Yamaha RX5 User Manual

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THE OFFICIAL PUBLICATION

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OF

THE YAMAHA USERS

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GROUP

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MARCH 1987

GVAMAHA®

Editor

Tom Darter

Operations

Sibyl Darter

Editorial Board

Bob Frye
Bill

Hinely

Mark Koenig

Jim Smerdel

Cover

Photograph

Jim Hagopian

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March 1987

4

ENTRANCE

A new DX9 voice created by Eldon

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--~---~i=~ErS

5 MIXECHO

A new DX9 voice created by Eldon

6 ANALOG STRINGS 1

A new DX9 voice created by Dawn Livingston.

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Volume, 3, Number 3

Issue

J.

Cheramie.

J.

Cheramie.

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-

-

#18

7 STARLIGHT

8 QX5

10

1 7

18 Brs'n'Wind

19

AFfERTOUCH
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CA

©1987

Yamaha

RX5

Dark

DX

International

SPARKS

A new DX9 voice created by Peter Van der Zee.

of

Part two
QXS digital sequence recorder.

An

introduction to Yamaha's new digital rhythm programmer.

By

Tom Darter.

Voice

A new TX81Z Performance setup created by Michael
Huisman.

A new TX81Z Performance setup created by Michael A.

Huisman.

Music Sessions

A new educational booklet and cassette tape for use with
OX 100

Corporation.

phomcopymg,

No

part

recording,

a detailed, two,part guide to creating music with the

By

Scott

Plunkett.

and

DX2 7 synthesizers.

ofchis

publication

may

or

otherwise,

be reproduced, stored in a retrieval

wtthout

the

prior written permission

system,

or

of

Yamaha International Corporation.

transmitted in

any

form

A.

or

by

any

means,

From

The

Editor

FTERTOUCH
issue,

A

new Yamaha product,
programmer.
depth
recorder.
From After Touch readers, four new patches for
the
TX81Z FM digital
the
After Touch).

Also,
readers
AfterTouch/Yamaha
response was most gratifying.
sent in a completed questionnaire will soon be
receiving a Yamaha T-shirt.
the
YCAM System) in

Finally, it
important
subscriptions,
Yamaha

AfterTouch readers may be very familiar with
the

procedures regarding all

we

still get many questions
month
that
vice you want
goes:

Warranty
received a
complaining
subscription because they recently purchased a
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but

still

our initial (1985) mailing was developed from a

we

You

look

at

And,

DX9, plus some special

cover subject

we
who

winner

all

of

information

product

from newer readers. I want to make sure

of

you

number

that

haven't

MARCHES

take a close look

the

will also find

the

new QXS digital sequence

as

promised, 4-operator patches:

tone

generator (which was

of

the

February 1987 issue

want to

is

know

as

Cards & AfterTouch:

thank

participated

Reader

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Grand

the

next issue.

time yet again to reprint some

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on

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an

ON!

In this

at

yet

another

RXS

digital rhythm

part 2 of

new

the

in
Survey. Your

All

We

will

Prize (a

back

of

these items, but

these topics every

an

issue. It

our in-

voices for

thousands

the

of

you who

announce

complete

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Longtime

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We

After Touch

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of

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3 No.

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AFTERTOUCH 3

every

on

DX9

ENTRANCE.
ANewDX9

Voice

J.

By

Eldon

Cheramie.

0 OFF

~~

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These DX9
voices

can

also
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all of Yamaha's

6~operator

digital

FM

syn~

thesizers and
tone generators

(such

as

the

DX7, DXS,
TX7, TX216,
TX816,

DXl,
11

FD/0),

ply

TFl,

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by

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sim~

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QX5

A Detailed
Guide To Cre
ating Music
WithTheQX5
Digital
Sequence
Recorder, Part

2.

By

Scott

Plunkett.

T

..

that
arranging options. In Part 1
the
plored some
unit,
configuring tracks
work.
will look
our compositions using tracks and macros, and .
will also take a close look
most powerful features. (For a brief descriptive
overview
cle
After

Alternative

one
are working
capable
channels, you
limitless

approaches
sents
layout from last
this
a song;
song.

different parts
is

similar
last
rather
song
month,
method
musical idea
on
You
adding

see if it will work

When

Track 8

of
arrangement will eventually look something like
this:

HE

YAMAHA

Recorder

offers a wide variety

February 1987 issue

and

In

on

Touch.)

The

possible way

an

method);

Some

month

on

before you have decided

may want

you are finished, you

the

Track 1
Track 2
Track 3
Track 4

is

of

discussed

this

month's

at

some alternative ways to organize

of

the

the

QXS

Track

approach outlined last

with

of

containing

can

number

to

instrument in a composition

2) Each track represents a part in

and

3) Each track represents a complete

musicians find it

of

to

the

to

than

put

different

you

put

can

be useful

that

the

bass, drum,

and

begin working

song.

Using

blank
blank
intro
verse 1

QXS

a sophisticated MIDI sequencer

of

the

important features

one

and

organizing your musical

installment (Part 2),

QXS, see

in

the

December 1986 issue

Configurations

of

configuring tracks

the

QXS. Since

data

configure

of

ways.

track use: 1) Each track repre-

month's

a song

on
macro recording technique used
build

up

the

individual sections

macros,

them

on

when

you want to arrange

to

work

on

and

better

as

this

Digital

of

AfterTouch),

possible approach to

at

a few

the

from all 16 MIDI

them

There

installment illustrates

convenient

different tracks. This

the

as

different tracks.

you have a short

on

a 16 bar "groove,"

keyboard parts to

a verse

can

on

approach,

Sequence

composing

of

this article

of

introductory arti-

month

each

in

are three main

drum

described

a song structure.

or

as

put

this part

another

and

(in

we

ex-

of

the

we

the

QXS's

is

only

when

you

track

an

almost

(the

track

to put

track. But

of

the

last

This

and

work

a chorus.

on

section

the

track

of·

is

Track 5
Track 6
Track 7
Track 8

While this
nient, it
memory.

consider

parts,
always, try using a combination
macros
efficiency.

If you
mance, you

This

track.
song by turning tracks
each

song
tempo.
tempo changing, though,

Tempo Memories to set

used tempos before

The

use

is

critical when you are putting entire songs

on

each track. Try to avoid including too many

songs with dense arrangements. Make extensive

of

macros, and use

use
Edit) and
whenever possible to take

If you
songs ( 1 for
you will

at

some point.

ory

but

sette,

data

is

involved, there will need to be a short
break in
much

faster
a computer
sequences as MIDI System Exclusive bulk data.
Devices like
allow you to load new songs more efficiently.

The

MDF1 uses a

System

MIDI
MIDI device.

songs quickly into
groups).

Auto

Locate

In last month's installment,
Punch In Recording.
can

help you further automate this process. As
mentioned last time,
punch-out points may be specified
sure in

the

chorus 1
verse 2
bridge
final chorus

method

can

also waste a tremendous amount

If

you

to

get

the

want

to use

can

makes it possible to go from song to

you

You

can

only potential problem

Thin

Out

need

the

each

need

to load

since this

the

action

and

more reliable solution

or

special disk drive to load the

the

Yamaha MDF1 MIDI Data Filer

Exclusive bulk

With

song. These measures are indicated

& chorus 2

of

writing can be conve-

have a number

putting

best mix

put

must
avoid having to do too much

track) during a performance,

them

the

complete songs

on

and

also

the

each

performance.

the

(Track Edit) commands

out

QXS

to

play more

the

new songs into mem-

You

can

can

take fairly long if lots

while

the

2.8"

Quick

the

MDF1 you

the

QXS (individually

The

Auto

the

actual

of

repeating

in

macros. As

of

tracks and

of

convenience and

QXS in live perfor-

on

each

off. As you select

enter

the

proper

by

using

the

three

most commonly

is

that

memory

Remove (Measure

unnecessary data.

than

eight

tape load from cas-

QXS

is

loading. A

is

to

use

Disk to store

data

from any

can

load

or

we

discussed

Locate function

punch-in

as

and

any mea-

of

of

in

8 AITERTOUCH!Vol. 3 No. 3

~

~~---------~---~~~~~~~~~-

by

F3

and

F4

in the LCD display.
specify a measure before
point

from

which

playback will begin.

"pre-roll" measure

is

represented by

the

You

actual

can

punch-in

F2

in

LCD display.

Switch the

the

Punch

Auto

Locate function on, call

Record mode,

and

press

Start
initiate recording. Playback will begin from
F2

measure, and recording will begin
measure. Recording will stop
point (the

F4

measure).

Auto

at

at

the

the

punch-out

Locate will also

work with the Realtime Record mode!

Event

Edit

One

of the most powerful features of

QXS

is

Event Edit. In this mode you

almost any part

tain types
marks-can

Once

you get acquainted with

sibilities

of

of

data-macro
only be

that

Event Edit offers, you will find it

the

recorded MIDI data. Cer-

calls

inserted

can

change

or

relative tempo

in

Event

the

musical pos-

invaluable.

Make sure you have recorded something

Track

1,

and enter Event Edit

Tempo/Event Edit

button
Shift. (This puts you in
Event Edit.) In the Search mode, you
backward or forward in
and right buttons

(F3

the

and

For each event, you will see three
separated by
LCD.

The

dashes-on

first number indicates
measure, the second number tells you
within

the

measure, and

clock number.

There

are 96 clocks for

by

pressing

while holding down

the

Search mode

can

track using

the

F4).

numbers-

the

top

line

of

the

current

the

the

third number

quarter-note. Measure marks also appear

also

This

the

the

F3

the

Edit.

on

the

move

left

the

beat

is

the

each

at

the

beginning

of

each measure, so

that
know where you are. If you need to
notes, you
will play each
you to step through

can

press Start/Enter,

note

as

it

the

is

displayed.

track

and

notes you might want to change or delete.

to

Once

you have found a
change, press
appear over
LCD,
Change
actually alter

The

enter

the
note. Use
to move
position in
when

you want to change the time feel of a
slightly within
a little too

the

Job

button

the

M in

the

upper left corner

indicating

mode

that

you have

of

Event Edit. This

the

data.

first thing you are able to edit when you

Change
the

the

the

mode

is

left

and

right buttons (F3 and F4)

event backwards

track.

This

the

track.

If

much

on

top

of

the

is

you played the

note

(F1). A cursor will

location of the

or

forwards to any

particularly useful

the

beat, you
move it back by about 5 clocks and give it a
more relaxed feel.

When

you press the Cursor

cursor will move down to

10

types

the

cursor

of

of

are

When

select any

insert a macro call

Note

On

command, you
right buttons (F3
You

can

then
cursor/F2
number,

and

of

events

is

on

the

10. For example, if you want to
on

and

F4) to select MACRO.

move

the

button),

enter

insert it into

button

the

event type. There

that

can

the

event type you can

the

same clock

can

use the left

cursor

the

proper

the

track.

As you scroll through the 10 event types,

notice

that

right

the editing options

of

the

display are different for each type.

on

Continued on

you always

hear

the

and

the

QXS

This

allows

locate any

you want to

of
entered
is

the

where you

note
note

can

(F2),

the

be changed.

as

your

and

(using

the

macro

the bottom

page

the

20

QX5 digital

recorder.

sequence

Vol.

3 No.

3/

AITERTOUCH 9

RXS

An

lntro

..
duction To
Yamaha's
New
Rhythm Pro
grammer.
Tom Darter.

RXS
programmer.

Digital

digital

..

By

rhythm

W

newest digital
As many

seen

new
Yamaha.

Each
cal step forward. Obviously, though, some new
instruments embody a greater leap forward
others.
represents a major

sound quality

the
represents a major advance,
much

a new planet.

This

the

decessor,
access to a
offered
The
pled drum sounds and

(edit) those sounds

More importantly,

an
RX11 could be "played"
board
allowed
However,
mance could be stored
memory.

ELCOME
rather, welcome to

of

the

introduction

professional

new

The

original DX7. However, if

more-something

is

new

RXS

the

nothing

new

RXS

impressive

via

MIDI,

the

none

The

TO

THE

the

rhythm

you may have noticed, 1987 has

product represents a technologi-

DX7

and

especially obvious if

are compared to those
RX11.

number

offers

RX11 to respond to MIDI velocity.

new

programmer,

of

a significant number

musical

II

FD/D

digital

advance-in

performance versatility-over

the

on

the

The

RX11 provided easy

of

percussion sounds,

in

the

way

of

both

higher-quality sam-

the

ability to reshape

on

a number

the

RXS

MIDI

implementation.

by

and

this

MIDI

of

this MIDI/keyboard perfor-

in

the

RXS

both

FUTURE!

world

of

Yamaha's

the

RXS.

products

FM

terms

the

RXS

order

the

sound shaping.

of

is

equipped with

an

external key-

RX

11

responds to and

from

than

synthesizer

of

both

DX7

II

represents

of

a trip to

features

of

its pre-

levels.

The

connection

's internal

Or,

of

FD

of

but

records input from a MIDI keyboard. In
words, with
rhythm
board,
shadings.

Sound

When
important to understand
RXS offers access

sounds: 24 sounds stored in

internal memory, 28 sounds stored in

ROM

in

sounds available via

These 64 sounds

the

24 instrument buttons
panel.
correspond to a total
which
on

the

instead,

output

12

shown in

The
which means
each
And,
put

channel
64 voices
grammed
assign any voice to any
nels, it

the

RXS

it

is

possible to program

sequences from

complete

Overview

dealing

Data Waveform cartridge, and

The

24 instrument buttons (in pairs)

can

be accessed via

back panel. If

the

stereo location

channels

the

accompanying diagram).

RXS

is

capable

that

of

its

output

while two voices assigned to

cannot

can

be included

pattern.

is

possible to create patterns in which

an

external MIDI key-

with

velocity

with

a new planet, it

the

basic layout.

to

64

different percussion

the

the

Copy function.

can

be assigned to any

on

the

of

12 output channels,

the

12

the

stereo outputs are used

of

each

is

fixed (based

of

12-note polyphony,

it

can

output

one

channels

sound

Also, since it

one

simultaneously.

at

the

as

part

of

the

(or

instrument's

RXS's front

output jacks

on

sound from

the

same time, all

of

is

output chan-

the

one

the

same out-

any pro-

possible to

other

pitch)

is

most

plug-

12

more

of

setup

The

of

the

10 AFTERTOUCH/Vol. 3

-

No.3

-------

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

INSTRUMENT{

[][J[][]LJ[]LJDDLJ[]D

KEYS

INTERNAL

VOICES

CARTRIDGE

VOICES

RAM

almost any group
same time (up

controlling
in

the

DLJLJ[][][]LJ[]DLJLJ[]

801
802

803

T1mpn

Pos•l•on

Vo•ce

Cp1
801

to

The

RXS's front panel has 12 sliders, for

the

output

of

the

so

S02

S03

FM

pre 1

Cp2

so

voices

limit

levels

stereo mix. If you

RIM1 E

1

RIM2

Cga HMT
DXmrmb

Cp3

1 RIM 1

can

sound

of

twelve).

of

the

connect

CgaHop

T1mbiH

at

12 channels

some

of

ouput channels directly to your mixer (via

individual
channels from
front panel sliders all
nels' outputs will still appear
output

The

memories
called up into

There

Play/Edit memory, which correspond to
lowing:
ROM voice memories, and

of

RX5

When

are a total

the

output

the

the

individual

Memory

the

RX5

(Internal,

the

jacks), you

stereo mix by setting

the

Layout

is

internal Play/Edit memory.

of

64 memory locations

can

way down.

at

output

turned

ROM,

remove those

full level

jacks.

on,

and

24 internal voice memories,

the

12

The

the

various

Copy)

the

Copy

chan­at

in

the

memories.

When

you first take
its box,
tain copies of
voices (see

Copy locations

sions
can

the

the

of

some

be used

12

Copy voice locations will con-

the

accompanying diagram).
can

of

the

to

store
voices. This function
uses:

You

may want to have two copies

the

first

instrument

12

of

the

24

out

Internal

These

be used to store edited ver-

original voices. Also, they

copies
can

of

the

original

have a number

of

Tom

1

Tom 1

Cp4

Tom

1

the

the
the

the

the

are

the

fol-

28

voice

of

of

the

you

E Tom4

8go

FM pre 3

Cp7

Tom4

can

HH

clos

HH open Cup

LO

Ago

HI

Cstnt

Cp8 Cp9

HH clos

on

different

(for instance) overlap

Edge

Ago LO GlsCsh

Whstl Gun

OX

clav

Cup

output

chan-

the

E Tom2 E Tom3

Tom

2 Tom3 Tom4

CgaLO
T1mbl

CpS Cp6

Tom2 Tom3

8goHI

L

FMprc2

same cymbal voice
nels, so

that
sounds for a more natural ride cymbal feel. Or,
you may want to copy a pitched voice to
ber

of

channels, so

by

played
ber
sound,
available
assign any

the

that

each

is

monophonic.) Using

in

Key

of

put channels, and to any

that

you

can

same instrument sound. (Remem-

voice, since it

is

a single, sampled

Assign mode, it

the

64 voices to any

of

the

anum-

create chords

the

functions

is

possible to

of

the

12 out-

24 instrument

keys.

In its Sequence memory,
up to 100 patterns (numbered 00-99),
can

be combined into 20 songs (numbered 00-

19). Beyond this, songs

up to 3

The
half-notes ( xx/
(xx/32),
of
can
which
ume change,
chain
one

Pattern

Chains

Each

(numbered 0-2).

pattern

basic beat for any

and

the

the

pattern

consist

can

can

of

up to 999 segments,

consist

or

can

consist

of

which

is

a song.

Writing

Basic

pattern

can

2)

to
number
range from 1 to 99. Each song

of a pattern,

a tempo change. Finally,

of

writing

the

RX5

can

can

be combined into

consist

pattern

of

up to 99 bars.

can

range from

thirty-second-notes

of

beats for

each

each

a repeat, a vol-

up to 90 segments,

on

the

RX5

store

which

bar

one

each
each

is

very

of

Chtna

Crash

OX

Cp10

Crash

arch

Tambrn

Claps Cowbel

Hey

Wao

Ooo

Cp11 Cp12

Claps Cowbel

This

chart

preset

output

ments

for

able

on

the

This

chart

position

assigned

RX5

's

12

shows

channel

all

64

RX5.

shows

output

Shaker

CUica

E

bass

E

bass

the

factory

assign-

voices

the

stereo

to

each

channels.

H
L

avail-

of

the

DDDDDDDDDDDD

OUTPUT

CHANNELS

STEREO

POSITIONS

{

DDDDDDDDDDDD

1

t

8

2

t

9

3

t

9

4

II;,

12

INSTRU~fy~

5

'\

10

6

6

,.

Vol.

10

~

11

3 No.

11

Jf

5

3/

AITERTOUCH

12

t

8

11

7

,

4

...

13

8

9

3,.

RXS

Continued

straightforward,
Series
time signature
you simply
the
instrument keys, you
of
cise time location
mined
level
voice's volume level setting.

assign two different accent levels.
possible
least three different sound levels for
ment
whenever
of

instrument keys
stored (via
voice combinations

use

voice as part
VERSE button.
on, and any instrument key you play while

RXS
effect

The

2 8

voices

available

on

ROM

tridge

RX5.

Waveform

that

comes

Data

with

the

Car-

the

12 AFTERTOUCH/Vol. 3 No. 3

as

it has

been

of

instruments.

enter

START

the

of

For

voice.

the

Also,

in

button,

24

voices assigned to

by

the

Quantize value,

each

note

each

instrument sound, it

to

program

The

an

instrument key

Accent

Level buttons ( 1

three

Key

Assign Job

the

Pattern

If you want to use

of a pattern,

is

in this mode will play

is

memorized

1 :

SO

3 Snare Drum

2:

BD

3 Bass Drum

3:

CgaHMT Conga (High Muted)

4:

CgaHOP Conga (High Open)

5:

CgaLO Conga (Low)

6:

BgoHI Bongo (High)

7:

BgoLO Bongo (Low)

8:

TimbiH Timbale (High)

9:

TimbiL Timbale (Low)

10:

AgoHI Agogo (High)

11:

AgoLO Agogo (Low)

12:

Cuica Cuica

13:

Cstnt Castanet

14:

Whstl Whistle

15:

Timpn Timpani

16:

GlsCsh Glass Crash effect

17:

Gun Gunshot effect
FMprc1

18
19:

FMprc2 Synth-percussion (medium)

20:

FMprc3 Synth-percussion (low)

21:

EbassH Electric Bass Gtr (high)

22:

EbassL Electric Bass Gtr (low)

23:

DXorch Synth-orchestra

24:

DXmrmb Synth-marimba

25:

DXclav Synth-clavinet

26:

Hey Vocal Sound

27:

Wao Vocal Sound

28:

Ooo Vocal Sound

Once

and

bar length

Real

Time

and

can

enter

of

the

notes will be deter-

will be determined by

patterns

two accent levels are accessed

different layouts for

can

be pre-programmed

#07),

can

be called up quickly for

Write mode.

the

simply press

The

REVERSE light will come

as

part

Synth-percussion (high)

on

all

of

the

you

determine

of

the

pattern,

Write

mode, press

begin.

Using

notes from any

the

keys.

The

and

the

volume

is

possible to

This

makes it

that

involve

each

instru-

is

struck while

or

2)

is

pressed.

the

so

that

various

reversed sound

the

in

reverse.

of

the

pattern,

RX
the

the

pre-

each

at

one

24

and

of
RE-

the

This

and

does

not

effect

the

basic voices

or

keys.

If you want to

note

given

in a pattern-if,
want to create a
cymbal

voices-you

tion by pressing

shorten

"choke"

can

the

DAMP

the

duration

for instance, you

effect with any

engage

the

button.

damp func-

The
light will come on; now, whenever you press
instrument

ping
restrictions set by

An
only operates
pattern-if

try to play
response.
just disengage

the

DAMP

key,

it will have

the

sound

of

important note:

on
you press
the

instrument keys, you will get

Don't

think

the

key again,

the

effect

that

voice (within

the

Quantize function).

The

DAMP

notes already recorded into a

the

DAMP

that

DAMP

and

key and simply

the

RXS
function
everything will be

it was.

If you

do

not

want to write patterns in real

can

use

the

Step

Write

time, you

case, you move through a

(with

to

the

by

the

Quantize value),

enter

a complex

want

time

mined

a

to
want

ing, you may

worry about your manual dexterity. If you

size

of

to use

pattern

the

pattern

the

mode. In this

one

steps being deter-

and

do

with exact tim-

Step

Write

Key Assign Mode

When

writing

patterns

using

front panel, you will obviously be using the 24

much

instrument pads. Therefore,

of

writing

patterns

(both

in real time

of

time) will involve interaction between
tern

Write

(since this
ment
sible with
mode while
you

can

Assign edits)

mode

and

the

is

where

the

status

keys

is

determined). Fortunately, it

the

RXS

to move into Key Assign

in

Real

Time

judge your

in

the

new

voice choices (or

context

Key Assign mode

of

the

Write

mode,

of

the

pattern

are writing.

#01,

you

Using Key Assign Job

the

voice assignments for any

ment

keys.

This

makes it possible to call up dif-

ferent instrument voices for use

More importantly, you

#02

Job
of
an
can

(Parameter Assign) to alter a number

aspects

of

instrument

adjust

the

pitch

•

the

sound

key.

following parameters:

For

can

of

any voice assigned to

each

instrument

can

of

the

in

any pattern.

use Key Assign

• level

instrument

of

any

of

the

DAMP

an

of

stop-

the

time

function

no

has died;

by

pressing

as

step

at

not

have

mode.

the

RXS's

the

work

and

in step

the

Pat-

24 instru-

is

pos-

so

that

Key

you

change

24

instru-

key,

you

a

---

-~-~ ~

----

•

attack

• decay
of

Each
pattern

these sound edits

memory,

and

does

is

stored as

not

alter

part

the

of

basic

the

voice.

Whenever
from Real
tion

is

disabled,

on

will

your

next
you have already entered.
your

next

Time

Write

Time

Write

out

various edits to a basic sound in

of

the
choice,
pressing

you move

Time

continue

Write

but

to

into

mode,

the

pattern

play, so you

voice addition relative

move, you just have

key again,

mode. It

pattern;

re-enter

the

appropriate

and

is

therefore possible to try

once

you

the

Real

Time

Key Assign mode

the

Record func-

you are working

can

determine

to

the

sounds

Once

you decide

to

press

the

on

Real

you are back in Real

the

context

have

made

your

Write

mode

button,

and

begin

by

entering notes again.

Also, if you want
changing pitches,
voice to

the

entire top row

it

to

enter

is

possible

a voice

of

instrument keys,

to

part

assign

with

one

using the Multi Voice function (Key Assign Job
#03).

Once

a voice
instrument keys, you
of

values for pitch, level, attack,
the total range
make

other

minute alterations

eters

of

each

(Key Assign Job

effect

can

be achieved using a MIDI

to a velocity-sensitive keyboard

key,

of

using

is

assigned to

can

12

keys.

the

#04).

the

top row

of

assign a graduated set

or

decay over

In

addition, you

to

the

Multi

Step

Of

course, a similar

can

param-

function

connection

(which

will be

explained in more detail below).

Pattern

move through a
number

event

Pattern

events in a pattern; or, you

instrument voice,
notes

the

Editing

In

the

Pattern

Edit mode, it

pattern

of

important musical values for

in

the

pattern.

mode, you

Once

can

and

that

involve

For any

note

that

event

in a pattern,

following parameters:

pitch

•

is

possible

note

by

note,

and

you

enter

step through all

can

select a specific

step

through

voice.

you

the

of

only

can

to

edit

each

Edit

the

the

edit

• level

• attack

• decay

• reverse

Notice that, although most

on/

off

of

these parameters

correspond

those available

in

the

to
Parameter function (Key Assign Job
this mode they alter
not

the Voice

instrument key

They

are therefore

eters set using Key Assign Job

Jobs

#02,

#03,

It

is

also possible

pattern

to

another

the

that

is

to

which

independent

specific

playing

the

note

the

voice

of

#02

and

#04.

to

change any voice in a

voice, using Utility Job

note

or

(Change Voice).

Edit

Voice Mode

If you want to transform

sounds beyond

the

edit capabilities offered by

the

RXS's basic

the Key Assign parameter change functions,

you

can

perform

much

more extensive voice al­terations in the Edit Voice mode. Using this
mode, you

Any
key
(using Edit Voice Job
picked
change the following parameters

•

can

pitch

can

create entirely new sounds.

voice

that

is

assigned

be called

into

the

#01).

the

voice you

want

to

Edit

Once

to

an

Voice

edit,

of

• envelope

•

pitch

bend

• level

• loop

on/

off

at

each

one

Let's take a closer look

of

parameters:

Pitch

(Voice Edit Job

you

to

adjust

the

total range

of

five octaves (from minus two oc­taves to plus three octaves).
can

be made in increments

1

/w

of

a

a semitone).

Envelope (Voice Edit Job

the

Key Assign mode allows you

Attack

and

Decay values for

pitch

#02):

level

of

Pitch

of

10 cents {equal

the

This

the

voice over a

adjustments

#03):

to

RXS's voices,
this Job in Edit Voice mode gives you
more

control
since it allows you
parameters

for precise

to

of

the

adjust up

voice's

envelope

to

six different

envelope:
Rate, Decay 1 Rate, Decay 1 Level, Decay 2
Rate, Release Rate,

and

Gate

Time

accompanying diagram).

each

Initially,
correspond
change

that

the

the
shape

voice will display values

to

its

own

natural envelope. As you

envelope values, you will notice

of

the

sound

can

be altered quite

dramatically.

Key Assign

#02),

in

only,

and

or

the

is

assigned.

the

param-

Edit Voice

#04

instrument

mode

you have

you

can

the

sound:

these

edit

Job allows

to

Although

adjust

the

much

shaping,

Attack

(see the

that

Continued

Vol.

3 No.

3/

AITERTOUCH

13

RX5

AR

= Attack

= Release

generator.

Rate

Rate

for

Voice

RX5

D1

L = Decay 1 Level (parameter

RR

Edit

parameters

's

envelope

Continued

(parameter

(parameter

the

editing
determines

excluding the Release Rate.
Time
milliseconds (6.5 seconds), which
maximum value for
shape for

mined completely by
Rate, Decay 1 Rate, Decay 1 Level, and Decay

2 Rate. If you want to take advantage
Release Rate parameter, you must shorten the
Gate

Also,
last
basic sample. If you want to extend
of

the

on

(Voice Edit Job

Pitch Bend (Edit Voice Job
allows you to introduce a
sound
increments
semitone).

Voice

RX5

's

Edit

pitch

parameters

bend.

ORIGINAL

PITCH

for

the

I

0

1--

a::

pitch
the

Bend
Rate

1)

D1

R = Decay 1

3)

D2R

5)

GT

= Gate Time (parameter

One

of

the

the

envelope

the

setting for all

the

initial envelope

Time

or extend

note

that

as

long

as

the

voice, you must

of

the

voice. Pitch

of 1 cent

The

to which the

original

---,

pitch),

----0.01
(fixed}

Rate

= Decay 2

(parameter

Rate

2)

(parameter

6)

4)

most important parameters for

is

the

Gate

Time. This

overall length

of

the

the

the

the

of

the

envelope-

The

initial

original voices

is

Gate

Time.

The

is

therefore deter-

settings of the

Decay Rate values.

Gate

is

6500

also the

overall

Attack

of

the

the original sound can only

information provided

turn

the Loop function

the

by

the

duration

#06).

#04):

This Job

pitch

bend into the

is

raised or lowered in

Range

note

while

cent

(equal

setting

is

to

sets

bent

(starting from

the

Rate

FINAL

PITCH

TIME

Vwo

the

setting

of

final

affects

the

time value for the
accompanying
Range

can

be

as

down.

