Yamaha V50 User's Manual

- -

-

- -

-

§

THE OFFICIAL PUBLICATION

-

~~

-

- -

-

OF

THE YAMAHA USERS

--

-

GROUP

-

-TM

-

MARCH

1989

YAMAHA®

&

THIS

to present it. In order to make room tents you see popular "MIDI Mixup" and "MIDI Matchup" columns. They will be back next month.

In the meantime, check out some cial features article called "Getting Acquainted WX7," addition to being Yasinitsky Washington where teaches saxophone phonist, Yasinitsky has appeared Vaughn, phony, and many others.

and consultant for Yamaha saxophones.

The range on watch faceted keyboardist phonist and WX7 player Tom Scott, and awardwinning film score composer Jerry Goldsmith.

International Popular Music Festival Results

As AfterTouch, Popular Music Festival were held 12th,

Japan. Giraffe, the band competition. Giraffe received the Gold (second place) award, which included a cash prize of $10,000 plus $10,000 The Australian $15,000 dollars in cash and $15,000 in Yamaha gear. the Silver (third place) award, which included $5,000 in cash and $5,000 in Yamaha gear.

A

shown in Japan and Europe a competition. Negotiations are currently under way

MONTH,

good material

we

written

is

an

State

he

directs

Stan

Rory Kaplan interview covers a wide

of

topics,

musicianship.

for

interviews with musicians like multi- Chicago,

mentioned

the

at

the Fuji television studios

The

United States

Platinum (first place) award went to the

band

Emerald, a band from Indonesia, received

TV

program

for

a US showing.

as

usual,

we

have more

than

we

have space in which

for

the con-

on

page 3,

have this month.

by

Gregory

an

Associate Professor

the

and

Getz, the

and

gives a different perspective Nashville, TN

And,

Chick

in

finals

that

Janz;

of

we

had to skip our

of

the spe-

Start

with the

With

Your

W.

Yasinitsky.

AfterTouch reader,

of

University

Jazz

Studies program and

composition. As a saxo-

San

He

in

Corea, popular saxo- Apr.

in

with

Francisco Sym- Nashville, TN

is

also a clinician

upcoming issues, Apr. 3 Guitar Shop

-Tom

last

month's

of

the

International

on

was

represented

won the Soundcheck '88

in

Yamaha equipment.

their

award included

the

Festival finals was

few

days after the

Mr.

Music at

Pullman,

Sarah

Darter

issue

February

in

Tokyo,

by

In

of

Date Mar.

Mar.

Apr.

May

May2

May3 Reliable Music

May4

Location

15

Cockeyed Camel

16-17

Music

Ed.

National Conf.

Nashville, TN

17

Stouffer Hotel Phil Clendeninn, Danny

IL

17

Naperville Music

Naperville,

18

Gand Music

Northfield,

19

The Music Shoppe

IL

Mt. Guitar

Lebanon,

D.

Systems

Loft

NC

24

25

26

27

1

Normal,

Falcetti Music

Holyoke, MA

Drome Sound

St. Indian Orchard, MA

Lasalle Music

Boston, MA

Blue

W.

K.

B. Virginia Beach,

Supertone

Charlottesville,

Charlotte,

Music

Raleigh,

Product

(DMI) division employs a number product specialists, who tour the country constantly conjunction with local Yamaha DMI dealers. Here tions, covering the last half the beginning

IL

NC

Specialist Clinics

The

Yamaha Digital Musical

giving clinics

is

a list

of

upcoming clinic dates and loca-

of

May.

Pub

NH

VA

Instrument

of

top-notch

and

presentations

of

March through

Specialist Phil Clendeninn, Danny

Hoefer,

Phil Clendeninn, Danny

Hoefer,

Kevin Stratton

Phil Clendeninn

Kevin Stratton

Phil Clendeninn

MIDI

Band

in

2 AITERTOUCH/Vol. 5

No.

3

-

March

4

6

7

~

1989

Questions

&

Answers to questions from readers.

Tom Darter.

TX81Z Voices

"POTS&PANSl" voices

TX81Z Voices

"LEAD

Jim Hegarty.

by

Answers

Cindy McTee.

by

GTR"

and

"POTS&PANS2,"

and

5," two new

"Elect.

Bass

By

Volume

Deming and

Steve

two new

TX81Z voices

Number

5,

Issue

TX81Z

-

--

#42

-

~

Editor

Tom Darter

Operations

Sibyl Darter

Production

Sibyl Tom Darter

3

Editorial Board

Steve Charles Feilding Bob Frye Rick Huyett Mark Koenig

Lincoln

J.P.

Phil Moon Jim Smerdel Steve

Cover Photograph

Jim Hagopian

Dee Dee Cawley

Darter

Deming

Thatcher

8

10

14

16 18

V50

introduction to

An

thesizer, which features a

S,track

Tom Darter.

By

Rory

Kaplan

in,depth

An Jackson's landmark "Bad" work with producing

WX7

Getting acquainted with your

Hot Tips

Reader tips for the KX88 and more.

C1 Users Central

From the Finder to

of

part

No

America.

Yamaha

Corporation

of

Yamaha's

sequencer, 32 digital effects, and a

interview with one

Chick an

this publication may be reproduced, stored in a retrieval system, or transmitted in any form

Corea and his current projects, including

album for Rob

DOS.

new

built,in PCM

of

tour; Rory also talks about his earlier

Lowe.

WX7.

Scott Plunkett.

By

3.5"

Darter.

of

digital

disk drive.

America.

multi,timbral

drum machine,

the keyboardists

Sibyl

By

Gregory W Yasinitsky.

By

Yamaha Corporation

of

Michael

on

or

syn,

an

any means,

by

AFTERTOUCH

lished monthly. Third class

postage paid at Long

MN and additional

Prairie,

points of entry.

SUBSCRIPTIONS:

Address subscription respondence to TOUCH, Northridge,

7938.

Send form 3579 to

Box

91327-7938.

5 No.

Vol.

P.O.

CA

POSTMASTER:

7938, Northridge,

AFTERTOUCH

3/

pub-

is

cor-

AFTER-

7938,

Box

91327-

P.O.

Free.

CA

3

&

Answers

To Questions From Readers.

By

Steve Demming

Tom Darter.

&

MIDI

a

have

I around an Atari MIDI MIDITrack friend MIDI tried MIDITrack the not in could trigger all of number

quencer program. Lord, Essex Junction,

Interface)

of mine came over drum

record

to

synthesizers and drum machines,

get any

sequencer. I don't understand why we machine. How can I store data from my

the

of

record

Well, since all of the synthesizers are ing the data from the drum pads, they are sending MIDI data properly. possible that the gate time of the data from the drum pad/ controller system the sequencer as ognize data from keyboards.

controls time values. Time control, with a range of default setting

PTX8 can be altered in Voice Edit mode, over a described.

range of

Will the in the July 1988 issue of AfterTouch support a laser for use with Word Danny Dickerson, Nashville, Yes,

therefore, if the software in question to work with a particular printer, the computer save

that runs the software will also work with that printer. Word Packard compatible with Word Perfect; therefore, the Cl ser Jet printer

the

data-most

note

the

Both

that

100-6500

Yamaha

printer (such as the Hewlett Packard)

jet

Perfect)

absolutely.

Laser

compatible with the Hewlett

is

recording

130XE

running

MIDI

III

and

pads

his

system.

III

data from

MIDI

the manufacturers) information

Can

recognizing the drum hits Now, when this incomplete data file

not

is

sequencers are set

Yamaha PTX8

a wide adjustment in gate

for

allow

PMCl

The

ms.

100

is

ms.

1 music computer featured

C

business software (such

the

mentioned

printer

The

Perfect

for

does support the Hewlett changed manually from one song to

printer,

Jet

that application.

studio

(with a Hybrid

the

Recorder software. A QXS to disk via the DX7's

with

control

drumming

could trigger all

We

the

MIDI

the

to

you help

VT.

too short,

is

and

has a front panel Gate

gate time on the and the result

The

in

TN.

is

focused

Arts

Hybrid

his

unit,

pads to record back to its source results

devices (from a but

us?-

we

PMCl

1-255

the

software-driven;

and

Arts

Yamaha vice versa,

and

using

could

Atari's

Packard

the

could

but

not

Tracy

recogniz·

know that when it sends the data to disk, the

quite

is

It

that gives a

so

rec-

to

up

have

ms;

article?-

designed extensive sequencer work. Is there any way to

is

Cl

the

I own a DX7 quencer, and a Korg have no difficulty transferring data from the

we

of

ODDS

the

show "executing"

do

and

file is created,

MDR

without

WI.

se·

L.

the

as

is

La-

DX7

The the buffer that data in the buffer to disk, even if it has not yet received all of the data being sent; and,

a "completed"

hand,

other

"completed"

back to the DDD5, the receiving data; however, since it will not receive the complete never receives the tells it to assemble the data. In other

unit

Korg

The

expand the buffer

know) can only be done

we

the

for product of GMR (Grey Matter Response). For more information on GMR at

currently

I am

the

memory

song

Hood,

R.

The

No. manually.

synthesizer, a QXS

FD

II

ODDS

I cannot transfer the data from

but

to disk successfully. Both units

and "completed"

show any

not

-Ralph

error?

has a buffer of only

FD

II

full, the unit automatically stores

is

message.

continues to send its data, and

message when it

Ex

Sys

"end of message"

completes assembling the data,

never

the empty drum machine

is

to solve this problem

way

only

the

of

installed in your unit.

II

DX7

E!

1-408-427-3678.

using my

output

QXl's output assignments must be set

assignments into permanent

they

so

Fresno, CA.

drum machine. I

feature and

MDR

messages,

"error"

but

Dornburg,

The

Korg

message that it sent, it

DX7

for

messages; an

transfer of this file

drum

empty

an

in

ODDS

Madison,

When

20K.

gives

II

DX7

on

unit,

Korg

through.

is

will report that it

code that

words,

II, which (as

having theE! kit

by

DX7

the

QX1

not

do

far

E!

II, contact

do some

to

have

next?-

the

se·

the

sent

the

you

is

to as

a

be

AFTERTOUCH/Vol.

4

3

No.

5

I recently purchased the Yamaha a great keyboard and I enjoy

it

PF2000.

a lot. However,

It

I am having difficulty finding sounds for it.

most of the available sounds are

that

seems

DX7

disk, for sounds

the

are compatible with the

that

Dave Ascoli, Tempe

RAM

and

ROM

All will work in your

and

addition, all

the

for PFZOOO

RAM

original DX7

in conjunction

can

How

FD.

II

PF2000?-

AZ.

the

cartridges

PFZOOO's

for

cartridge port. In

ROM cartridges created

be used with

can

APD1

an

with

on

I find

DX7

the

cartridge

adaptor. Yamaha has also created a new ROM

the

to

which

original

locate a

RX5.

Do

PFZOOO,

cartridge specifically for contains PFZOOO

voices

ROM.

not

the

found

on

I have been trying for some time librarian

editor/librarian for

or

the

you know of any? Also, are there any books

own-

not

the

so

not

limited

The

allow

the RX5, to supplement

available ers As available implementation that RXS's

on

manual?-

know,

we

as

far

for

editor/librarian

an

Ex

Sys

David Daboll, Everett, WA.

there are no editor/librarians

the RX5.

The

sketchy, but

is

implementation does

direct access to parameters,

System Exclusive

impossible.

is

any editor/librar-

so

ian program would have to work using bulk

to computer and from

dumps from puter to

RXS

RXS.

Alexander Publishing (353 7

CA

Rd., Newbury book entitled

Machine

Drum

Crigger. $29.95, comes audio cassette

Park,

Yamaha

Sound

161-page book, with a list price

The

RX5:

Uke

A

complete

contains recorded examples.

that

Old

91320)

To

How

Drummer,

a

with

com-

Conejo

publishes a

Your

Make

David

by

of

52-minute

For more information, contact Alexander Publishing: in California, call side California, call

805-499-6200; out-

1-800-633-1123.

I am a solo guitarist who has recently, like so

SPX90,

an

many others, gone which I

think

ever invented!

how to use

on

MIDI.

is one

I would like some advice

But,

more effectively. Is there any

it

kind of reference manual available with

SPX90?

the

cations Winnie, Shortly after the created an SPX90 booklet mation, America,

P.O.

for

TX.

still available

is

write

Pro

6600,

Box

SPX90

Programming Guide. This

Yamaha

to:

Audio Division, Literature Dept.,

Buena

I use

the greatest machines

of

-Carl

Keating,

first appeared, Yamaha

free. For more infor-

for

Corporation

90622.

CA

Park,

appli-

of

is

It

II

I own a Yamaha

CPV-7

tone generator, and a Casio

OUT

MIDI

the

run

I

of the

IN

MIDI

the THRU

from the FB-01

Clavinova,

hf4700

from the Clavinova to

run

FB-01,

and

to the

MIDI

Casio. I have programmed 16 user

the

on

tions

program

the changes the

FB-01;

on FB-01

however, when I change

automatically

CPV-7,

the

configuration-is

's

it

any way to prevent this?

Since the

MID

instructions

in

owners manual are very sketchy, I have some

questions

more change its

the

sume change its

(auto-bass/chord)

ABC control ture

the

the Casio does control the CPV-7.

on there a way to get the CPV-7's control the Casio via MIDI?

about

transmission channel? (I

MIDI default

MIDI

channel

mode setting? Finally, the

on

Casio via

MIDI,

).

is 1

CPV-7

the

but

ABC

-Harris

unit:

the

Bowie, MD.

nothing

Unfortunately, there

is

done about these MIDI problems using just the

instrument's MIDI implementation

CPV-7. is channel nally. Also, the unit

The

very limited.

and this cannot be changed inter-

1,

unit operates only

The

always

sends out MIDI gram Change messages when a new sound selected, and this also cannot be changed

(auto-bass/chord)

nally. Finally, the

the CPV-7

on

ture

ABC

does

output MIDI

not

mation to control other units.

something like a

from

use

Program Change

CPV-

the

would be possible to

It

MIDI event processor to change

Yamaha

MEP4 MIDI channels and filter out messages

coming

seems like an overkill solution to your problems.

a fine self-contained

The

CPV-7

Clavinova

is

keyboard with some limited MIDI feature, but it

a very effective MIDI master keyboard

not

is controller.

FB-01

an

keyboard.

MIDI

the

of the

IN

configura-

CPV-7

the

How

a similar

mode to

Berman,

can

that

on

but

7,

there

do I

as·

do I

won't

fea-

Is

be

MIDI

Pro-

inter-

fea-

infor-

this

PF2000

electronic

piano.

is

----

3/AFTERTOUCH

5 No.

Vol.

---

--------

----

5

z

"POTS&

.. PANSI" & "POTS&

.. PANS2!'Two NewTX81Z

related,

contain

frequency

of

keyboard

different

on

diagrams,

for

listed

and

represent

a

of

range

parameters.

both

operator's

properly,

Fine

possible

value

the

indicated

chart;

Fine

the

value

by

The

each

for

within

bottom

of

By

McTee.

these modulators

mode.

notes

different

therefore

timbres

diagrams:

the

Frequency

both

Frequency

actual

the

they

level

value

available

values

frequency

start

and

Coarse

their

at

both

then,

values;

and

Coarse

number

the

by

go

finally,

increment

and

number

the

frequency

actual

operator

dotted

Operator

the

of

chart

the

two

Playing

proper

num-

Fine

within

set

To with

Fre-

go

Incre-

number

to

rimes

of

in

are

boxes

low-

Voices

Cindy

Notes:

Closely patches fixed

series

a

the

duces

note.

note

A

these

In

bers Coarse

not settings-instead,

repesent

the

for each value Frequency quency est Frequency

ment times

the

in

quency

the

indicated chart values shown

the portion

on

do

the

of

Fre-

the

at

1

0

-=~~~~.

OPERATOR~

on/off

level

out

freq. type

fix range

freq. coarse

freq. fine

''"'":'i'~''''''i''"'":'i'~'"'"i"'"":')'~''""i'""''~'~':"'"''

in

decay

detune

i

5.00

. . .

ENVELOPE------------~

attack rate

1

release

eg shift

1 rate

level

decay

decay 2 rate

SCALING/SENS

level

ams on/off

sans eg bias

key

OPERATOR~

on/off

level

to

out

freq. type

fix range

freq. coarse

freq. fine

detune

:·~·~"""i"""'::i';"""i"""':')';""'T"''"'~'~'::"""

.......

i

5.00

. . .

ENVELOPE--------------,

attack rate

decay 1 rate

decay 1

decay 2 rate

release

level

eg shift

SCALING/SENS

level

ams on/off

eg

sans

key

~

ON ON 99

RTO

255 255

16

o

+0 +0 +0 +0

3040H

9.00

rate 7

i

24 14

15 16

OFF OFF OFF

ON ON

83 85 85

FIX FIX

RTO

4K 44

28

14

0

596H

i

31 31

24 28

31

15 15

15

14 14

28

4 5 7

1K 36

31

OFF

----------,.

0 0

rate

9.00

rate 7 4 5 7

o

0 0 0

OFF OFF

o o

3 2 2 2

vel

1

0

~~~~~.

~

ON ON ON ON

83

99

RTO

255 255

28

16

0

o

+0 +0 +0 +0

3040H

i

31 31 31

24

31

14 15 15 15 15

28 14 14

16

OFF OFF OFF

OFF

0 0

85 85

FIX FIX

4K 4K

36

44 14

2384H

i

24 28

OFF

----------,.

o o

rate

0

o o o o

OFF

bias

vel 3

OFF OFF

0 0

2 2 3

OFF

o o

voice name:

algorithm

feedback 4

5

LFO----------------~.

waveform

speed

amp mod depth

pitch mod depth

POTS&PANS1

no. 3

tC:...v

0

o o

FUNCTION------------...,

POLY

mode

portamento

porta time

;........

o

~pitch

o

.........

~

voice name:

algorithm

feedback 3

5

LFO------------------~.

waveform

speed

amp mod depth

pitch mod depth

FULL

40

vol

amp

~

p!~~

no. 3

tC:...v

34

mid rev rate pb range 4

o

........

. '

o

~eg

........

:

POTS&PANS2

o

FUNCTION-------------,_

mid

rev rate pb range 4

0

........

. '

o o

~eg

........

:

portamento

porta time

;........

0

~pitch

.........

~

POLY

mode

FULL

40

vol

amp

~

p!~~

OFF

sync

C

=

o o

C 3

delay

sans sans 0

o

pitch

p

sync

delay

0

o

amp

o

~ias

+0

b1as

OFF

33

C

=

o

C 3

sans sans

o

pitch

p

o o

amp

o

~ias

+0

b1as

AFTERTOUCH/Vol.

6

No. 3

5

1

OPERATOR

on/off

out level

freq. type

0

ON ON

99

ON

85 69

RTO RTO RTO RTO

voice name:

algorithm

feedback

no.

LEAD

3

s

GTR

fix range 255 255 255 255

freq. coarse 4 4 4

freq. fine

·······:·1·~······i·······:·2·~······i·······:·)·~······i·······~·4:·······

detune

1.

00 l 1.

• 0 0

0 0 0 0

+0

+3

00 l

1.

00

l 0 . 50

ENVELOPE

attack rate

decay 1

rate

level

decay 2 rate

19 31 15

0

12 12 31 15

7

release rate 7 1 1 1

eg

shift

OFF

SCALING/SENS

rate

level

on/off

ams

sans

eg

bias

key vel 1

OPERATOR

on/off

out level

freq. type

fix range 255 255

freq. coarse

freq. fine

·······:·1·~·····r·····:·2·~·····r·····:·i·~·····r·····~·~·:·······

detune

0.50 l 0.50 l 1.00 i 11.00

• 0 0

1 1 2 2

92

0

OFF OFF

0

1

0

ON

99

RTO

0 0 0

+0

OFF OFF

0 0 0 0

ON ON

75

RTO RTO RTO

255 255

0

+0 +0 +0

ENVELOPE

attack rate

decay 1 rate

decay 1 level

decay 2 rate

release rate

eg shift

31 31 21 23 12 2

14 15

9 3 0

1 1

8

OFF

OFF OFF OFF

SCALING/SENS

rate

level

ams on/off

sans

eg

bias

key vel

0 0 0 0 0

OFF

OFF OFF

0 0 0

0 1 0 2 3

-2

-3

22

9 9

14

0 0

OFF

0

1 1

85

4 34 0

11

12

13 5

12 10

42

99

OFF

0

LFO

waveform~

speed

amp

mod

pitch

mod

1

FUNCTION--------,

mode

portamento

porta time 7 ;········

~pitch

4

.........

~

vol

amp

p!~~

voice name: ElectBassS

algorithm

feedback

0

LFO--------~.

waveform~

speed

amp

mod

pitch

mod

FUNCTION--------.

mode

portamento

porta time 0 ;········

2

vol

~pitch

.........

amp

~pitch

.........

amp

26

depth depth

POLY

FULL

99

o

~

no.

4

o

0

depth o depth o

POLY

FULL 40

o

so

o

sync

delay

sans

0

sans

21

mid

C = C 3

rev rate o

pb range 2

r·······

pitch

~

amp

:"-1'

eg

bias o

L.

.....

p bias

sync

delay

sans sans

mid

C = C 2

rev rate 0

pb

range 2

r······

pitch 0

~

amp

;wag :

~ias

........ p b1as

OFF

30

0 5

99

o

+0

ON

0

0 0

+0

z

"LEAD GTR"

& "Elect. Bass

5!' Two

TX81Z

By

Notes: Set

Mode

Fingered

A note

In

these

bers

listed

Coarse

not

represent settings-instead, sent a value range both

parameters. operator's properly,

quency

Fine

both

sible

values;

quency

the

value

indicated

chart;

Fine

and

the

number

by

the

The

actual

for

each

within

tom of

the

chart.

Notes: Try

using

with

these

Time=

Feedback=

Level= ent

bass

setting

of

the

New

Voices

Jim Hegarty.

to

Mono

and

Portamento

on

the

diagrams,

for

and

Frequency

level

of

values

frequency

start

Coarse

at

their

then,

Coarse

the

by

the

finally,

increment

of

number

frequency

operator dotted the

Operator

Effect

settings:

.05s;

1;

99.

For a great

sound,

according

song.

both

the

number

go

boxes

Pitch

for

diagrams:

the

num-

Frequency

actual

they

repre-

within

available

To

set value

with

the

and

Frequency

lowest

go

to

and

Increment

of

number

to

Frequency

the

times

indicated

in

the

chart

values

are

shown

at

the

portion

# 1

Delay

Shift=O;

Effect

vary

the

to

the

use

trills.

Fine

the

for

each

Fre-

pos-

Fre-

times in

value

bot-

ambi-

time

tempo

do

the

of

Vol. 5 No.

31

AFTERTOUCH

7

An lntro duction Yamaha's Multi

..

To

New

Timbral

.. Digital Synthesizer.

Darter.

Tom

By

digital synthesizer has

YAMAHA

HE been designed to act

T

duction system. In addition FM tone generators,

tures a built-in sequencer, and 32 digital effects. programs, sequences, and patterns may be saved using the built-in

Generation

Tone

VSO's

The 4-operator, full 16-note polyphony and 8-timbre capability.

any time, you

At instantly: voices. the B200.

In voices time, you stantly: 100 performances.

A Quick Edit option has been added to the VSO, liance, volume, course, full voice editing

Sequencer

The

ity. from tape recorder-style buttons panel. which

notes.

songs, with each song containing up to eight

tracks. Each track

dent

Other recording, overdub, mix, quantize, erase.

To

sophisticated dynamic voice allocation (DVA)

employed to make full use of

is voices

S-waveform

100

The

Yamaha

Performance mode, up

be played simultaneously.

can

allowing rapid changes to a voice's

Sequencer section

a full S-track sequencer, controlled

is

This

The

enough

is

VSO's

The

MIDI

features

enhance

polyphony.

of

VSO

all-in-one

an

as

its powerful dual

to

multi-timbral

the

PCM drum machine,

In

disk drive.

3.5"

synthesizer section consists

tone generators,

FM

access up to 300

can

internal, and

100

preset,

voice data from

use

also

can

VSO

TXS1Z, YS100, YS200,

DXll,

eight different

to

300 performances in-

access up

preset,

sequencer has a capacity of 64K,

transmit

to

internal, and

100

release time.

attack,

memory

include

the

or

also available.

is

professional

of

is

on

approximately

for

remember eight

can

have its own

can

receive

and

real

sequencer's performance,

the

pro-

fea-

VSO

S-track

an

addition,

two

of

voices

card

100

any

At

card

100

bril-

qual-

front

the

16,000

indepen-

channels.

time

step

copy,

available

16

for

or

Of

and

Rhythm

the patterns go patterns rhythm songs. Each pattern four measures long, and can use any

lowing through

songs

consists of a mand (such change).

pletely generator, and notes being played eight notes the

provides

lows:

BD, GateSD, Tom 3, Tom 4, Tom 4,

4, HHclos, HHopen,

Edge, ClsCsh,

Shaker, Cowbel, Timb1H, Timb1L, WhstlS,

WhstlL, CgaHMT, CgaHOP, Cgo

Bgo

Tambrn,

percussion instrument has its own setting

pan, volume, and MIDI note number.

The

a lot of useful controls, making it very operate. (LCD), volume slider, and data entry slider, the unit offers eight function underneath the LCD (these functions depending

Machine

Rhythm Machine section contains all

The

a professional drum machine.

features

along with

The

rhythm machine tone generator.

The

of

be created and stored in memory to

can

preset patterns. These

100

the

create up to eight

be combined

can

signatures:

time

16

/s, and contain up

can

pattern

repeat, volume change, or tempo

as

rhythm machine's tone generator

independent

not

is

be produced simultaneously

can

tone generator of the rhythm machine

different percussion sounds,

61

BD2, BD 3, H.

1,

BD

2, PiclSD,

SD

1,

SD

Rim

SD,

E.

Tom

F.

E.

1,

Tom

E.

Crash,

LO,

Front

VSO's

FMprcl,

BellTr,

CuicaH, CuicaL, Ago HI, Ago

Claves,

In

TimpnH,

Panel

front panel has been designed with

addition

to

be from one to

can

through

V4

1

through

/16

1000

to

number or a function

the

of

affected

the

by

Rim 2, Tom

1,

F.

1,

Tom 2,

HH114o,

Cstnt,

the liquid-crystal display

to

the mode the unit

on

32

/16.

steps; each steps

synthesizer tone

the

by

synthesizer.

BD,

SD

H.

2,

Tom

Tom 3,

E.

HHpd1, Ride,

FMprc2,

TimpnL,

LO,

VbrSlp. Each

and

located directly

keys,

have various

keys

the

of

%,

Rhythm

com-

is

number of

Up

as

GateBD,

SD

H.

1,

Tom 2,

1, Tom 3,

F.

E.

FMprc3,

Claps,

Bgo

easy

is

100

fol-

Tom

HI,

LO,

for

in;

of

Vs

to

by

E.

2,

F.

to

AFTERTOUCH!Vol.

8

5

No. 3

V50

digital

synthesizer.

the current function

of

each

key

is

indicated

by the LCD). In addition, there are tape-recorderlike controls

for

the sequencer, a numeric/notevalue keypad, edit and sequencer/track buttons, utility buttons, and more

Signal Processing

The

built-in digital signal processor offers 32 different programmable effects, as follows: Reverb Hall, Reverb Room, Reverb Plate, Delay,

Delay LIR, Stereo Echo, Distortion Distortion Echo, Early

Ref.,

lay

LIR &

Gate

Reverb, Reverse Gate,

Tone Control, Delay & Reverb, De-

Rev.,

Dist. &

Delay,

Church, Club, Stage, Bath Room, Metal, Tunnel, Doubler Doubler Feed Back E/R, Delay Tonel, Tone Control

R & Tone

2,

Feed Back Gate,

2,

and Distortion.

F.

Back Reverse,

& Tone

2,

Delay & Tone2, Dly

1,

Dly.

Rev.,

1,

LIR &

Ll

Disk Storage System

The

V50 comes equipped with

3.5" disk drive.

The

following types

an

onboard

of

data can

be stored. to and recalled from disk:

ALL: saves synthesizer data (internal voices,

internal performances, setup), sequencer data (all songs, setup) and rhythm machine data (all patterns, all spngs, setup) to disk.

SYN: saves only synthesizer

data

(internal voice, internal performance, setup) data to disk.

SEQ: saves only sequencer data (a

single

song)

to disk.

R.SEQ: saves only rhythm machine data

(all

patterns, all songs, setup) to disk.

The

drive can also be used

as

a MIDI Data Recorder (MDR) to save MIDI bulk data from other MIDI instruments.

Connections

In addition to the standard MIDI IN, MIDI

THRU, and MIDI

OUT

connectors, the V50 features stereo audio output jacks, and a headphone jack. There are also jacks

for

two foot controllers (FC7 or FC9 type), a breath controller (BC1

or

BC2), and two foot switches (FC4 or FC5 type); the second foot switch connector is

designated

as a PLAY

/STOP

switch

for

the

V50's internal sequencer.

The

V50

is

available now

at

authorized Yamaha Digital Musical Instrument (DMI) retailers,

for

a suggested retail price

of

$1895.00. Dealers will also be supplied with a demonstration video

that

provides

an

over-the-shoulder view of a musician preparing a complete song demo using the many capabilities For more Yamaha dealer, tion

information,

or

of

America, Digital Musical Instruments

see your authorized

write to: Yamaha Corpora-

Division, P.O. Box 6600, Buena Park,

of

the V50.

CA

90622.

Vol. 5 No.

3/

AFTERTOUCH

9

TAKEN A

KAPLAN

ORY uncommon path within the music

R

status and respect he has achieved

The

ness. from his musical peers spread; however, his story many keyboardists today, Rory's strength and recognition in the music business in the beginning) from the technical knowledge he possessed, chops.

A native of

entering the music business after hearing the

on Beatles low early childhood piano lessons (which liked at the time and much music

and though his abilities expanded during his high school years, fellow high-school band member Steve Lukather (who eventually joined the band Toto) proved to be Rory dismissed the notion such extraordinary talents those at decided to concentrate area of musical electronics. This decision

tually led

most interesting careers in music today.

ment Minimoog keyboards apart and putting them back together again-! noticed

going to be in one of the studios. I would

on like a lost puppy, great!"

to take care moving from New Chick's manager, Ron Moss, contacted the job. I couldn't believe it! Chick ready to do a solo album, that

10

at

other people's life script. He didn't allow his

of he also tried his musical talents

He

of

time, Eddie Van Halen). Instead,

the

did

How

While I

Rentals)-tearing

his sessions from time to time, feeling a little

few

A

was

AFTERTOUCH/Vol. 5

rather

Los

age nine, Rory has never tried to fol-

anything) to discourage the love of

so

felt

another young guitar talent in the area

Rory into the center of one of the

first

you

was

months later, Chick needed someone

of

first record project. I programmed

my

HAS

well earned and

is

unique. Unlike

is

from his keyboard

than

Angeles who became intent

didn't evolve into

says

deeply.

so

competing with

of

Steve's (as well

as

the newly developing

on

Chick

with

up

hook

SIR (Studio

working

for

Fender

that

thinking,

and

his keyboards because he

Los

to

York

Spanish

My

3

No.

VERY

wide-

(at least

grew

he

guitar,

on

awesome

even-

Corea?

Instru-

Rhodes

Chick

look in

"This

Angeles, and

me

getting

was

Heart.

busi-

dis-

that

he

and

was

is

was

for

So,

·

as

·

so

From

Corea

Chick

To

Michael

To

son Lowe. Sibyl

By

Darter.

Jack

Rob

synthesizers and person.

..

After being around Chick, watching over his shoulder want to play keyboards!" Every now and then ask him a question, and day during the Herbie HancockfChick Corea

Duet tour,

harmony. He asked me, "What's

about

minor third of

talking about. I blanked, but to think the question through. After that experience, I bought little books understand the formal ideas of music. I watched

him, and would ask him or Herbie why they had

voiced a certain chord the

a huge learning experience

was

did

What

I went off

background keyboards: string stuff and horns.

the opening act

was

She Crusaders. Joe and I hit it off real well, and he asked me to work

was

This keyboards, almost all Polymoogs, more. Records filed Chapter never released.

Los turned out, ing. Fortunately, it of mine, Will Alexander, introduced me to the Fairlight Synthesizer. He spent a with denly, I felt very competent and comfortable. with the Fairlight system.

Fairlight people to help create some original sounds for happily, I came up with the sound her Musical Director really liked. I ended up programming the sounds sodes

tory

October '83.

An

I eventually had to work

Angeles

me,

few

A

for

the right sound

ofFairy

did

How

tour?

Jermaine Jackson had bought a Fairlight in

was

he played, I decided,

as

it went.

so

asked me if I knew anything

Chick

C?" I had no idea what he

he

that

way

working

after

do

you

Randy Crawford, playing

with

Joe Sample and the

for

the new Crusaders album.

on

pre-MIDI

still

two Minimoogs, a Multimoog, and

album

music store. Salesmanship,

not

was

educating me

months later, Shelley Duvall asked the

Fairy

Tale

get

you

he

time, and I had about

Moog-A

recorded,

was

and the record

11,

a sales person in a

as

something I

at this time

was

the instrument.

on

Theater.

Tale

the nightingale bird and,

for

She

several other epi-

for

Theater.

keyboardist

a

be

to

had heard

that

a technical support

as

there

it!

is

"This

Then

encouraged me

would help me

me.

Chick?

but

good at

a friend

that

of

!ot

looking

was

she and

that

on

not only

the

That

four

RSO

time.

Sud-

Vic-

they had.

for

with

Moog 3-C,

was

I

I'd

one

the

was

18

was

it

do-

able to that might be useful for the tour. Professionally and· personally, it talent, previous commitments for some invited musicians, and certainly a time me. I followed Jermaine's instructions and called the rehearsal studio, but hadn't heard from Jermaine, to come down. I figured, "Oh, well, it's just of those things," about the mix-up, at the studio who had already started rehearsing and told them I So, who had been playing til ently the two keyboard players had already been practicing for two weeks when, out Jermaine announces, "We're adding keyboard player."

than thought, was doing these parts, line." It ing me more parts to to prove since I nical, keyboardists hadn't come up from side like ship over and above what the other keyboardists had already proven. nitely a learning experience levels

and

tory tour I found muself sitting in the background, observing what contacted Ron Moss, who encouraged me to come to terms with myself, be honest with self, were. That's when I became aware really capable the world. Instead, I looked ble of doing, and committed myself to practicing or improving started Elektric Band. anything and everything musically.

encouraging. I down if I failed even slightly. Her support meant the world to me. It helped me try and work harder

use

the Fairlight with competency, but

I knew a lot of other technical stuff

was

a time of competitive egos and

of

insecurity for

the

person I talked to so

he

told me

but

when

Jermaine heard

he

called me and the people

would

be playing

when I did show up

then

were

less

I knew the other keyboard players were more

competent-they

"What

kind

of

was

not

me.

for

me.

What

did

the

Bad

I went back to work for Chick. After the Vic-

about what

working for

I have to mention

on

Next, Michael Jackson's secretary called me

am I going

like, "Well,

Randy Jackson who first started giv-

was

musical, side of things.

I felt I had to prove

you

do

tour,

which

of

doing. I didn't try to conquer

my

Once

was

my

musical ability.

at

the

keyboard parts up un-

than

friendly to me. Appar-

were

Rory,

you

can

cover this

play.

I knew

coming up from

The

Victory tour

between

the

started

was

my

strengths and weaknesses

weaker points at the time. I

Chick

again, I started learning

that

my

used to people keeping me

on

the

studio,

of

phenomenal!

to

do?"

since

we're

I'd

the

my

on

several different

Victory

in

'87?

going on. Finally, I

of

at

what I

again-with

Chick

wife,

Thora,

that

not

one

the

tour.

the

guys

the blue,

another

At

first it

already

one

little

have a lot

the

tech-

The

other

technical

musician-

was

defi-

tour

in

'84

my-

what I

was

capa-

his

was

doing,

was

so

I

Rory

Greg

Kaplan

(L) with

Phillinganes.

while I

was

on

the

road with and told me I to Japan and Australia.

yet been released, and road with music

tour. I had to make a choice

with Chick, or taking a chance son tour would really happen. I chose to be a part

of

that

was

I got to run the auditions weeks. I organizational things became shoulders, therefore a little scary, it ing time I had ever had. I and I liked it!

Then,

staff for the tour

· full-production rehearsals in the next two weeks and

on realized equipment, uneasily,

putting the system together in earnest.

What

leg

of

the

I had one double-bay rack, real simple, which consisted originally Roland Super JX, Rohmd Super Jupiter with

was

wanted for his upcoming tour

that

the Jackson tour, and

the best for me, professionally.

was

the

Musical Director; a lot

so

useful.

The

and

even

when I realized

was

to Japan after three weeks

that

I had been practicing

for

the

"~

have

no

was

the

final

set-up

tour?

of

Vol.

The

Elektric Band,

The

Bad

album had

he

wanted to

had been

that

responsibility

though

was

talking about going into

most

on

the Victory

of

going to Europe

that

was

for

the next two

Chick

had taught

it

was

the most exhilarat-

was

in the

that

the production

of

rehearsal, I

part. I thought

go

on

this Jack-

a choice

of

was

on

new

hot

seat,

on

rented

not

the

the me my

and

equipment!" So, I started

for

the

Japan/

Australia

two Akai 900s, TXIP,

5 No. 3/AFTERTOUCH

11

Continued

from

page

11

programmer, a TX816

MV802 for Lexicon PCM-70, PsychoLogic MIDI mappers.

What did

the

effects, REVS, two SPX90s, a

RXS

you

add

rack, a TX802,

drum machine, and two

after going

to

Japan

Australia?

When

we

came back, Michael said, "Look: I

want to do everything

Hotel' we'll keep in, plus 'Startin' Something,' 'Billy Jean,' and 'Beat 'Smooth Criminal,' even 'Thriller."' All these were new songs for the tour. So I went to Michael's studio in his home and I took all his 24-tracks, made mixes-all keyboard parts, all the guitar parts, all the drum parts. I made different cassettes to give to all band members.

It

was

at this pont, after I'd for about three weeks, showed back over musical direction, technical direction. It since Greg's musicianship to

jazz.

So, I designed Greg's racks techs and I built everything, and did gramming and MIDI mapping and so on. Eddy Reynolds came on. Eddy has always been one

of and I spent about a gramming every song from scratch. We Compaq computer up; I had all Sidekick and day from eight or nine in the evening, sometimes even later.

Every

We'd selves: Then all of Greg's programming, get a disk for Greg for when he came in, and was

fun these hats, thinking with the whole band in mind. Some sounds with just Greg and me playing; but, when you add guitar and bass, and overwhelming, or to try and just get in later.

My

was

so upset; I figured,

it'll help me through it." So, I went back to

12

AITERTOUCH/Vol. 5

up.

he'd worked

the best technicians in

my

OpCode

Dr.

ten

in

day,

listen to

"What

are all

we'd

work until

and

it

dad passed

new.

Maybe 'Heartbreak

It,' but I want to add

'Man

In

The

Mirror,' and

been

that

Greg Phillinganes

Greg

and

I had a talk:

and I took

was

an

obvious choice,

on

all Michael's albums;

is

to R&B what Chick's

and

my racks.

Los

Angeles.

month

T software.

the

programming.

"Human

was

that

not

the

away

over at Leeds pro-

had

my Macintosh. I

software; he

We

sat there every

morning

the

we

then

educational, wearing all

then

strong enough.

about this time, and I

"If

No.

until

Nature" and ask our-

elements

found them. So I'd do

I set up sounded great

ballpark, and adjust it

I just keep working,

3

of

do all of my stuff. It

drums, it might be

doing this

He

over

the

had

all his

probably

this song?

We

an

and

the

took

the

is

The

pro-

Then

He

his

had

work

the

And

I worked through until do production rehearsals. That's we

could find in the States where

an

indoor stadium and rehearse full production. Michael wasn't there for rehearsals, it together, guys,

the

worked

During down lots to all

of

lot

of

horn

hard

to Quincy Jones said, was

nice to hear Quincy. I did my homework, and I thing to prove, you know; I felt I'd been sort of looked down a player, and passing

other

people, I felt I could really concentrate

playing.

Greg took me under his wing

and

taught me weekly. In exchange, I would show him how to program the disk, how sounds. course of tems made, because Michael knew

ing to be gone for a year (actually it turned out

to

be

more like a year only do three shows a week, least four manager

systems. Yamaha really supported

a TX816 rack in my room, and

an mixer, but there isn't a small enough Studiomaster to fit in my hotel room, so I used a Hill 16

by 4 by

Diditech DS2-128 effects unit. Greg

some demos in our rooms

It

was possibilities for after the

albums I've programmed sounds, or like,

"If

get this!" So tour, I really want home behind cal abilities, I know enough now: who I have to hire to do things I can't do, and the things am capable

one

like

we

left

for

Pensacola, Florida, to

the

first two weeks

was

just mainly getting the music

as

well

as

working with the lighting

sound guys,

on

the

production aspect

the

first two weeks

of

notes and paid particular attention

my

horn

parts

make

them

on

for years

It

worked

the

tour

days

off in hotel rooms. So Michael's

was

very

SPX90. I wanted to get a Studiomaster

2. I had

at this time

been

you take this sound and do this, you

then

the

of.

Obviously I'd always hire some-

Greg

and

anyone else who

or

rehearsal, I took

sounds, because there were a for

this music,

be

very realistic. Even

"The

horns are slammin."'

that

kind

of

compliment from

as

a player. Now being

the

hat

of

technical over to

out

real well. During

we

had

hotel recording

and

a half)

we

gracious,

I started thinking, "After this

to

equipment. As far

or

and

got

an

MV802, a

a little patch

that

were

that

I started considering

the

tour. I thought of all

involved with, where I'd

had

given some ideas

produce." I feel most at

Chick

to

straight

the

only place

we

could get

of

the

show.

and

I worked

had

some-

on

this tour,

to

get

the

sys-

we

were go-

and

since

we'd

would have at

us

our hotel

us

there. I

and

bay,

had

DX7,

and a

I made

unbelievable.

can

as

my musi-

that

do

all

the

of

It

I

"wonderwork." but, it's like I said earlier, honest: Know what your strong points are.

best realizations more musically capable and I were splitting the keyboard work was

a big difference from the earlier tour when

I'd

played only four notes in a whole hour.

How

did

bum

for

Rob

I ran into Rob in Paris,

stage

at

the show, and He had an assistant with him, Justin, and they were promoting his latest film, told me

of singing. I put had seen Michael's show and had flipped over it. He

involved.

number, to get in touch with him. Everything started coming together right after

I. time.

resources Phillinganes, Chick on demo's with Greg, and I it." So got him a vocal blossoming, like serious about it, and said, bum." neys are getting it together. They're going to get the deals going, and material here in the house for a

to

aspect

means damentals acronym people what MIDI stands for-Musical ment Digital Interface-it's surprising how much knowing just saying, can I do with

you processing units machine to chain of command, there are to work

and

What

that

his had been to do a project involving him

couldn't believe all

Rob

is

I've wanted to produce an album

And

Corea-the

demo's, and working with him, working

Rob and I got together; started working,

Now it's at the point where all

Tell

our

MIDI.

of

today's

Like

anything

you

"Okay,

Once

you've gone through

need

with-to

off,

or whatever. Yamaha makes a book,

is

MIDI?

I feel I'm capable of doing a lot

you

just have to be

what

your shortcomings

That

was

one

for

me

on

the

tour. I knew I

than

ever because Greg

you

current

Lowe,

come

project,

producing

about?

when he

we

started hanging out.

was

Masquerade.

he loved to sing and

that

in the back

the

He

gave me his secretary's

taking this thing very seriously,

now,

it's happening. I have all

in

the

world

to

Richy Lawson, Dave Weckl,

list goes on. I started working

was

coach-his we

wanted it to.

"Look,

we're

going to work

readers

something

It

seems

to

electronic

else,

first have to understand the

of

MIDI, beginning with what the

"MIDI"

stands

that

helps them. They're suddenly

that

opens up a door. Now, what

that?"

to

talk

that

another

address, to

It's a little pocked dictionary

about

be

the music.

understanding

for.

about

are able to talk from one

machine.

that

of

my

head. He

technical things

the

for

work

with:

convinced,

voice started really

Then,

let's do an

the

few

months.

how

you

most

misunderstood

When

I explain to

that

door,

the

little

And,

16

MIDI channels

turn

something

of

50/50.

an

back-

a dream

phone

Bad

tour.

as

a long

Greg

"This

we

attor-

on

relate

MIDI

fun-

Instru-

then

micro-

in

that

and

the

was

He

am

the

on

got

al-

the

on

al-

is

It

is

very useful. I keep

because I still have situations with the basic,

the operations, which are just MIDI Transmit and MIDI Receive. That's game: just learning basic MIDI. In and

Transmit and Receive.

the

different instruments in your setup.

What instrument

that

are

book in

the

Then

you

my

workcase,

first name of the

you

have to assign

using

as

your

Out,

master

keyboard?

I'm using the KX88

about

32-40

keyboards to address. I run thing through MIDI channel chologic MIDI Mapper. master inputs and 32 outputs. I have a second Mapper because I ran out

How

do

you

sort

ments

and

sounds?

When things-for machines

part on Minimoog will receive

the bass part, and I might have a rack ofTX816s

receive all that. I might have a line automatically premixed isntruments

channel.

you it to another channel. But that's like a basic

MIDI idea.

Any

There are also Controller Code mesages and System Exclusive messages; every instrument has its own parameters in MIDI to deal with. they're all basics, but scratch, and you have to look at every single word, word, because, I mean-well, it would be like

driving a car: if accelerator steering wheel was, lesson board and play it, and accident, plug in two cables and all say, want to get creative with it, and totally underStand what you're doing with sequencing and film score work and syncing things, work

I mean, years ago 20-something keyboards, and Gayle Moran playing Mellotrons and moogs and all this stuff. onstage with just a Yamaha MIDI grand piano and a KX88. Everything else

assigning

example, I always keep my drum

on

MIDI channel

on

MIDI channel

MIDI

channel

on

MIDI channel 2 to do the pads, and

on

MIDI channel 3. This

you

You

can

don't like

...

"Wow,

at

that

other

MIDI

and

make sure you understand every

was,

Yeah,

you could still pick up a

these two play together." But, if you

it, and learn it.

as

my

master, and I have

every-

1,

and I use a

It

allows me to have

of

outputs.

out

all

of

the

different

channels

1.

2.

This

on

TX802

want to receive

always change them later, if

instrument.

you go

16.

I'll put

and

my

means

MIDI channel

play a melody

way,

pre-set-up what

on

You

can change

Psy-

instru-

basic

my

bass

basic pads

that

my

1,

for

you have

a certain

tips?

So

you

have to learn from

you

never understood what

or you never understood what a

and

you went

you

might be able to,

of

you

we

had Chick onstage with

Vol.

5

Polymoogs And

is

No.

3/AFTERTOUCH

and

now,

Chick goes

backstage.

Continued

to

take a

key-

a sudden

have to

was

Mini-

on

page

an

by

20

16

13

GettingAc

quainted

YourWX7.

Gregory

By

Yasinitsky.

AFTERTOUCH!Vol. 5

14

...

With

W.

AMAHA'S creating quite a stir.

Y

ideal controller for woodwind players anxious to

MIDI revolution, because a WX7 can

the

join

respond to virtually any playing style.

to

be set WX7 flexibility, though, has a down side.

instrument has

can

it

that

After programming, I humbly offer observations and suggestions with the hopes

they may help to ease the transition from

that analog to digital for new WX7 owners.

The

About

Perhaps the best WX7 feature enable performers to play expressive, breathcontrolled phases with a wide variety of subtle dynamics.

fluctuating intensity

the

off, stream control data, and when this data voices to

generators (such be numerous synthesizers made cannot. Dipswitch a wide variety of synthesizers of many makes expressively, because when Dipswitch breath control data data. Many synthesizers of various brands respond Dipswitch particular unit get and synthesizer same type and programmed

which responds well to breath control. As experiment, though; I switched and TX81Z to aftertouch. played with and when played with breath control. I have only tried this one tone

No.3

is

that breath control, Many

to

set

most from your WX7, your controller

the

you

WX7

My

had

WX7 MIDI wind controller

instrument

The

many programmable features

so

be baffling to a new owner.

playing

WX7

months

ten

Dipswitches

When

converted

have been

Yamaha

respond

aftertouch,

to

is

#1

you

data (breath control or aftertouch}

of

play

must

respond to

to

MIDled to the Yamaha TX81Z,

is

the

more body

of

following

the

its ability to

is

(Aftertouch}

Dipswitch

the

synthesizers

the

as

#1

is

largely

want to

must

aftertouch setting were richer

my

#1

a performer's air

of

the WX7 into breath

by

used to play

is

programmed

can

results

TX81Z and

breath

to

by

enables

converted to aftertouch

so

determined

play.

be set to respond to

voices

that

To

these same sounds

than

WX7 and TX81Z set for

to respond

be striking.

and

DX7

control,

companies

other

WX7 to play

the

#1

position

the

Remember, to

have

that

data.

my

both

ears, voices

my

II)

by

is

an

is

The

and

is

tone

can but

on,

is

can

of

the

been

an

WX7

generator-the

using

are generator with your WX7, you should be sure to

both

try If you are using your WX7 with a TX81Z, I

recommend

Dipswitch

individual voices

breath

for Dipswitch

somewhat to changes in breath pressure, but

response

that

voices velocity. Still, some breath expression

none, and for those voices (and

than

that

sizers} aftertouch data, Dipswitch breath expressive option.

I do on, though, when playing voices set for breath control or aftertouch data. ears, the result

is

advice playing those sounds respond to breath control or aftertouch. In

it makes little sense to play synthesizers or

view, voices

of

wealth yourWX7.

Dipswitches # 3 and

set his or

to transposition. the WX7 plays like a non-transposing, concert instrument: fingered C equals

and

on

alto saxophone: fingered C equals

off

is

#3 like a soprano or tenor saxophone: fingered C equals Bb. controller plays in

Dipswitches sustain button. There are four possible settings: Normal

channel}, Dual

(one

channels},

(two Breath remember Normal or Follow Modes, but it get them to sustain in best to sustain wind, brass, or string voices

TX81Z-but

Yamaha

a

settings: breath control and aftertouch.

aftertouch setting.

the

(Volume}

#2

that

control

on,

is

#2

be erratic, especially for those

can

been

have

cannot

recommend leaving Dipswitch

not

a kind

is

to leave Dipswitch

not

are

that

expressive information being sent

WX7

her

When

the

off,

is

#4

is

#4

and

with

And,

C,

and

#5

Mode (one

and

channels}.

(two

mono voices

that

I suggest that, if

synthesizer

for synthesizers or

is

cannot

or

these voices will respond

accept

of

that

equipped

#4

both

WX7 plays in

on,

both

up

channel),

Play

Dual

the

be programmed

aftertouch.

respond

to

set

breath

on

#2

that

dynamic overkill.

and to avoid

off,

#2

been set to

not

have

accept

to

enable a performer

in

play

to

#4

and

#3

When

C.

the WX7 plays in Bb,

and

#3

one octave.

control the WX7's

#6

Follow Mode

Mode-No

Mode-Use

Play

important

is

It

not

will

is

Modes.

Play

Dual

you

tone

or

When

the

key

to

better

is

synthe-

control

is

have

a specific

Eb,

Eb.

#4

sustain in

possible to

or

the only

#2

been

my

To

My

my

the

by

off,

are

# 3

like an

When

the

on,

Breath

to

It

that

is

have been programmed

locity. however, do that on) works best

Piano, guitar,

Dual

Play

Dipswitch

not

sustain well.

Mode-No

for

#7

(Curve) sets one

response options:

and

me.

When

for

little or

no

percussion voices,

Personally,

Breath

#7

is

off,

(#5

of

two breath

the

key

off,

WX7

ve-

I find

#6

interprets breath pressure with a linear (straight line) response; when

breath pressure with line) response. After experimenting with settings,

my

feeling important difference between the linear response, it

#7

is

on,

the

an

exponential (curved

is

that

there

is

the

is

a bit easier to play at

WX7 reads

both

a slight but

two.

With

extreme dynamics-very softly or very loudly.

With

the exponential response, there

is

more

room for shading in the middle dynamic range.

About manual implies for on) saxophone embouchures. Well, in spite 24 years

Lip Mode. excellent vibrato, and has greater pitch stability

Dipswitch

that

saxophonists, and

is

for

players who have

of

saxophone playing, I prefer Loose To

me, Loose Lip Mode provides

flexibility for

#8

(Loose):

The

Tight Lip Mode (

that

Loose Lip Mode (

not

yet developed

pitch

bending

#8

than

WX7

off)

#8

of

my

and

does

Tight Lip Mode.

It

is

important to remember, however,

Loose Lip Modes notes

cannot

they can only be lipped

played in both directions from a

Lip

Gain

Tight

and

Lip Mode

"dead zone"

Lip

Zero

up.

pots.

be lipped In can

contrast, notes

that

down-

be lipped

set

by

Tighten

in

the

embouchure above the dead zone and the pitch rises; loosen the embouchure below the dead zone and the pitch looks good that

playing in Tight Lip Mode

and

that

the

My

vote, therefore,

Setting

The

While setting the pots, it

voice

that

is

falls.

This dead zone concept

on

paper, but

dead zone

is

my

experience

was

awkward,

was

difficult to control.

for Loose Lip Mode.

was

Pots

is

essential to play a

sensitive to pitch bending (pitch bend should be set between 3 and 7 half-steps), and set to respond to aftertouch or breath control.

An

ideal

from Sal

TX81Z

Gallina's book

voice

is

Expressive

#31

FM

INIT

Applica-

EBS

tions.

Each

pot

can complete about

one

half turn.

Let's call the left, counterclockwise position 9:00

AM,

and

the

right, clockwise position

3:00PM.

1)

2)

Follow these steps:

Set

all pots counterclockwise to

Turn

the

Wind

Gain

down) clockwise all

the

pot

way

9:00AM.

(second

to

3:00 PM.

pot

The

voice should now be playing without '

breath pressure.

3)

Turn

the

Wind

Zero

pot clockwise a bit past the point sound stops. This should be about AM.

4) Turn

the

Wind

about 2:00 PM.

Gain

and

Wind

to

a wide variety

Gain

pot

clockwise

These settings

Zero should be responsive

of

breath

dynamics.

5)

Turn

the

Lip

Gain

pot

(bottom

clockwise all

6) Blow and down) clockwise from PM.

You

the

way

turn

the

Lip

should hear

to

3:00PM.

Zero

pot

9:00

the

pitch drop and

stabilize.

7) Blow with lip vibrato and

is

the

Lip Zero

you

hear some vibrato. This will be around

1:30PM. Don't

pot

counterclockwise until

go

too

far:

gradually

this

and delicate adjustment.

8)

Your

vibrato

is

now probably too wide.

adjust vibrato width, play with vibrato and

gradually

turn

the

Lip

Gain

terclockwise until your vibrato narrows to

your liking, probably around

9)

Now,

while playing, push the pitch bend wheel up and release it. rise and the point, i:o

then

return to its starting point.

pitch remains higher

then

your Lip

the

left (counterclockwise).

Zero

1:00PM.

The

than pot

need to repeat steps 5 through 8.

Try

your settings

on

different voices.

plays without blowing, or if some voices do

activate consistently, you may need to adjust

the

Wind

(clockwise). Also,

Zero

pot

slightly

on

each new sound, you

to

should be sure to move the pitch wheel up and release it. If

the

pitch does

not

return to its starting point, repeat steps 5 through 8. should now be set up to

WX7

Articulation

play.

But, first:

A saxophonist will typically articulate within

a phrase

by

lightly tonguing his or her reed,

thereby stopping the reed's vibration. Since

reed

on

a WX7 does tonguing technique will WX7

is

breath-activated; to stop a note, then,

you

must stop the

of

your

mouth-say

find

that

this flute-style tonguing provides light, clean attacks. I all of

my

use

WX7 articulation.

not

vibrate, this light

not

work

on

air.

Try

tonguing

"tah"

like a flutist.

this technique for practically

(top

pot)

at

which the

11:30

to

of

Wind

controlled

pot)

(third

pot

AM

to

3:00

turn

is

a critical

To

pot

coun-

pitch should

If

its starting

is

set too far

You

will

If

a voice

not

the

right

You

the

a

WX7.

A

on

the roof

You

will

----------------------------------------------------------------------------------·

Vol.

5 No.

--------

3/

AFTERTOUCH

15

Readers Tips ForTheKX88 And More.

Saving

By

devices available, it many instruments to one system. has a hidden ability to transmit its setup via MIDI; this same data can be transmitted back to the

its memory message. CX5M's (YRM303) to assemble the necessary string MIDI bytes. This isn't sound. All you have to do bytes

hexadecimal): channel channel the KX88/76 will transmit and receive on. This particular string

connect the MIDI the dump request to the MIDI IN

you are using. MIDI

data recorder

file to the

KX88176

Craig Wilson

the large number

With

KX88/76 to reload the setups.

trick to getting the KX88/76 to unload

The

One MIDI

data to the KX88/76.

of

"dump request"

The

number

save data from the KX88/76,

To

76, and connect the MIDI

to the MIDI IN

76

channel

request. This will send the file to your MIDI

load data into the KX88/76, connect the

To

OUT

MIDI MIDI IN keyboard to MIDI channel

with ''AF" (all files).

Now for a request string sage.

two (43)

(20) meaning "dump request The dump, in this case a

of

The

the

is

fourth byte (7E) indicates

Presets Via

is

to send it a MIDI "dump request"

is

to

way

Macro

as

20,

43,

FO,

will determine

OUT

of

Bank A

Set

and

1,

storage.

for

the MIDI data recorder to the

of

the KX88/76.

KXBB/76.

brief

is

firt byte

Yamaha's ID number. Byte three

is

substatus

The

explanation.

a MIDI System Exclusive

(FO)

"universal dump."

MIDI

MIDI data storage

of

easy to store files from

KX88/76

The

the

use

to

is

this

do

Program

complicated

sent a string

is

string

7E,

for

is

of the device sending

OUT

the MIDI data recorder

of

transmit

Set

1,

KX's

announces this. Byte data to disk.

channel

and

MIDI channel

on

cartridge

of

may

it

as

five

of

follows (in

as

is

Bank A

The

F7.

MIDI

what

channel!.

MIDI

need to

you

the KX88/

of

of the KX88/

the keyboard to

dump

the

Bank A of the

and transmit the

responds

LED

dump

The

mes-

number,

1."

of

type

the

last

The

byte (F7) signifies the end of the

final note: to change the

sive message. MIDI channel of this request, change the right half of byte three: values indicate MIDI channels

Those

Program cartridge can assemble this string to initiate the dump (see the YRM303 manual more information). Macro cartridge to assemble and transmit the string, follow these steps.

Enter

1) key).

Enter block text edit (

2)

3) Enter the MIDI string (in hexadecimal: FO,

4) ·Press ESC

5) Enter Set

6) above. EnterOU

7)

use the

To

data to disk, follow these steps:

Enter the Edit mode.

1)

Using

2) through to reach the MDR

3) Move the cursor to then, while holding the Character enter the times. waiting MIDI bulk

4) Initiate the dump from the the OX.

5) For a moment, the now executing!".

6) After the data has been received OX, press the

Placing the cursor over

allow

~ill

KX.

One

1-16.

familiar with the MIDI Macro

you

of

use

To

Macro Assembler

F7).

7E,

20,

43,

(<A>,

<A>

connections

the

up

(<OU>,

1

to store the KX88/76

FD

II

DX7

button

DISK

the

name and press

file

display should read

The

data!".

OX

"No/-1"

to transmit the data back to the

you

System Exclu-

(hexadecimal)

0-F

for

CX5M and the MIDI

F7

(using

<E>,

<RET>).

<1>,

on

"IN"

will read

key

OUT

the

<RET>)

described

as

<RET>).

(#16),

display.

in the display

scroll

the display;

key, two

"Yes"

"''Now

KX88176

'"'Busy

the

by

to store the

to

AFTERTOUCH/Vol.

16

5 No. 3

DX7

FM

digital

synthesizer.

Creating A Rotating Speaker Effect DX7

Using

The

Data

Entry

Slider

By

Anthony

Starting with any voice

#32

for

by

Lance Armstrong, in

of

AfterTouch), make

LFO LFO

Sobus

that

organ sounds (for example,

the

February 1986 issue

the

following settings:

Wave: TRI

Speed: about

50

for

fast and about

On

The

uses algorithm

PORTA-B,

for slow

PMD:

7 AMD: 67 Sync: off PMS: 2 AMS: 2 for all six operators

By

playing in the Edit mode and selecting

LFO

Speed, you can use the data entry slider to

adjust the vibmto/tremolo speed manually

for

some very good effects. However, faster speeds sound speeds sound better with menting with different you

better

can

with

more

achieve a wide variety

less

AMS

AMD,

AMD.

and

PMS settings,

of

and

slower

By

experi-

vibmto and

tremolo effects.

Another

99 with Amplitude

variation

is

to set the Mod

ON

and

AMD

at

Wheel

0. Use

at

the

Mod Wheel to bring in the tremolo, and the data entry slider

easy

way speed and vice-versa. different algorithm AMS

settings to taste.

to

to get more

#32

adjust the speed. This

AM

depth with a higher

Try

these settings with

organ voices and varied

is

an

Loading sette

Into

Voices

Your

25-32

DXlOO

From A DX21

By Emmett Brown

After I purchased some

on

tape for

my

DXlOO,

DX21

/2

I figured that, since the

load compatibility included the 32-location RAM), there might be some sounds on

the tape I wasn't getting (because the

has only a 24-location RAM).

27

this, there manual

To

is

a procedure outlined in the

on

page 22.

load voices

25-32

from a tape, use the

Load Single function, and select the voice ber (tape position) using the TION, EDIT, INTERNAL BANK

B,

BANK

C,

or BANK D buttons. Make

a pass from the beginning

only loads the patch to the

must

then

save the patch to a

Do this for each

"extm"

sure to save them to different

and be sure to save each

you

have them all, make your own 24-voice tape

STORE, FUNC-

PLAY,

of

the tape. Since this

Edit/Play

RAM

voice

on

RAM

one

as

you

file, which will include these new patches.

7 I

100

DX21

To

get around

BANK A,

buffer,

location.

the tape.

locations,

go!

Cas-

sounds

(with a

DXlOO

num-

you

Be

When

DX

100

FM

synthesizer.

digital

Vol.

5

No.

31

AFTERTOUCH

17

C1

From Finder

By

Plunkett.

The

To

Scott

DOS.

BOUGHT

JUST

YOU

so,

need a portable music computer. results out

you

cause

pull it out of its box, put it up next to your and pressing Enter.

You Macintosh (or Atari, MS-DOS disk, turn it iar menu bar, disk icon and trash can. Instead, Now, type dir and Enter to see

stops dead with a strange looking

Cl

the

display. No messages,

icons, just a funny looking symbol. Welcome to read them? Obviously, other people have had

no

DOS.

to

MS-DOS

Disk Operating System. This

the

of would have guessed it. Fortunately, difficult about it, you

work

of

jobs-checking disk contents, moving files

of among folders, copying files between disks, and throwing old files in about a half dozen able to accomplish these same tasks

Looking

All of the action in DOS

peculiar little A symbol known

the prompt. In order to make sense prompt stands DOS

Cl,

disk drive and the lower disk drive

Cl

the

hard disk

the a different default drive you type its letter lowed to select drive drive, type b: any of the commands in upper or lower

doesn't care) and press Enter.

DOS will now show a B drive equivalent to highlighting a disk icon in the extension and press Enter. So, if Mac Finder

Generally, once you select a disk icon

Mac, you double click

is

Mac Finder, although

first appears.

it

as

can

do in

you

Disks

At

for,

identifies disk drives.

the upper disk drive

the upper drive

/20

is

a colon and press Enter. For instance,

by

B,

(orB:

new default drive. This action

the

is

clicking

by

or

on

no

the abbreviation for Microsoft's extra options, called switches,

actually narrow down the kind After you've looked at

Finder to a small number press any

the

DOS

you need to understand how

C drive. If you want to select

the

insert a disk in the lower disk

you

if

let you know

to

on

a Yamaha

Amiga), throw in the

and wait for

menus,

the

is

probably never

you

When

trash.

the

commands you'll be information, such

takes place beside filenames are quite a bit different looking than

of

the dual floppy

On

is

the B drive.

is

the A drive and

is

prefer:

it with

on

it to see a directory of

Cl

MS-DOS

your

default drive to A

famil-

the

A>

trash can,

no

version

Cl's

isn't

DOS

think

you

learning screen.

By

Cl.

the

on

the A

as

what the A

called the A

On

fol-

can type

you

case-

prompt

The

the B

that

mouse. patch librarian disk, look for a filename like

the

on

the

tory. Isn't it scrolling off

this problem,

to control the display.

see a directory one page at a time, type

To

as

is

and press Enter. Now all scrolling will stop

dir/p after the screen fills with directory information.

mation. directory

but of

look at

Mac filenames. That's because DOS more they're always displayed in uppercase. also add the of file. For instance, a sequencer program would probably take a file SONG that

on letter extensions equivalent these files in the directory and want to run it, type the eight letter filename

DXLIB.EXE. Type dxlib you'll be working in your new application.

Another

To

advantage

the

the filenames at

thing

One

the

than

of the name, but this

end

program

the

by

and change it to NEWSONG.SEQ

would know which program created it.

you

you're looking

When

the lookout for filenames

files and folders

be-

on

typing dir (for Directory)

by

DOS

of

see how this works, put

To

disk in the upper drive and set

typing a:,

by

to watch

nice

screen before

the

the dir command has some

so

to see

key

useful trick

switch

an

of

to

see this, type dir/w. Some

as

is

that

directories of a

eight characters in a filename and

optional three letter extension at

that

EXE

Mac applications. If

the

first page,

the

next screen full of infor-

the

make use

size,

file

you

that

same time.

the

will be apparent when

DOS

you're using to create the

you

that

directories,

at

that

COM.

or

at

then

disk direc-

the

·disk filenames have a chance

you

that

to use the wide

is

the

of

will be omitted,

usually see all

can

that

is

disk

allows

You

often taken care

is

named

always have the three These are the

see one

you

precedes the

that

have a

you

prompt and

the

Continued

on

get the same

You

disk.

the

Enter.

can

you

entire of

you

can

NEW-

page

go

add

can

the

no

so

be

of

DX

19

--·-----"

AFTERTOUCH!Vol. 5

18

---

No.

3

ET

US

HERE

L

AfterTouch to be

for

all

users

of products, many different kinds

Have you created formance for the digital synthesizers and tone generators? How about a patch for processor, RX5? rial, we'll give you full credit plus each item used.

Have you discovered a trick musical flexibility

sional musical products? Tips" full credit plus a check for

Have you developed a new approach to one of the Yamaha professional musical products, or have you discovered

ing their use? Don't worry about your writing style-just get the information down. If material write it up, put your name check always covers at least translates to at least four double-spaced pages typescript.)

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If so, send

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Put

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one

YOU!

an

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incredible patch or

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SPX90

in. If

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that

of

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Send it in to our

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important secret regard-

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We

or any

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By

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way,

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cannot safe return scripts. material if you enclose a self-addressed, stamped envelope with your submission.

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We

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if you just have a question regarding the

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CAN

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on

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obligation, and

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issue in the mail, you are

manu-

that

mail-

so

the

we

the

for

and

no

you

C1

DOS

Folders

When

you

looked at the directory

DOS

disk,

you

looked at what directory. again and checking the message the directory

backslash [ ] directory directory of a Mac disk or has no folders open. Chances are, though, you have folders you could put all of your sequences for one project in a separate folder from your sequences for other

You

can confirm this

that

reads Directory of A: . (The

is

how DOS

on

a disk.) This

haven't seen a Mac disk lately

on

it. That's because folders allow

to organize your work. For instance,

identifies the root

is

like looking at the

that

has

of

the

is

called the root

by

typing

dir/w

at

the top of

no

folders

that

didn't

MS-

on

you

Continued

projects to make them easier to find. avoid using folders if later you'll have such a huge mess in your root directory

make a new subdirectory, you use Directory subdirectory name. with some new sequence ideas for a project, you could create a new subdirectory for them

it

ing md newideas. you'd see NEWIDEAS DIR added to your directory.

move files between disks and directories Cl.

In

DOS,

you'll wish

folders are called subdirectories.

command

month

you

by

typing

If

you

just started working

The

next time

we'll look at

like, but sooner or

hadn't.

you

ways

You

can

the

Make

md

and

the

by

typ-

typed dir

to copy and

on

the

To

Vol.

5

No.

3/

AFTERTOUCH

19

AFTERTOUCH

7938

Box

0.

P.

91327--7938

Northridge,

That's

have everything

way

the

for had all of his instruments channels, because of his Synclavier work; he

used the Synclavier

when he wanted to send a sequence out, it

And can't be done all

the instruments would take

there

Is

such

tion,

It's subjective. I know to use Then point. It's the experiences have that get passed down. what has been working best for them. MIDI still real

dsirable. For instance, without MIDI I would have to have Then equipment I would end up with boards world can even three people play all the stuff. This That's the beauty

wrong

find new things

16

you can use up all the keyboard up to

enables

MIDI

when you start adding all the rest

on

way

have to know and to decide

You

really important to and you're happy just using the nothing wrong with that. I mean, no one

for

like me you're

have to do your homework. I mean, sometimes these things happen

a new

or

idea

all

With

when

time

new

other

blessing?

a

than

CA

live performance, I need to

for

why,

speed,

MIDI channel 1

on

I have the show programmed. Chick

on

his master sequencer.

as

one channel, because all of

on

off.

industry

an

always

as

the drums,

as

new.

stage with

I can play it all.

wanting to deal with it. If you're

not

aching

these the

technology

standard

drums

putting

most people seem

that

it's the last thing.

so

that

People

. people understand what

Once

it

do,

to

us

on

DX7s

eight

And

me.

And

it.

of

If you're a songwriter,

you.

over new barriers and

go

to

have been done,

that

accident,

by

combination

advancements

complications

has

involving

been

for

different MIDI

channel

for

channel16?

on

other people

pass down

becomes

with

stage

of

physical

32

in the

way

no

manipulate it.

what's

on

there's

DX7,

then

incredible

an

instruments.

of

been

there

has

MIDI

problem

of a

more

selec-

that

is

more

me.

the

key-

is

you

or

Rate

Bulk

Postage

U.S.

PAID

MN

Prairie,

Long

33

No.

Permit

13

page

Continued

tour, Greg couldn't make

Bad

the

on

Well, the last five shows. While I rehearsed with the replacement keyboardist, John Barnes, he went

got "MIDI lock."

to play his keyboards

had happened

What

his sustain pedal down, and when he

with changed it, he couldn't get rid of the lock. He got this panicky look

I've learned professionally

What

DO!"

keep your cool, think things through clearlysomething doesn't just happen make a move and something physical happens, and you've got to sort it through.

happened to me

What

this tour, I would

horn

a

hit

I'd

and

And, it

going!

keep

like, here's

because it

go

I'd duh-duh-duh-DUH-duh-duh, DAAAAAAAH."

Things like

sional because instead

cian and saying something like,

on?"

party. So what I learned to do MIDI lock, which each performance. ically. change every program, I tain pedal, to make sure nothing

disengaged.

Even while working with Chick, I can't think of MIDI horror happening man error in operating the equipment. be wondering, and

a sequence

a

of piece of data, like a velocity level that wasn't set right, which man error,

was

it and it

hit

to

that

I realized I created it: I'm the responsible

way,

That

"Why

find

we'd

then

was

for

is

the machines.

not

and

he changed a program

was,

his face like,

on

at

from program to program,

go stab, and the horn would just

embarrassing,

was

big thing in

my

of

sort

was

you

make

yelling at your

of

to check every cable before

is

Check

nothing happens.

stopped all

that

done, there might have been a

a volume thing. But that's

everything

always

my

that

does this sound

when the programming

from

do

"What

you

if

is,

itself; you'll

by

the beginning of

know,

you

"Bad."

"duh-

[sings]

like

a better

"preventative"

is

step

was

profes-

techni-

"What's

Then

the

on

engaged or

problems.

not

was

We'd

softer?",

going

phys-

after I

sus-

hu-

a

all

hu-

I

AITERTOUCH/Vol.

20

3

No.

5

Yamaha V50 User's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual