Yamaha QX5FD User Manual

-

- -

-

- -

-

- -

THE OFFICIAL PUBLICATION

-

OF

-

--

-

THE YAMAHA USERS

GROUP

-

~TM

-

OCTOBER

1988

YAMAHA®

&

Function Sticker

II

DX7

who want a quick reference

users

II

DX7

All

be

can

functions

many

the

to

guide accessed via the number buttons mode should write to Yamaha and request a

function sticker.

II

DX7 be affixed to any area above the LCD display, directly from Yamaha. Write to: Yamaha Music Corporation USA, Division, Literature Department,

Buena Park,

6600,

RX5 Edit Guide

Yamaha Music Corporation an Edit Guide for the grammer. This detailed booklet provides clear explanations of the RX5's three most complex

Edit modes (Voice Edit,

The

Edit),

34-page

RX5

Pattern instructions to help you make the most of the musical possibilities offered

free from your local authorized Yamaha Digital Musical Instruments dealer.

The

unit

II

DX7

Digital Musical Instruments

90622-6600.

CA

DXll

an operations manual for its new system, which advantage of the musical possibilities of MIDI without requiring the musician to understand

MIDI's more arcane complexities, includes the

following Yamaha gear: the

FM digital synthesizer, rhythm machine, the QX21 digital sequence recorder, the REX50 digital multi effector, the KM602 portable mixer, and two monitor speakers.

step instructions to help use.

is Yamaha Digital Musical Instruments dealer.

RX5

Key

also gives

and

Edit Guide

that

(1-32)

sticker, which can

the front panel

on

available for free

is

System Operation Guide

Yamaha Music Corporation

Guide provides straightforward,

The

20-page

The available

USA

digital rhythm

Assign Edit, and

each Edit mode.

by

in Edit

Box

P.O.

DXll free

for

now offers

step-by-step

available

is

pro-

for

USA now offers

System. This

DX11

designed to take full

is

multi-timbral

DX11

RX120 digital

the

powered

KSlO

step-by-

in every phase of

you

System Operation Guide

from your local authorized

QX3 Demosoft

Yamaha Music Corporation USA a QX3 System Demosoft package. instructional material) in the package will allow you to demonstrate a complete Yamaha DMI

(Digital Musical Instruments) system. This tem Demosoft utilizes the QX3 digital sequence

digital rhythm programmer,

recorder, the

DX7

the

digital tone generator, and (optionally) the

FM DMP7 digital mixing processor.

The

voice/data instructions. essary voice data contains both digital system information for the

and an audio version of the demo.

RX5 page instruction manual offers complete, stepby-step playing the musical performance provided in

QX3 Demosoft package.

the

This QX3 Demosoft material

free directly from Yamaha.

TX16W

New

The digital wave filtering stereo sampler has been increased expands

more than

all, grouped in eleven series (by instrument

type).

Yamaha's new sound library for the TX16W:

100 200 300 400 500 Series: Mallet 600 700 800

900 1000 1100

RX5

digital synthesizer, the TX802

FM

II

(5

(3

and

of

(11 (3

disks)

3.5" a

the

disks)

11

disks)

(3

(5

package includes a

cassette,

floppy disk contains all

The

a Bulk Chain.

as

guidelines for setting up, loading, and

Voice Library

Yamaha sound library for the TX16W

a new offering

by

total Yamaha-created library to

the

disks. There are

100

a list

is

Here

Series: Strings Series: Series: Woodwinds (8 disks)

Series: Vocal Series: Keyboards

Brasses

Series: Percussion (

Series: Plucked String (4 disks)

Series: Synthesizers

Series: Performance (20 disks) Series: Sound Effects

now offers

data (an

The

floppy disk, a

20-page

is

of

76

series titles in

disks)

(3

set

cassette

The

available

disks, which

new disks in

sys-

of

nec-

20-

for

AFTERTOUCH!Vol.

2

10

No.

4

-

October

- -

-~~

1988

~~-~~==~§

Volume 4,

-

Number

Issue

#37

-

10

Editor

Tom Darter

Operations

Sibyl Darter

Production

Sibyl Darter Tom Darter

4

6

8

9

Questions & Answers

Answers to questions from readers.

QX5FD

An

introduction to Yamaha's newest digital sequence recorder:

A QXS with disk storage capabilities and

DX7 II Patch

"Asythelium by Manny Fernandez.

CSHarmnic,"

DX7 II Patch

"Digital Dancer Manny Fernandez.

10 David Bryan

An

interview with BonJovi's talented keyboardist.

Sibyl Darter.

13 Breath Controller

A primer for keyboardists: How to use controller.

By

14 Hot Tips

Reader tips for

a new DX7

CSHar,"

Denver

the

DX7 II, SPX90, and more.

a new DX7

Smith

other

new features.

II

performance created

II

performance created by

By

Tom

the

Yamaha breath

and

Editorial Board

Steve Deming Charles Feilding Bob

Frye Rick Huyett Mark Koenig

J.P. Lincoln

Phil Moon

Jim Smerdel Steve

Thatcher

Cover Photograph

Jim Hagopian Dee Dee Cawley

----

16 MIDI Mixup

What By

synthesizers

Tom Darter.

17 MIDI Matchup

Some basic MIDI connections to consider

By

Tom Darter.

19

~----~~

Yamaha

Help Yamaha

mailing

~

Survey

in

our short questionnaire.

No

part

of

this publication may

or

otherwise, without

do

not say to each

and

After Touch serve you better by filling

be

reproduced, stored in a retrieval system, the

prior written permission

other

via MIDI.

and

or

of

transmitted in any form

Yamaha International Corporation.

use.

out

or

by

and

any means,

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

7938.

POSTMASTER: Send form 3579 to P.O. Box

7938, Northridge,

91327-7938.

Vol.

4 No. 10/ AITERTOUCH 3

P.O.

CA

is

Box

91327-

pub-

Free.

cor-

7938,

CA

Answers To Questions From Readers.

RX11 and have enjoyed its sounds. I

an

I have

RX5 because of the extra sounds

bought and RXll to note assignment for the ride cymbal RXll Then patterns

the

bass, toms, and closed hi-hat sounds were all RXll, an added sounds were all

this

RX11

an

flexibility, and decided to dump all of my

patterns

make one adjustment, because

called

I noticed

RX5.

closer listening, I noticed

On

but

accent

situation,

sounds permanently into

into

sound

a bell

up

tom tom sounds

the

that

were still RX11 sounds coming from

could this be?

How

that

whenever I needed to change

that

extra tom hit, the newly

an

add

or

How

RX5.

of

all

dump

and

RX5 via

the

MIDI.

on

the

I had

MIDI

the

on

RX5.

the

on

the snare,

can I control

those

RX5?

the

great

I've

&

happening, but it

sible to decide exactly what

the patterns loaded into the

possible

is

are calling

the accents and other extra notes that you are adding are being altered Key that RXS

own

I onto original how?

using voices from both cartridges. What However, Department are working allow them to create custom

(from existing sounds) for RXS users.

research

to know how much this service would cost. If

you are interested in this possibility, send a let-

ter to the Yamaha Electronic Service Division (P.O. Box

6600), the service becomes available.

that

the basic sounds

on

Assign mode. In any case, please be assured

the sounds coming from the

of

all

sounds.

there

Is

RX5.

an

WRC02

the

ROM

There

you want to do

the

not

is

and you will be informed when and if

ROM

cartridge,

are some patterns I

folks

yet complete,

Buena

6600,

is

the unit, while

of

changes made in the

by

way to load a voice

any

cartridge from the

vice-versa?

or

want

currently impossible.

is

Yamaha Service

the

in

a system

on

Park,

that

ROM cartridges

there

so

CA

RXS

If

to write

would

The

way

no

is

90622-

are

so,

rhythm

digital

RX5

programmer.