The

Pitch Bend Rate settings are 00-60,

with

higher
pitch bend.
or there will be

numbers

The

no

Level (Edit Voice Job

diagram).

much

Rate setting must be above 00,

pitch

pitch

bend (see the

The

Pitch

as

60 semitones up or

creating

a more rapid

bend effect.

#05):

Like the Level
parameter in Key Assign mode, this Job allows
you

to

adjust

the

·over

a range

voice

is

Loop

plan

to

you must

give

the

The

sample

(looping)

output

of

00-31.

turned

off.

On/Off

expand

turn

(Edit Voice Job

the

the

Loop function

RX5 increased sound data

sound

the

tail

volume of the voice,

At

the

00 setting,

#06):

overall duration of the voice,

on

to

is

expanded

end

of

by repeating

the

sample

decreasing sound level. This operation

initially

sounds (such

Once

you have created

create

as

some

the

cymbals).

of

the

longer voice

an

edited Voice, you

to

can save it using Edit Voice Job
Voice). This function actually stores
edited voice in
place

of

the

that

the
permanent
nal

voice,

(Initialize Voice).
voice back into
of

the

edited voice.

the

RX5's Play/Edit memory in

original voice. Remember, though,

original voice still exists in the unit's

ROM

memory. To restore the origi-

simply use Voice

This

will bring

the

Play/Edit memory, in place

Edit

the

MIDI Functions

the

Like the earlier units in

rhythm programmers, the RX5

a

respond to input from a MIDI keyboard; and, if
the keyobard
that

you trigger will vary in volume according

is

velocity-sensitive, the sounds

RX family of

can

be set up to

to how hard to play your MIDI controller.

The

accompanying

note numbers

that

in the RX5 when it

chart

shows the MIDI

are assigned to the 64 voices

is

shipped from the factory.
As you can see, all 64 of the RX5 voices can be
played simultaneously from a MIDI keyboard.
Also, if you compare
number assignments to those
units, you will see
ments are compatible. (For a
MIDI

note

assignments

the

RX

Series article in the September 1986

sue of After Touch). This means

the

RX5's MIDI

of

that

the RX5

chart

of

the earlier units, see

that

the earlier RX

note
showing the

terns recorded into a MIDI sequencer

Bend

If you

in order to

deal with.

with

is

used

#07

(Store

the

new,

Job

#08

original

note

assign-

RXll

pat-

can

the

is-

be

14

AFTERTOUCH!Vol. 3 No. 3

played

by

the

RXS

with

no

problems.

is

not

However, it

necessary
sequencer to record patterns
RX5

from a velocity-sensitive MIDI keyboard.
is

This

because

the

RXS

can

to

when

record

use a MIDI
playing

the

perfor­mance from a MIDI keyboard, complete
velocity shadings, directly into its internal
tern

memory.

There

are actually two different ways

which

the

RX5 will respond to MIDI

bers:

The

Note

Number
(described above),
With

the Tunable

an

RX5

use
for a MIDI keyboard.

and

the

Tunable

Note

mode, it

instrument voice

The

selected voice
able over a full 5-octave range,
board performance will be stored
pattern
you perform
easy to record bass lines
parts into

memory, following

on

the

the

keyboard.

and

the

RX5 using its pitched _instrument

note

Assign

Note

is

possible to

as

a sound source

and

the

in

the

pitch

changes

This

makes it

other

instrument

mode
mode.

is

RXS's

voices.

In

Tunable
responds to MIDI Program
64 program numbers
II

FD/D

correspond exactly to

ment

voices
possible to program a
an

external MIDI Keyboard:

RXS

going in Real

can

you
from

call up any

the

Note

mode,

Changes-and

of

(for instance)

of

the

RX5. In

pattern

other

completely from

Once

Time

Pattern

of

the

voices (one

MIDI Keyboard using

the

the

words, it

you set

Write

the

RXS

the

64 instru·

mode,

at

a time)

Program

Change keys.

of

In addition to all
related functions,
features. Using
(MIDI Job

#07),
velope parameters
velocity.

When

the
slower velocities,
the decay will be shorter. As
played

with

increasing velocity,

becomes quicker and

the

Also, if

RX5

the

RXS

the
the keyboard
other

words,

can

be controlled directly
held down
tion (from
the

Gate

the

RXS

Both

DAMP

is

being played from a MIDI keyboard,

will respond to

as

well

the

Gate

on

the

both

the

Time/DAMP
into its internal
the

Note

these MIDI keyboard-

the

RXS

offers two

the

E.G.

Velocity

it

is

possible to affect

of

the

RXS's voices by MIDI

keyboard

the

attack will be slower and

is

the

other

played

keyboard

the

the

decay becomes longer.

button

as

to

Time

keyboard.

is

Note

Off

Note

On

of

the

by

how long a key

All

of

engaged while

messages from

messages. In

RXS's voices

this informa·

E.G. Velocity function

function)

pattern

number

Assign

is

recorded by

memory.

and

function

the

attack

the

the

with

pat·

num-

play-

key-

also

the

DX7

the

new

en-

with

and

Tun·

*802
*SD2

RIM2
E.TOM 1 43 (G1) *TOM 1 53(F2)
E.TOM2
E.TOM3
E.TOM4

*HH

OPEN

in

RIDE(EDGE) 63
CHINESE
TAMBOURINE

*SHAKER
COPIED VOICES

CARTRIDGE VOICES 1 - 28:

able

Note

functions

work,

#04.

however,

MIDI Job
can
receive function must be

#01),

Job

and
must be set (using MIDI Job
in

a programmed

note

numbers-these

as

those programmed in

function-and

sign
be assigned to

is

MIDI Job

Data

Storage

When

#03).

the

RX5
information used by
memory

(thanks
which has a life
This

information includes all Voice data, all

Sequence

data

their

(Patterns, Songs, and Chains),

44(G#1)
49(C#2)
46(A#1)

42(F#1)
41

(F1)
40(E1) *TOM4
59

(82) *HHCLOSED

(0#3)

61

(C#3)

58

(A#2)

56

(G#2)

Cp01-

Cp12:

are

programmed

Before these MIDI functions

the

Channel

turned

on

the

MIDI Receive channel(s)

#02).

pattern

will also ouJput MIDI

numbers will be

the

Note

these MIDI

own

is

turned

the

to

the

of

approximately 10 years).

note

MIDI

channel

off, all

machine

small battery inside,

and all basic Key assignment and MIDI assign-

ment

data.

Even so, there are many reasons why you

want

may

is

other

options for
may want to create
songs

than

want

may
ferent Voice edits;

to take advantage

data

and

the

basic memory will allow;

to

experiment with a number

or

of

the

storage: For example, you

record more patterns or

you may simply want to
have a backup memory just in
never be too careful
ing copies
a

is

number

of

of

when

it comes to maintain-

you musical work.

alternative

methods

The

storage.

the

ROM

In addition to

in

the

plugging
RX5 also has a

Waveform Data Cartridge),

RAM

be used for plugging

Cartridge Port (for

Cartridge Port, which

in a RAM4

*BD 1 45(A1)
*SO

1

*RIM 1

*TOM2
*TOM3 48(C2)

*RIDE(CUP)
*CRASH
*CLAPS

*COWBELL 55(G2)

NOTES

24-35.

NOTES

65-

92.

using

Message

(using MIDI

The

voices

the

same

Number

outputs

As­can

(using

of

the

basic

is

retained

in

unit's many

or

you

of

dif-

case-you

can

RX5 offers

for

data

the

can

cartridge for

This

chart

MIDI

note

to

the

RXS

instrument

factory.

52

(E2)

51

(0#2)

50(02)

47(81)
57

(A2)
62(03)
60(03)
54(F#2)

shows

numbers

's

voices

is

shipped

the

when

original

assigned

the

from

the

Vol.

3 No. 3/AFfERTOUCH

15

RXS

Continued

16 AITERTOUCH!Vol. 3

data storage.
store all Voice
Song,
data, or single

There
allows you
recorder for data storage (using the standard
Yamaha cassette interface cable). In addition to
the

Voice data, Sequence (Pattern, Song, and
Chain)
above, the cassette interface
store

the

of

sists

•

The

•

The
The

•

•

The

•

The

Note
stored

Since

data dump, it

memory via MIDI

other
be stored
such

as

(For a description of

see

the

After Touch.)

One

II

FD: Even though

can be used
each file
ory buffer, which
Since the
exceeds this limit, the DX7
used to store data from

Sync Modes

The

methods
speed of playback or recording).
sync options (which are selected via

Mode):

• Internal Sync

• MIDI Sync

• Tape Sync

No.3

The

RAM

cartridge

data,

all

and

Chain)

is

to

data,

instrument's Set-up data, which con-

the

following elements:
three sets of

RXS

Accent

MIDI Transmit channels

voices

instrument's MIDI Receive channel

MIDI Notes assigned to all 64 voices

that

onto

the

words,

on

the

article

unfortunate fact for owners

is

limited

size

RXS

of

its Internal clock)

another MIDI device)

FSK

data, all Voice and Sequence

pattern

also a cassette interface port, which

connect

and

(via Key Assign Job

none
the

RXS

is

the
disks, using a MIDI data recorder
Yamaha MDF1 MIDI Data Filer.

as

a MIDI data recorder,

of

is

controlling

sync signal recorded

data.

the

RXS

single

Pattern

Key

levels

of

of

this

RAM4

cartridge.

can

also initiate a MIDI Bulk

possible to store its Sequence

as

System Exclusive data. In

RXS's Sequence memory can

the

MDF1's basic features,

in

the

January

the

DX7

by

the DX7's internal mem-

is

approximately

the

RXSs

the

equipped

the

(the

RXS

(the

RXS

(the

RXS

can

be used to

Sequence

can

data stored in the

all 64 voices

information

II

Sequence memory

II

RXS.

with

"Clock

runs according to

is

is

controlled by

(Pattern,

to a cassette tape

data mentioned

also be used to

#07)

of

1987 issue

of

FD's disk drive

the

ZOK

FD

cannot

four different

Rate"

There

the

controlled

on

tape)

all 64

can

the

size

bytes.

are four

be

of

DX7

of

be

(the

Sync

by

an

• External Sync (the
another non-MIDI device)

The

Internal
operating mode
of

Patterns, Songs, and Chains, and the Real

Pattern

Time
the RXS's internal clock, the speed
set

by

the unit's internal tempo functions.
Internal Sync setting
is

used to control

clock signal

port)

or non-MIDI devices
transmitted
terminal).

The

MIDI Sync setting

is

RXS
device, from MIDI data received via
IN port. In addition to the tempo functions,
Start and Stop commands
the master MIDI unit.
to MIDI Song Position Pointer when controlled

from another MIDI instrument or synchroniza-

tion device.

Tape Sync signal to start, stop,
speed of playback and Real
ing.
selected tempo, can be recorded
the

capable of transmmitting a Tape Sync signal,

such

mitted and received via the RXS's
terminal.

to control the
trigger signal. This control signal
RXS

of flexibility for
grams,

the

extensive voice editing features make it possible

to create a vast library
tion, the extensive MIDI capabilities

make it possible to use a velocity-sensitive MIDI
keyboard
realtime control
ation of subtle rhythm patterns. In future issues
of
RXS's features in greater detail,
hints
potential.

to

The

Tape Sync setting lets you use

This

signal,

RXS

(or from

as

the

QXS).

Finally, the External Sync setting allows you

via the

As you can see, the

at

a list price of $1, 195.00. Although

RXS

does

as

AfterTouch, we will explore some

on

how to use these features to their fullest

Sync

of

the RXS.

writing speed are controlled by

other

is

transmitted via

via

be

controlled

another

The

RXS

EXT.

CLOCK

the

not

a controller, giving you access to

of

RXS

is

controlled

setting

is

also used when the

MIDI devices

the

EXT.

The

which

tape Sync signal

using a gate-type clock

RXS

creation of new rhythm pro-

permit

of

volume or

is

the

normal

The

playback speed

of

which

The

RXS

(the

MIDI

the

MIDI

OUT

(the

sync signal

CLOCK

is

used

by

another

can

be initiated from

RXS

and

Time

incorporates a pre-

onto

MIDI device

IN terminal.

offers a great deal

user sampling, its

new sounds. In addi-

pitch

and

OUT

when

the

MIDI

the

MIDI

also responds

an

FSK

control the

Pattern writ-

tape from

that

is

trans-

CASSETTE

is

fed

to

the

of

the

unit

for the cre-

of

the

will offer

by

or

is

is

is

TX81Z

I

number of notes 4

name:
assign mode

micro tune select

effect select OFF

inst. number

voice number

receive ch.

key limit /L

key limit /H

note shift

out assign

lfo select 1 2 VIB

micro tune

Dark

I28
C-2 C-2 C-2 C-2

G 8 G 8 G 8 G 8 G 8 G 8 G 8

detune

volume

OFF

Voice

NORM
OCT.

2 3

1: MaleVoices

II

2:

MaleVoices 6:

3:

4:

4 5 6 7

5:

7:

8:

4 0 0 0 0 0

I28

A29 A29 A29

A29 A29

1 1 1 1 1 1 1

-4

+4

-1

+2

C-2

+0

C-2

-2

C-2

+1

+0 +0 +0 +0 +0 +0 +0

95

L

95

R

90

90

90 90 90

LR LR LR LR

LR

1 1 1 1

OFF

ON

ON ON ON ON

8

A29

C-2
G 8

-1
+0

90

LR

ON

Dark

Voice. A
NewTXSlZ
Performance
Setup

By

Michael A.
Huisman.

0

1

1

OPERATOR

on/off

out level

freq. type

fix range

freq. course 4

freq. fine

detune

osc wave

ENVELOPES

attack rate

decay 1 rate

decay 1 level

decay 2 rate

release rate

eg shift

SCALING

on/off

eg

key vel

.no

rate

level

bias

0 1

ON

ON

ON

ON

95 60 59

RTO

RTO

255 255 255 255

5 0 28

1 4

8

+0

-3

A

.. ~ .

.no~

14

11

2 2

0

15 15

1 3

1 1

6
0 0 0

0 0 0 0

13

8

OFF OFF

0 0 0

0 0

3

RTO

+3

15

15

4

35

OFF

50

RTO

+0

31

15

44

OFF

1

0

0
4
0

0
0

voice name:

algorithm

feedback 1

LFO

waveform

speed

amp

mod

pitch

mod

FUNCTION

mode

portamento

porta time

vol

pitch

amp

pitch

amp

no.

depth
depth

Male

4

TRI

26

POLY
OFF

0

99

0
0

50

0

Voices

sync

delay

sens

1

sens

5

middle C
rev rate
pb

range

pitch

amp

eg

bias

p bias

ON
0

6

F2

0
0
0
0
0

+0

Vol.

3 No.

3/

AITERTOUCH

17

TX81Z

Brs'n'Wind. A

NEWTX81Z

Performance
Setup
Michael
Huisman.

By

A.

I

micro tune select OCT.

inst. number

number of notes

voice number

receive ch.

key limit /L

key limit /H

name:

assign mode

effect select

Brs

'n

'Wind

NORM

OFF

1 2 3

4 4

I29 I29

1 1

C-2 C-2

G 8 G 8

1 : Tpt&Woodwd

~

2:

Tpt&Woodwd

3:

4:

4

0

I01.

1

C-2 C-2

G 8

0

I01

1 1

G 8 G 8

5:

6:

7:

8:

5 6

0 0

I01

C-2

7

8

o·

I01 I01 I01

1 1 1

C-2

G 8 G 8

C-2 C-2

G 8

0

detune

note shift

volume

out assign L

lfo select

micro tune

.-OPERATOR

on/off

out level 96

freq. type

fix range

freq. course 4 4

freq. fine

detune

esc wave

.-

ENVELOPES

attack rate

decay 1 rate 31

decay 1 level 15 15

decay 2 rate

release rate 4

eg shift

.-SCALING

rate

level 12

on/off

eg

bias

key vel 1

-2
+0

99 99

1 2

OFF OFF OFF OFF OFF OFF

001

oo2

ON.

RTO RTO

32K

255 255

8 8 1 1

-3

~A

10

0

0 0 0

1

OFF

OFF

0 0

+2
+0

R

oo3

oo4

ON

ON ON

79

-3

..

~.~

7 17 31

31 31 31

2
5

0

39

3

77

99

RTO RTO

4K

5

+3

+3

A

.. ~ .

15 15

0 2
7

1

27

0

OFF

ON
0 0
1 2

+7
+0

90 90 90 90

LR

5

5
0

0

+7
+0 +0 +0

LR LR

1

voice name:

I

algorithm

.-

LFO

waveform

amp

pitch

~FUNCTION

portamento

porta time

+7

1 1

no.

feedback 7

speed 31

mod

depth

mod

depth

mode

vel 40

pitch

amp

pitch

amp

+7

LR

Tpt&Woodwd

5

TRI

POLY

OFF

0

0
0

50

0

+7
+0

90

LR

1 1

OFF

+7
+0

90

LR

OFF

cpc§

~

sync

OFF

delay 14

sans

0

28 sans

middle C
rev rate

pb

range 4

pitch

eg

p bias

amp

bias

3

F2

0

0
0
0

+0

1

II

18 AFTERTOUCH/Vol. 3

No.3

DX

AL

LEONARD

together a very useful educational package

H

for users
ers. Called "DX Music Sessions,"
consists
cassette tape.

musicians basic music-theory, while
time
thesizer theory

pop tunes.

tion

along" techniques.

is
everything
easy-to-live-with manner.

player
sicianship

TET

Lfor
looking for many different kinds

other

for

patches, programs,
plus

Yamaha AfterTouch products?
your

ments,
paper
tion down. If we decide to use your material

write it up,
article always covers

double~spaced

patches,
close a

of

Yamaha DXlOO

of

a 32-page booklet

The

package

helping

The

of

"learn

backed up

is

During

the

is

introduced

concepts,

US

HEAR

all

users

Have you created

members

the

CX5M music computer

$25.00

Have you discovered a trick

hot

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Have you developed a new approach to one

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QX5

Continued from page 9

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20 AFTERTOUCH!Vol. 3 No. 3

next

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entirely.

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the

last two issues we've discussed a few

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ways you

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