume relative

ators.

Once individually patches

Beating

"Swiss begin but

I like

Army

to

they

within

MIDI

to

suggest do

most valuable

tems grow, they have a

wieldy: ficult able

to

They

do

do. these restrictions, most efficient use

the

value of "yy,"

If

you Offset "yy" by - 20

instance,

20

from

the

Whichever

tone

the

MEP4 will

current

generator

on

this will consistently be playing at a

to

the

other

tone

again, this saves you the effort

modifying

the

tone

think

of

Knife."

the

describe some

in

live applications. As MIDI

create

all

of

the

The

MEP4

of

the

volume

generators themselves.

the

MEP4

as

a sort

The

above examples only

possible uses

of

tendency

restrictions

the

of

the

uses

to

become un-

that

make it dif-

that

things you expect to be

can

help

you overcome

so

that

you

can

make

your system.

of

same

you run

MEP4's

Off

to

MEP4

than

proper

the

is

second

possi-

MEP4

one

of

volume

gener-

of

the

of

MIDI

MEP4,

I find

sys-

the

a

is

Vol.

3 No.

8/

AITERTOUCH 15

/

Hot

An

SPX90

Basses

By

John

I have a very simple SPX90 very well for guitars am just

track studios

only possible way

liked this patch makes

were

miked

Start

and use these settings:

TYPE: ROOM LIVENESS: 4 DELAY: LPF:

Patch

For

Direct

R.

Barnes

one

of

the

on

tight budgets where direct

to

the

direct sound

the

being

played

amplifier-with

with

the

Early Reflection 1 preset,

HALL

SIZE:

1.

10.0 ms

THRU

and

many people

record. I have never really

and

7

Tips

Recording

basses recorded direct. I

of

a guitar

instrument sound

recorded

better

Guitars

patch

with

or

fidelity!

And

that

works

small

is

bass,

as

through

4-

the

but

if it

a

#5,

Reader Tips

The

For SPX90,

CX5M,

ffi

..

And More.

Ol,

MIDI

channel

the

play be able to play there

is a way,

the

FM Music Composer counts voices to take

advantage

1)

The

FM Music Composer begins counting

voices to Part 8.

2)

After it counts 8 no

MIDI voices have

then

count

3)

Once after Once

4)

any

more voices after

In

other

that

can

Parts, if you keep

This

for you:

and

having a MIDI synthesizer

same part.

of

on

it counts any MIDI voices, all voices

that

it counts 8 MIDI voices, it won't play

words,

be assigned to

is

how

This

is

good,

but

additional

but

it.

Here

Part

up to 8 MIDI voices.

are

counted

there

you

parts via MIDI. Well,

you have to understand how

is

the

scheme:

1,

then

on

Part

internal

are as many

the

above scheme

can

(SFG)

been

counted, it will

as

MIDI voices.

that.

Music Composer's 8

make this scheme work

I wanted to

2,

as

in

and so

on

voices-if

16 notes

mind.

I use four different versions pending favorite.

"Plate" and increase

should be set from about

Create Using

By Boyd

poser YRM501) wide. CX5M's SFG05) MIDI synthesizer. assign MIDI

ual, you the FM Music Composer by assigning

on

the

Other

Sequences

The

CX5M

Stamey

There

is

a way

Cartridge

to

create sequences up to 16 notes

You

can

internal

and

8 more

channels

As explained

can

simply double

mood

users

the

With

Music

to

use

programs ( YRM

play up

tone

independent

The

secret lies

to

in

the

of

this

I'm in),

might

room size.

30%

to

the

Music Composer man-

but

like

The

to 40% effect.

16,Note

Composer

the

FM

Music

8 voices

module

in

parts.

the

parts played via

patch

(de-

this

is

to

try

the

balance

Polyphony

Cartridge

Com-

101

and

with

the

(SFG01

notes

on

the

way you

them

to

my

or

a

SPX90

digital

processor.

multi-effects

1)

Assign parts to

Part 1,

2) If any

MIDI synthesizer, assign available higher numbered Parts.