AITERTOUCH/Vol.

4

tried to get help from Yamaha service people,

cannot

they

but this area, as happen. Let lutely impossible to load sounds from any other drum machine into the internal memory RXS.

RXS voices into the unit's back panel.

effects you think you are hearing. Without

ing and hearing the unit first hand, it

10

4 No.

Let

assure

us

The

to plug a

is

There are a number

offer me much assistance

supposed to

is apparently

it

me assure you,

hasn't happened.

you-it

to add extra voices to the

way

only

ROM cartridge of pre-recorded

ROM

of

not

has!

it

cartridge slot

possible causes for the

It

is

abso-

is

of

on

see-

impos-

I am writing a patch editor/librarian for the

1, to be sold commercially.

FB-0 complete my work, I need detailed working

FB-01,

information about

implementation.

MIDI

the

ual should suffice,

owners manual.

TX7

my

1 owners manual?

FB-0

in

To obtain or for any Yamaha DMI product, contact your local authorized Yamaha Digital Musical ment dealer. They can order one charge. Tell them to request the manual from

the

the DMI Sales Division of Yamaha.

In order to write an editor/librarian program

for the

the

than The the Yamaha Electronic Service Division: 800-854-3619,

FB-01,

found in the unit's owners manual.

that

documentation you need

the

it

if

owners manual

an

you will need more information

and ask for extension

especially about

The

is similar

can I obtain the

How

is

order to

In

owners man-

content to

in

FB-01,

the

for

Instru-

you, at no

for

available from

Call1-

1.

DX7s

digital

FM

synthesizer.

I recently purchased a Yamaha WX7 wind controller and a

TX81Z.

I have software

MIDI

update 1.6, which I thought would solve my problem, age note

but

it

hasn't.

What

happens is a volt·

surge when you change patches:

after a patch

change

sounds

The

like

first

it's attacked with great velocity; it seems to hap· pen to all of the patches, single if you blow very lightly into

or

multi. Even

the

wind controller, the first note after a patch change comes out

very loud.

Your

problem has nothing to do with software version, but rather with the way the two instruments interact via MIDI. If the volume switch for

WX7

is

turned on, the TX81Z

is

in Performance mode, and volume levels in the Performance are set When

you first select any performance, no vol-

at

99, the following happens:

ume message has been received from the WX7,

so

the TX81Z's volume

of99.

When

you play the first note, the TX81Z

is

set at the programmed

jumps quickly from the initial value of 99 to the volume

volume switch off Performance mode these solutions

!eve

it receives from the WX7.

There are only two solutions: either

on

the WX7, or don't

on

the TX81Z. Neither of

is

perfect, but they are

turn

the

the use

only

ones available.

I have a KX5 controller and a generator.

banks of 8 sounds. TX81Z set up to call

are

The

KX5 is set up to call up four

The

first

in

the

"I"

bank.

up

other

patches, including those

32 Can

TX81Z

voices

the

KX5 be

on

tone

my

in the Performance mode? The

KX5

sends

out

numbers

1-32.

MIDI Program

You

can customize your TX81Z

Change

to respond to these Program Change numbers in any unit's Program Change Table.

way

you like, simply

by

modifying the

The

procedure

described in the TX81Z owners manual. A step-

by~step

explanation of the process can also be

found in the Questions column in the August

1988

issue

of After Touch.

I

own

a DX7s. Is it possible to load mance DX7s using a

No, it ries of the those

data

from a

is

not possible.

DX7s

of

the

DX7

II

D/FD

RAM

or

ROM

cartridge?

The

Performance memo-

are completely different from

II

D/FD.

The

Voice memories are compatible, but the Performances cannot be:

The

DX7s

is

a single mode instrument (like the original for.

Therefore, it Split DX7

II

How notes

DX7)-that

and

Dual mode Performances

D/FD

on

the DX7s.

can I get my on

my DX7

is

what the "s" stands

is

impossible to recreate the

RX17

II

D? All I am looking for is

drum

a repetitive base line. The

procedure

is

described

on

pages the RX17 owners manual. Read the following sections Messages On/Off; nel

of

Assign;

the

and

manual:

5.4-MIDI

5.5-MIDI

5.2-MIDI Transmit

Note

Assign.

I have a

CX5M

music computer with a memory capacity. Is there any way a second use a YRM301 a

editing. Using the quantize in

lines the same timing.

32K

of memory to the unit? Also, I

MIDI

Recorder.

performance, I find

Note

On

and

What's

wrong?

that

Note

After

it

the

Off

often program

Yamaha never marketed an . expansion kit for

the CX5M; others were created, but

know of any that are still available.

As for

the

MIDI Recorder program: editing in the YRM301 treats Note Ons and Note Offs the same kind of information. Therefore, if the quantizing both the Note

is

half note, both events will be moved to the beginning of

On

that

is

set for a half note and

and Note Off fall in the same

half note.

To

avoid this prob-

lem, choose a smaller quantize value.

the

into

unit

25-26

Channel

Number

to

interface

entering

signal

we

Perfor·

my

of

the

to play

of

Chan-

32K

needs

just

at

the

don't

The

Vol.

4 No. 10/

AITERTOUCH

5

lntroduc

An

To·

tion Yamaha's Newest

Digital

Sequence Recorder: A QX5 With Disk

Storage

Capabilities.

..

YAMAHA

HEN

QXS

duced

W

recorder, it set a new standard for inexpensive dedicated hardware sequencers. Although cased in a small, unassuming package, the QXS offered very sophisticated MIDI recording and editing features.

QXS's only limitations

The MIDI sequencer were its memory and storage capabilities: memory MIDI data also recorded). However, the only this data for future use cassette using the unit's Cassette Store func-

or

tions, MIDI data recorder.

new QXSFD

The drive, which gives it almost unlimited data age capabilities. Even though any single bulk

storage

disk QXSFD's QXSFD's disk drive provides a straightforward

reliable way to save the contents

and QXSFD's memory

QXSFD's internal memory, like

The

the original QXS,

32 Macros, in which the QXSFD

20,000

recorded). create and store data for A single Track from given a one-character label (A-Z) to help you

remember the contents. A Macro can be thing from a musical phrase to a complete Track. (This means that, rather than a Track, you and necessary. )

song material (up to 8 Tracks and 32 Macros) plus the Setup Memory data associated material, all in one disk file. Each disk be given a name single disk of

notes

1

repeating a phrase over

"Call" it into

QXSFD's disk drive can store all

The

course, the actual number

the

original

The

could hold up to

that

(15,000

to store

Using

to

can

it

is

operation

internal

at

is

(15,000

this memory, it

capable

is

MIDI channels. Tracks can be

16

load it into memory

can

the

of

as

hold

FIRST

digital

QXS

notes if velocity data

to store it to a data

was

to disk using

equipped with a

is

memory

any time.

divided into

when velocity data

many

as

storing MIDI data

of

or

and

main sequence whenever

up to eight characters. A

as

many

of

INTRO-

sequence

en-

a professional

as

internal

an

had

of

20,000

limited

Program Change

99

notes

way

external

an

3.5"

by

capacity,

Tracks and

8

store up to

can

possible to

is

eight songs.

as

over

a Macro

as

file

different

that

files

was

to save

disk

stor-

the the

the

of

that

also

is

any-

of

part

the

of

that

can

files;

can fit

the amount of

a disk will be determined

on

you save.

data in each double-sided, capacity of

Although files are set up to store

QXSFD's internal memory, it

the to store portions of For example, stored to one file, the 32 Macros to another and the current Setup Memory to a third file.

As a matter

memory units can be stored to a single

tion. In other words, Tracks

one file, while Tracks

or,

file;

in a single sible to store Tracks single file (because they are memory locations). If you want to divide the memory this use two files-one for Tracks Macros tem allows for disk, there

Also, to speed up the data-entry/editing cess, the new QXSFD has a front-panel Data Entry Dial, which can be used for quick entry data, position, or settings.

Since the QXS and QXSFD are may be useful to describe the basic recording and editing features they have in common, fol-

lowed by (in each area) a description of the tures

Recording

As with the QXS, there are three different Record modes to choose from

Real Time Record, 2) Punch In Record, and

1)

3) Step Record. Real Time Record functions just like everything you time. Punch In Record Record, except and punch-out measures; the QXSFD will matically do the punching for you. This ticularly useful when you need play a QXSFD.

file

double-density

kilobytes per disk.

720

the

Tracks

8

the

fact, any group

of

5-8

plus Macros

1-8

Tracks

location. However, it

file

1-4

for storage onto disk, simply

way

Since the QXSFD's operating

1-2.

different

99

plenty of room for such groupings.

is

are new to the QXSFD.

that

analog tape recorder.

an

exactly

play,

you can set the punch-in

that

can't

and

part

by

QXSFD

The

memory to disk

of

1-4

are stored in another

1-4

plus Macros

not

1-4

file

on

you play it in real

as

exactly like Real Time

is

spare a

uses

with

disks,

data from

all

also possible

is

a file.

in

a Song can be

continuous

of

file

can be stored in

can be stored

not

is

1-2

continuous

and another for

locations per

similar, it

so

the QXSFD:

records

It

i!>

hands to

both

for

hand

3.5"

file

loca-

posin a

sys-

pro-

of

fea-

auto-

par-

the

a

AFTERTOUCH!Vol.

6

10

No.

4

The

Step

Record mode allows step-by-step

input

of

music data. and velocity panel. Rests deleted

and

can

tied.

Note

length, gate time,

be set from

the

QX5FD front

be generated, and notes

Note

data

is

input

can

be

from a

MIDI keyboard.

Also,

the

gate time, velocity, tie, and rest

parameters

can

be

assigned

to

any

MIDI controller. This means that, for instance, you can assign the tie parameter to a Data Entry button-every the Data Entry

time a tie

button

is

needed, you

instead of

the

can

use

QX5FD front panel. This makes it possible to control almost all

of

the necessary parameters in

Step

Mode from a master keyboard.

After you have finished recording, you are ready to take advantage sive editing capabilities. three levels in

2)

Measure Edit, and 3) Event Edit.

the

of

the

There

Edit Mode:

QX5FD's

are actually

1)

Track Edit,

exten-

Track Edit

is

where Track management takes place. Since recording and editing always take place

on

Track

1,

you will find yourself wanting

to do quite a bit

of

Track shuffling in order to make room for new material or to perform an edit.

The

includes

1)

Exchange

2)

Copy

Track

12

Jobs,

Edit

as

section

follows:

of

the

QX5FD

3) Track Down

4) Clear

5)

Cut

6) Insert

7)

Extract

8) Clock Move

9)

Thin

Out

10)

Shift

11) Expand

12) Recall

The

first

ten

Jobs in mode are almost identical to those In the Track Edit mode, you or

Macro

another

(Job

Track

Track to another Track or Macro (Job 2).

the

QX5FD's Track Edit

4),

Exchange

or

Macro (Job 1),

of

can

Clear a Track

a Track

or

the QX5.

with

Copy

The Track Down command (Job 3) allows you to merge two Tracks together.

As part Track Edit, there are three commands of cut-and-paste variety.

5) gives you the ability to measure another Track.

of

the Track management function

The

Cut

command (Job

cut

Track 1

and

paste

the

deleted section into

The

Insert command (Job 6)

at

of

the

any

takes all any With take virtually any MIDI

of

the

data in Track 1 and inserts it into

other

Track

at

the

measure you specify.

the

Extract command (Job 7), you can

data-including channel, control change, and tempo change data-and Track. This

move

it

from Track 1 to

is

helpful if a number of parts with different MIDI channel assignments have been merged to a Track and you want to separate one of

the

parts for editing.

Most

of

the remaining jobs in Track Edit are for changing data throughout a Track. Clock Move (Job 8)

is

for moving all of the events in a Track forward or backward in time. There are 96 clocks per quarter-note; so, for example, if you add 48 clocks an

eighth-note later.

to

a Track, all events will start

Thin

Out

(Job 9) ful feature for saving memory space. It cuts out about

half

of

any specified continuous control-

ler

or

pitch

bend

data.

Since controllers generate huge amounts can

thin

out

more

than

once

and smooth makes

sounding

it

possible

changes.

to

shift

Shift

channel, controller, or Macro data up or down. For stance, if you wanted two tone generators

different channels to play the same part, you

a

could copy the original performance to Track 2, then

shift Track 1 up

or

down to

another channel.

All

of

the

above Jobs are common to

original

QX5

and

the

new

QX5FD. QX5FD also features two new Track Edit Job commands:

Expand

(Job

11)

and

(Job 12).

Expand (Job 11) allows you to change the

Continued

MIDI

another

is

a use-

continuous of

data, you

still have

(Job

10),

note,

inon

put

it

on

both

the

The

Recall

on

page

18

QXSFD

recorder.

digital

sequence

-------~

Vol.

4

No.

10/

AFTERTOUCH

·---

----~-·

·---------

7

"Asythelium

CSHarmnic.''

ANewDX7

Performance

By Manny

Fernandez.

II

!

c

CSHarmn

um

i

I

the

Asy

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

voicto

shift

now

64)

fs (

t.ain

sus

foot

CS CS

1

2

tuning

svitch

[ctrl•

65)

(

14]

15)

ltoot

n

i

132

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ON

Off Off

~

A:

ON

POATAMENTO

ON

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NGLE

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99

COARSE COARSE

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modto

rangto

stoltoct

MIX

76

NOTE

1+--A+B--+1

0

ratt

32

1

60

2

45

3

36

4

ltonl

99

1

2 0

99

3

50

4

50

99

Notes:

great

far

Play

far

Activate

pad.

stereo

and of

Fernandez

Sound

far

Far

complete

the

on product

Unlimited,

Source

Olas

chards

machine

in

an

location

to

sustained

programs more line,

Way,

close-voiced

Play

octave

low

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9

B

Interview

An

Jovi's

With Talented

Keyboardist.

Tom&Sibyl Darter.

Bon

By

BRYAN

AVID

one

for

D

Bon Jovi. While David enjoys

bandslife and fun"

being a performer

name) group, ciplined, educated musician. many musicians rely enhance an

Bon Jovi album, leased. world tour with create (details below), and to play in concert Ampitheatre in time to share some moments with AfterTouch.

David's incisive and enthusiastic thoughts

how the musician, MIDI, and the microchip

interact

reading.

of role

player first. seven. I took piano lessons from thirteen the teen everything. I made it very clear little songs. practice and He That's how I approach my craft.

day.

down to 3 7 minutes. I have it memorized, don't

of

also

he

their reputation, David stands firm

advocate

David has been very busy lately:

Why don't

your

as

I'm

head orchestra leader

didn't want to waste his time or

You

Still And hour

jammin'!

of

addition

In

educational

an

(Soundcheck

today's rock music make for great

in

you

history

keyboardist

a

player/programmer.

a

That's

years.

years);

don't

way I looked

the

to

have

do.

you know,

required for the whole book? I got it

is

get slowed down

IS

popular

today's

of

(translating, loosely,

proud of his training

is

traditional keyboard skills.

New

the

Los

start

in music,

That

graduated from J uilliard

he

had

The

do good, get out

practice. I still do

just gets your fingers moving.

It

on

most

the

a successful

in

era where

an

In

magic of MIDI to

the

on

The

has just been

Jersey,

preparing for a major

to

group, David found time to

video for keyboardists

AIDS

an

Universal

the

at

'88)

Angeles. He also found

readers

our

telling

by

view

you

how

and

]ovi.

Bon

in

mean,

I

gig. I started piano

my

one

Hack (who

Mr.

was

radio for

NBC

at

to audition for this

there

not

was

I

that

you

message was,

at

the back page it

by

"If

my

of

it, and

turning pages. I'm

that

Hanan

says

"good

band's

a

as

charity

a

I'm at

guy

guy.

to

face."

my

is

that

rock

dis-

as

new

re-

on

little

your

age

for was six-

and

He

play

don't

time.

still

every

an

so

KEYBOARDIST

THE

I use a DX7

travelling.

touch response difference between a syn-

the thesizer and a piano. I used to feel know; but now, I think different keyboard makes you stronger.

don't

ano, I German make you stronger to be able to play different kinds

When first band, Transition, with still hang Combo, with two Ampeg B-15s, and a Piano/Hanky-Tonk/Harpsichord unit.

To finish up

together since

current band

together

got

about six months before

The

out. out last Sunday (September 18th). I did some

neat

really

us

Give

I did a little traditional stuff. I used a

mond organ, and found Jon Lord's

it up and juice through a Marshall stack and Leslies. I just used older keyboards.

a

(for me)

ogy Wurlitzer, with

it through two SPX90s

put

it, and it sounded new.

on

"Wow,

says,

"No,

say,

I

you

Are

I am

No, things. all. That's where sampling comes in. We'll ple

the tour

world are two different worlds.

is trolled atmosphere.

On

the

a controlled atmosphere. Live

What

I do most

I

like the KX88 because I'm a piano player; it works well for me

II

players are concerned about

Some

that

Hanan

to do

that

really like a light touch; I have a

home. But I think it does

Steinway

I

out

latest record,

stuff

some

taking

sounds they make, and bring them

that

your

is

at

keyboards.

of

thirteen, I started off with

was

friend

my

together). I had a Farfisa Deluxe

history, Jon and I have been

the

were sixteen.

we

know it (and

we

as

1983.

in

the

on

We

New

album this year.

And

you know it)

as

together

were

first record came

the

just shipped

Jersey,

examples.

guy

up from hell, and I got it going

it

know, sometimes technol-

You

taking two steps back. I used a

is

vibrato thing on; and

the

with different delays

then

And

DX7?"

a

that

is

the

it's

that

not

road, they're

the

The

way.

onstage

my playing

of

aD-50?

real

going

as

Is

thing."

road?

the

on

gear

travel

to

dependable at

not

live world and the studio

studio world

The

is

like?

setup

KX88. I really

the

on

a master keyboard.

hotel room when I'm

my

in

way,

on

On

Hanan

Steve

Univox

then, the

Ham-

doctor

to

then

everybody

And

those

with

sam-

non-con-

a

you

a

pi-

on

my

(we

for

I

on

On-

AFTERTOUCH!Vol.

10

No.

4

stage, I have two setups

ages

of

each other.

and

then

a KX88 with a DX7 other side, I have a Hammond another KX88 with a DX7 goes

through MIDI patchers,

On

that

are like mirror

one

side, I have a

II

on

C3,

top.

so

anything

top.

And

On

and

CP80,

then it all

can

control anything.

Backstage, I have a lot with MIDI: two TX816 racks, two whole bunch

A

whole

of

bunch?

Yamaha

of

units, connected

TX16W

samplers

TX802s,

...

A whole bunch.

Four?

Eight?

Twenty?

A lot. I must have

Anything

I

use

else?

two Roland

a Memorymoog (which soundple

I love Memorymoogs).

of

different piano samplers.

Do

you

have

Even though I like

of

my

playing, it

top. If there are a couple

song, it's just easier to reach my inches;

it

also gives me

at

D-SOs,

any

special

to

is

useful to have

least ten.

a Casio sampler,

is

like a staple

And

then

uses

for

the

DX7

and

of

a cou-

lis?

use the KX88s for most

the

DX7 lis

of

different parts in a

hand

up four

more

ways

to

step

through programs.

On

the

DX7

lis, I use mostly mode. After all, you get two DX7s in mance mode. I may even start using

the

Performance

the

Perfor-

Pan-

ning effects, because now I'm going stereo live. I've entered

cause you

the

stereo realm, which

can

spread things out; for piano it's

is

nice,

be-

nice just to spread things out.

Have

you

ever keyboard, instrument

or

sitting in

I like it in front

Let

guitar

players

do

thought

you

about

using

a strap-on

like

the

feeling

of

having

front of

you?

of

me. I'm a traditionalist.

be

guitar

players,

the

and

keyboardists be keyboardists. I guess it's all right,

but

ment-why

I'm

not

to try and emulate another

are you doing it? putting anybody down.

God

instru-

Bless

anybody who does anything they have in mind; I'm

not

the

smartest kid

saying

that,

for me, it's

pick up

standing

Did

the

damn piano, you know!

it

take

you

very

up

after

all

Yeah, actually it did,

moved up to the right level.

have

is

not

the

one

raised up. Last year

on

the

not

right. I never could

long

to

get

the

years

of

sitting

but

I've had everything

The

that

came with it. I had it

on

our tour,

block. I'm just

used

to

playing

at

the

piano?

CP80

stand I

we

did a song

where I would just sit down and play a little bit

of

blues piano: Just put my

control

the

pedal a little bit better.

standing, you've got to rest

butt

on

down

so

When

your left

I could

you're

leg

to

get some sustain happening.

Have

there

ever

been

times

when

nothing

seemed

im-

the

a

my

to

go

right

with

your

setup

on

stage,

on

had

to

get

through

No,

everything goes perfect all

(Laughs.

)

But to me, that's and do

260

the

gig?

I mean,

of

course things

the

sport

of

it.

To

dates, there's a consistency level. It's like being a professional athlete. You're ing to come

but some

out

some days and have a bad

of

those bad days are when you pull it

together and come out with your best game.

It's always

the

unknown. There are here. If you have a past track record, it proves something. It proves a lot, but when you walk

out

on

stage to play again, you

that. You'd better do your shit. That's where

piano technique and the practicing comes into play.

In

my new video,

a Rock and Roll Band" {from

"How

To Play

Hot

I deliberately start with piano technique, all those

Hanon

and Czerny exercises, just to get

your fingers moving.

What

are

some

of

the

subjects

you

that?

I move MIDiing close to what you want, and

sounds

sound, you

bells, and

you've got

And

boards

on

to how to build sounds,

keyboards together.

then

together.

just·

the

it.

then

and

If

you

want

take two synthesizers-one has

other

has

strings-and

I talk about how to blend

guitar,

which

has always

The

stack different

a

tough thing. I finally came up with a formula that

works {at least, with Richie and I it works):

If you are comping,

a melody; and if

then

the

other one

the

other

is

comping,

Continued

and

you

still

the

time!

go

wrong.

go

out there

go-

day,

no

givens

can't

rest

on

the

Keyboards in

Licks Video),

cover

after

by

just

idea

is

to get

bell/

string

with MIDI,

'

key-

been

a

one

is

doing

then

on

page

12

David

Bryan Soundcheck (Photo

by

playing

'88

Greg

jam

session.

Allen.)

in

the

Vol.

4 No.

101

AFTERTOUCH

11

do

both

also

can

don't

You

both

that

camp

at

way.

the

same

you're doing a melody. melodies, and have counterpoint

you

words,

other

In

time?

what you have to do

then

Sometimes, break comping, course, sometimes

about and

feel

fun. I'm worried about getting out there and having fun, and making music. I mean, that's what music all about. It's supposed to be a positive thing.

audience I'm hearing myself. As long you're connecting with people, That's like, platform?"

kind

up

the

At

six

then

like

No. Every opportunity I get to play, I have

not

I'm

what music's about. It's

"Whoa,

you

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thought?

of

Yeah.

last are the people

Let's

struggling

still

involved

right

you

to

it?

with

Everybody has had some difficulty, but when

in school I took a little bit of electronics.

was

I It's just a

If

really. controls it becomes easier.

People

so

things,

do,

to

it

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big

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Yeah, that's true. First of all, you have to ask,

do I want these two things hooked up

"Why together?" Simple:

you have

Then

have to ask,

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want

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the

but

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if

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when

we

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was

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were

you

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not

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hear me. I'm up there having fun.

can

of

lot

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think

do. But I

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MIDI.

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talk

it.

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instruments,

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or

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what."

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they

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of about MIDI, it's just

think

If you look at it

MIDI

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looking

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take

to

try

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consider

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Continued from page

controlling volume through MIDI, and whatever else you want to do. MIDI makes things easier, really.

hard. Especially with the

that

It's really

MIDI mergers and

is

now.

out together, and you number them. 1 controls 5,

of

6, and the old flow charts, it really makes it

But

stead

Right, which thing. brain (the computer: you have the actual keyboard, and then

is

what keyboard you want to control what brain. If you

What

there

out

One keyboardists almost like everybody Someone's got grams. I guess You've still got to get up there responsible for yourself. there

That's a

there

like, playing

There's

actually

Do

I wish I could give everyone a success formula in a bottle, but every formula and every bottle different. Shit, if I think back about how this

(Bon Jovi) was supposed didn't happen pen! yet, they've got a long way to make it, anybody can.

You you make it, and that's it. You've got to be headstrong, and work real hard, getting better at your craft. important part. I look he's just getting better. He's 82, and can blow

away,

me

There

besides being

not

MIDI patch bays

the

hook

just

you

Now,

2 controls 8. If you just look at it like

7;

instruments,

for

are

now

charts

flow

the

synthesizer

of

You

brain.

the

thnk

advice

who

thing

stage, you have

on

are

these

play. That's it in a nutshell.

have

you

for any person who hasn't made it

And

just keep going and going and going until

so

are so

modules.

basically

is

have a keyboard, and you have a

makes

that

part

With

about it like that, it's a lot easier.

have

you

do

trying

are

I see more and more with

that

there are fewer

that

is

play

to

advice

the

point.

good

many

so

the

sound). Like a

the

MIDI, it all depends

young

for

started

get

to

just a programmer.

is

somebody

what

is-traditionalism.

on

when you get up

And,

play.

to

sequencers

With

electronic

ways

days.

word: simulate. You've got to

the

strive

to

how

on

advice

happen,

to

supposed to

was

it

way

the

go;

That's

Horowitz; he's 82, and

at

to go.

I got a long

the

way

ingredients.

many

keyboard player, you've got to

Continued

that

everything

easy.

same kind

keyboardists

music?

rock

in

players.

pro-

stage and be

and

simulate

to

success?

for

sure

it

hap-

if I

but

try to keep

to

the most

mean,

I

page

on

11

are

in-

of

on

It's

the

is

can

22

AITERTOUCH/Vol. 4 No.

12

-----------------------------------------------

10

ITH

THE

INTRODUCTION

W

MIDI synthesizers, a whole new realm

ing possibilities has opened to wind players. The ments mean for keyboard players?

and expressive complements to the keyboard synthesizer ever introduced has overlooked. I am referring to controller (BC 1 using since the introduction much delight.

owners have yet to discover

ities the wonderment ofkeyboardists when I play brass or sax patches using I've had knowledgeable players search my synth

stack for a hidden sampler, or even make furtive offers backstage to buy Imagine using stock programs from

Using articulate a this or simulation!

breath controller effectively, but it does take a little practice. allows a lot

late with can brato, much like a conventional mod wheel. The control the EG bias

modulators, so you hold down a key until you blow into breath controller.

a wonderful example controller set to modulate EG bias all the you must blow into play the keyboard to produce sounds. will also become raspier, like a real sax, if you blow with more pressure.

WX7 and similar wind controllers for

current excitement over these new

is

certainly justifiable, but what does it

It

is

ironic

that

one

of

the

most revolutionary

the

or

BC2), which I have been

of

Even after all this time, it seems

the

musical capabil-

of

this device. I never cease to be amazed

the

breath controller.

that

"killer

their

surprise

There's

sax

You

really

the

breath

horn

can

transform a limp, unconvincing brass

patch

don't

use

real fun begins, though, when you

into

have to be a

The

of

flexibility in what you

the

breath controller; for example, you

it

as

a

"third

that

when

I tell

the

factory

no

great secret,

controller

patch like a real wind player;

an

amazingly

horn

Yamaha

of

there will be

The

factory patch

of

the

implementation

hand"

to introduce vi-

the

carriers and their

no

this.

With

breath controller and

OF H-iE

of

excit-

instru-

been

largely

Yamaha breath

the

DX7 with

that

DX7

my

horn

patch."

them

I'm

ROMs!

of

course.

allows

player to use a

one

realistic

can

modu-

use

it to

sound when

the

SAX

BC

the

breath

way,

The

tone

It's difficult to achieve realistic articulation

by

just

"blowing," learn to use late the flow

why the

best controller "ta").

and secure it with your teeth, you will be likely to spit it playing. A good beginning exercise

whole nating your breath attack with your fingering; gradually, increase quarter notes, and legato-like attack, try pronouncing the letter

at

"D"

(or saying

Two different tonguing attacks can be bined in a technique called Double tonguing attacks,

quite. difficult to achieve using alone. Begin with a standard the

"ta"

the tongue against the upper palate to form a

to

"K" (or ta-ka," it makes very rapid multiple attacks possible.

Double tonguing can be practiced like single

tonguing, achieve consistency between good preliminary exercise involves playing slow scales (as in the above drill) using only the

attack, of

the combine the legato (or

"ga")

Using tonguing in a musical way to articulate

a passage

simply blowing steadily while playing board,

is

achieve a slurred or legato effect between notes. Familiarize yourself with different techniques, because they are usually most effective when used in varying combinations.

An

often overlooked nuance

cutoff.

the

horn

players call it

way

is

to pronounce

If you bite down

note

scales

and

attack

"ka")

sound.

is

quite natural and easy to perform, and

but

as

it tends to be

"ta-ka"

sound, to create a

can

but

even this

When

playing short percussive passages,

and this

tongue

of

air into the controller (which

to start

out

accidentally while you are

slowly,

the

so

on. For a

"da").

is

useful for rapid, punctuated

can

enable

is

complete, move

The

great

care

the

pair. For legato double tonguing,

"D"

be vastly more expressive

is

why one must

to

start, stop, and regu-

"tonguing"). Usually,

the

flow

of

the

letter

on

the

end

and practice

frequency to half notes,

less

"double tonguing."

techniques

the

"ta"

combination,

must

the

two attacks. A

less

distinct member

(or

"da")

"da-ga" pair.

sometimes useful

is

Continued

air into the

"T"

(or

of

the stem

is

to play

coordi-

percussive,

com-

that

keyboard

attack; after

the

back

"ta-ka-

be

taken

"ka"

with a

the tongue

the

on

page

"G"

than

key-

21

say

less

are

of

to

A

Primer

Keyboardists:

is

How

The

To

Yamaha Breath Control ler.

By Denver

Smith.

For

Use

..

Vol.

4

No.

10/

AFTERTOUCH

13

The

Tips

DX7

Reader For

FD, SPX90,

More.

And

multi-effects

digital

SPX90

processor.

Once

Effects

Getting SPX90

II

By Matthew

built-in bonus

chorus and delay; when used together they can give you a polished and

best sounding chorus

it

focused sound. It just

old the pitch change (harmonizer) presets.

and set them + 8 left and the basic formula for pitch change chorusing), you can still add the delay information. Because the pitch the Stereo delay

delay times for left and right channels, and you

get a stereo chorus effect at the same time!

take at least two effects processors to achieve. The is

The

both high

effects-in-one approach. In each case, I have

described

number

Two

Gurman

it can be done.

Yes,

in the pitch change function.

is

the two most useful effects around are

far,

By

have a sweep time, and has a very

not

does

SPX90

This means

This

also the option

Here are three setups

has adjustable delay settings

that

only being affected

is

delay you add will

possible

is

a huge sound

is

effect can also be used to mono, and these

higher you set the balance level, the deeper

effects will be. Setting the balance too

detune the delay.

can

effect, followed by

the

which

from

At

key to this useful

The

"produced"

a harmonizer chorus,

is

happens

so

if you

still

by

multiple repeats (echo).

of

was constructed,

it

that

"detune"

8 right (which

by

sound

setting two different

would normally

that

utilize this two-

that

One

From

The

sound.

as

the trusty

all

on

two pitches

microtones,

pitch.

on

preset

the

and

finally the relevant parameter and front panel values.

& Delay (from preset

+8

ms

60.0

-8 ms

180.0 C3

100%

& Echo (from preset # 21)

+8

ms

10%

C3

100%

Level:

& Delay (from preset

+8

ms

60.0

-8 ms

200.0 C3

100%

#22)

is

Chorus

Stereo

Pitch: 0

L L Fine:

L Delay:

Pitch: 0

R

Fine:

R

Delay:

R

Key:

Base Balance: 30%

Output Level:

Chorus

Mono

Pitch: 0 Fine: Delay: 265.0

Gain:

B.

F.

Key:

Base Balance: 30%

Output

Chorus

1 Pitch: 0 1 Fine:

1 Delay: 2 Pitch: 0 2 Fine: 2 Delay:

Key:

Base Balance: 30%

Output Level:

#23)

AFTERTOUCH/Vol. 4 No.

14

10

Portamento

II

DX7

Turn

Footswitch Pedal

The

By Alan Handley

I developed a lead-synth patch

needs portamento to

that

FD

similar to

(the sound "Lucky Man" Problem: the patch, it seems

is

by

After setting the portamento time in

that

Emerson, Lake

you still have to use a

that

Without

On

my

on

constantly

on

be the solo sound in

of

Palmer).

&

Using

DX7

II

pedal plugged into the portamento

after

switching to

the

Footswitch 2 jack to

on

(or plug in a dummy

the

desired patch). Since I

W'

turn plug

a strap-on keyboard controller and am phys-

ically away from

not

practical. I could assign

on

my keyboard

my

DX7 II, these options are

one

of

the

controller

to

act

buttons

like

footswitch via MIDI, but they are already being used for

other

things. I needed to switch

to

patch via a MIDI Program Change command and have the portamento already

on

with the

patch.

To

solve the problem, you have to use a Performance memory. Enter Edit mode and press the

FS

I

CS

cutton

"Foot

switch (64-67)" display. Now, available selections (of Sustain, Soft)

function means

that

the

Portamento

expect it to function in Wrong! the only when means

operates

With

programmed

the

that

the

constantly-no have constant Portamento, store your mance memory with Portamento will have constant Portamento

switch to

One

that

other note: Portamento, for Footswitch 2, sibilities are

"Off"

fore, choosing

(Sustain,

effect

Key

on

Portamento

and turning it

(

#

2 7) until you reach

the

Key

Hold, and

as you

effect does

is

also in this group, you would

Portamento,

pedal

would

not

function. Since

the

same

"On"

Portamento

is

effect operates

engaged, while "Off"

expect:

way,

means

programmed Portamento effect

pedal required.

Perfor-

"Off"

and you

as

soon

as

sound.

Only

one

choice (Sustain,

Key

Hold,

or

Soft)

can

be made

so

the

other

( unchosen) pos-

for

that

Performance.

one

of

the

other

Hold, or Soft) will have

as

choosing Portamento

"Off'

for

the

patch.

There-

possibilities

the

other

"On"

right?

that

So,

you

same

Using DXll

The

and A

Note

TX81Z

Assign

Feature

use

the

By Stephen

The

vides a very effective way

C.

Note

Assign feature

Ogden

on

to

together and double the number

the

have available.

one

TX81Z to respond only to odd MIDI

Using

Note

Assign, you

Numbers, and set the second TX81Z to respond only to even MIDI units

can

be set to

you

16

notes

the

messages from the same MIDI channel.

I bought a DX11 to

was

very disappointed, initially, to find DX11 would playing internally.

Assign setting

Note

Numbers; then,

the

same patch, and will give

of

polyphony when responding to

go

with my TX81Z, and

not

respond to

It

when

Note

only responds

dealing

with

MIDI note messages.

However, it

this function, using

is

possible to take advantage

the

DXll

as

in conjunction with one TX81Z, simply

to

ing a couple

First, set

of

MIDI cables.

the

DX11

and TX81Z up identically,

including voice, performance, and setup data.

Then,

set one unit's

set

the

other

trol

"Off"

on cords connecting to the MIDI IN the

MIDI

THRU

of

the DX11.

of

polyphony. Remember,

DX11

is

now responding to its own MIDI mes-

sages,

so

care must be taken to edit

Note

Assign to

to

"Odd."

the

of

You

Finally,

DX11.

the

MIDI

the

TX81Z, and connecting

on

the TX81Z to the MIDI IN

turn

Now

OUT

now have access to 16 notes

though,

Change Table accordingly.

With

the TX81Z

pro-

use two units

of

notes you

can

Note

both

that

the

Assign when

to

its

Note

incoming

the controller

by

add-

"even"

attach

of

the

Local

MIDI

the

DX11

that

Program

and

con-

the

A

set

of

TX81

Z

generator.

FM

digital

tone

Vol.

4

No.

10/

AFTERTOUCH

~---

-----~~----

---

----------

15

..

What thesizers Not

Syn

Say

Do

To

Each Other Via

Tom

MIDI.

By

Darter.

most

UNDOUBTEDLY

IS

IDI significant development

M

electronic music; it

history

most confusing. Widely touted language" Instrument dreams that allows all MIDI-equipped instruments municate with each not any

instruments what notes share various kinds of information mits musical nuance (through Velocity data, Controller data, and cannot Yamaha DX7 they create their sounds in essentially different ways. MIDI gap.

ferent kinds a little more explanation. Let's look concrete examples. Both the Oberheim

ing (or emulating) brass ensemble; however, accomplish this task ways, and must be programmed in completely different ments of

have a filter changes using digital Frequency

of

for synthesizers, MIDI (the Musical

Digital

interactions

of

are simply impossible. Even though MIDI

change

of

MIDI

Since synthesizers

and the Yamaha

12

DX7 II,

the

digital FM).

A very important part of tion what These are messages

instruments

by "exclusive"

transmit transmitting a System Exclusive message. products

the

these instruments.

allows various

to

an

make

II-although

cannot

instruments, this point may need

of

ways:

Matrix-12

the

on

(it

MIDI language, if you will) involves

(the

called

is

to

voice

that

Interface)

between

some level, it does

on

other

fundamental characteristics

electronic

communicate

play, and also allows

like). However, MIDI

the

Oberheim Matrix-12 act like a

both

(and does not) bridge this

imitate

can

have

II

DX7

sound

the

completely different

in

most important

the

of

One

its multi-mode filter;

is

hand, doesn't even

other

the

creates comparable timbral

the

"System Exclusive"

only be understood

can

that

a specific

of

set of instruments. If you

that

from a DX7 II, you are

data

belong to

the

recent

the

in

the

also one

is

as

on

are synthesizers,

ways

a trumpet or a

of

two instruments

MIDI specifica-

type-they

exclusive club of

of

"standard

a

conjures

instruments

the

that

so

Modulation-

up

com-

to

musical

level

them

trans-

dif-

many

few

a

at

Matrix-

imitat-

of

ele-

messages.

are

Only

of

of to

6-operator, FM digital Yamaha instruments will

the

use

"understand"

to

able

be information.

Therefore, if you send a DX7 Roland the likewise, a DX7 of MIDI. their sounds in essentially different MIDI

similar

If you MIDI, Both instruments use FM technology to create their sounds; however,

ator digital instrument, while

4-operator digital instrument (and generators different ways).

data, they have to create sounds in essentially the share voice data with a DX7 II, and vice versa:

Both units share the same basic approach to synthesis. Notice, however, a mance memories, Microtuning, and

is one

possible to send it original

memories, it won't know what

data.

through

instruments; however, it

It

scheme

speak

pletely different instruments

basic musical information. And,

that

D-50 via MIDI, the D-50 won't have

slightest idea of what to do with the data;

won't have

II

to do with a

what

again,

Once

cannot

Even synthesizers

order for two synthesizers to share voice

In

same

number

possible to send a Performance

DX7

other

In

not,

is

the

Still, MIDI

is

change

cannot

ways

a

sent

DX7

the

of

way.

new features, including Perfor-

of

to another via MIDI, but it

II

is

DX7

words, MIDI

the

in

for instance, a cosmic translation

allows all electronic instruments to

that

same language

an amazing breakthrough.

D-50

two synthesizers create

the

that

share voice data over MIDI.

DX100

That

is

patch

won't

II

the

two units operate in essentially

why

is

original DX7. Since the

an

to

equipped with

not

history

a system

and

patch to a

II

slightest idea

the

patch sent to it via

ways-and

fact.

create their sounds in

a DX7 II via

to

data.

understand

DX7 II

original DX7 can

an

that

an

is

electronic

of

not

is

every level.

on

that

to

the

6-oper-

a

is

DX100

the

envelope

the

DX7

the

memory from

Performance

do with

to

amazing

musical

than

more

allows two

the

share

said above,

as

is

has

II

like.

not

is

the

break-

that.

com-

same

a

It

10

No.

AFTERTOUCH/Vol.

16

-----------------------------------------------------------------------------------------------------------------

4

Ml

KAY

SO

MIDI

Instrument

O

everything. much easier to understand how to take advantage of

the

a short explanation of some of MIDI can't do, see the "MIDI Mixup" column

on

the facing page.)

As David Bryan points out in this month's artist interview, MIDI allows another electronic instrument. Using MIDI, it is

board of one synthesizer and have another syn-

thesizer also play those notes (as if the keyboard

one

possible to play a group

Digital Interface)

Once

that

many things

electronic

of the first synthesizer

the second).

Even though this

communication

incredibly

basic level sible for an electronic musician to create massive layers ferent electronic voices combine in a perfectlytimed resorting to the difficult and time-consuming process over and over to create timbre.

"MIDI Magic" require very little extra equipment, and very little technical knowledge. In

order

controller/slave options, all you need are two MIDI-equipped electronic musical instruments and two MIDI synthesizers you own, the following tips should help you start taking advantage of the many possibilities they offer.

the MIDI master (which means

will be the MIDI slave).

(but MIDI cable, connect designated master keyboard to your designated slave instrument.

performance)

of overdubbing the same musical phrase

The

most basic effects made available by

to

take advantage

one

or two MIDI cables.

Start

by

important)

In

the

early days

offered by

important.

of

MIDI communication, it

of sound (in which a number of dif-

picking

MIDI

of

(THE

message gets across, it

that

is

basically a system

instrument

of

was

also

is

just

the

Using only this most

in

real time,

the

of

one

of your instruments

Then, connection:

the

MIDI

MIDI,

MUSICAL

MIDI

can

the

things

to

notes

on

the

keyboard of

most basic level of

MIDI,

desired (layered)

the

basic MIDI

No

matter what

that

make the basic

OUT

the

MIDI IN of

the

next step might

can't

do. (For

that

control

the

key-

it

is

still

is

pos-

without

the

other

Using a

of

your

do

as

have been difficult (because early MIDI instruments sometimes had very vague instructions

is

regarding MIDI implementation); these days,

no

however, there should be

the

MIDI instructions in the owners manual

your "master" instrument, set

mit

on

MIDI channel

instructions "slave" instrument, set MIDI channel

Now, when you play "master" instrument, the "slave" instrument should respond other

words, you are "playing" two different synthesizers from the "master" unit).

To clarify this process, let's example: Let's assume two

DX7

the

specific steps needed (after cable connection). Starting with the "master" DX7

II

1)

Press the Edit button; then, press the MIDI 1 button ( # 31) until the display appears.

2)

Using parameter.

3) Using the data entry keys, set

value to MIDI channel

Next, follow these steps

unit:

1)

Press the Edit button; then, press button display appears.

2) Using the cursor keys, select the "Rev parameter.

3) Using value to MIDI channel

At

this point, you should be able to "play" instruments from DX7 II.

Of

course, it

communicate in a number of possibilities will be Matchup" columns.

in

II

synthesizers via MIDI, and outline

unit, follow these steps:

the

cursor keys, select the "Trns ch"

(#31)

the

data entry keys, set

1.

the

owners

1. on

by

producing

one

keyboard (the keyboard

that

until the

the

keyboard of

is

also possible to use MIDI to

the

subjects of future "MIDI

problem. Using

the

Then,

using the MIDI

manual

that

unit to

the keyboard of your

the

same notes.

use

you are connecting

the

"Channel

the

1.

on

the

DX7 II "slave"

"Channel

the

1.

other

unit to

trans-

of

your

receive

a concrete

initial MIDI

messages"

"Trans ch"

the

MIDI 1

messages"

ch"

"Rev

ch"

both

the

master

ways.

These

Some Basic MIDI Connec tions To Con sider And

of

By

Tom Darter.

on

In

of

..

Use.

-----------------------------

Vol.

4 No. 10/ AFfERTOUCH

-------

----------

17

-----·--

Continued from page

7

total length (time) possible

to

change

Macro from 50%-200%,

When

you Record, Measure Edit, or Track

Edit,

the

original buffer. If you decide editing

was

a mistake, you

of

a Track or Macro.

the

length

of

in increments

data

is

saved

that

your recording

can

use Recall (Job

a Track

of0.1

in

a Recall

12) to call back your original data. In addition to these new Jobs,

mand (Job

2)

also has a new feature. Copy Notes feature, you of

the

source Track

that

already exist in

possible application

copy

the

notes

to

the

destination Track.

of

this feature would be

from

an

can

the

Copy

Using

copy

the

note

rhythms and velocity

accurate

but

pressive Track to an enthusiastically played

inaccurate Track. Measure Edit

Measure Edit lets you edit specific regions within a Track. QX5FD includes

1)

Copy

The

Track Edit section

11

Jobs,

as

follows:

of

2) Delete

3) Remove

4) Shift

5)

Quantize

6) Transpose

7) Velocity

8)

Gate

Time

9) Crescendo

10)

Create

11) Reverse

The

first

ten

Jobs in

mode are almost identical to those

With

Copy (Job 1), you

sure

or

measures to be copied

the

Track. So, if you want a four bar phrase repeat eight times, you bars and

Delete (Job the to fill

then

use Copy

2)

Track and moves all subsequent measures up

the

gap.

the

QX5FD's Track Edit

of

the

can

choose any

onto

the

end

can

record

the

first four

to

build up the Track.

takes selected measures out

Remove (Job 3) lets you specify just about

any

kind

of

MIDI

data

and

take

it

out selected measures. if you like and, unlike Delete,

You

can

even remove all data

the

blank

sures will remain. Along these same lines,

ate (Job

signature wherever you want in

'10)

inserts empty mesures

the

of

any time

Track.

It

%.

or

com-

the

data

One

to

unex-

but

the

QX5.

mea-

to

of

mea-

Cre-

is

or

Most

of

the

remaining jobs in Measure Edit are for altering the recorded data: Shift lets you change all data

specified measures.

You

of

a specific type in

can

use Quantize (Job

5) to clean up any timing errors in a measure or group of measures. Transpose (Job 6) lets you change all MIDI

note

numbers in a Track up or down. Velocity (Job 7) lets you increase decrease all velocity values. (Job 8), you

can

increase or decrease all note

With

durations.

Crescendo (Job 9) allows you to gradually change ties, either positive number

,of

measures. "Repeat

is

a very useful feature:

Note

or

negative, over a specified

and and panning effects between two MIDI sound generators can be created with Crescendo.

All

of

the above Jobs are common to

original

QX5

and

the

new

QX5FD. QX5FD also features a new Measure Edit Job command: Reverse (Job 11). This command allows you measures possible Aftertouch data, Pitch

to

invert data values within specified

of

Track

1.

Using

this command, it

to

invert

Note

data, Velocity data,

Bend data, and Control

Change data.

In

addition to this new Job, the Quantize command (Job 5) also has a new feature. Quantize Duration lets you control note durations in a very specific

keeps

the

simply moves

note

the

same distance.

it

is

possible

notes,

so

way.

Normally, quantization

duration of

the

original note, and

beginning and

With

to

quantize

that

they will all be multiples

the

this new feature,

duration

same specified timing. Event

Edit

The

of

Event Edit mode makes it possible to edit

virtually any part of your performance.

mode, Aftertouch, Mode change, sive (this Tempo

you

can

individually

Pitch

Bend,

Program change, System

one

can

be fun), Macro calls, and

changes,

as well as move Measure

Control

marks.

The

QX5FD comes with

manual

that

includes a comprehensive tutorial

an

extensive owners

section. For more information, contact your cal authorized Yamaha Digital Musical ments dealer.

(]

ob 4)

Gate

Time

On

veloci-

fade" effects

both

the

The

end

of the

of

the

In

this

edit

notes,

change,

Exclu-

lo-

Instru-

or

It

is

all

18

AITERTOUCH/Vol.

4

No.

10

OTH

YAMAHA

B

priority

on ing to do a better job continue to achieve this goal, you. Please help ing questionnaire.

AND

AFfERTOUCH

customer satisfaction.

of

meeting your musical needs.

we

need

by

taking a

When

few

moments to fill out

you have finished filling it out, sim-

put

a very high

We

are constantly striv-

To

to

know more about

the

help

follow-

us

ply pull it from the magazine, fold it together in thirds, tape it closed, and drop it in

the

outside.

Everyone returning a

later

than

November Third Anniversary synthesizer.

The from all eligible entries. (Please, only person-no winner

facsimiles will be accepted).

will be

the

mail.

Be

sure our address shows

completed

23rd

Prize-a

questionnaire postmarked

will be eligible for the After Touch

DXll

multi-timbral FM digital

winner will be chosen

announced

in

the

January

by

random drawing

one

questionnaire per

The

Anniversary Prize

1989 issue

on

no

of

After Touch.

While we invite surveys from all After Touch readers, employees

and

its subsidiaries are

The

After Touch Prize drawing is open to residents of the United States.

restricted

by

state, and local taxes are

l.

Age:

0 under

0 18-24 0 25-34

2.

Sex: Omale

not

eligible for

the

After Touch

law,

license required, or subject to tax (other

the

sole responsibility

18

Third

of

the winner.

0 35-44 0 45-55

0 over

of

Yamaha Music Corporation

Anniversary Prize drawing.

than

tax

55

Void

on

the prize awarded). All federal,

USA

where prohibited,

0 female

3. City geographically closest to you:

0 New

York

0 Miami 0 Philadelphia 0 San Francisco 0 Atlanta 0

Los

Angeles

0 Chicago 0 Seattle

0 Houston

4.

Occupation (check one):

0 Professional musician 0 Technician/Engineer

0 Office/Sales worker

0 Government employee 0 Military

5.

Income (in 1987): 0 under 0 $15,000-24,999 0 25,000-39,999

6. Education:

$15,000

0 attended high school 0 high school diploma

0 attended college

0 Educator

0 Student

0 Industrial worker

0

Other--------

(please specify)

0

40,000-59,999 0 60,000-74,999 0 75,000 or more

0 advanced degree 0

Other-------

(please specify)

0 college degree

7.

Music education: 0

1-2

years 0 6-10 years

0 3-5 years 0 more than

8. Describe your electronic music background/ education.

10

years

What

9.

types of music do you play most often (check all that apply)?

0 Rock 0 Blues/Soul 0

Jazz

0 Pop 0

0 New

Other-------

Wave

0 Classical (please specify) 0 Country

What

10.

kinds of instruments do you own (check all that apply)?

0 Synthesizer 0

Bass

Guitar

0 Tone Generator 0 Acoustic Drums/Percussion 0 Sampler 0 Acoustic Strings 0 Electronic/Electric Piano 0 Woodwind 0 Acoustic Piano 0 0 MIDI Controller 0

Brass Other--------

0 Drum Machine (please specify)

0 Guitar

11.

What

kinds of accessories/ effects do you own (check all that apply)?

0 Mixer 0 Harmonizer unit 0 Sound/PA system 0 MIDI multiple-effects device

0 Instrument stand 0 MIDI processor 0 Reverb unit 0 MIDI junction box 0 Digital Delay unit 0

Other--------

0 Chorus unit (please specify)

0 Phase/Flange unit

12.

What

is

your primary

use

of this equipment?

0 personal enjoyment only 0 semi-professional musician 0 mostly personal; some 0 professional musician

performance

13.

Approximately how much did you spend in the last twelve months musical instruments and equipment (check one)?

Less

than $1000 0 $5,000-$9,999

0 0 $1,000-$2,999 0 $10,000-$19,999 0 $3,000-$4,999 0 $20,000 or more

14.

What

kinds of music software do you own (check all that apply)?

0 Patch Editor/Librarian 0 Synchronization 0 Sample Editor 0 MIDI Monitor 0 Sequencer 0

Other--------

0 Notation (please specify)

15. How much did you spend less

than $50 0 $300-$500

0 0 $50-$99 0 more than $500 0$100-$299

16. Of the following items, how important

musical instrument?

Price/Deal offered Manufacturer quality Sound quality Product availability Manufacturer warranty Service/Repair Brand name/reputation Product features Manufacturer support Product versatility

endorsement/ usage

Artist East of use/versatility

Other--------

1

7.

(please specify) Where do purchasing (check all that apply)?

you

get information

on

software in the last twelve months?

is

each to

you

Very Important

0 0

0

0 0 0 0 0 0

0

0 0

on

Somewhat

Important

0

0 0

0

0 0

0

0 0

0

0 0

instruments you are thinking about

0 Artist endorsement/usage 0 Retail salespeople

0 Dealer newsletters 0 0 Magazine

ads

0 Magazine articles/reviews 0

TV

/Radio

0 Music teacher

Other---------

0 Newspapers (please specify) 0

Other

18. Circle the most important source in the above list.

musicians

on

when buying a

Not at all Important

0 0 0 0 0 0

0

0 0

0

Continued

Vol.

4 No. 10/ AFTERTOUCH 19

19.

What

music magazines do you read?

Circus Electronic Musician Guitar

Player Keyboard Keyboard World Modern Keyboard Music, Computers, Software Music Technology

Musician Rolling Stone Spin Other--------

20.

21.

22. Where did you get this issue of After Touch?

23.

(please specify) Circle the magazine in the above list What

is

most important to

0

how-to columns

0

Yamaha QX5FD User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual