-
-
-
-
-
-
-
-
{
-
-
-
-
THE OFFICIAL PUBLICATION
-
-
-
OF
THE YAMAHA USERS
--
-
-
GROUP
-
-
-
-
-
~TM
-
AUGUST 1986·
O
YAMAHA®
Editor
Tom
Darter
Operations
Sibyl
Darter
-
- -
-
-
-
-
-
-
-
-
- -
-·
-
-
~-
--
-
-
-
-
-
-
-
-
-
-
-
-
-
-
•
Editorial
Bob Frye
Bill Hinely
Mark
Phil
Jim
Production
Leslie Bartz
Rick Eberly
Pat Gates
Paul Haggard
Chris
Cheryl Matthews
Joyce Phillips
June
Joe Verri
Board
Koenig
Moon
Smerdel
Ledgerwood
Ramirez
August
4
5
6
7
1986
RX11/DX7
Enhancing the sound
Stephen Solum.
SOL-RXPLUS
A new DX7 voice (for use with an RX11
by Stephen Solum.
TINSYNTH
A new DX21 voice created by John Cocchiarella.
HOOTGLOCK
A new DX21 voice created by J .H. Kane.
8 BRITRODES
A new DX100 voice created by Ken Como.
9 BELLA
A new DX100 voice created by Stephen Cullo.
of
your RX
11
Volume
or
RX15 with a DX7.
2,
Number
or
RX15) created
Issue
8
#11
By
'
A
product
GPI
Tom
P.O.
ridge,
AFrERTOUCH
lished
postage
Prairie, MN and additional
points
SCRIPTIONS:
Address subscription
respondence to
TOUCH, P.O. Box 2338,
Northridge,
2338.P()~S11E~
Send form 3579
Box
91323-2338.
2 AFrERTOUCH!Vol. 2
of
Editorial
Darter,
Box
CA 91323-2338
monthly. Third
of
2338, Northridge,
paid
entry.
Services
Director
2338,
at
Long
SUB-
AFrER-
CA
91323-
North-
is pub-
Free.
to
P.O.
class
cor-
CA
10
13
14
18
c
1986
form
International Corporation.
No.8
Studio
DX10Q/DX21
CXSM/FB-01
Final Touch
Yamaha International Corporation.
or
by any means, electronically, mechanically, photocopying, recording,
100
An
grated horne recording system.
Blank voicing charts in the AfterTouch format for the
DX100, DX27, DX27S, and DX21 4,operator synthesizers.
Introducing the new YRM506 f'B,01 Editor Program car,
tridge for the CXSM music computer.
Huisman.
Hot
System
introduction
tips for the CXSM music computer.
No
part
to
Yamaha's compact, affordable, fully,inte,
By
of
this publication rna y be reproduced, stored
or
otherwise, without the prior written permission
Torn Darter.
By
Michael A.
in
a retrieval system,
or
transmitted
of
Yamaha
in
any
Fron1
OR
MONTHS
F
receiving
Yamaha's family
thesizers. Recently, we also
4-operator voices from readers. This month,
will begin
readers.
On
pages 6
DX21 patches
pages 8
from readers.
of
DX21
so you
voices
digital synthesizers: DX21, DX2 7, DX2 7S,
DX100.
also provided,
for
standard
also
Studio System 100, beginning
(begun
FM
will find an introduction
Editor Program cartridge for
computer. Next month,
CA V (computer-aided
the
Macintosh computer.
can use
of
and
Users
course aware
and
will be able
if
With
the
DXlOO family
featured
In this issue, we
in
tone
FB-01,
For
DX7 owners,
to
your RX11
requests
to
share those patches with
from
9 feature
of
these
DX 100 are completely compatible,
you
own
this
compatibility
on
AfterTouch
as
the last issue) ofYamaha's new FB-01
module:
one
enhance dte
NOW,
for
of
4-operator FM digital syn-
and
7,
you
After
Touch
two
new DX
:RQpular
th~t
to
page 13, a blank voicing chart
part
Beginning
that
or
RX15 digital rhythm pro-
4-operator units are
the
voice
take advantage
one
of
of
synthesizers,
format.
of
our
also
continue
to
the YRM506
we
will look at another
voicing)
operates
there
drum
The
we
have
more
coverage
started
will
the
in
overview
on
the
is a
and cymbal sounds
receiving
find
readers,
100
structure
of
following
mind,
The
DX100
on
page 10.
our
page
CXSM music
program
on
the
patch
been
of
we
all
of
our
two
new
and
patches
of
the
all
four
FM
or
we have
in
the
is
of
the
coverage
14,
you
FB...()1
for
Apple
that
you
Editor
grarnmers.
ing a couple
applications
system, see page 18.
In the next
ward
patches for use with the
operator
use
and
control capabilities
voices
answers
your
In closing, I want
ments about your mail
are happy
ing the
ducts, and
can in the Questions column; however, requests
for general product information must
Yamaha [Yamaha International Corp., P.O. Box
6600, Buena Park,
More
or
suggestion
Yamaha product
pondence should
if
have a comment about Yamaha's advertising,
marketing,
to
go
works
hear your thoughts
want
makers, you should send them
And
for CXSM owners, we are offer-
of
hot
of
your
few
to
a lengthy article
synthesizers, an
of
the
RX family
advice
on
how
from
readers,
to
reader questions,
mailbox-more
to
receive specific questions concern-
use
of
Yamaha professional music pro-
we
will answer
importantly,
about
or
corporate policies, those sho.uld
Yamaha as well.
only
on
After
your
thoughts
tips from readers; for novel
CXSM
months, you can look for-
of
to
in
real time.
is
to
CA
the
or
product line, that corres-
also
be
The
Touch.
on
these subjects; but,
music
computer
on
how
to
convert DX7
DX100 family
in-depth
rhythm
use
tips
on
repeat last issue's com-
to
90622 ].
if
to
programmers,
the
KX76's
We'll
on
programming,
and
more.
the way, and soon!
us:
We
at After Touch
as
many
of
you
have a complaint
design
of a particular
sent
to
Yamaha. And,
staff
of
After
We
are
reach
the
to
Yamaha.
of
look
at
MIDI
also
Watch
them
as
be
sent
Touch
happy
if
decision
-TD
have
4-
the
we
to
to
you
AFfER--
TOUCHisa
monthly
informational
publication
from Yamaha.
Receive
Y
sign the card (a postal
AFTER
and mail
list, and you
absolutely
permanent mailing list, so you
of
articles
AFfERTOUCH
OU
CAN
RECEIVE AFTER
by asking.
Using
TOUCH).
After you have filled
it
to
us.
will
no
obligation, and
(By the way;
don't
Also,
limit yourself
you
want
the
regulation-it
When
receive twelve issues
if
you
to
read.
Fre£
attached postcard, give us your name
in
the relevant information,
we receive the card, we'll
no
received this issue in the mail, you are already
don't
to
just sending
The
tailor the information in AFTER
Every
TOUCH
Month!
lets us
for an entire year, absolutely free, just
know
that
you
put
put
you
on
of
AFTER
TOUCH
other strings are attached.
need
to
send in another card.)
in
your address. Let us know what kind
more
input
TOUCH
we receive,
to
suit your musical needs.
the
and
address.
really
want
a stamp
our
on
the postcard
permanent mailing
to
receive
Then
absolutely free! There is
on
our
more
we will be able
to
Vol. 2
To receive
AFfER--
TOUCHevery
month,
lutely free, just
put
and address
the enclosed
card and mail
it
to
No.8/
abso--
your name
on
us.
AFrERTOUCH 3
-
-
-
-
--==-
--==-
Enhancing
The
Of
RXll
RX15
Sound
Your
Or
With
ADX7.By
Stephen
Solum.
E
OFTEN
w:
RX15
merely
set
describe a new use for MIDI
sounds
the
sounds.
patch (see page
to
cymbals. Later,
patch
DX9.
operators# 1 and
approximately
sound,
little
much a tuned
"thud"
#3.../16
very high frequency
ways
digital
to
it
in a comer
from a DX7
RX
to
I've
the
bass
if
you
The
patch,
to
longer.
to
are used
sync
alter
drum
own
make
balance
OVERLOOK
to
use
MIDI
rhythm
it
to
included
5)
them
The
pitch
to
programmer,
with the rest
play by itself. This article will
or
other
or
enhance
an
that
will
add
and
toms,
I'll
also explain
a 4-operator synthesizer like a
called
one
SOL~RXPLUS,
#2
to
create
octave
heavier
bass
drum
as
it
the
tom
make a
"ping"
sizzle,
the
many
with
an
RX11
of
our
system
on
the RX: layering
synthesizer
the
basic
example
and
below
and
addition
is a
sounds.
which adds dynamic
of a DX7
power
and
sparkle
how
to
fundamentals
each
let
them
low
frequency
Operators
trailing
or
content
and
onto
drum
depth
to
the
use
the
uses
tom
ring a
isn't
so
off
to
a
-
--==-
-
channel4.
3.
On
the RX, hold
TION
OUT
If,
UNA
to
get the setting
4. Now,
move
the
with
receive
above,
TOM 1 to
5.
Repeat
toms,
cymbals. Check
tons
other
6.
When
OUT
its basic "SELECT
key
button.
CH
instead,
VAIL,"
the
push
hit
the
the
DATA
MIDI
send
your
DX7 setting.
on
you
TOM1
this
the
bass drums,
to
make sure they are set for something
than
"TRNS
it
all checks
key twice
-
-
~
down
while
pressing
The
display should read:
INFO
AVAIL
display
the
you
TOM1
channel
MIDI
should
read as follows:
TRNS
procedure
th~
more
says
orange+
need.
instrument
ENTRY
for
If
you
channel4,
set
the
CH=04
with
and
other
CH=04."
out,
push
to
get
PTN"
7
the
green
the
grey
"CH
1/YES
button
slider
to
TOM 1 to
set the DX7
as
suggested
RX
display
the
rest
the
crash
instrument
the
grey MIDI
the
RX
display.
FUNC
MIDI
INFO
button
and
change
agree
for
of
the
and
ride
but~
back
to
to
RX1
1
digital
programmer.
rhythm
range
cymbals.
sound
way:
2.
and
high
end
to
the
ride
and
After
entering
like
much
1. Connect a MIDI cable from the MIDI
of
the
RX
On
the
DX7, press
the
green
VOICE/PARAMETERkey(#8),
and
use the
DX7's
MIDI receive
to
use;
for
the
by
itself),
to
the MIDI IN
the
DATA
this
example,
patch
(which
set
up
the
of
the
FUNCTION
ENTRY slider
to
the
channel you want
let's
DX7.
to
say
crash
won't
RX
OUT
key
set
MIDI
this
and
the
At
this
point,
sounds
ment
Follow these steps:
1.
2.
3.
to
the
button
On
the
RX, hold
TION
button
IN
button
HittheTOM1
ENTRY
follows:
Hit
TOM2
on
with
the
using these key numbers:
TOM1
TOM2
TOM3
we
RX
by directing each
to
play a
while pressing the grey MIDI
twice.
The
OMNION
buttonandmovetheDATA
slider
TOM1
and
other
so
repeat
must
"tune"
certain
down
NOTE=
relevant instrument keys,
key
the
display should read:
the
display
the
procedure,
52
RX
on
green
the
the
FUNC
reads
=52
DX7
instru~
DX7.
as
and
so
=48
=45
Contimced
on
page
20
4 AFTERTOUCH/Vol. 2
No.8
TR1
WAVE
POLY
POLY/MONO RANGE STEP
35 0 0 0
SPHD
R1
L1
DEI.AY
R2
99 99 99 54
L2
50 50
P1TCH ENVELOPE
0
0 NA
I
P1TCHBEND PORTAIII!NTO
PMD
LFO
R3
L3
50
FUNCTIONS
MODE GUIISANDO
...
L4
I
AMD
44
0
ON 0
SYNC PM8
KEY
0
I
nME
C31
TIIANSI'Ose
I ON I
OSCSYNC
SOL-RXPLUS.A
NewDX7
Voice
Use
RXll
(For
With
Or
RX15)By
Stephen
Solum.
An
CONTROLLER RANGE
MOD
WHEEL
FOOT
CONTROL
BREATH
CONTROL
AFTERTOUCH
FREQUENCY
55.80
A1
99 99 99
L1
99 99 99
L I
R I
I"""
I FREQUENCY
0.50
R1
98 99 99
L1
99
L I
R I
""
2
REOUEN<;Y
0.50 0
A1
99
L1
99
"CiliiYE I
L T
R I
OPt
1
DETUNE
R3
IR2
L3
IL2
R
-L
C4
-L
I OL
5
PU"
DHiJNE
+7
R3
IR2
L3
IL2
57
99
-L
E2
-L
'U_'-'-"'' L
73
I"
I
DETUNE
R3
IR2
89
83
L3
IL2
44
99 0
-L
A#2
-L
~~I!L[VEL
NA OFF OFF
NA OFF
NA
NA
lAMS
0 0
RS
IR4
60
0
L4
0
L 99
R 0
I.E' L I
VEL,TY
I
0
RS
•
45
0
L4
0
L
0
R
99 R 0
~VELOCITY
0
r-·
o
...
RS
"
49
0
L4
L
0
R
99
(t
ALGORITHM #14
AMPLI1\IDE
P1TCH
OFF OFF
OFF
OFF OFF OFF
OFF OFF
2089Hz 0 0
1
99 1
L1
99 99
L I
R I
I"""
6
FREQUENCY
4.44
R1
99 99 99
L1
99 99
L I
R I
I"""
4
FREQUENCY
10.00Hz
R1
99 99
L1
99 99
L I
R I
'OPt
3
...
99
ju
-L
-L
IOUTP&e'""'
IR2
IL2
-L
-L
I 0 30
IR2
IL2
-L
-L
I on I.E\ L
EO BIAS
OFF
DETUNE I
R3
99 35
L3
99
C4
DETUNE
0 0
R3
L3
99
C4
LE1~L
DETUNE
0 0
R3
99
L3
99
C4
RS
0
L4
0
L 99
R 0
L
IVEL~TY
lAMS
;t
AS
25
0
L4
0
L
99
IVELOOITY
lAMS
...
RS
42
0
L4
0
L
99
R
0
IVELOCOITY
Notes:
7
This
#2
fur
ment,
used
patch
the
u.Nie
fur
the
uses
dncm
Ops
cymbal
Ops #I and
enhance-
#3-#6
me
enhancement.
For
more
patch,
see
article
on
Remember.
designed
ro
bwt
Tather
an
RX1
z or
Th,r}un
progmmmeT.
information
the
page
this
be
in
on
acrompanying
4·
patch
isn't
used
.,
iUelf,
conjunction
RXzs
digital
this
with
This DX7
voice can also
be loaded into
all the other
Yamaha6
..
operator FM
digital synthe
..
sizers and tone
generators,
including the
DXl,
DX5,
TX7, TX216,
TX816, and
TFl.
Vol. 2
No.8/
AFTER
TOUCH
5
TINSYNTH.
ANewDX21
Voice
By
John
Cocchiarella.
TAl
WAVE
LPO
I !'UNCTIONS
35 8 10 0 OFF
-D
DeLAY
6 0
PIIS AMI
I
I
PIID
KIY1'IIAHSPOSI!
AMD
~
SYNC
DX21 ONLY
PITCH ENVELOPE
PR1
PL1
PAl
99 99 99
PLl
50 50 50
CHORUS FOOT
PR3
PLl
VOL
These DX21
voices can also
be loaded into
the
DX27,
DX27S,
and
DXlOO
4,operator
synthesizers;
all voice
parameters,
with the
exception
of
those listed in
the
uDX21
ONLY" box,
can be loaded
into these
units.
POLY I
POL
Y/IIONO
50
I
PITCH I
WHIILRANOE
FREQUENCY
DETUNI
0.50
31 31
BIAS
ENVELOPE
RATE
AA 1,A 1D1L
EO
0
o
....
OUTPUT
LEVEL
3
12
AANGI
FULL I
MOOI TIMI
PB
0 0
AMPL
+1
15 0 6
KEYBOARD
PITCH
lAME
0
DATA
DlR r
1
ICALINO
LEVEL
0
ON I
PORT
POATAMINTO FOOTSWITCH
SUSTAIN
0 50 0
PITCH
AMPL
BREATH
BIAS
RANGE
FREQUENCY
DETUNE
6.00
AA
EO
I!NYELOPI! DATA
ID1A
31
BIAS
ID1L
10 15 0 7
RATE
EO
I
-2
KEYBOARD SCALING
ON
BIAS
IDlA
0 0 0 0 0
83
VELOCITY
0""
0 4 75 0
OUTPUT
LIVEL
I
FAIQUENCY
0.50
AA 1D1A 1D1L
31 31
EOIIIAS
0
a... OUTPUT
2
FREQUENCY
1.00
AA 1D1A 1D1L 12A 1AA
27
EO BIAS
0
o
....
1
I
DETUNE
-3
ENVELOPE
15 0 7
KEYBOARD
RATE
LEVEL
67
I
DI!TUNE
+3
ENVELOPE DATA
31
14 6 6
KI!YBOAAD SCALING
RATE
OUTPUT
LEVEL
99
DATA
rlA
0
0 0
I
ALOGAITHM
lAME
LEVEL
VELOCITY
lAME
SCALING
LIVEL
VELOCITY
lAME
LEVEL
VELOCITY
#2
0
0
IRA
0
rA
0
0
0
~
7
0
6 AFrERTOUCH/Vol. 2
No.8
6 0
PMS
LFO & FUNCTIONS
AMS
~
KEYYRANSPOSE
DX21 ONLY
PITCH
ENVELOP£
PR1
Pl.1 Pl.2 Pl.3
PR2
56
99
CHORUS
PR3
99
50 99
HOOTGLOCK.A
NewDX21
Voice By J.H.
Kane.
99
2
POLY
POLY/MONO
I
PB
FULL I
RANGE MOOE TIME
PORTAMENTO
50 1 50 0 50
PITCH
FREQUENCY
1.00
AR
r·R 1D.L
31
EG
BIAS
0
OPt
1
AMPL
WHEEL
RANGE
DETUNE lAME
-3
ENVELOPE
17 15 0
KEYBOARD
RATE
PITCH
1 1.00
DATA
r·R
rR
SCALING
LeVEL
2 0 0
OUTPUT
LEVEL
VELOCITY
90 0
5
l I
0
PITCH BIAS
AMPI.
BREATH
RANGE
FREQUENCY
AR 10.R 1D.L
31
EG
BIAS
OPt
FREQUENCY
AR 10.R
31
EO BIAS
OPt
SUSTAIN
FOOTSWITCH
ON
ON I
PORY
0
EGBIAS
I
OETUNE
lAME
2
DATA
r·R
1 5.00
rR
SCALING
LEVEL
17
VELOCITY
+3
ENVELOPE
14 14 14
KEYBOARD
RATE
0
OUTPUT
LEVEL
4 74 0
I
OETUNE
lAME 1
0
ENVELOPE
DATA
r·L
18 15 9
r·R 1RR
KEYBOARD
RATE LEVEL
SCALING
0 0
OUTPUT
LEVEL
2
VELOCITY
70 0
ALOGRITHM #6
~
6
4
6
FREQUENCY
AR 1o.R 1D.L 1.R 1RR
25 14
EGBIAS
OPt
2.00
ENVELOPE
0
DETUNE lAME
+3
11
KEYBOARD
RATE
DATA
1
5 8
SCALING
LEVEL
2 32
OUTPUT VELOCITY
LEftL
3 48 0
I
Notes:
This
patch
digit4l
m.oerb,
interesting
sustain
pedal
sounds
and
things
depressed.
gmzt
does
with
with
the
Vol. 2 No.8/
AFfERTOUCH 7
~~~~~~~~
-----
...--
~~~~~
BRIT
RODES. A
NewDXlOO
Voice
Como.
By
Ken
TRI 0
WAVE
SPEED
LFO
A FUNCTIONS
0
DELAY
I
3
PMD
0
AMD
ON
SYNC
POLY
l
POL Y/IIONO
50
PITCH
WHHLRANGE
FREQUENCY
DE1UNE
1.00
AR
EO
ENVELOPE
ID1R
31
BIAS
ID1L
10 10 8 2
RATE
0
OPII
OUTPUT
LEVEL
2 67
FREQUENCY
DE1UNE
1.00
AR
EGBIAS
ENVELOPE
r
31
D.L 1DZR 1RR
10 10 8 8
1
RATE
0
01'11
OUTPUT
LEVEL
1
6
PMS AMS
0
P8
RANGE
0
AMPL
rilE
-3
DATA
IDZR
KEYBOARD
0
.r
lAME
-1
DATA
KEYBOARD
0
99
1
I
FULL I
MODE
PORTAMENTO
0 0
PITCH
0
IRR
SCALING
LEVEL
37 0
VELOCITY
Q
SCALING
LEVEL
VELOCITY
0
TillE
AMPL
BREATH RANGE
0 4
21
0
GJ
KI!Y
TRANSPOSE
--
I
PORT
FOOTSWITCH
50
PITCH BIAS
FREQUENCY
DE1UNE
15.00
AR 1D1R 1D.L
EGBIAS
01'11
FREQUENCY
ENVELOPE
31
13 0 0 10
RATE
OUTPUT
LEVEL
DETUNE
3.00
AR
EGBIAS
ENVELOPE
rR 1D1L 1D2R
31
13 0 0 10
RATE
0
OPII
OUTPUT
LEVEL
3
ON
SUSTAIN
0
I!GBIAS
I
lAME
DATA
rZR 1RR
0
DATA
0
72
LEVEL
VELOCITY
lAME
SCALING
LEVEL
VELOCITY
Q
Q
rR
26
+2
KEYBOARD SCALING
55
I
I
+3
KEYBOARD
5
0
0
0
These DXlOO
voices can also
be
loaded into
the
DXll,
DX27, and
DX27S
operator
synthesizers.
8 AFI"ER.TOUCH!Vol. 2 No. 8
4~
ALOGRITHM
#5
-
-
-
-
Ll'O & FUNCnONS
TRI 35 0
WAVE
SPEED
6 0
PMS
PB
4
RANGE
POLY I
POL
Y/IIONOI
50 0
PIYCH
WHEEL
..-.
RANGE
DI!LAY
AMS
FULL I
MODE
PORTAMINTO
0
PITCH I
0 0
PMD
I
I
1
nME
0 50
I
AMPI.
BREATH
~
KEY TRANSPOSE
PIYCH
RANGE
FREQUENCY
AR 1D.R 1D.L
31
EO
BIAS
OPO
FREQUENCY
2.00
AR
r
15
EO
BIAS
DETUNE
+3
ENVELOPE
D.L 1D2R 1RR
31
15 9 5
1
KEYBOARD
RATE
DATA
IAMI
SCALING
LEVEL
0
FREQUENCY
10.00
AR
31
EO
BIAS
0 0 0 0 0
I
OPO
99
VELOCITY
0 2 75 0
OUTPUT
LEVEL LEVEL
1
OPO
OFF
AMI)
PORT
-
I
FOOTSWITCH
SYNC
ON
SUSTAIN
0
EG
BIAS
BIAS
I
DETUNE
2.00
ENVELOPE
-2
DATA
lAME
r·R 1RR
15 13 0
KEYBOARD SCALING
RATE
LEVEL
0 0 0
OUTPUT
LEVEL
4
DETUNE
ENVELOPE
ID1R
ID1L
15 12 0 4
RATE
OUTPUT
65
I
+2
DATA
ID2R
KEYBOARD
VELOCITY
lAME
SCALING
LEVEL
VELOCITY
BELLA.
A
NewDXlOO
Voice By
Stephen
Cullo.
O
3
0
0
IRR
0
7
FREQUENCY
AR
15
EO BIAS KEYBOARD SCALING
2.00
ID1R
DEYUNE
ENVELOPE
ID1L
31
RATE
rME
-3
DATA
ID2R
15 9
0
IRR
LEVEL
0 0 0
OPO
OUTPUT
LEVEL
3
VELOCITY
99
Notes:
You
can
.ury
the
sound
a
lot
"'
changing
of
Op
slightly
is
a stringier
decreased
sound
whistling
Also,
and
5
sound.
#8
#4:
(up
is
r.ry
for
more
algorithms
the
output
if
increased
to
75),
the
sound;
(down to o),
like
a
bell.
a more
hellish
if
#s.
le..oel
result
the
#7.
0
I I
ALOGRITHM
#6
I
Vol. Z No.8/
AFrERTOUCH 9
Studio 100 Systetn
AS
An
Introduc-
tion
To
Yamaha's
Compact,
Affordable,
Fully-Integrated
Home
Recording
System.
Tom
The
ST1oo
speci[icall.,
nents
of
s.,stem.
By
Darter.
stand
is
{CJr
the
the
rompo-
Studio
designed
1 oo
TECHNOLOGY BECOMES both more
..l""-.
affordable and more compact, it becomes
more
and
more
possible
group
of
powerful instruments and create subde
music
in
a small space
Yamaha Studio 100 System is a great example
this
growing
Although
function in a number
rately
brought together they combine
integrated unit for making and recording music.
important. The QX21 digital sequence recorder
functions as
playback unit. The
sizer is
input
digital rhythm programmer adds the percussion
dimension
cassette
recording medium and the mixer for the system.
The
and monitor speakers for the stereo outputs
the MT1X. Finally, the ST100 stand provides a
compact housing for the
the Studio 100 System.
that
System:
DXlOO
or
Each
used
keyboard
KS10 speakers function as both amplifiers
Here is a quick overview
come
trend
each
component
in
various
part
of
the
both
a MIDI recorder and a MIDI
as
both a tone
for
to
the system. The MT1X multitrack
recorder
together
FM
functions
Digital
to
gather
on
a small
in
music
of
of
musical settings ( sepa-
combinations),
Studio
DX100 FM digital synthe-
generator
the
sequencer.
other
of
to
form
Synthesizer
together
budget.
technology.
the
system
to
form a single,
100
as
both
components
the various units
the
Studio
when
System
and
The
RX21
the
tape
The
can
100
extensive MIDI implementation .
The
DX100
a
voices-192
manent
voice,
of
Voices can
through the DX 1
via MIDI.
per
velocity sensitive itself, its voices can be programmed
an external MIDI source. For more information
is
on
ary
an
RX21
QX21 digital sequence recorder. It is·equipped
with
(bass
(snare
hi-hat),
cymbal).
erns
playback can be synchronized
MIDI.
Sync Converter with
you can also sync the RX21's playback per-.
formance
MT1X.
from
keystrokes
into
playback, these keystrokes will drive the
sounds in the RX21, and the drum part will be
of
part
of
RX21
DX100,seethearticlein
issue
information
the cover story
(September
rhythm programmers.
ROM
user-programmable
The
DX
voice.
the DX100, see the cover story in the Janu-
1986 issue
Digital
The
RX21
nine
drum),
drum),
These sounds can
and
songs using
If
It
is also possible
the
the
QX21
of
the sequence stored in the QX21.
For
more
from a MIDI
of
AfterTouch.
has
an extensive library
in
all-included
memory.
be
100
And,
to
respond
loaded
into
OO's
data cassette it:tterface
features full function memory
although
to
of
AfterTouch.
Rhythm
is designed
drum
and
percussion
TOM1, TOM2,
CLAPS,
HH
OPEN,
be programmed into patt-
the
you
use
the
YMC10MIDI
your
to a sync
DX
from
on
1986)
track
to
100
keyboard
the
DX
digital sequence
information
the operation
in
the next issue
on
as part
There
RAM
this
RAM
the
DX100
velocity sent
Programmer
to
sit
HH
CLOSED
and
CRASH
RX21
's
to
Studio
recorded
play the RX21 's sounds
via
100
can
on
how
keyboard
the
November
And,
for
of
of
the
RX
family
is also a
on
sounds:
TOM3,
memory,
the QX21 via
100
MIDI.
be
recorder;
to
such
more
the RX21, see
AfterTouch
of
FM
of
its per-
24-
memory.
memory
is
not
to
it from
top
of
the
BD
SD
(closed
(crash
and
to
Tape
System,
onto
the
These
recorded
on
drum
play
the
as
the
1985
general
of
digital
or
10
AFTERTOUCHNol. 2
The
DX100
digital
pounds, and
12-volt
note) mini-keyboard, and comes equipped with
No.8
synthesizer.
DC
is a
4-operator,
It
weighs
is
powered by six C batteries
adapter).
It
has a full4-octave (
8-algorithm
in
just
under
(or
6
49
a
QX21
that
MIDI
Digital
A digital sequence recorder
stores
for later playback
Sequence
digital
information
Recorder
is
through
an instrument
received
one
or
via
more
MIDI~controllable
a
tors,
or
drum
QX21
is
stored
ofMIDI~transmitted
series
be
may
notes
information),
values (such
as
synthesizers,
machines.
as digital
on
(with
or
notes
off,
pitch bend),
tone
gener~
Information
data
representing
in
the
events. These events
without
controller
or
velocity
change
program change
values.
Most
using
operations
one
of
of
the
instrument's
the QX21 are achieved
many
"Job"
functions. These are separated into four groups:
B,
C,
and
D.
All
of
these
Job
A,
functions
are
describedin the QX21 owner's manual, and are
outlined
in
the
diagram
printed
on
top
of
the
instrument. You can step through Job function
set A using the
JOB STEP
can step through
set
A/C
button, and you
Busing the JOB STEP BID
button. Job function sets C and D are accessed
A/C
while holding RESET and pressing the
BID
buttons.
A~l.
Real~time
After choosing the MIDI
A--6),
defining the time signature Uob
setting
simply
RECORD
Basic
recording is simple
the
knob
to
return
to
Job
button
real~time
the
followed
recording is
on
record
channel 0
appropriate
A~l,
then
by
the
the QX21.
A~2
press
button. The QX21 gives you two bars
down,
and
the recording starts.
finished, press the
STOP button, and the QX21
will cease recording at the end
Let's take a close look
of
the
layout
can
be
"tracks"
QX21,
confusing.
on
memory locations for MIDI data,
differently
very
recorder. Since a single MIDI
tain
information
the
because
First
QX21.
than
the
that
encompasses
When
of
the bar.
at
the basic recording
the
terminology
of
all,
there
TheiJe
are
and
tracks
of a tape
"track"
channels, it is quite possible for one "track"
the QX21
to
control sixteen different
or
Job
ob
), and
tempo,
the
START
of
count~
you
are
are
two
simply
operate
can
con~
16
MIDI
of
instru~
ments, each playing different music.
All
TRACK
recording
1.
This is the only live recording track.
in
the
QX21
goes
onto
TRACK 2 is the storage track, and information
from
a first recording pass
TRACK 2 if
Record again
first
take
you
on
to
TRACK
wish
TRACK
must
be
to
overdub.
1 before moving
2,
it
will
be
moved
If
erased
to
you
the
and
replaced by the new recording.
So,
in
Record
received
on
means
is
TRACK 1 can
of
EXCHANGE Uob
recorded
mode,
onto
be
moved
MIDI
information
TRACK 1.
to
TRACK 2 by
~1),
This
which
data
ex~
a
changes the data
TRACK
very
first
recorded material
TRACK 2, prior
To
record
on
2.
This
is
recording,
on
to
the
TRACK 1 with the data
used
most
often
to
exchange
TRACK 1 with the blank
recording the first overdub.
first
overdub,
MIDI record channel (if desired), set TRACK 2
for
playback,
again. You will then record
listening
After you have material
and TRACK 2, there are a number
functions that allow you
and
go
into
RECORD
on
TRACK 1
to
the material already in TRACK 2.
on
both TRACK 1
of
to
combine the
mation in various ways.
Remember that multiple channels
data
can
be
stored
on
a single
TRACK
MIDI channel integrity maintained for each. For
part
example, an instrument
MIDI
Uob
ment
channel!
~1)
part
on
TRACK
to
TRACK 2; then a second
can
be
recorded
can be recorded via
1,
and
on
the
TRACK 1 via MIDI channel2. H you are happy
with
both
takes, you can track down Uob
the new material
be
repeated
to
TRACK 2. This process can
for
up
to
16
separate
parts
MIDI channels.
The QX21 operates in much the same
older brother, the QX7. For more
tion
of
the QX7, see the article
tern"
in
the
November
on
on
1985
After Touch.
MT1X
cassette tape recorder,
as
Multitrack
The
MTlX
can
both.
The
mixer section features
Cassette Recorder
function
as
a
as a
4~el
three~position
input selectors (TAPE, MIC/LINE, and OFF),
on
after
the
the
newly
pick
a new
mode
whUe
useful
Job
infor~
of
MIDI
with
exchanged
instru~
now
blank
~3)
on
16
as
its
the
opera~
the
"7
Sy~
issue
of
4~track
mixer,
or
MTIX
recorder.
multitTack
cassette
Vol. 2 No.
8/
AFrERTOUCH
11
Studio 100
gain
KSzo
powered
speake-.
monitor
controls
channel
phone
jack), input faders,
trols. These controls are provided for each one
of
SEND jack and stereo
input
there
master
or
the 4 inputs. There
The
channel
is also a
AUX
In addition
MTlX
The front panel goes you complete control over
monitor
monitor
separate monitor
In the record section, it
on
all4
indicators
equipped with dbx noise reduction.
Other
the following: a pitch control, which
during
running speed
SYNC
used
used
is
synchronized
like synthesizers
issues
recording
IN
when the YMClO MIDI Sync Converter
with the system; and a sync switch, which
turned
of
(to
to
match the
instrument
MTlX
has
master A UX
adjust
is
the
input
output
2~band
equipped
an A UX
level
connected
EQ, and
is
also
one Master Fader.
AUX
return jacks. Each
SEND
SEND
of
to
with
level
of
the micro-
the
pan
an
fader,
fader
RETURN fader.
to
its master stereo outputs, the
is equipped with a phone monitor jack.
mix for
gain
tracks
special features
and SYNC
ON
After
this
control
pan
at
once.
for
each
or
up
or
if
the
operation
and
Touch,
jack:
There
is a separate
for
each channel,
control for each channel.
is
possible
There
are
track.
playback
down by as much as 10%;
OUT
recorder
drum
The
of
the
MTlX
to
vary
jacks, which can be
is
to
with
MIDI
machines. In future
we will
offer
plus
to
record
Peak
Level
MTlX
include
can be
the
be
used
products
specific
Systetn~
the
input
con~
AUX
and
and
used
tape
for
examples
special features.
of
applications
of
some
KS10 Keyboard Speakers
The
KS
10
keyboard
specifically for use in keyboard systems; it's
(smaller
pounds)
portable systems like the
a
Mylar/Polymar
production.
are mounted
closure for
response
a
The Low Boost control boosts low frequencies
to
a maximum
output
is
speakers, the Studio 100 System does
an external amplifier.
the back
it
easy
the
generators
KSlO speakers give the Studio 100 System full
is
stereo capability.
ST100
the
with the
quality black aluminium alloy tubing
reinforced polycarbonate fittings, the
fully adjustable and can be assembled in a
ter
the
mounts, and the speaker mounts can be rotated
horizontally
direction.
at
any
equipment
supports, the outside support arms,
outside
perpendicular
between the uprights) for an even more
pact setup.
set
your
space that suits your needs.
than a bread
make
it
an
Each
KS
10
features a
speaker
Volume
on
the front
your
convenience.
of
the
KS
10 speaker
of
lldb,
A
built~in
to
MTlX
The STlOO stand is the final component
system-it
of
minutes.
The vertical bars are topped by mounts for
KSlO
The three adjustable support bars
height,
Using
amplifier
power.
Studio
Studio 100 System. Consisting
the
Studio
Since
is
a standard 114"' phone jack,
connect
(or
speakers.
the
the
to
the outputs
in
the
Studio
100
was specifically designed for use
so that the speakers can face in any
and
at
convenient angles.
upright
to
the
STl
00
100
speaker
box)
and
ideal
monitor
Studio 100 System.
4~inch,
for
clear
and
Low Boost
of
the speaker
The
is
20Hz
with a peak
provides
the
KS 1
Os
The
input
KS 1
Os
to
of
100
System).
System
Speakers
can
legs,
central
stand,
System
be
adjusted
or
can
you
Stand
support
up
are
connector
the
any
attach
Two
be
will
in
of
these
is designed
size
weight ( 4
speaker for
full~range,
sound
frequency
at
6.5 watts
re~
controls
en~
to
20kHz.
100Hz.
of
powered
not
need
on
making
outputs
of
can be
to
can extend
positioned
bar
be
an
of
the tone
Two
of
of
high
and
glass
STlOO
efficient
mat~
to
the
tilt
the
of
these
(or
com~
able
is
set
in
to
\'
12
AFrERTOUCH/Vol. Z
No.8
iill
111111
DX21 ONLY
rME
DETUNE
FREQUENCY
PR2 PR3
PITCH ENVELOPE
PR1
ENVELOPE DATA
ID1R
AR
r2R
ID1L
PL3
PL2
PL1
r
KEYBOARD SCALING
EGBIAS
RATE LEVEL
llillillil
11111111111
D D
OUTPUT VELOCITY
LEVEL
OPO
--
lAME
DETUNE
FREQUENCY
d
IRA
2R
ID1L
ENVELOPE DATA
ID1R
AR
1
KEYBOARD SCALING
EG BIAS
LEVEL
RATE
D
VELOCITY
OUTPUT
LEVEL
OPO
D
rME
IDETUNE
ENVELOPE DATA
FREOUI!;NCY
lAME
ENVELOPE DATA
FREQUENCY DETUNE
IRA
LEVEL
ID2R
KEYBOARD SCALING
ID1L
RATE
ID1R
EGBIAS
AR
IRA
LEVEL
·~D2R
KEYBOARD SCALING
RATE
rL
1D1R
AR
EGBIAS
VELOCITY
LEVEL
OUTPUT
OPO
VELOCITY
LEVEL
OUTPUT
OPO
-
g:~
..
5'
~
o::r::roo
l"!j~~n~t=
0
@~
e>a
~
r<
lAME
DETUNE
FREQUENCY
LFO & FUNCTIONS
ENVELOPE DATA
AR
IRA
i2R
ID1L
ID1R
I
,-SYNC
I AMD
r:MD
I SPEED l DELAY
WAVE
,.
VELOCITY
KEYBOARD SCALING
EGBIAS
OUTPUT
LEVEL
RATE LEVEL
OPO
0
KEY TRANSPOSE
AMSI
~=s~
I I I
FREQUENCY
__
FOOTSWITC_H
PORT SUSTAIN
POR~MENTO
_
-
POLY /MONO PB RANGE MODE TIME
'-----·
lAME
IDETUNE
rR
1D2R
DATA
r1L
ENVELOPE
ID1R
AR
. -
EGBIAS
BREATH RANGE
AMPL PITCH AMPL PITCH BIAS
WHEEL RANGE
PITCH
KEYBOARD SCALING
RATE LEVEL
EGBIAS
OUTPUT VELOCITY
LEVEL
OPO
IRA
L
----
lAME
DETUNE
FREQUENCY
TME
DETUNE
FREQUENCY
r2R
DATA
ID1L
ENVELOPE
ID1R
AR
rR
i2R
ID1L
ENVELOPE DATA
ID1R
AR
KEYBOARD SCALING
RATE I LEVEL
EGBIAS
LEVEL
KEYBOARD SCALING
RATE
EGBIAS
LEVEL
OUTPUT VELOCITY
OPO
VELOCITY
LEVEL
OUTPUT
OPO
r::r
~
::S
.....
~·~
§
~~~§
i~
(")
(JQ -
r::r
5i
1-1
0..~
g..
.....
"'
Oi
N
0
v-.J
t-1
........
:><..
1"1
1-1
~
;::r
~
00 0
N.
~I"'tol"'t
oo
.....
sn..
,
8~~§.~~~
~-.J
~
~
N
~
~
~
§
~
....
N
THE
LAST
introduced
I
Module and the principle
aided voicing.
new YRM506
for
the
the
CAVatwork.
Computer~aided
of
Many
those for
series,
so
case
especially important, because
be
least
programmers:
us have used
other
the
Apple
on)
for creating
of
the
ooiced
from
In
general, though,
three
ISSUE
the
FB~01
In
this
issue, we will
FB~O
1
Editor
CXSM-an
voicing is
the
computers such
Macintosh,
or
editing DX7 voices. In the
FB~01,
computer~aided
its
front
panel.
important
of
of
CA
Program cartridge
excellent
CXSM programs
CA
V programs offer
advantages
After
Touch,
FM
MIDI
Tone
V
-computer~
look
at
example
not
a new idea.
as
the Apple II
the
IBM PC,
voicing is
the
FB~O
1 cannot
for
voice
we
the
of
(or
and
at
Introducing
The
New
YRM506
FB..o 1
Program
tridge.
Editor
Car-
By
MichaelA.
Huisman.
than just one segment
2. Additional storage:
allow
you
to
store
your precious voicing work)
ter's
storage
data cassette.
be saved
internal voice storage
sizer currently
3. Additional voicing control:
sometimes
not
accessible from
tioned
voice new patches using its extensive
capabilities-but
In
order
on
the
What
CXSM music computer.
and
~1
limitless number
the
features:
is
The
YRM506 is a program cartridge for the
edit voices and configurations in Yamaha's
FM tone module. This permits a virtually
~1.
device,
The
on
a single diskette far exceeds the
on
allow
above,
FB~
the
Here are some
the
to
edit
1, one must use a
YRM506?
of
of
CA
V programs usually
your
such
number
of
almost any
the market.
you
to
the
front panel. As
FB~O
1 has
NOT
from its front panel.
voices
or
It
allows you
new voices
of
the program's
the envelope.
voices
access
(and
to
the
as a
diskette
of
voices that can
CAY
parameters
the
create new voices
CA
V program.
to
be
created for
all
of
compu~
or
a
synthe~
programs
men~
ability
to
to
MIDI
create
main
1.
Ease
of
voicing:
see more
because
computer
display
Further, related data can be viewed together
on
view a
on
one
screen.
complete
about
of
the
monitor
the
CA
V programs allow you
what is "going
computer
is larger
front
panel
An
example is being able
operator
on"
monitor's
in
size
of
a synthesizer.
envelope
in a voice
than
to
size. A
the
to
rather
FB-oz
module.
FM
digital tone
•
The
voices contained in the
generator
be created from scratch.
•
Data
entered from the CX5M's computer
board.
taring the voices
• Voices can be saved
using
with the CXSM).
Voices can also
•
Data Memory Cartridge
utilized with the FM Music Macro II Program
cartridge
Composer II Program cartridge (YRM501).
•
Both
can
(PN101).
A
Quick
The
can
can
be
(Sound
the
SFGOS
(YRM504)
the
voice
be
printed
Overview
YRM506
be
edited,
displayed
can also be
as
onto
MIDI/
be
saved
data
out
using
Of
program utilizes
FB~
1 MIDI tone
and
new voices can
on
the
screen
output
the data is entered.)
a floppy disk (when
tone
on
(UDCO 1) and later
and/
or
and
the
an
The
for
generator
cassette tape
the
FM Music
table
of
optional
printer
Program
the
concept
as
it
is
key~
moni~
unit
or
a
voices
14
AFfERTOUCH/Vol. 2
No.8
of
blocks. There is a Voicing Block, a
figuration Block,
When
Voicing
editing
Block.
and a File/Transfer
or
creating voices,
When
editing
or
Block.
you
use
creating
Con~
the
configuration, you use the Configuration Block.
Similarly, when transferring data between
program and the FB-01
ing files from disk
or
when saving
or
cassette, you use the File/
the
or
load~
Transfer Block.
The
Voicing Block
The
Voicing Block allows
the
FB~O
the
voice
monitor.
1
's
voice paramenters. Figure 1 shows
editing
From
screen
this
screen
as
you
you
it
appears
can
to
edit
edit
all
on
these
of
the
parameters:
• algorithm number
• feedback level
•
operator
on/
off
for
each
of
the
four
operators
0:
1
1 (
·=>
-/'
IF
Dt.
Ks
Kd
Rk
\.10
t,'A
IF
Dt
Ks
Kd
Rk
vo
VA 0
,,
50
1)
-2
0
0
4
1
5
0
0
1
1
.-,
...
1
7
}
Tr·
Mono
P111dC
Ber.d
Por·t
m F
A
13-
D
9•
s
14-
41
D
R
a-
0109-
@)
A
21-
D
14-
s
13-
D 0
R
s-
0123-
e:
0PlAl
2W:Fb
0:Ams0
0.Pms3
1
F 1
(
Br·ass
6
7l{jjl
IF
0
Dt
0
Ks 0 D
Kd
5 s
Rk
2 D e
\/(I
7
VA 0
IF
0
Dt-1
Ks
0 D 31
Kd
4 s
Rk
0 D
vo
7
VA
e
cyJ cyJ
@ F
A
15-
a•
14-
R
a-
0108-
@)
A
18-
13-
0
R
s-
0123-
$
I Plitd
F
LFO 1
s c 0
w~
Spd200
Aaid 0
a
Figure
2:
quencies
or
FM
Figurer:
the
Voicing
YRM5o6.
0
0
1
0.50
1.00
2 2.00
3 3.00
4 4.00
5 5.00
6 6.00
7
8
9 9.00
10
11
12
13
14
15
The
ooailable
cone
module.
The
edit
Block
10.00
11.00
12.00
13.00
14.00
15.00
operaror
in
the
screen
in
the
7.00
8.00
fre-
FJ3..
for
1 2
0.71
1.41
2.82 3.14
0.79 0.87
1.57 1.73
3
3.46
4.23 4.71 5.19
5.64
7.05
8.46
9.87
6.28 6.92
7.85 8.65
9.42
10.38
10.99 12.11
11.28 12.56 13.84
12.69 14.13
14.10
15.70 17.30
15.57
15.51 17.27 19.03
16.92 18.84 20.76
18.33 20.41 22.49
19.74 21.98 24.22
21.15
envelope
sustain
rate
release rate)
• velocity sensitivity for each operator's attack
rate [Note:
FB-o
•
LFO
are:
triangle and sample/hold), amplitude
lation depth and sensitivity, pitch
tion depth and sensitivity, LFO sync
and
• key scaling
linear curve
level-breakpoint
is
not
z
for
more
settings
waveform
LFO enable
23.55 25.95
are:
attack
equal
Please
about
(the
type
or
positive--exponential curve)
rate,
1st
when
to
0,
2nd
decay
see
last issue's article on the
this
new
ooice
LFO
values
in
select
(sawtooth,
on/
off)
for each operator
decay rate,
2nd
decay
rate,
and
parameter.]
the
FB~O
square,
modu~
modula~
on/
off,
(negative~
1
• output level for each operator
• velocity sensitivity for each operator's
put
level
•
operator
frequency,
detune
frequency
the
(which
inharmonic
amount-Figure
consists
frequency
2 shows the possible
operator frequencies)
•
five~stage
a
tors
envelope for each
(the
five
individual
of
the four
segments
out~
of
the
and
oper~
of
the
• key scaling depth for each operator
• rate
scaling
• poly
•
pitch
half~step
depth for each operator
or
mono mode
bender range
(up
increments)
to
one
full octave
• portamento time
•
pitch
modulation
Vol. 2
depth
controlling device
No.8/
AFTER
TOUCH
in
15
(you can choose between aftertouch, modulation
wheel,
troller,
or
none-if
breath
no
controller,
foot
LFO is desired)
• voice transposition
• voice name editing/ entry
can
also
view
all
the
You
(see Figure 3
voices
),
copy the values for one operator
in a bank
con-
Figure
5:
The
the
Omfiguration Block in
the
YRM5o6. .
edit
screen
FB-01 's LFO that are independent
in a configuration. Figure 5 shows the configu-
for
of
the values
>
1Br·ass
2Hor·ro
3Tr·urapet.
4LoSt.r·
5Str·
6Piaroo
7NewEP
8EGr·arod
9Jazz
19EBass
11WodBass
12E0r·gan1
13E0rgaro2
14P0rgaro1
15P0r·qan2
16Flut.e
-
to
Printer·
another, recall a voice
keyboard command
from
one
i g
i rogs
Gt
location
17Picccolo
180boe
19C
29Glockero
211Jibes
22Xylophro
23Koto
242 i t.her·
25Clav
26Har·ps
27Bells
2SHar·p
29SIIIadSyn
30Har•oro
31St.ee 1 Dr·
32T i r11paro
1 ar· i
type
you
(CfRL
to
another,
roe
i c
i
i
[
edited
R), copy
1( 1)
33LoStr·l)2
34Hor·n
35Wh i
362ingf'lp
3711eta
~8Heavl;l
:.;9Funk<>"'n
49Voice~
41Mar· i Mba
42EBass
3Sr.
4
44RD C'::!iitb
45Tolli
46Mar·s
4 7St.or·m
4Siolirodbel
MSX
or
st.l
ar· e
J-
by
a simple
one
swap
Lo
1
Dr·
Torli
to
voice
e
2
two
voices' locations within a bank (see Figure 4).
SBUF
to
[lit]
[lltl
editor
1( 1)
[ro]
[mJ
Mode
>
:
Dir
SAv
Rec:
K i 1
COP
Slola
Pd
Hel
SEl
Tt··a
CON
n,•
a
SBUF=save-buffer
Dir·ec:tor·y
ro
:select
n
:Save [ ro J to
n
:Recall
ro
:Kill
n,111:Copy
ro,111:Swap [roJ
n.m:Prir.t.
·
:comraand
a
:select
:Go
:Go
=voice
=1<MSX),2CEPSOH)
voice
SBUF
[ro]
[ro]
[r.J
printer
to
TRANSFER
to
CONFIG
number
to
and
thru.
help
(1-48)
Figure
3:
YRMso6.
Figure
4:
screen
of
The
The
the
display screen
Bank
ooice
of
the
ooice
transfer
YRMso6.
ration edit screen as
appears
on
the monitor.
it
From this screen you can edit parameters for:
• MIDI channel assignment
• number
of
notes assigned
to
the instrument
• low key limit for the instrument
• high key limit for the instrument
• the bank number
of
the voice assigned
to
instrument
•
the
number
of
the
voice
assigned
to
instrument
• the
output
• octave transposition
octave
level (volume) for the instrument
(two
octaves down, one
down,
none,
one
octave
up,
or
two
octaves up)
• detune amount
• stereo panning position (either
right,
or
has
stereo
LR-center)
outputs!]
[Note: Yes, the FB-oz
L-left,
R-
the
the
The
Configuration Block
The
Configuration Block allows you
of
the parameters
all
In
tion.
editing
16
the Configuration Block's configuration
screen
AFrERTOUCH/Vol. 2
you
that
can
make
also
No.8
set
up
values
to
edit
a configura-
for
the
• LFO
on
or
off
• pitch bender range
• portamento time
•
poly/mono
mode
•
pitch
modulation
depth
controlling
(you can choose between aftertouch, modulation
wheel,
troller,
The
last 4 parameters
"pitch
stored
bender
with
value in a
or
none-if
the
breath
range")
voiee
controller,
no
LFO
above
(beginning
can
override
by
assigning a
is
configuration-without
foot
desired)
the
different
affecting the
voice data.
There are also a
affect all
the
number
voices
in a configuration.
of
parameters that
include:
device
con-
with
value
These
Figure
screen
6:
of
The
the'
File/Transfer
YRM5o6.
Sao..>e
to
Delete
files
f
load
f Save
t
load
t
Sao...e
Recei'>e from FB-01
Serld
Select
Help
cassette
disk
frOM
t.o
disk
fro.
t.o
RAM
to
FB
file
file
disk
RAM
cartridge
car·tr·idge
-81
type
• voice combine mode
on/
off
• keycode receive mode (odd, even
note numbers)
• LFO waveform
or
all MIDI
screen
you
can
perform
the
following
operations:
• load a file from cassette
• save a file
• delete a file
• list all the files
to
cassette
on
a disk
on
a disk
• load a file from disk
• save a file
to
disk
• load a file from a Data Memory Cartridge
• save a file
to
a Data Memory Cartridge
• receive a voice bank from the FB-0 1
• send a voice bank
receive configurations from the FB-0 1
•
to
the FB-01
• LFO speed
• Amplitude Modulation Sensitivity (AMS)
Pitch Modulation Sensitivity (PMS)
•
The
File/Transfer Block
The
File/Transfer
Block is
used
to
manage
the voice and configuration data that are stored
on
data cassette, disk,
tridge
(UDCO
receive voices
the
FB-0 1. Figure 6
screen as
it
appears
1 ).
and
or
Data Memory Car-
It
is
also
used
configurations
shows
on
the
monitor.
the
File/Transfer
to
to
send
and
From
and
from
this
• send configurations
select voice
•
or
configuration file
* * * *
As
you
can
see,
the
Editor
ample
opens the
of
you
parameters.
cartridge,
library
Program
of
CA V (computer-aided
door
the
new
complete
of
sounds for the FB-01.
FB-01
With
you
will
cartridge
to
control
the CXSM and the YRM506
Vol. 2
all
FM
be
to
the
FB-01
type
new
YRM506
is
an
FB-0 1
excellent
voicing).
of
the voicing capabilities
tone
over
able
No.8/
module,
to
create
AFTER
those
and
powerful
your
TOUCH
ex-
It
gives
own
17
Final Touch
Hot
Tips
For
TheCX5M
Music
Computer.
Figure
I:
Part I as
it
be
displa,ed on
monitor
Figure
2:
part I
with
inserted
bar.
SCTeen.
Part 2 consists
a
before
u.uuld
the
CX.5M's
sixteenth-rest
first
double
of
Echo Effects
By P.J.
I have discovered a way
Composer (YRM101)
II
(YRM501)
generate a variety
some
ways, these effects have advantages over
using a digital delay.
Here
Enter
Figure 1
program.
insert a
sign in
the
the
effect.
second~rest,
shorter
the
dotted~eighth~rest,
syncopation effects.
adjusting part 2
the volume
ing a
the
expand
part
composition.
sixteenth~rest,
Try changing the
sixteenth~rest
You
.
II
"P"
echo a more
With
The
CXSM
Otto
to
use the FM Music
or
FM Music Composer
cartridges
of
is
an example
the
notes
into
part 1 of
Next,
copy
sixteenth~note
2, as shown in Figure 2. Now, play
The
and
play
rest creates a doubling effect. Change
to
can
enhance
to
be softer than part 1 by using
=~
It
at
the
JP
'
or
dynamics commands. Try
the
beginning
natural
depth
of
with
the
CXSM
interesting echo effects.
of
how it works:
and
commands
your
Music
part 1 to
rest just before the repeat
second
which
creates a slap
sixteenth~rest
the
song
a dotted
and
the
'I
the
sixteenth~rest
you
sound
6~ l 'I~
of
part
sound.
echo
shown
Composer
part
part
is offset
to
again.
get
interesting
of
the
jf
2.
This
You
by
designating
2.
Then
by
echo
a
thirty~
The
or
echo
by
=
1111
insert~
gives
can
also
to
In
in
I!
each
part
to
a different speaker.
OUTR
OUTL
"stereo"
interesting sound. Once you have experimented
with a single echo for a while, try copying part 2
to
part
Using this
echoes.
you
without
part
3.
This
can
after
after
3,
This
the
voice
the
voice
effect can give
and
double
will create a
method,
procedure
create
having
you
is especially useful
echoes
to
use
number
number
the
the
second
can
within a composition
any
Try
in
part
in
part
echo an even
length
of
the
regeneration.
create
up
special
patches
inserting
1,
and
2.
This
more
rest
in
to
seven
in
that
or
external
when you create an echo, it
nized,
composition.
computer generates each part. Therefore, there
is
regeneration.
hang
endless possibilities.
devices.
even
no
decay
I'm
sure you will find that, once you get the
of
it,
this
if
you
Also,
of
method
Another
change
unlike
sound
advantage is
is
always
the
tempo
a digital delay,
quality
of
creating echoes offers
* * * *
Accessing
Music Composer Program
By
Curtis
The
cartridges
lent
a
gram
that
control
like, and each
or
on
of
the
data storage and the S..voice polyphony.
The QX1 stores massive amounts
cal data, addresses a total
nels,
voices
thoroughly
major flaw in the QX1
entry procedure.
LCD window and go through dozens
consuming operations.
For quite a while I have worked
of
first
Composer,
QX
1. This process takes advantage
features
negative aspects
Since
polyphony,
can require data
CXSM play files
taining greater
ordination
the
tempo
each file.
Entering a master
parts)
take care
The
QXl
Through
Smith
CXSM FM Music
(YRM101 and YRM501) are
st~time
contains
different MIDI channels.
CXSM is
stores
and
into
data~ntry
thorough
tempo, dynamics, voices,
part
can be sent
the
and
dumps
functions
integrated
One
entering
of
the
of
data
and
then
both
machines while minimizing the
of
both.
CXSM is capable
sending
dumps
to
than
of
CXSM files can
changes are
the
CXSM
the coordination problem. This
Composer
programs. The
musical
limited capacity for
of
RX
and
is,
MIDI
is
the
must hover over the tiny
into
MID ling
information
of
several coordinated
enter a composition
8~voice
not
exactly
tempo
Music
The
out
The
eight MIDI
patterns
in a nutshell,
controller.
st~time
the
CXSM
that
of
only
polyphony.
be a problem
control
Composer
that
synchr~
of
your
the
for
each
CXSM
Program
excel~
pr~
commands
and
the
on
the same
major flaw
direct
of
musi~
chan~
and
DX
The
data~
of
time~
on
a method
Music
data
to
the
of
the
best
8~voice
to
the
QX
con~
Co~
the
same
part
(or
will
part
a
1
if
in
18
AFTERTOUCH/Vol. 2 No. 8
(or
parts) can contain rests
should be included in each file destined for the
QX
1.
If
the
control
2--8
of
parts
changes, volume changes,
and
so
part. After entering, editing, and saving file #1,
parts
part 1 (the master tempo controller) in memory
to
control the tempo
be entered, edited, and saved. Clearing parts
again will leave part 1
file #3, and so on.
Having
files with a tempo controller, we can transfer all
of
this
Select a
unit
CXSM. Press
two-measure
be
played
don't
now; we'll cover that after we get
entered into the
When
#2
can
track
mode. Load file
file# 1 can contain music data, voice
on-tempo
2-8
can
entered
data
Bank/
in
RECORD
at
worry
file#
be
entered.
on
the QX1, and
(one
about
is
be
cleared
into
file
track
mode.
RUN
on
countdown.
any time after the
synchronizing
QXl.
1 is
entered
Once
#2
into the CXSM, and transfer
or
note data, and
part
is
entered
portamento
governed
of
their
of
file #2. File
as
a tempo controller for
the
CXSM
at a time)
on
the
QX
Load
theQX1
The
into
again, select a
put
in
by
the
data,
#2
a series
to
the
1,
and
file #1
and
wait for its
CXSM
countdown-
the
all
of
the
QX
it
in
RECORD
part
1,
values,
master
leaving
can then
2--8
of
QXl.
put
the
into
the
file
can
files
for
the data
1, file
Bank/
it over
to
it
process
QXl.
tain the
send
each data dump, just
mand
sequence without being sent
disk, they will have
will probably start
their respective tracks.
can step through your files and document where
they
five,
UTILITY
to
Mode
music
The
PLAY
adjusted using this process.
that they are properly synchronized, they can be
arranged
further
out
the QX1 in the same way. Repeat this
to
load
all
of
the
CXS M files
Needless
the
When
begin.
delete bars, while Job Command 10 in EDIT
file will
Once
to
to
say, the CXSM files must con-
MOON
on
for
(Clock
data
mode.
on
on
the desired MIDI channels for playback.
command.
tempo
control
that
part-it
all
of
the files are saved
to
on
If
a file begins
example,
Mode
(Measure Delete)
Move)
to
bar
1,
then
begin
All
all
of
the
files have
the desired Banks and tracks, edited
the
QX
1,
If
you
part
to
the
omit
the
MOON
will
still
to
a MIDI recorder.
be synchronized, as they
different beats
In
the EDIT mode, you
on
beat
Job
Command
can
be
used
clock
0000
immediately
files
can
and
been
or
mixed together and sent
don't
want
QX 1 with
control
on
the
or
three
can
be
to
move
of
the
should
adjusted
to
the
com-
the
QX
bars
of
bar
20
used
the
track.
in
the
be
so
to
1
of
in
't"''7E
VV developed a novel use
send
If
we decide
ourselves, write
it
to
INVITE
us.
Don't
to
it
YOU
worry
use
up
your
in
the
TO
CONTRIBUTE
of
one
of
the AFTER
about
your
writing
idea as a full article
magazine,
put
your
TO
AFTER
TOUCH
style-just
in
AFTER
name
on
TOUCH.
products, write
get
the
information down.
TOUCH,
it,
and
send
$100.00.
If
you've got a
receive full editorial credit, plus a check for
Do
you
have a great new DX7 patch, a
RXll?
Send
By the way, we
or
patches,
manuscripts.
them
hot
tip
in-we'll
cannot
We
on
applications
or
CX5M
pay
$25.00
for each
assume liability for
will only
be
able
use, send
$25.00.
program,
one
the
to
return
it
along.
or
a great
If
used.
safe
return
unused material
we use it, you'll
of
you enclose a self-addressed, stamped envelope with your material.
If
you
just
have a question regarding
it
send
(We
use
Finally,
along too,
regret
all
of
your
that
we
questions
if
you
and
won't
just
we'll
want
do
be able
to
establish direct contact with
t'Touch Response."
are interested
AFTER
in
TOUCH
We'll
starting
is
do
up
your
our
best
to
guide us
to
get something
other
X users, send something in
our
best
regional users groups.
publication. Let us hear
the
use
of
Yamaha professional products,
to
answer
it
in the pages
answer questions through
in
our
to
choice
print
of
off
your
names
future topics.)
chest,
and
addresses
from
you!
of
AFTER
the
or
to
our
mail,
if
If
you've
it
up
and
we'll
try
you
a check for
pattern
for the
unused ideas,
to
you
TOUCH.
but
we will
you'd
like
letters column,
of
all
those
who
Write
AFTER-
TOUCH,
it
P.O. Box
2338,
ridge,
91323-2338.
if
to
To:
North-
CA
Vol. 2 No.
8/AFfERTOUCH
19
AFTER
P.O.
Box
TOUCH
2338
Northridge, CA 91323,2338
' ·
·Bulk
Rate
U.S.
Postage
PAID
Long
Prairie,
Permit
No.
MN
56
TOM4
BD1
BD2
RIDE
CRASH
[Note: RX15
Now
4.
RX,
While
(or
slowly
start
should
bigger and more alive. ,
Once you have
there are a number
the sound
• Change the MIDI key numbers from the list
above
and cymbal sounds.
owners
won't
have
set
your
normal
and
start
with
hitting
playing a slow
to
to
the
bring
up
hear the change. It's subtle,
begin
to
put
to
your taste:
alter
the
volume
the
DX7
toms
or
pattern
the
DX7
volume
hear
.the
1
this basic setup together,
of
things you can
tunings
TOM4
cymbals
that
drum
of
level
volume
uses
the
DX7
=42
=39
=40
=78
=95
or
BD2.]
on
buttons
them),
until
but
set
sound
do
to
drum
the
off.
you
you
alter
Continued from page 4
• Lower the relative volume level
drum
or
cymbal
DX7
by
lowering
operators #1
• Change the
composite
altering
and/or
If
a
DX9),
cymbal enhancement.
rithm
operators
#1
and
enhancement,
operator
patch, operator
#3
to
read like my #6.
Hopefully, this DX7
useful
point
the
sound
rhythm programmer.
the
#3 respectively.
you have a 4.-operator synthesizer (such
you
must
#2
and
#3
and
#2
as
#1
to
read like my #5, and your operator
to
you,
for
your
of
enhancements
the
or
#3 respectively.
"ring"
or
drum
and/
EG
RATE 4 of
choose
For
set
the
OUTPUT
#4
to
per
my
patch.
use
algorithm
read
like
#2
to
read like my #4, operator
but
will
own
experiments
your
RX
Good
OUTPUT
"holdover" time
or
cymbal
either
the drums, use algo,
0. Then set
For
#2
operator
patch
will
also
serve as a
11
or
RX
luck!
of
either the
from
the
LEVEL
of
the
sounds
operators#
the
drum
LEVELs
up
oprators
the
cymbal
and
set
your
#3
on
my
#4
not
only
starting
in modifying
15
digital
of
by
1
as
or
of
to
be
20
AFTERTOUCH/Vol. 2
No.8
Loading...