3) Assign MIDI numbers as needed.

Here

internal voices

of 8 other

set synthesizer:

PART

1:

BASS

PART

2:

BRASS (poly=3)

PART

3:

PIANO (poly=3)

PART

4:

FLUTE (poly=

PART

5:

STRINGS (poly= 3)

PART

6:

SYNTH (poly= 3)

PART

7:

GUITAR (poly=2)

Parts 1 through 4 will be played only by

CX5M voices (for a total

5 through 7 will be played only by MIDI synthesizer-an FB-01 would be ideal for

application-for

this

Now MIDI synthesizer BRASS part.

to

be played only by the CX5M

then

Part

2,

and

so

on.

of

these parts are to be doubled by the

them

to

the

parts to be played only

synthesizer

is

an

voices being played by a MIDI

let's

say

We

to

the

remaining

example using

and

a completely independent

(poly=

an

additional 8 voices.

that

we

SYNTH

need

to change

the

1)

1) MOON= MOON= MOON=3;

of

8 voices), and Parts

the

want

to

double the

part with

the

CX5M's

1;

VOL= 0

2;

VOL= 0 VOL=O

external

the

CX5M

order of

by

Part

the

8

16

AFfERTOUCH!Vol. 3

No.8

the parts, or the highest tracks. assign a MIDI channel to Part 2 6,

we get to Part 5, the counted seven MIDI voices, leaving only voice-and

we

will lose some

If,

for example,

will have the following:

FM

Music Composer will have

we

need

four.

(Remember,

of

and

By

the

the time

voices

on

we

simply

delete Part

we

one

once

.the program counts one MIDI voice, all subsequent voices are counted

Creating Subtle

as

MIDI voices.)

Harps

Voices

With

The

FB-

01

By Don

Yamaha harp voices: Harp3. I

sound the

F.

Hill

I

use

an

FB-01

FM

tone

module with

ME-

50 organ.

3-28

was

dissatisfied with these. They didn't

way

harps ought to sound, especially

The

Harp,

FB

module has three

7125

Harp2,

and

my

7126

in a glissando-where a harpist runs his or her hands over a series vibrating.

On

a keyboard instrument,

strings, leaving

one

them

can

of

try to produce a glissando effect, but the "plucking" and "snapping"

of

the

strings doesn't sound ,

right.

Without other means

to

me

to try to create

voices already at

be

done

by

I

started

hand

stacking in

with Instrument # 1, channel signed

as

the

maximum level harp set down

one organ keyboard manual, since strings are the usual ones this basic sound, I tried effect, and found

that

of

voicing, it occurred

better

harp sounds using

in

the

FB-01.

the

Configuration mode.

the

3/28

Harp

1,

with 4 notes of

127. I like the

octave (-1)

on

the

we

hear. To modify

to

increase

if I set instrument

This

could

voice

on as-

my

upper

lower harp

the

plucked

#2

on channel 1 also and gave it 3 notes, I was left with 1 note for Instrument for

another voice.

It

#3

turned out

(on

that

channel

both

were

l)

needed.

On

Instrument

located 7 I octave at

18

0 and detune

#2,

PluckGt.

I experimented until I

At

a level

of

116, with

at

+ 10, this addition

gave a bit more pluck to the harp string sound. On

Instrument

22

Lute, also at level 116 and octave 0.

This more harp-like over an octave ing at it

#3,

the voice added was

combined

as

one's finger glides-this causes a glis-

harp

to

me,

and

of

keys, holding

sound

one

can

the

seems

run a finger last

by

the

7 I

much

aim-

FB-0 1 FM

module.

digiwl tone

sando effect strings,

the

way

For

Configuration

Lute

on

The

alike,

both lower strings. For third Configuration Instrument # ume

12 SftKoto octave ofO, and detune

#3,

add

with

more

the

way

a harpist catches them along

up

or

down a glissando.

the

sound

can

Instrument

plucking

of

a softer harp, the same

be used; but instead

#3,

use the

7124

sounds

of

7122

SftHarp.

above two Configurations are much

recreating

1,

7 and octave - 1

on

Instrument

7124

SftHarp

keep

the

sound

of

the

higher harp strings, a

is

needed,

the

#2, of+ at

as

follows: For

3/28

Harp set at vol-

as

before. Add 7 I 2 7

with a level of 110,

10.

On

Instrument

level 116. Somehow,

the harp's

of

this combination produces a higher sound, even though changed.

the

Instrument # 1 harp voice hasn't

Evidently,

the

SftKoto creates

the

effect.

These settings will give harp voices stored the

first

slight changes

on

your FB-0

as

Configurations; or, you can store just

one

as

a Configuration, and make the

that

create the

you

three additional

1.

They

can all be

other

two setups

manually.

Setting DX7

By

ple balance control to set tone modes. mance mode, but

Up

An

AlB

Balance

II

In

Voice Mode

Eugene

Beer

After playing with of

weeks, I began to wish

generators A and

This

capability

that

Control

my

new DX7

the

B in Dual

is

provided for in Perfor-

requires

II

for a cou-

that

it had

patch balance for

and

one

to decide in

For

an

The

AlB

Split

advance what pairs of patches are to be stored together Single patches, and, ment, I want to be able paired with any

in

Performance memory. I have 64

on

the spur

to

hear any one of them

other

with adjustable balance.

of

the mo-

Continued on

page

20

Vol.

3 No.

8/

AITERTOUCH

17

Questions

I

Answers To Questions From Readers.

By

Tom Darter.

own a TX81Z,

QXl.

Is

there mance patches via seems

that

Internal

eter has three basic settings-Off, Common, and will respond to Program

Off:

Common:

Individual:

banks of 32 permanent ries, I bank of 32 programmable memories, (RAM) Performance memories.

Change Table, these memory locations appear

as

and

The

TX8IZ's

Individual-which

The

Change

ing Voice in its accordingly.

Program Changes separately (over signed MIDI channels),

its Voice Table. Number, it

The

TX81Z's internal memory contains 4

follows:

which

any

Program

ROM

MIDI Program

TX81Z

messages.

The

TX8IZ

Number

Program

The

TX8IZ's

Number

If

the

Table entry

is

ignored.

and I bank

I use primarily

way

of

MIDI

Changes

Voice patches.

determine how

Change

ignores

looks up

or Performance Number

Change

from the Program

(ROM) Voice memo-

of

with

my

accessing

Program

memory,

"instruments" receive

and

24 programmable

the

Perfor-

Changes?

only call

Change

messages:

MIDI

the

is

a Performance

In

up

param-

the

Program

correspond-

and

the

each looks up

Change

(RAM)

the Program

It

the

unit

reacts

as-

Voice

need to program the TX81Z's Program Table accordingly. approach respond to MIDI Program 24 by calling follow these steps:

1)

Press the Utility button.

2)

Press the LCD reads

3)

Press MIDI parameters.

4)

Press the til the LCD reads:

5) Press now read:

6) Press and hold LCD reads

involves

the

UTILITY Midi

Control?

the

~ight

UT

MIDI

Edit

P.Cng

the

UT

MIDI

PGM

The

most straightforward

setting

up

Performances 1-24. To do so,

left

and

right Parameter keys until

as

follows:

MODE

+ I /YES

Parameter key (12 times) un-

CONTROL

Tbl?

+ 1/YES button.

