Yamaha QX5 User Manual

-

- -

-

THE OFFICIAL PUBLICATION

-

OF

THE YAMAHA USERS

-

GROUP

-

~

-

TM

DECEMBER

1986

~

·

OYAMAHA

®

Editor

Tom

Darter

Operations Sibyl Darter

Editorial

Bob Frye

Bill

Mark Jim Smerdel

Board

Hinely

Koenig

-

-.

-

'

,'

'~''~,'~'',{,,

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

-

,,''~5::±5:~:±

;

--

-

December

4

8 Studio

10

1986

SPX90

QX5

Step~by~step

effects processor to create automatic harmonization through MIDI control.

100

Tips System.

An complete features.

System

on

recording song demos with

By

introduction

with a chart

By

13 YCAMS Diary

Presenting a ing

their

musical experiences

The

first installment: A personal record

academia.

By

Volume 2,

instructions for using

By

Kevin Laubach.

Vincent

Scott

new

Professor

Bitetti.

to Yamaha's newest digital sequence recorder,

that

compares QXS features to

Plunkett.

After

Touch

Ardean

the

SPX90 digital

the

Yamaha Studio 100

feature-After

with

Yamaha musical products.

W.

Watts.

Touch readers

of

a MIDI adventure in

Number

#15

Issue

multi~

QXI

shar~

12

15 Performance Controllers

AFTER

TOUCH lished monthly. Third postage paid at Long Prairie,

MN

points

of SCRIPTIONS: Address subscription respondence to AFTERTOUCH, P.O. Northridge,

2338.F()S11MU\S11E~

Send form 3579 to P.O.

Box 2338, Northridge,

91323--2338. electronically, mechamcally,

2 AFTERTOUCH/Vol. 2 No.

is pub-

and additional

entry.

SUB-

Free.

Box

CA

91323-

class

cor-

2338,

CA

It) 1987 Yamaha

12

International

How

to use Yamaha's extensive set

fine~tune

Brad Vinikow.

Corpora

non.

No

part

photocopying,

recordmg,

of

your performances

this

puhhcl[]on

may

or

otherwise.

Without

he reproduced,

the

prior

wntten

and

stc>red

m a rerneval system,

permtsston

of

synthesizer controllers to

personalize your music.

or

transmitted

many

form

Df

Yamaha

International

Corporat!()n.

or

hy

By

any

means,

Fron1

The

Editor

EFORE

at

B

would like to correct elsewhere page 6, accompanying Frye,

information MEP4 processors.

as

read

the

following

cessor

4). All four

We're sorry for any confusion this may have

caused. Now,

Basically,

Digital Interface) allows instruments to give

other

each

a key OUT

mation,to

so

that ally produce a sound from addition, most also transmit was played, instruments When "Note played by instrument 2 will also cease.

Of from instrument 1 will have ment information coming from instrument

CONTINUING

MIDI begun

in

the

we

inadvertently included some incorrect

follows: The

#2), A3 (processor3),

processors

certain

is

played

port

passes along

another

the

key played

the

key

Off'

message

course,

2 only if it has

in

this

that

issue (November 1986).

second paragraph

the

MEP4 Setup created by Bob

concerning

The

four

notes:

B4

(processor

must

on

with MIDI:

MIDI

(the

basic kinds

on

one

instrument's MIDI IN port,

on

current

the

velocity with which

so

that

the

can

be controlled simultaneously.

on

instrument 1

is

sent, and

even

this

been

WITH

column

an

error

the

settings for

paragraph should have

processors

and

be

on.

Musical

of

instrument, its MIDI

that

"Note

instrument 1

both

MIDI instruments will

overall volume

simple

an

set up

the

last

month,

that

appeared

of

the

are

set

1), F # 4

F#3

(processor

Instrument

information. If

On"

can

instruments.

is

released, a

the

note

information

effect

on

to

receive

Notes

the

to

(pro-

infor-

actu-

the

of

being

instru-

1.

Even

look

On

four

pass

In

key

both

the

though single

I

divided into different receiving "modes," deal with specific ways. look

cable because MIDI

means mation are sent along series, language bit are usually combined into groups of which

mitted using only a order interface, tem be assigned included specifications for up "channels"

because MIDI channels are nels

instruments into discrete elements, mation does tape,

cables.

most MIDI information travels along a

MIDI

cable,

instruments

each

the

at

MIDI channels.

MIDI

information

that

all portions

one

portion

of

computers,

(which

Most basic MIDI information

The

Most

is

either a

is

called a byte.

to increase

the

that

allows pieces

to

of

word

"channel"

at

all.

Although

not

nor

does it flow through separate audio

basic

the

"channels."

of

which makes

incoming information in certain

This

month,

travels

is

a serial interface.

of

the

at

a time.

the

"0"

few

bytes

the

flexibility

designers

of

a specific

MIDI information.

they

reside

on

packets

information

operate

let's take a closer

along

each

packet

MIDI

In

the

smallest

or a "1

of

MIDI created a

MIDI information to

"channel."

to

has

been

not

can

separate musical

separate segments

of

MIDI

Continued

itself

In

addition,

in

different

the

instrument

a single

of

infor-

connection

basic digital

portion

").

These

of

eight,

can

be trans-

MIDI code. In

of

the

basic

They

16 different

in

quotes here

physical

chan-

the

infor-

information

on

page 19

is

This

in

is

bits

each

sys-

of

AFfER

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a

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12/

AFrERTOUCH 3

SPX90

Use The

SPX90 To

Cre ate Automatic Harmonization.

By

Kevin

Laubach.

Diagram

2:

Pitch

determined

a MIDI

change

by

the

keyboard.

interval input

from

AMAHA'S Processor

Y

..

ety

of

effects, including reverb, chorusing, stereo delay, and so to

MIDI, which opens up many ties for effects such vibrato (where note

input).

While some be readily apparent, niques may also be realized. nique

is

described conjunction automatic source. situation

lead vocal, single guitarist. require a

results

achieved in any

Using

the

This

are

The

Pitch

SPX90.

to

Change

SPX90

can

be used

on.

the

of

these MIDI applications may

with a MIDI sequencer

harmony

could be used in a live performance add background harmonies to the

or

to

create a dual lead line from a

Although

bit

of

preparation

remarkable,

other

SPX90 As A Standard Harmonizer

is

There

Note

Pressed Display Interval

DIGITAL

to

create a wide vari-

The

SPX90 also responds

as

gated reverb or delayed

effect

is

triggered

other

more involved tech-

here-it

one

are 4 kinds

uses

parts

this technique does

and

way.

of

the many presets in

EFFECTS

other

One

such tech-

the

from

any

beforehand,

could

of

Pitch

possibili-

by

MIDI

SPX90 in

to

create audio

the

not

be

Change

available: Presets 21-24, called A-D. Each ities ferent effects). For we

will use preset 21: To use

follow these steps:

1.

Use

blinks

2.

Press

will now read:

3. Press display will

Now, if you play middle C feed it output

middle C (see diagram 1).

Using MIDI To Change

of

these presets has different capabil-

and

different

the

up and

on

the

PITCH

the

up cursor key seven times; the LCD

PITCH

into

will be a piano playing a G obove

parameters

the

examples in this article,

Pitch

Change

SPX90

the

Recall

as

a standard harmonizer,

down

cursor keys until "21"

LED display.

button.

The

CHAHGE

PITCH=

now

read:

+ 0

CHAHGE

PITCH=

the

SPX90 with this setting, the

+ 7

The

Pitch Interval

Pitch

Change

(to

create

A.

LCD display

A

on

a piano and

dif-

::::::m:::··::::::::::::::::::::::::::::::::rHt#.::I::::::::::::::::::a~\Wi::::•:::

C# D -10

-11

M7

m7 D# -9 M6 E

F.

F# G G# -4

A

-8

:_7

m6

P5

-6 TI

-5

P4 M3

-3

m3

A# -2 M2

B

-1

m2

I C 0 unison I

C# 1 m2 D 2 M2 D# 3 E 4 F 5 P4 F# 6 TT

.G

7 •

G# 8 A 9 M6 A# B

:::::m::::::::::•::::::::::::::::::::::··m::J:z.:::::::::::•:::::::t:}tS.vjtt:

10 11

m3 M3

P5

m6 m7

M7

>

Experiment SPX90 Notice difference notice or minus

change the interval will have interval by using but it curately from a MIDI keyboard: actually reads sets from middle chart or "unison key" note we ting

on

val will be set at a perfect fourth. the middle C

by that

that

Now use

can

the

(see diagram 2). Actually,

from C1 to

will assume

of

C3.

For example, if you play F above middle C

the

MIDI keyboard,

SPX90 will read

with

using

the

LCD

in

semitones

the

maximum

one

octave.

the

MIDI

exactly

the

be

done

much

the

MIDI notes coming in, and

pitch

change by reading

C,

as

shown in the accompanying

can

C6,

that

on

the

piano,

the

pitch

interval

up

and

down cursor keys.

display shows the pitch

(half-steps).

pitch

change

input

on

of

the

pitch

same effect

up

be programmed to be any

but (to avoid confusion)

it

is

the

"+

as

and

down cursor keys,

more quickly and ac-

the

left

at

the

pitch

5,"

and if you play a

the

output from the

on

Also

is

plus

the

SPX90 to

change. This

changing the

The

SPX90

the

interval

"base key"

original set-

change inter-

The

LCD

the

on

4 AFfERTOUCH!Vol. 2 No. 12

SPX90 will be F above middle C (see diagram

3). If you play transpose it by

fourth) and

4).

If you

I

i,imf,

Don

the

piano,

the

SPX90 will

the

then

same interval

output will

select

another

beaG

(a

perfect

(see diagram

interval such

as

;~j;jj,~;~;~\fi~fill'

"'it

F MIDiir.

[ c •

1::::

o

ESJ

mzm!

t8J

minor third the MIDI keyboard, the D from output will be

The

a

the MIDI keyboard will remain in effect until a

®

t8:

by

playing Eb above middle C

the

piano up a minor third,

an

F (see diagram 5).

last interval (note)

J

SPX

90

the

SPX90 will transpose

that

you select using

Continual

and

on

page 6

on

the

Diagram

1 :

put

from

the

setting

is

+

Diagram

3:

put

from

the

setting of + 5

keyboard

and

played

on

the

Pitch

change

SPX

90

7.

Pitch

change

SPX90

is

set

by middle C is piano.

out-

when

out-

when

a MIDI

the

~

I1Mmm,

>))~inpYJ

;;i~iif~'ij;~:~\~111'

"'it

F MIDiir.

~

I1Mmm,

>))~inpYtj

;~i;iiir;~;~\:~\~iii

"'it

Eb

~~~:~~:~

[ca!::::oESJmzm!

[c•!::::oESJmzm!

®®!:8:

~~~:~~:~

MIDI

®®!:8:

in

J

SPX

:lamp

90

:lamp

90

l>l)

~

Diagram

4:

pur

from

the

setting of + 5

keyboard

and D above

C

is

played

Diagram

5:

pur

from

the

setting

of + 3

keyboard.

Pitch

SPX90

is

set

on

the

Pitch

SPX90

is

set

change

when

by

a

middle

piano.

change

when

by

a

our-

the

MIDI

our-

the

MIDI

~

>))~inpYtj

~~~:~~:~

:lamp

l>l)

~

Vol.

2 No.

12/

AFfERTOUCH 5

SPX90

Continued

Diagram

use

to

achieve

mony

intervals

MIDI

sequencer.

6:

MIDI

the

when

notes to

desired

using a

new interval (note) to hold

Remember,

interval

the

actual note

to.

Using A MIDI Pitch

Let's Major chord add a SPX90:

har-

is

played-there

the

key down.

the

MIDI keyboard

of

pitch

Interval

say

that

harmony

change; it

that

Sequencer

you want to play a broken C

on

the piano,

part

is

the

SPX90 will transpose

automatically

melody

&

uJrl

1

desired harmony

& u J r r 1

Interval

:::::::::;;.sva:::::::::::::::::

M7 m7 M6 m6

P5

TI

P4 -5 M3 -4 m3 -3

M2

m2

I unison 0

m2 M2

m3 +3 M3 P4

TI

P5

m6 M6 m7 M7 +11

:m:+s.va1:t'::

Display Pressed

:::::n:z::::::::::::::::::::::::::::::::::::::cr:::::::

-11

-10

-9

-8

-6

-2

-1

+1

+2

+4

+5

+6

+7

+8 +9

+10

%ft2:m:n

is

no

is

setting

NOT

determining

To

Change

and

would like

using

Note

C#

D

D#

E

F

F#

G

G#

A

A#

B

cl

C# D D#

E

F F#

G

G#

A

A#

B

:m:m::::::e,::m

need

the

The

to

the

If you set third ( keys or a MIDI keyboard, you will desired output from will get a above

the

SPX90

+ 4) using either

harmony

the

original part:

that

Pitch

Change

the

up

and

the

SPX90; instead, you

remains a major third

&1uJr1

&~r

Since

the

interval between

note

and

the

melody note

changes, interval part. MIDI sequencer. Since MIDI notes from quencer. same way to either one.

would have to play in order to get harmony part, use

1.

in

the

This

can

that

either a MIDI

The

SPX90 will

To determine

Determine and

harmony

desired

the

solution SPX90 be done automatically using a

the

as

the

are sent

notes:

to

keyboard

of

the

part

the

following steps:

intervals between

melody

&1uJr1

harmony

& J J r r 1

combined

$1u3r1

M3

m3

2.

Use

the

accompanying what MIDI interval (see diagram 6).

note

to use to achieve

the

output

is

to

you are playing the

SPX90 can read any

it, notes

or a MIDI

course respond

that

the

P4

M3

chart

to determine

to a major

down cursor

not

get

the

incoming

(harmony)

change

can

the

be sent

the

sequencer

desired

melody

the

correct

se-

6 AFT'ERTOUCH!Vol. 2 No. 12

----in

3. Record the part into helpful to write the very musical:

,----out----------MIDI

the

part

M3

m3

+4 +3

E

Eb

~

J

~J

4. Send

5.

the

MIDI

OUTput the MIDI IN Play sequence while playing chord part

on

of

the

SPX90 (see diagram 7).

the

piano:

played part

~aJJrl

to SPX90 audio in

f sequenced

~

J

t.W

to SPX90 MIDI

thru-

1\

)I)

)

sequencer. out

P4

+5

first-it

M3 +4

It

may be

won't

F E

J

~J

I

of

the

sequencer to

the

C Major

part

J

~J

I

in

mic:

.

~C:J-Input

be

Using

This

In a real performance situation, it may be helpful to use two tracks to change intervals play

another

the auto harmonization will always be

the

with

Although

and

out quencer, effort. If you have a personal computer, you may want to find able

that

part automatically.

use

could trol

several

harmonizations!

MIDI allows multiple MIDI

OUT

MIDI to direct SPX90. SPX90's Utility up and down cursor keys Receive

in

SPX90

output

L.-----J:~----:--l

output R

~

reJ"~

------:'l_t:_:o:_:rn:_:i:xe:.:_r

J r r I

from SPX90 audio out

Technique

accompaniment part.

actual performance (see diagram

it does take some time

record

the

end

out

can

create

several tracks

SPX90s

Note:

connector, you will probably want

one

of

This

is

Channel

In

A Live

of

on

the

pitch

intervals into

result

can

if there

If you are using a sequencer

the

easily

button

to a unique number.

is

the

If

you are ambitious, you

of

for

channels

MIDI

done

twice

Performance

your

sequencer-one

SPX90,

any software avail-

harmony

a sequencer

channels

to

and

This

be well

and

worth

difference

3-

and

from a single

to

by pressing

then

adjust

the

one

in

to

the

to 4-part

only

using

to way, sync

8).

figure

se-

the

con-

that

the the the

MIDI

J

Diagram

7: connections MIDI

sequencer

SPX90.

Diagram

8:

connections

MIDI

sequencer

SPX90

and

thesizer

for

performance.

Basic

MIDI

far

hooking

up

to

Basic

MIDI

for

hooking

up

to

a MIDI syn-

use

in

live

a

the

a

the

{ []1]

r

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

L

.......

inl

__

::::

[J[J[J

;

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

(forrecord

~out

thru-

0

QX21

onlyJ

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

MIDI MIDI

1

out

.....

J

thru--------

:-.1

)I)

mic

.

o:::=>-mput

Vol.

2 No.

SPX90

:1

to

mixer

12/

AFfERTOUCH 7

Studio

N

Step

..

By

..

Step Recording Tips For

The

Studio 100 System. By Vincent Bitetti.

The

S:YStern

ral

sequence

R'X2

I

digital

grammer,

~er,

lrack

cassette

two

KS

I o

all

mounted

.!tand.

roo: Q'X2r

programmer,

rhythm

DXIoo

MTIX

recorder,

keyboard

on an ST roo

digi-

pro-

FM digital

Multi-

and

speakers,

THE

AfterTouch,

I

components sue, we're going plete song demo using bilities achieve perfectly "synced" overdub allow

us using many synthesizer.

The

the

QX21

historian.

tape/analog,

article will deal with

in digital recording with the QX21 sequencer

and the DX100 synthesizer.

The

ble. Sounds should be decided

the

DXIOO's 24 Internal Memory locations for

fast

and changes essary.

The and the song structure should be written into the

drum machine.

If

the music or sound effects before in, you'll RX21 for sends MIDI clocks DX100, which four-track cassette tape recorder.

100

AUGUST

we

talked

of

the

Studio 100 System. This

to

explain how to record a com-

the

of

the

system.

to record a number

of

the

RX21

is

the

is

the

brain, and

The

System uses two recorders,

the

other

key

is

to plan ahead as much

easy

access-to

and

for saving

song length should be decided on,

composition

need

some

the

FSK to drive

is

With

sounds

heartbeat

digital.

the

MIDI aspects involved

the

is

blank

to

the

QX21, which fires the

then

recorded

System

1986

FSK

of

facilitate program

going

ISSUE

about

the

and

MIDI capa-

FSK, we

s.

of

different parts

the

DXlOO

of

this System,

the

MTIX

The

bulk

on

and moved

data

to

tape if nec-

to

start

the

drums come

measures on

the

RX21, which

on

the

You

can record

This

various

can

will

digital

is

the

one

of

this

as

poss

with

the

MT1X

of

one bar needed while putting together

is-

terns during song mode.

they will be recorded during final mixdown. Once terns together in Song Mode you've gotten all your sounds organized (the procedures for these operations are described in details in start.

of

silence

The

drums won't actually be recorded

you've finished putting your drum pat-

the

and

use it

as

the

on

owners manuals), you're ready to

FSK&MIDI

FSK (frequency-shift keying)

by

which

with

i-

where the YMClO comes into

to

ious little device changes FSK signal into MIDI signal and vice versa (complete instructions this procedure are given MT1X owners manual) .

YMC10, we're ready to start. We're going to ten of MT1X, so

ing clocks will be YMClO has converted

the QX21 will start clock).

you

YMC 10 and bypass

last

time code in

to

the the making track two unusable, depending level and type of sound used. all our sequenced parts we to track two, leaving tracks three for example-leaving want to start over from scratch.

Program Changes & Sequencing

QX21. This

effects, a melo your maximum advantage. If you choose

we

are able to do multiple overdubs

the

sequencer

After

recording

to the RX21 through MS10 speakers

the

Auxiliary

that

the

recording of our sequences.

the

Since

can

note

MTlX,

can

other

Begin

YMClO has two MIDI outputs,

connect

here-FSK

that

adjacent track

FSK

later bounce (or ping-pong) those tracks

instruments-guitar

by

recording your first part onto the

can

dy,

in perfect time.

play-this

on

page 33

the

sync

track

Send

and

Return

we

can

monitor

sent

from

the

to

play (set it to external

the

sequencer directly to the

the

RX21 if you wish.

is

very much like SMPTE

it has a tendency

of

is

always

on

the

FSK

be

anything-a

and

so

on. Use

the

RX21 after

FSK to MIDI, and

the

tape recorder.

on

track

If,

however,

tracks three and four,

tone

intact in case

bass line, sound

many times

drum pat-

now-

the

RX21

is

the means

This

ingen-

of

using the

by

on

drums dur-

The

MIDI

to

bleed on

one

, possibly

on

we

and

four open

and

vocal for

Tips

the

DX100 to

to

start

as

and

is

for

the

lis-

way

the

One

On

the

do

we

8 AFrERTOUCH/Vol. 2 No.

lZ

your song with sound effe(:ts (such

as

storm wind, wave, alarm call, doppler fx, racing car, etc.),

then

move into a bass line,

drop back to sound effects,

conceivably have up to

or

seven program changes taking place

six your first track. amount (which

can

After

of

the

This

ping-ponging you'll have

add considerable noise to

first

and

fou;, five, maybe even

will

cut

track

is

recorded

QX21, make a Track Exchange. If some

aren't

program changes track

one

of

the numbers while Track Down operation nel.

The

data

on changes and all be merged. remember record them that

it has a safety,

When

that

they usually have

in

real time and step time. Also, most

post-quantize

perfect, record

QX21 by pressing

in

Record

the

sequenced

on two

the

Mode;

tracks-the

working

(the

QX

series

or

buffer, zone), allowing user to experiment with different achieve different effects

without

then

later

so on, you could

down

on

to

do

later

the

tape).

into

of

your

them

the

patch

then,

do

same MIDI

chan-

program

parts-will

with

the

is

note

now

sequencers,

ability

unique

values

losing

on

the

on

to of in

the

to

the original performance. Realistic sequences with human feel usually employ all recording: real time, real time quantized,

three

methods

of

and

step time parts.

While monitoring volume changes from DXlOO. to adjust Operator DXlOO, the

To make mixing easier, you may

the

levels

Output

so

that

sliders during final mixdown.

patch

of

each

Level editing function

you're

not

playback, be aware

to

patch

by using

constantly adjusting

on

of

the

want

the the

the

Overdubs & Effects

We

now have three has three parts we

can do more

the

techniques though, we'll be using the

parts playback already recorded back what we've already recorded, our parts for track four

the

foundation laid. If track

and

six program changes,

of

the

same

on

track four using

described earlier.

the

FSK

to

in

time with

on

track three.

of

the

While

MTlX

This make all

the

material

hearing

we

can

onto

time,

of

write

the

QX21 sequencer.

The

MTlX

must be

the

Record Select switches must be set to

and

position,

track four must be set line input (again, please refer to manual for specifics). and

you'll

hear

the

in

its safe

Press Play

drums

and

mode-that

to

receive

the

owners

on

the

MTlX,

the

recorded

the

is,

off

music

on

track three. If Mode, it will be ready from

the

DXlOO synthesizer.

the

QX21

to

receive MIDI

After you've recorded all your parts gram changes tion, commit with

the

and

them

sequences

they

meet

to

tape. If you're satisfied

that

have

tracks three and four, bounce

(please refer

instruction

MTlX

on

this procedure).

owners manual for

to

the

a

now

We're tracks. Since the

MTlX

the

is

being used by be a good idea The

vocal

and greatly from Also,

the

drums could sound like

SPX90 were used

ready to

auxiliary send

to

guitar

use

in

record

the

"print" any effects

tracks

of

an

SPX90

the

final mixdown.

Mixdown

Connect

the stereo outputs

a two-track stereo cassette

of

the

MTlX final master recording, adjusting levels, ning, and

EQ

to your taste.

is

in Record

data

and

pro-

with your satisfac-

been

them

our

and

recorded to

on

track two

final

two

return

on

RX21, it would

to

tape.

could

benefit

at

this time.

cannons

if

an

deck

and

make your

pan-

to

DXxoo

FM

synthesizer.

MTxX

multitrack

recorder.

digital

cassette

Vol. 2 No.

12/

AFfERTOUCH 9

QXS

An lntroduc

tion To

Yamaha's

Newest Digital Sequence Recorder. Scott Plunkett.

..

T

sequence recorders.

physical resemblance to actually combines many

on

By

which when capable channels. A Macro musical phrase

Track.

phrase over Macro whenever necessary. serve memory, for composing

Setup

know Setup time signature every time you record, so different time signatures neously. can nelizing feature.

MIDI you want them record while using

the

these stored called

Recording On

have three different Record modes

from:

Record,

functions just like

records everything you play, exactly it in real time. Real punch-in and will automatically do This hands to play a the

HE

QXS IS

the

QX1

The

QXS has 8 Tracks and 32 Macros,

it

can

velocity

of

This

and

Before you

that

options. For example, you

The

be changed

data

out

QXS

is

and

in

at

any time.

After you have completed your Setup, you

1)

and

Time

is

particularly useful

QXS.

The

Step Record mode allows step-by-step

THE

LATEST

Yamaha

containing MIDI data from up to 16

"Call"

the

(including System Exclusive); but, if

to

with

synchronized to tape

other

one

Real

Record, except

family

Although

as

well

as

the

store up to 20,000 notes (15,000

data

is

also recorded). A Track

can

or

program change to a complete

means

and

ignore

3)

that

over, you

it from

This

and

also offers a flexible system

and

arranging.

begin

recording,

QXS

offers you a

MIDI

channels

or

filtered

The

QXS normally records all

certain

the

Record Filter.

the

Internal

Record

of

four

Setup

The

QX5

Time

Record,

Step

Record. Real

an

analog tape recorder.

Punch

In Record

punch-out

the

part

and

ADDITION

of

MIDI

it bears a close

the

QX21,

of

the

features found

QX21.

be

anything

rather

than

can

load it into a

the

main sequence

allows you

you

number

can

be played simulta-

you are recording

by

using

types, you

You Clock or

MIDI. All

parameters

Memories

2) Time

as

is

exactly like

that

you

can

measures;

punching

when

you

can't

spare a

digital

the

from a

repeat a

to

should

reset

the

Chan-

can

can or

can and

to

choose

Punch

Record

you play

set

the

for you.

need

hand

QXS

con-

filter

while

QXS

both

on

the

that

also

be

re-

In

the

for

to

input

of

music data. and velocity panel. Rests can be generated, and notes deleted MIDI keyboard.

Also, parameters controller.

is

can

assign button-every the

Data Entry

panel. This makes it possible to control almost

of

the necessary parameters

all from the master keyboard.

Editing Sequences

After you have finished recording, you are ready to take advantage editing capabilities.

levels in

sure Edit,

of

It

Track Edit place.

on

place to do quite a bit make room for new material edit. In

or

Track

Track or Macro, Track or Macro. allows you to merge two Tracks together.

As part

of

Track Edit, there are

cut-and-paste variety.

the

you and

paste

Track.

in Track 1 the

measure you specify.

mand, you

including MIDI channel, control change, and

tempo change

another

to parts with different MIDI have been merged to a Track and you separate

The changing is

for moving all or backward quarter-note; so, for example, if you add 48 clocks to a Track, all events will start

note later.

can

and

tied.

the

gate time, velocity, tie,

can

This

the

time a tie

the

Edit Mode: 1) Track Edit, 2) Mea-

and

is

Since recording

Track

the

Track Edit mode, you

Macro, Exchange a Track with

of

ability to

the

The

insert

and

can

Track.

one

of

remaining jobs

data

in

Thin

Note

length, gate time,

be set from

Note

be

assigned

means

that,

tie parameter to a Data Entry

button

instead

There

3) Event Edit. where Track management takes

and

1,

you will find yourself wanting

of

Track shuffling

or

Copy a Track

The

Track Down command

the

Track management function

The

cut

Track 1

deleted

command

inserts it into any

take virtually any MIDI

data-and

This

is

the

parts for editing.

throughout a Track.

of

the

events in a Track forward

time.

There

Out

is

the

data

is

to

for instance, you

is

needed, you

of

the

in

of

the

QXS's extensive

are actually three

editing always take

or

to perform

three

commands

Cut

command at

section

takes all

With

the

move it from Track 1 helpful if a number of

channel

in

Track Edit are for

are 96 clocks per

a useful feature for sav-

QXS front

can

input

from a

and

any

MIDI

can

QXS front

Step Mode

in

order to

can

Clear

another

to

another

of

gives

any measure

into

another

of

the

other

Track at

Extract com-

data-

assignments

want

Clock

Move

an

eighth-

be

rest

use

an

a

the

data

to

10

AFTERTOUCH!Vol. 2 No. 12

ing memory space. specified continuous controller data.

Since huge amounts than

once changes. Shift, possible to shift channel, Marco data up wanted two tone generators nels to play the same part, you could copy original Track

performance

1 up

It

cuts

out

about

continuous

of

data, you

and

still

the

controllers

can

thin

have

smooth

last Track Edit job, makes it

note,

or

down. For instance, if you

on

to Track 2,

or

down

to

put

it

half

or

pitch

generate

tracks more

sounding

controller,

different

then

on

another

of

any

bend

chan-

the

shift

or

channel.

Measure Edit lets you edit specific regions within a Track. measure of

the

Track. So, if you repeat eight times, you bars and Delete takes selected measures

With

Copy, you

or

measures to be copied

want

can

then

use

Copy

to

can

choose any

onto

the

end

a four bar phrase to

record

the

first four

build up

out

of

the

Track.

Track and moves all subsequent measure up to fill the gap. Remove lets you specify just about any kind of

MIDI

data

and

take it

sures.

You

can

even remove all

and,

unlike remain. empty measures you want in composition

can

you

Delete,

Along

these same lines,

of

the

that

use

Create

any time signature wherever Track. If you have a musical changes time signatures often,

template before you start are finished constructing to Track 2. the

metronome will

Then,

out

of

selected mea-

data

if you like

the

blank

measures will

Create

inserts

to set up a time signature

to

record. After you

the

template, copy it

when

you begin

change

with

to

the

record,

changing

time signatures.

The

remaining jobs

the

altering

recorded data. tize to clean up any timing errors group

of

measures.

gate times, offset

in

all notes

One Crescendo: note-on

a selected region.

of

the

new

This

velocities, over a specified number and

fade" effects

two MIDI sound generators

in

Measure Edit are for

You

can

use

Quan-

in

You

note-on

features

a measure

can

change

all

velocity, or transpose

that

is

very useful

of

or

the

allows you to gradually change

either

and

positive

of

panning

or

negative,

measures.

effects between

can

be created with

"Repeat

Crescendo.

The

Event Edit mode makes it possible to edit virtually any part this mode, you Aftertouch,

Pitch

of

can

individually

Bend,

your performance. In

edit

notes,

Control

change, Mode change, Program change, System Exclusive (this

one

can

be fun}, Macro calls, and

Tempo

marks. re-record a against a bad performance. Instead, you Event

offending

can by the the When you mode, you Track,

to a Macro call), the

(change change edited

Delete

changes,

This

means

part

because you

note

Edit

mode

note.

When

you

want

enter

Event Edit mode

pressing

the

START

individual notes

LCD:

This

you reach

enter

the

Change

can

move

change

event,

note

the

change

a C

to a G),

the

duration

(still retaining

note

entirely.

as well as

that

you

during

and

delete

to

change

and

is

called

the

note

mode.

the

type

of

change

the

MIDI

of

move

no

longer have to

happened

an

otherwise perfect

can

simply

or

a single note, you

and

scan button. see

them

the

Search

you want to change,

In

note

anywhere

event (change a note.

the

MIDI

note

change

the

note,

the

original note}, or

Playback

begin

You

when

you are

Auto

Locate allows you you choose, so the

middle

playback

of

the

finished

that

stantly fast forward

song

to

you

without

and

by

pressing

recording

jump

to

can

work

having to con-

rewind.

Memories are provided for instant changes

for example, you are recording

and

playing

gives you

the

while

Saving

The

so

you never need to worry about accidentally

losing your sequence. However,

is

to make room for

you save your work

back

the

ability to

sequence

QX5

Data

QXS memory

new

at

another.

turn

is

playing.

is

backed up by a battery,

The

Tracks

when

sequences,

on

cassette tape.

has a very flexible cassette save/load

tation.

You

can

save Tracks

ually

or

and

in groups.

Macros

from

You

cassette,

Tracks or Macros; this

an

compare sion.

old version of a

The

Floating Load mode even searches for

empty Tracks and Macros

the

and leaves

existing data untouched.

and

can

load all

is

useful if you

part with

in

which

Macros individ-

or

Continued

Measure

to brush

enter

reassign

the

Track

You

will hear

displayed

mode.

the

Change

in

channel

assignment

the

velocity,

insert

START

or

editing. any measure on

a part in

Three

Tempo

at

one

tempo

QXS also

on

and

you want

the

QXS lets

The

implemen-

of

the

Tracks

only

specific

want

a new ver-

to

load data,

on

page

the

on

the

of

the

if,

off

QXS

to

12

Vol. 2 No.

12/AFfERTOUCH

11

QXS

Continued

This the with

chart

basic

those

compares

features

of

the

of

QX

many

the

I.

QXS

In addition to its cassette capabilities,

QX5

can

send

and

receive System Exclusive

bulk

information allows you to another functions, Macros individually or

ing Load mode

MIDI

options. In addition to earlier-MIDI QX5 also transmits and receives Song Position

Pointer.

any

Pointer)

of

QX5

you

Implementation

The

QX5 gives you a

This

other

device synchronized

over

MIDI.

exchange

or

a computer. Like can

is

available.

filtering, MIDI

means

that

sequence

save

in

groups,

number

the

that

if you have a QX21 (or

responds to Song Position

to

This

the

or

load

and

of options discussed channelizing-the

the

QX5

QXl

8 Tracks 32 Banks, 8 8 MIDI 384 clocks 80,000 Unlimited

drive

Bulk

locations

No

cassette interface

40x2 backlit Chain Step-entered

Punch-in

Extensive Track, Measure, Event Edit

capability

Records with

1 MIDI Does

Extensive Job

modes

Chains

OUT

puts

per

quarter-note

+ notes

memory

data

storage

Mode for continuous music playback

capable

channel

not

record System Exclusive

with

5.25"

on

disk: 16 bulk memory

LCD

display

data

through Edit Mode

Internal

Commands

Clock

per Track

in

internal

Edit

the

feature

data

with

cassette

Tracks

the

MIDI setup

and

or

Float-

through

disk

data

Utility

MIDI, you song, point.

The ing device to respond to a Song Position message sometimes varies, so a delay feature available Song period before it actually starts. that play you or receive MIDI Song Start, Remote Monitor are currently being transmitted

and

amount

that

Position

all

the

at

the

can

turn

Continue,

In/Out that

can

start

the

QX5

at

any

point

in

the

QX21 will

of

time it takes for

allows

and

then

receiving devices will be ready to

same time. If it becomes necessary,

on

or

off

and

features. There's also a MIDI

lets you see which MIDI channels

jump

to

the

each

receiv-

the

QX5 to send

wait

for a specified

This

the

QX5's ability

Position, Song Select,

Stop

signals

or

out

guarantees

to

with

received.

same

send

the

QX5

8 Tracks 32 Macros

1 MIDI

96 clocks per quarter-note

20,000 notes No

No

Cassette interface with flexible save & load

16x2 backlit LCD display

No Step-entered data through new Step Record

Punch-In

Extensive Track, Measure, Event Edit Modes

Records with Internal Clock and External

16 MIDI channels per Track and Macro Records System Exclusive New

OUTput

internal disk drive

bulk

data

memory available

operation

Chain

Mode

and

Punch-Out

with

Auto

Locate

Clocks (MIDI and FSK)

Job Commands include Shift Data, Crescendo, Extract Data, Rechannelize

INput/OUTput

fully automated

data

Thin

Out,

is

12

AFTERTOUCH/Vol. 2 No. 12

S

Diary

Professor background: ber

of

had

one

the

Salt

lege,

he

concert

Music became sity

choruses. phony associate addition,

I5

years.

should

became instruments. his

first

University

W

years ago, I alter my life ever, it was obvious from my first elementary experience (putting a

into

the

that

here were powerful musical resources

reckoned with.

I spent

could about electronic music,

ing many hours

established Vladimir Ussachevsky. educational institutions vinced me instruments being developed primarily for popular music industry Music Department.

By

ning

to much Yamaha DX7 coming tasted Fairlight, resources ments, so we added our names list for DX7s. Two found ing room, ulty Department.

My primary interest was to find applications

Ardean

As a

college

dance

of

the

Lake

City

considered

pianist,

Faculty

director

Orchest-ra

conductor, a post

he

was

Given

not

have

curious

What

musical

of

Utah.

HEN

MY

computer

didn't

as

computer

the

on

Watts

has a varied

youth,

he

played

bands

and,

in

last

regularly-working

area.

Upon

graduation

the

possibility

but

his

first

steady

of

the

University

of

the

opera

In

I957,

as

pianist,

musical

this

eclectic

been

surprised

about

the

follows

experiences

SON

home

comprehend

a professional musician. How-

Bach

and

summer

in

the

classical electronic studio

our

campus by electronic pioneer

of

workshop

he

joined and

eventually

he

held

director

of background, when,

new

electronic

is

the

personal

with

BROUGHT

at

Christmastime a

two-part invention

hearing

of

1981 reading all I

as

A tour

on

the

West

that

there

was a future for

in

our

higher

this time,

appear

talk

the

offices

the

acronym MIDI was begin-

in

advertisements,

about

a new synthesizer called

out

on

the

wonders

but

our

to

consider these our primary instru-

and

of

the

Synclavier

department

five were placed in various fac-

in

the

did

their

way into my liv-

University

musical

piano

in

a num-

the

mid-Fifties,

big

bands

from

of a career

job

was

on

Utah,

where

and

univer-

the

Utah

Sym-

became

for

II

years.

Ballet

West

people

at

age

53,

musical

record of

YCAMS

how it might

it

well

of

and

market. I

to

at

a personal

played back)

to

as

spend-

studios

Coast

the

education

there

not

have

the

waiting

Music

in

col-

as

the

he

In

for

he

the

few

be

and

con-

new

the

was

the

had

and

the

a

for these instruments our

educational mission.

was a

concert

1985.

The

program included selections from

classical

MIDied Henry

consisting

DX7s composition digital sequencer

market weeks before of erated during sonal

XT out concert.

and

our

composition project during

to TX816 FM system. Incidental music for a pro-

duction

University

pany

TX816, utilizing a lot

with rain, wind,

DX7 voices. from that four weeks).

applications chestration have a difficult time getting

mances change things before they are performed pub-

licly would be an incredible luxury for When of

that brilliant formance

larly because or creating sound resources corresponding symphony orchestra for

of voices we Clique, Yamaha, TX able multiple timbres

piano

together,

Cowell played by a synthesizer ensemble

of

five players

MIDied

generated

the

first page

the

Composer

computer; these were duplicated

to

those who

Encouraged

the

Music

first

public

become

By

the

I began

orchestra. My approach was

familiar

of

Shakespeare's The

Pioneer

was

created

The

our

mixing system

form for

that

time, I was interested

which and

of

their

my

Department

University A Cappella

I synthesize

cantata

with

it

the

had

that

were compatible with

The

first major project

and

demonstration

repertoire played

the

Symphony No. II

(each

together),

(which

of

the

concert

program

attended

by

the

Department

performance, I undertook

and

score was recorded directly

the

production

composition

efforts. To be able

the

Carmina

his choir, I was intrigued particuwould necessitate my assembling

process

acquired from DX PRO, Key

and

and a short

on

the

had

just

the

concert).

computer

using Jim Miller's Per-

running

at

response

administration

the

with

our

Memorial

on

the

QX1

of

spacey sounds along

thunder, all

to

tape,

might be

competent

chairman

orchestration

Burana

the

TX816.

of

auditioning thousands

other

sources

of

each

in

May

the

on

two DX7s

player

with

two

8-track

Yamaha

come

piece were gen-

the

of

the

summer in

newly

Tempest

Theatre

playing

and

(which

in

of

use

students.

and

choir

of

for a live per-

to

orchestral instru-

Continued

QX1

onto

the

Hard

copies

on

our

IBM

and

passed

end

of

the

audience

order

acquired

by

the

Com-

the

done

with

was used

played for

developing

to

our

They

perfor-

to

hear

and

them.

director

proposed

Carl

Orff's

to

create a

make avail-

on

page

by

or-

A

MIDI

Adventure In

of

Academia. Ardean Watts.

to

a

in

a

14

By

W.

Vol. 2 No.

12/

AFfERTOUCH

13

YC

S

ment

in horizontal placement they could be mixed voices were edited to provide numerous options, by the Foot Controller

lation Sensitivity to

this mode, any controller could be used to make

instrumental parts more expressive. Most voices came from our library, specific voices. After about three cess, I

the

tion and inputting it into

mances

chestra and chorus, I knew exactly

chestration should sound like.

compromises

to the eight available tracks

TX816. I quickly discovered

modules were being used up

percussion demands

a Sequential DrumTracks

with some special sound chips from Digidrums.

The

of

the

memory.

was laborious

tice of recording

ficulties I might later have

synchronization with chorus. I

ting all

on

QX1 keyboard.

several days,

the

piece

cessful

from

could

time,

demanded

ish. came stage

the Company.

far

and dancers to perform to a pre-recorded tape

and

all were to be controlled

needs

which

had

to settle for

process

Because I have conducted

one module track, leaving me free

notes from

The

the

end

I considered

The

the

of

making

of

Carmina Burana with symphony or-

had

to be made to limit

drum machine was played by

C3

process

of

KX88 keyboard

I could input

in a few

in

the

have

but

The

much

the

University's

third phase

greatest gamble. To require

of

at

first. I quickly gave up

them

the

notes individually with

The

but

my facility increased until

hours.

the

emulating

symphony

been

the

deadline

that

I make sacrifices

deadline for

earlier because

Carmina performance as a ballet using

Diary

in

all modules, so

or

matched.

with

Amplitude

the

maximum setting.

required

months what I had the

orchestral transcrip-

the

of

the

Orff score, so I added

to

the

up for voices

inputting

live, because

in

and

first six measures

an

entire 2 to 3

result to be about 75% suc-

the

sounds Orff wanted

orchestra.

improved

of

the

completion actually

justly famous

of

the

project involved by

All

in

but

there

making

of

this pro-

and get

QXl. at

least 20 perfor-

what

Of

course, many

the

of

the

QX1 and

that

too

to

realize

mix, equipped

the

lower

to

in

the

module's

the

orchestration

the

of

controlling

ended

up input-

one

the

other

I'm

sure

upon

with

May

16,

in

order to fin-

of

our

decision to

Utah

the

of

the

attack

volume

Modu-

of

the

were

new

on

the

colors

many

the

rich

half

utilize

prac-

the

difthe

hand

on

the

took

near

minute

that

more

1986,

Ballet

chorus

In

to

or-

me

Continued

would have mance, The ually outputting QX1 so in response to willing to settle for part control over every cerned. device accomplish senior University number pedal exactly how far a pedal controller a given instant), if device. sufficient.

The

rus

of

the

first version

called

We enough cient problems version performed slightly better, but still fell short

to

predicting

should fall.

mance,

caveat from

there session found tested made it incompatible it

at

of

sequences recorded corn's Performer out

problems.

That

and

by the Macintosh computer. software does tempo data, it read all the

Orff score performed its task magnificently. ables wishes box. when

been

no

more

than

a mime perfor-

and

was

of

little artistic interest to me.

real challenge was to find a way

the

performance

that

it could be controlled

the

conductor's signals. I was

the

tempo

of

the

QX1-what

After

a lengthy search,

commercially

that

electrical

of

Utah

of

devices for

meter

which

The

90%

week I finished inputting

Carmina into

of

it

Milton's

to

keep

our

to

of

perfect control, especially

where

One

the

final version was delivered with a

the

maker

is

nothing

that

home

weekend I witnessed a MIDI miracle,

Sunday

QX 1 to

changes as

the

to

We

I was able to follow

that I can

the

there

might

it

had

on

had

the

not

of

without a hitch,

player to select

control by tapping a switch

were

as

I needed was absolute

note

as

available task, so I asked my son, a engineering

who

me

gives a visual indication of

he

could produce such a

odds

the

QX1,

the

manual MIDI controller.

Box.

hopes alive,

raise concerns.

subdivisions

week before our first perfor-

that

device unusable. My son pro-

be some anomaly which

with

controlled

into

the

Apple Macintosh with-

moved all

Performer

Although

accept

part

of

its

the

strange time signatures of

the

incredulous

data

in

control which

far

as

time was con-

we

that

student

has

custom-built

(including

is

depressed at

he

gave

the

my

son delivered

It

worked

but

The

when

of

"If

this doesn't work

do."

A nervous test

the

QX1-in

the

musical output

Mark

Of

of

the

program

the time signature own

stream

and

Milton's box

The

note

value

as

the

conductor per-

Continued

of

man-

from the

real time

not

found no

would

at

the

a DX7

me

were

final cho-

well

had suffi-

second

it came

the

beat

testing

The

Uni-

files from

in

the

Performer

and

of

MIDI

box en-

he/

she

on

the

students

on

page

is

a

20

14 AFIERTOUCH!Vol. 2 No.

12

Performance

Controllers

T'S A NEVER-ENDING thesize "real-world" sounds. FM digital syn-

I

thesis

is

capable expressive sounds, but it's your style brings "show some style"

performance controllers.

types of performance controllers; for example, you are probably using Pitch Bend and Modulation effects. number with many Yamaha products, such ous Slider, Push Switch, Momentary Switch,

and Aftertouch.

uses, but for now, let's focus most Footswitch, Controller. this article will examine and FC8 Foot Switches, FC9 Foot Controllers, Breath Controller.

brief descriptions Next, you'll find tips specific Yamaha keyboard controllers generators. Finally, you'll discover though your system might some advantage through

Yamaha FC4

that With FC4 tamento

FCS Footswitch: ple foot switch pedal, those tion used for portamento.

the

You

may already be familiar

of

All

In the first section

these controllers have a variety

common

of

these

of

the

Controllers

Footswitch: can be used in a variety

many synthesizers (like

can

be

on/

can

of

the

as

a sustain pedal, it

other

of

producing

performance

is

to express yourself with

other

controllers available for use

performance

Foot

Controller,

Within

the

use

off.

be used in applications similar to

FC4

these types

of

the

on

controllers,

exciting possibilities they offer

of

Yamaha MIDI accessories.

The

FC4

used

to

control

The

rather

or

FC8.

on/

off

QUEST

to

life.

Wheel

on

the

Yamaha FC4, FCS,

the

Yamaha FC7, and

and

the

article, you'll read

controllers listed above.

how

to

not

have inputs for

you

is

a piano-like pedal

of

the

sustain

FCS, designed as a sim-

than

a piano-like foot

Although

is

more commonly

applications

to

syn-

realistic

One

with

controllers for

There

as

three

controllers:

and

of

controllers,

Yamaha

use

can

applications.

it

that

really

way

several

Continu-

of

Breath

them

and

that

still

DX7),

or

can

such

and

are a

the

BCl

with tone

even

take

the

por-

func-

to

of

as

on

available

instruments models)

of

the

tion

as a normal

FC7

volume-type pedal.

eter

control,

photo-interpret type

FC3A). Like trol Voltage) controller the

Volume

other

ture lets you preset a position between

off.

You

most voices.

(such

that

are

not

half-pedal capability,

on/

Foot

Controller:

and

the

FC3A,

or

Modulation jack

similar synthesizer. A spring-return fea-

might

think

When

used with

as

the

DX7

and

designed to take advantage

the

FC8 will func-

off Footswitch.

The

FC7

is

a continuous

It uses a rotary potentiom-

is

compatible

of

controller (such

the

that

of

this as

with

FC7

is a CV

can

be plugged into

of

a DX7

"After

TOE."

other

older

the

as (Con-

on

PF

older

the

or

and

Use

Syn

..

thesizer Controllers To Personalize

Your

Brad

FC4

Footswitch

FC5

Footswitch

FC8

Footswitch

Music.

Vinikow.

By

Controller.

FC8

Footswitch: pedal, Yamaha's PF80 When PF

specifically

the

FC8

models, four levels of"half-pedal" sustain are

The

FC8

is

also a piano-like

designed

and

PF70

is

used for sustain with these two

for

Electronic

use

Pianos.

with

FC9

Foot

Controller:

and 2 output

jacks

the

control

ments. In addition,

audio volume

The

FC9 has 2 input

jacks,

and

can

of

2 separate instru-

Output 2 can

Omtinued

be used to

be switched

on

page

z6

Vol. 2 No. 12/AFfERTOUCH 15

Controllers

to

function ler (like Volume ers.

The

control

BCl

to

add a new horns, blowing into articulate voice

So, controller(s) determine working with.

the

FC4, FCS, controller like controller lends itself

Switch-type

Switch-type controllers are best used trol functions Sustain, Portamento,

Switch-type controllers toggle between two modes. For example you might switch between the

Omni

You ler

to drum machine. hands down beat).

Continuous-type

Continuous-type controllers are best used for functions and

on, such

Many voice, such are continuous. continuous controller real time. the

timbre always erator changes.

Tempo

Therefore, you might use your Foot

as a CV

the

FC7),

or

Modulation

FC9

that

allows you

Breath

and

other

the

with

added realism.

you

have

in

what

Controllers

mode

might also use your Footswitch control-

Start,

Stop,

for

other

that

as

of

as

This

of

a sound during performance.

the

case,

will

respond

is

(Control

and

also provides a

Controller:

dimension

wind instrument voices.

the

BC1's mouthpiece, you

phrasing

your

front

of

type

of

Is

it a switch-type controller, like

or

FCS;

or

the

FC7

to

that

are

Sostenuto,

on

and

or

Continue

This

application frees up your

things

Controllers

respond

Volume

the

parameters

LFO Speed

In

some cases, you

gives you

check

to

another

Voltage) control-

can

be plugged into

jack

of

most synthesiz-

Minimum

to

set

the

volume range.

The

BCI

of

control

of

a wind

instrument

you-now

a controller you are

is

it a continuous-type

or

FC9? Each type

different applications.

either

on

or

can

also be used

Poly

and

Mono,

off.

your sequence

(like

playing

to

values between off

and

Portamento

that

or

Operator

to

vary a

the

to

be sure your

real-time

continuous

parameter

ability

Continued

the

Volume

allows you

to

brass,

By

can

instrument

and

your

what? First,

of

to

con-

off, such as

Soft Pedal.

to

or

turn

or

on

the

Time.

make

up a

Output,

can

use a

in

to

change

As

tone

gen-

parameter

function.

Controller

to

speed up

machine.

FM

Programming

It's beyond specific FM programming techniques. However, it

is

important for you to know be programmed order for you to certain which

voice, and

As

settings

rent

values for

sible sources (controllers) include Modulation

Wheel, Aftertouch.

eters

Bend, Bias.

Other

overall effect

Modulation

Depth,

EG Rate

The effects, eters effect.

Effect Loudness Brightness Vibrato Depth

Tremolo Depth

Pitch (DX21/27/100) Pitch

Now applications.

DX7

Let's choose carrier, say

is

pairs 1-2 electric available we were

tric piano

or

slow down a sequencer

Tips

the

scope

of

this article

that

to

respond to a controller in

hear

an

effect.

In

other

parameters in

controllers will have

what

a place

in

a OX

Foot Controller, Breath Controller,

The

that

will be

Pitch

Bend Range, Amplitude,

FM parameters

of

Depth,

Pitch

and

Level settings.

following table lists five kinds

and

shows

that

must be programmed

let's

take a look

Tips

Algorithm

and

3-4 are programmed

piano

to

produce a brass voice. Therefore, if

to

play

and

each

FM voice

an

effect

this effect will be.

to

start, look

or

TX

voice. You'll see

the

various controllers.

possible destinations (param-

controlled)

controllers

Amplitude

Modulation Sensitivity,

the

FM Parameter EG

Bias

EG

Bias

Pitch Modulation Sensitivity Pitch Modulation Depth LFO

Amplitude Modulation Sensitivity Amplitude Modulation Depth LFO

an

algorithm

voice, leaving operator pair 5-6

the

DX7, we would hear elec-

brass playing

at

the

include

that

determine

on

a voice are

Modulation

appropriate FM param-

to

of the Carrier(s) of the Modulator(s)

Speed

EG

at

some

with

#5.

Let's say operator

to

at

the

same time.

or

drum

to

discuss

voices must

words,

determine

on

the

Function

the

cur-

The

pos-

and

Pitch

and

EG

the

Pitch

and

the

of

voice

enable the

specific

more

than

produce an

1

16 AFTERTOUCH!Vol. 2 No. 12

To allow

audio

output

the

of

operator

Breath

Controller

pair 5-6, follow these

steps:

1.

Set

operator 5 Amplitude

sitivity

2.

Set

This an blowing can

types Wheel, follow controller you

TX816

to

3.

Breath

programming

electric

piano

into

accent

it

with

This

technique

of

sounds,

Foot Controller,

the

steps above

to

vary

want

to

control.

Tips

The

factory voices for

Control

technique

voice

the

BC1 Breath a brass sound!

can

to

control

the

EG Bias

Modulation

ON.

allows you

on

your DX7,

Controller

also be used

them

or

Aftertouch.

and

enable

of

the

TX816

with a Mod

porate some very interesting uses for

and

Wheel, Foot Controller, Let's take a brief look

Breath Controller.

at

some ideas used in

these voices.

Voice program ance in timbre, volume, through

the provide a percussive Wheel

is

used Modules that

3, 4, 5,

is

completely Controller. Modules 7 sound whose volume Controller.

to

use

the

TX816. It takes a little practice

This

the

controllers across several modules in

many controllers comfortably but

the

expressive

10 offers a tremendous vari-

and

overall presence

use

of

controllers. Modules 1

synth

sound;

to

control

and 6 have

its volume in

a filter sweep sound

controlled

and

8 are a chorus synth

is

controlled

program demonstrates

in

freedom

by

a performance,

can

powerful.

For a more

other

TX816 factory voices are

refer to

the

detailed

TX816

FM

explanation

Tone

Generator

set

Performance Notes.

to

vary

the

Sen-

to

play

and

you

with

other

Simply

the

desired

operators

incor-

the

Mod

and

the

Mod

the

mix.

the

Foot

the

Breath

one

way

to

use this

be

very

of

how

up, please

System

by

2

could just as easily Foot

Control.

If you

don't

have

voice

that

responds

assign a Foot

Controller

Besides

include

Potamento keyboards also offer a variety messages, MIDI Real System Exclusive messages, tem

settings.

For more detailed information sign functions October

1986 issue

Controller

messages.

the

MIDI

to

the

control

modulation

a BC1

to

MIDI Breath

Channel

Time

and

Time

KX

controllers, refer

of

AfterTouch.

or

MIDI

and

want

to

try a

Control,

to

send

Breath

messages

Volume),

of

MIDI Mode

the

(that

KX

commands, MIDI

and

Internal

on

how

to

Sys-

as-

the

FC7

FC9

BC I

Foot

Breath

Controller.

KXSS/76

The

Tips

KX88

and

KX76 offer a whole world

of

possibilities for utilizing performance control-

lers.

On

the

right side

controller

Code resent functions cific controller. For example, a Foot

may be assigned

of

the

Preset Table.

that

may be assigned

to

control

KX

front

panel

is

These

values rep-

to

a spe-

Controller

MIDI Volume. It

After

screw spring-return

a

allows you words, you for quickly

TOE

Located

that

the

FC7.

and

on

the

FC7's

bottom

allows you to adjust

function.

to

preset a pedal position. In

determine

This

a useful setting (angle)

setting

can

panel

the

AfterTOE

useful

be

feature

other

accessed

consistently in your performance

Continued

on

page

is

a

by

rB

Vol. 2 No. 12/AFIERTOUCH 17

Controllers

Continued

pressing

spring back to

full range

convenience where between off

desired position of Turning clockwise raises while position angle. degrees;

BC

ity

the the You a small hole in

rotate

of

screwdriver to do this. pressure transducer's sensitivity, preset

tape

Lock

FC7, FC8, more pedals together. sliding Simply take a Phillips screwdriver the will also remove so Replace and pedal.

MCS2

cle, and are saying, PF80 doesn't have a Breath Well, you controller possibilities by using a Yamaha MIDI

become a MIDI master keyboard controller. For

the

pedal

all

the

way

down:

the

preset position.

of

the

pedal,

and

of

a preset position

and

on.

Simply use a Phillips screwdriver

the

SPRING

the

turning

counterclockwise lowers

The

maximum angle

minimum

is

0 degrees.

You

have

that

POINT

toe position angle,

1 Sensitivity

There

are several ways

of

your BC1 Breath Controller.

Start

by

placing a small piece air hole located response with

can

further adjust

Another

the

small plate located inside

the

BCl.

at

the

Of

the

method

It

Up

A small plate located

out

four screws

half

of

it hangs over

the

use

the

MIDI

Scenario #

Control

The

MCS2

the

way

to

You

factory.

two methods just described, try

first.

and

FC9

of place during your performance.

on

the

screws

other

two screws

Control

1:

You've read

can

still

Station.

allows any MIDI keyboard

to

adjust

on

the

top of

the

hole completely covered.

the

sensitivity by poking

tape.

adjust

the

sensitivity

will

need

a small jeweler's

This

adjusts

and

on

the

bottom

allows you

This

bottom

plate. Flip

the

that

held it

Station

"Great

take

to

prevents

of

the

edge

of

in

to

secure

through

examples,

Controller

advantage

It

will

still have

the

added

is

some-

to

set

the

ADJ.

the

toe

is

about

10

the

sensitiv-

of

tape over BCl.

Try

is

the

bottom

the

BC1

has

been

the

of

the

lock two

them

from

and

remove

panel.

This

plate

around

the

panel.

place before

the

other

this arti-

but

my

input."

of

these

MCS2

example, you Controller messages

PF80

or

The

Wheel,

fixed.

There assignable. These include 2 2

Foot

Footswi tches.

The

how

to

system.

MEP4

Scenario

but

I'm already doing new?" pushing

of using your controllers

tem),

to

and

highly flexible MIDI Event Processor.

The

in

many how you performance controller setup:

1.

Make a controller more

MIDI. an byte.

2.

Simultaneously

to

up

or

to

tone sage

message 3000 and

3.

Send

tone

increase

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18

AFIERTOUCH/Vol. 2 No. 12

Editor

Continued from page 3

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Vol. 2 No.

Write

To:

AFTER-

TOUCH, P.O. Box

2338,

Northridge,

CA

91323-2338.

12/AFfERTOUCH

19

Bulk Rate

U.S. Postage

PAID

Long Prairie, MN

Permit No. 33

YC

S

fectly during days before opening.

Unfortunately, our cliff-hanging days were

not

over:

Box was designed to control QXl, would

tap.

Such

with, since dancers had synthesized score. Every day we felt we were closer

and

went with start correctly hours before ton's Box was cuits exposed I

was

considering booking an Mexico. a solution assembling

say,

son Minutes later, cert hall and were Every start was a winner.

two hours later, and presented a very clean per-

formance to

by

a successful

It must have been a strange sight for

our

first rehearsal with chorus four

One

major bug remained. Milton's

but

in its interface with

not

always start a new section

behavior was impossible for

on

many selections

to

start

to

a solution.

the

on

the

production was to start, Mil-

open

as

we tried

At

six o'clock I

had

not

the

parts

"Wait a minute, I just

we

an

enthusiastic audience, followed

run

Diary

the

with

the

first

Our

dress rehearsal

problem

two

on

been

had

hooked

of

persisting-it

out

of

three tries. Four

the

work

bench

to

find

the

afternoon

checked

found. Just as

to

close it up, I

rushed back

up to

We

opened

four performances.

output

in

had

of

the

Macintosh

on

the

first

us

to live

chorus

note

cause, while

to

the

of

would

with

flight

find

he

heard

an

idea."

the

system.

less

and

the

came

cir-

that

was

my

con-

than

the

to

Continued

concert self coming down the aisle in full dress. After the tor puter

it

the received by Through pended from the ceiling, FM synthesis blended of ence balcony.

now, and I am deeply involved in a project provide MIDI stations for use uate

1986; of corn's software, and Yamaha DX system keyboards.

My composition using a sampling synthesizer

added

instruments end

ning of

revolution in

audience to see

bow, I seated myself

at

a table

and

a little black box. Behind me were

flashing

the

my

finger

two enormous islands

80

singers to provide a physical sound experieven for patrons

The

gear has been

music majors

the

smallest

a Macintosh computer, Mark

Performer

next major creative effort will be a major

to

our

of a MIDI adventure,

what

from

page 14

the

conductor

in

front ot

on

which was a Macintosh com-

red

lights

of

the

TX816

stream

on

of

MIDI

on

the little white tap

the

with

the amplified voices

on

the ·last row

returned

beginning

of

these stations will consist

and

Professional

present battery.

a semester basis.

but I believe the

history

to

be

of

music.

data

being

of

speakers sus-

powerful sounds

to

by

our undergrad-

in

Of

We

This

only

the

most powerful

and

my-

the

conduc-

as

output

button.

of

my studio

Autumn

The

Uni-

Composer

to

are adding

is

not

the

begin-

it

of

the

to

of

be

the

20

AFTERTOUCHNol. 2 No.

12

Yamaha QX5 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual