Yamaha Studio 100 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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~TM

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AUGUST 1986·

O

YAMAHA®

Editor

Tom

Darter

Operations

Sibyl

Darter

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~-

--

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•

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--

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monthly
informational
publication
from Yamaha.

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to

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AFrERTOUCH 3

-

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-

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--==-

--==-

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

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P1TCH

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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

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....

OUTPUT
LEVEL

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12

AANGI

FULL I

MOOI TIMI

PB

0 0

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+1

15 0 6

KEYBOARD

PITCH

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LEVEL

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POATAMINTO FOOTSWITCH

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31

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14 6 6

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DATA

rlA

0

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I

ALOGAITHM

lAME

LEVEL

VELOCITY

lAME

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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

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17 15 0

KEYBOARD

RATE

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1 1.00

DATA

r·R

rR

SCALING

LeVEL

2 0 0

OUTPUT

LEVEL

VELOCITY

90 0

5

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PITCH BIAS

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FREQUENCY

AR 10.R 1D.L

31

EG

BIAS

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FREQUENCY

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31

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ON

ON I

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lAME

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DATA

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SCALING

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14 14 14

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LEVEL

4 74 0

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OETUNE

lAME 1

0

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DATA

r·L

18 15 9

r·R 1RR

KEYBOARD

RATE LEVEL

SCALING

0 0

OUTPUT
LEVEL

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VELOCITY

70 0

ALOGRITHM #6

~

6

4

6

FREQUENCY

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25 14

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2.00

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11

KEYBOARD

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5 8

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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

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These DXlOO

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be

loaded into

the

DXll,

DX27, and
DX27S

operator

synthesizers.

8 AFI"ER.TOUCH!Vol. 2 No. 8

4~

ALOGRITHM

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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

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a more

hellish

if

#s.

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the

#7.

0

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ALOGRITHM

#6

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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

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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

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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