CONTROL

1

as

I01

the

+ 1 I

follows:

Change

button

INC

the

TX81Z numbers

to

The

button

access

Change

to

1-

the

LCD will

until the

18

AITERTOUCH/Vol. 3

Memory RAM: Voice Bank I (1-32) ROM: Voice Bank A (1-32) ROM: Voice Bank B (1-32) ROM: Voice Bank C (1-32) ROM: Voice Bank D (1-32) RAM: Performances (1-24)

TX8IZ's Program

"Common," Change Change numbers (1-128)

using MIDI

No.8

Bank

When

Program

In order to call

shipped

and the factory defined Program

Table assigns

Change

Number

1-32 33-64 65-96 97-128

Program

from

Change

up

Abbreviation

I01-I32

A01-A32

B01-B32

COI-C32

D01-D32 PF01-PF24

the

factory,

parameter

the

available Program

as

follows:

TX81 Z Program

Number

I01-I32

A01-A32

BOI-B32

C01-C32

Performance memories

Change

messages, you

the

is

set

UT

MIDI

PGM

7)

Press the right parameter button.

will now read:

UT

MIDI

PGM

to

8) Press and hold the +

LCD reads

UT

MIDI

PGM

Continue assigned memories) to

the unit's settings are stored Setup even when

PF01-PF24 (the TX8IZ's Performance

memory,

CONTROL

1 =

2 =

Program

the

PF01

The

CONTROL

2

as

the above process until you have

Program

I01

1/INC

button

follows:

CONTROL

PF02

Change

as

part

and

will be retained in the unit

power

is

numbers I-24 in

Table. These Table

of

the

TX81Z's System

turned

off.

Continued on

LCD

until the

page

19

My

basic setup consists DW-8000. the

DX7 units to

disconnect dependently), MIDI last notes Korg. "Write" circuitry).

The

on

a keyboard consist (transmitted Note key).

If

the

Korg receives the

chord

change

TET

Lfor

When I MIDI

is

the

are set

to

MIDI

the

I simply

channel

The

Off

you

the

US

2.

or

chords

only way to

button

on

What

gives?

basic MIDI messages for a

when

(transmitted

hold

down a

is

set to receive

the

Note from Korg

to

HEAR

all

users

looking for many different kinds

Have

you created other for

members

the

CX5M your patches, programs, credit

plus

$25.00

Have you discovered a trick Yamaha hot

After

Touch

tip, you'll receive full

Have you developed a ments, paper tion write it up,

or

have you discovered

and

send it to us.

down. If we decide to use your material

put article always covers double-spaced pages

By

the

way,

or

patches,

manuscripts.

close a self-addressed,

of a DX7

master

When

On

the

keyboard,

channel!.

two

(so

change

I do this,

continue

stop

the

Korg

of

two parts: A

you press down a key)

when

chord

on

MIDI

messages for

DX7;

MIDI

channel

FROM

of

Yamaha professional musical products, so please

and

the

two

together,

and

When

that

they

play in-

the

Korg

though,

to

ring

out

this is to

(which

on

however,

YOU!

resets its

note

Note

you let go

your DX7 when

channel

the

notes in

2 while you

We

a Korg

I need

hit

played

if

of

an

incredible

of

the

Yamaha FM digital synthesizer family? How about a program

II music

for

each

computer

and

or

patterns. If we use your material, we'll give you full

item used.

that

products?

Send

credit

new

plus a

approach

an

your

we

Don't

name

at

least

of

typescript.)

cannot

stamped

worry about your writing

on

it,

and

one

magazine

assume liability for

We

will only be able

envelope

If you just have a question regarding

send

products, After

Touch. (We regret

but

we

will use all

Finally, if you just lish direct to

our

numbers

contact

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

of

all those

After Touch

it along too,

that

of

your questions to guide

want

with

other

who

is

your publication. Let

and

we

won't

to get

something

Yamaha

are interested

both

to

the

of

the the

On

and

of

1,

you

want

are still will you let go The

MIDI set to MIDI

that

DX7

channel 1 to

chord first {which will cause Note

change

a a

your particular

is slave

it

before you

ment; otherwise, you will be left

famous "stuck

holding

not

Note

channel

The

you are not holding

when

Off

the

This

universal

unit

AfterTouch

the

chord

receive

solution

is

the

Note

of

the

chord

on

Off

messages are still being sent

1 by

the

OX,

channel

you

messages

Korg's MIDI

not

to

must receive

change

to

2.

is

simple: Always make sure

down

change

MIDI

channel

to

the channel

an

isolated situation caused by

combination

all MIDI keyboards.

its

MIDI

note"

syndrome.

be

an

information

material.

patch

important

for

the

a great

pattern

increases

it in to our

check

for $25.00.

to

one

secret regarding

DX7 II,

the

musical flexibility

"Hot

of

the

or

voice for

Tips" column. If we use your

Yamaha

DXlOO,

After

their

style-just

as

send you a

page-which

with

the

a full article

check

to

for $100.00.

the

safe

return

your submission.

use

of

Yamaha professional musical

in

translates to

return

unused material if you

we'll do our best to answer it

be able

After

to

answer questions

us

in

our choice

off your chest,

of

or

if you'd like to estab-

Touch product users, send in

in

starting up regional users groups.

us

hear

from you!

on

the

DX7, the Korg

Off

messages

the

OX's keyboard.

but

the

Korg

is

any keys

the

Korg from MIDI

2. Let go

the

Korg),

of

instruments-it

Note

Off

channel

on

of

DX7 to send

and

setting.

The commands

assign-

with

the

network

join

in. We're

or

any

of

the

RX5?

of

one

Touch

Send

of

instru-

use? Put it

get

the

informa-

After

Touch, we'll

(An

After

Touch

at

least four

of

unused ideas,

in

the

pages

through

the

mail,

future topics.)

something

and

phone

when

on

now

the

then

MIDI

in-

the

in

the

on

en-

of

Vol.

Write

To:

AFTER-

TOUCH,

P.O.

Box

Northridge,

91327-7938.

3 No.

81

AFTERTOUCH

7938,

CA

19

AFTERTOUCH

P.O.

Northridge, CA

Box

7938

91327~

7938

Hot

Tips

This

would require 4096 Performance memories

to

set

the

pairs

of

ing balance

Fortunately, there

balance mode. It requires editing MIDI IN ume operation changed, voices will modes unless a MIDI below. Follow these steps:

1)

Connect own

another OUT generator,

the

OX.)

2) Press

in

control

each

is

it

MIDI

of

tone

the

to

CS

of

the desired. is

important

not

sound

the

MIDI

IN.

tone

the

OX

and

generator

Edit

Continued from page

patches

generator,

1.

is

a way

while

voices for

Once

at

cable

OUT

(If

the

to

the

connect

to

button,

up

not

in

advance, assign-

to

achieve

in

Performance

Control

which

Dual mode

this

parameter

to

note

that

all

in

Single

is

used as described

of

the

DX7

OX

is

controlling

connect

MIDI IN

the

and

of

MIDI

MIDI IN

then

A/B

these

or

Dual

II

to

the

MIDI

the

THRU

of

press

17

Vol-

is

its

tone

of

the

MIDI 1 button MIDI

IN Number Control this changes.)

3) Using display and note

4) Edit all you tions as follows: Using Voice Edit set value

Now, the

Dual

the

volume

the

volume

of

Number

and

the

that

set Local

polyphony

of

might

the

MIDI

of

99.

when

you call up any

or

Split Voice modes, CS1 will control

of

(31)

until

display;

CS1

the

MIDI 1

includes

the

want

Voice A, while

Voice

set

the

to 11,

of

OFF (or you will only get 4-

from

Voice memories

in

IN

and

CS2

step

button

the

"Local" parameter,

the

OX

Dual

Control

B.

you access

MIDI

Control

set

the

MIDI

to 12.

(Note

involve

(31), access the

in

or

Split

parameter

of

these voices in

CS2

global

Dual mode).

that

you

think

combina-

button

will control

the

that

26,

to

a

20 AITERTOUCH!Vol. 3 No. 8

Yamaha QX3-MSS1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual