Yamaha V80FD User's Manual

-

THE OFFICIAL PUBLICATION

-

- -

-

OF

THE YAMAHA USERS

-

- -

--

-

GROUP

-

~

-

TM

JANUARY

1989

APPY

NEW

YEAR!

days were happy,

H

going in

ready for ation heim, California, which weekend Superbowl weekend! make

all worthwhile. We received thousands sponses from while we look over advances in January, you all responded so positively about the main approach AfterTouch taking concern essentially, be forgotten?"

to response will keep all an issue. general, satisfied And, please all to balance out: technical more advanced,

ing past articles help to you. Many pages could be filled ularly niques-and capabilities. cles today's well-known professional musicians.

could help survey for

Prize-a

thesizer.

any

be a big help. To those

I

the

new year.

the

Winter

of

Music Merchants) trade show,

of

January

in

the

music industry

But, honestly, you readers

our

recent

that

we feel it only fair

expressed

"Should

After Touch

help improve

of

the

returned

accounting

The

early returns indicate

although

of

and

Some

of

you indicated your needs by specify-

on

MIDI basics

that

reveal

We

also

had

their

DX11

Others

free equipment Yamaha could send would

can

only inform you

by

is

reading all of your suggestions

the

us

surveys,

of

your thoughts

with

our

you, your requests

Some scolded

advanced, while others asked for

in-depth

or

of

more

You

also expressed a desire for arti-

the

a lot

of

musical needs

AfterTouch's

multi-timbral

were less specific and said

We

hope

your holi-

and

you're ready

Right

now, we're getting

NAMM

The

the

some of you,

our old axe, quaint,

publication.

busy for a while tabulating

balance

columns

your suggested

with

and

articles

hopefuls

(National

is

scheduled for

20th.

Yes,

sacrifices

....

out

there make it

Reader

latest

technological

to

keep

Your

but

we will give you

in

that

the

publication's efforts.

of

material

had

us

articles

more

home

experiences

in

these latter categories

that

and

that

columns-partic-

recording tech-

about a product's

who

by

Third

FM digital syn-

if you

haven't

to

Associ-

in

Ana-

that's

right:

we

have

of

Survey. So,

in

mind

which

was,

hence

generous

an

upcoming

you are, in

didn't

a tendency

for being too

columns.

had

been

that

more

of

some

said

that

picking

Anniversary

their

that

heard

get

the

re-

we

&

from

us

now, you

You

were thesizer. Jones, from Hill City, SO.

for free inspiring we

to

AfterTouch. help you have given contents (Digital Yamaha tioned earlier,

is

vey will

a

items for you new year. To get a quick preview major new products sion will be introducing Show, see to get Yamaha synthesizer since the introduction page 8.

devoted SPX90," a fascinating article by reader Tom Miller. Yamaha article beginning valuable

of

education. -Sibyl

of

The

While we obviously

equipment,

and

want

Musical

Corporation

appear

Meanwhile, there are a

an

This

month's

Finally,

team

can

stop waiting by

not

the

winner

reflective thoughts quite carefully;

to

do

all

We

deeply appreciate all

of

this

publication

Instruments)

the

final results of

in

an

to

read

in

that

the

article beginning

advance look

to

Hot

to

"Resonance

be

of

Product

on

part

of

Yamaha's

of

the

of

the

prize was

can't

grant these wishes

we

are

considering

that

we

can

us

in

directing

from

of

America.

our

upcoming

number

this issue,

the

at

the

V80FD beginning

Tips

sure

page 1 0; they are a most

our

of

Yamaha DMI divi-

the

Winter

on

the

most significant

the

DX7,

column

Effects

to

read

Specialists

commitment

Custom Voice Cartridges For

PTX8

A library

been

developed Group tomers voices, their Edits To receive more information, call the Yamaha Parts Service 443-3548.

Cartridges from existing sounds. Cus-

can

and performance needs. Five free Parameter can

the

phone:

DX11 syn-

Todd

your

to

improve

of

the

future

the

DMI

division

As

reader sur-

issue.

of

important first

some

page 5; and,

check

about

I men-

of

NAMM

space

For

The

in

of

the the

out

on

is

the the

to

Darter

of

voices for

in

choose from a library list

customize a group

also be included with

Department

order

the

to

create

RX5

of

toll free

The

and Custom

voices

each

RXS And

PTX8 has

Voice

of

140

to

suit

cartridge.

at

1-800-

2 AFTERTOUCH!Vol. 5 No. 1

-

- -

-

January 1989

4

5

8

Questions & Answers

New

V80FD

-

Answers

Tom Darter.

Yamaha

A quick look new year, including rhythm programmer, WXll the Cl

An tures disk drive, sequencer.

to

questions from readers.

Products

/WTll

PF1500 electronic piano,

music computer. Compiled by Tom Darter.

introduction to Yamaha's new digital synthesizer, which fea,

32,note

an

By

-

~-

--

-

---

- -

-

Volume

By

Steve Deming

at

some

of

Yamaha's major new products for

the

VSO

digital synthesizer,

the

TQS

sequencing

MIDI wind system,

polyphony, 16,voice multi,timbral capabilities, a

expansion port,

Tom Darter.

the

and

the

and a built,in

tone

DSSS digital synthesizer,

Sequence program for

5,

Number Issue

the

RX8 digital

generator,

32,track

and

-

~

#40

the

Editor Tom Darter

Operations Sibyl Darter

Production Sibyl Darter

1

Tom Darter

Editorial Board Steve Deming Charles Feilding Bob Frye Rick Huyett Mark Koenig J.P. Lincoln Phil Moon Jim Smerdel Steve

Cover Photograph Jim Hagopian Dee Dee Cawley

Thatcher

10 Product Specialists

An

interview

Phil

Clendeninn,

Kevin

Stratton.

with

Yamaha's elite team

Danny Hoefer, Mark Santos,

By

Sibyl Darter.

14 SPX90 Hot Tips

Resonance effects for

the

16 MIDI Mixup & Matchup

Solving MIDI emergencies

By

Michael Babcock.

18 C 1 Users Central

Presenting a simple mance Tom Darter.

of

America.

data

No

part of this publication may be reproduced, stored in a retrieval system,

from a DX7

or

otherwise, without the prior written permission

Cl

program for dumping voice and perfor,

II

SPX90.

with

MIDI merge.

onto a Cl

of

By

Tom Miller.

disk.

or

of

Yamaha Corporation

product specialists:

and

By

Jim Smerdel

transmitted in any form

of

America.

or

by

any means,

and

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

7938. Send Box 7938, Northridge, CA 91327-7938.

Vol.

5 No.

P.O.

POSTMASTER:

form 3579 to P.O.

11

AFfERTOUCH

at

CA

is

Long

Box

91327-

pub-

Free.

cor-

7938,

3

&

I use a having BCSEXYPHON

tried everything I know, All of Any CA.

The

either MIDI volume messages or MIDI breath have released controller messages to a set to send MIDI volume, the voice will respond to MIDI breath controller messages.

TX81Z contains a Single Utility aftertouch messages to breath controller messages. not the controller messages, this Utility function must be turned

I am trying to get some manuals for my I need repair manual help Yamaha Corporation not do exist. For more Yamaha de Mexico, 207, Mexico 1 D.

2722.

from the Yamaha (YCA) Parts Service Department. For more information, call toll free

OOPS

column, a reader who was working on an edi- problem.

torllibrarianfor the FB-01 asked how he could quencer

obtain detailed documentation on the unit's

MIDI

the Yamaha Electronic Service Division, which was an error. In order to find out detailed documentation of this kind, interested readers should contact the Yamaha Parts Service Department toll free at 1-800-443-3548.

We

WX7

as my main controller,

problems

the

other

suggestions?

WX7 has a switch

not

respond, since

There

Service manuals in English

1-800-443-3548.

is

another

If

that respond to breath controller messages. If Yamaha has recognized this TX81 Z

me?-

offer owners manuals in Spanish,

is

off.

the

owners manual in Spanish,

Wilson Fernandez, Miami, FL.

getting

voice

(C-19)

but

TX81

Z voices

-Mike

Utility

to

respond directly

in

Spanish

F.,

Smiley,

that

sets it up to send ation:

tone

generator.

it

is

possible

is

engaged, the

or

English.

of

America (YCA) does

information,

SA, Apartado Postal 28-

Mexico; or call 525-686-

can

alert! In the October

implementation.

apologize

for

We

told him

the error. there will be

and I am

my

TX81Z's

to

respond.

nothing

work

Hanford,

I've

works. one, and holding

great.

Answers To Questions From Readers.

By

Steve Deming And

Tom

Darter.

If

it

is

BCSEXYPHON

programmed to defect

problem:

that

be purchased tell

1988

how

The

converts way I

unit

will City,

to

breath

PF80.

and

the

Can

you

but

they

write

to:

at

Questions However,

to

contact (triggered by a MIDI

to obtain does not have any data recorded

My

+ 1 /Yes"

push

a value leased. However, pushing unit

by pulling For

Worth, store

warranty

lem, tact ask him to order this new part for you. Yamaha is installation charge local dealer. the installation should be provided

The unit

receive notes from a sequencer. I use these MIDI SYNC=

responding to

Clock

Springs,

The

to

you

is

setup,

from

in

question has

pushbutton.

on

this

button

through

results (irregularly) in a

the

numbers

the

on

the

a while, I figured

of

my

unit,

Texas,

that

can

MO.

and

your local authorized Yamaha dealer, and

providing the new part

RX17's can

settings:

the

RX17

Signals?

RX17 does

ignore MIDI

don't

simple: Call up a

the

response

and

did

the

have

coverage?-

the

button

If

your unit

owners manual states

be used as a

MIDI.

the

to

CO.

we

think

We

assume

to

play the RX17's sounds, and that

want

the

RX17 will respond to the information

sequencer,

to no

to

do with

the

button

several numbers, until it is re-

continue button, button

but

found a display model at a

same thing.

this

fixed? Also, Dan

has been modified. Con-

is

Channel

However,

MIDI

ignore

-Paul

not

have a mode

Start

we

RX17 to play any patterns

Start

pattern

but

the

MIDI

data in

the

FB-01

"Data

Usually, a momentary

will advance a value by

down

will advance

the

button

to

advance after I

and I can

manually

that

this

recently I was

Is

Sturdevant, Kansas

as

a recurring prob-

for

free; however, the

at

the

discretion of your

is

still under warranty,

sound

module only to

Message=

the

Start

signal.

MIDI

Start

Schwotzer,

and

MIDI Clock signals.

have

an

answer to your

that

you want your

signal).

on

the

on

will

not

Start

the

pattern

on

my

"stuck"

or

was simply a

is

RX17

that

The

it.

play a pattern

signal (since

situ-

stop

it

only

hitting it.

in

Fort

there

some

there

any

for

free.

that

ON;

is still

How

do I

and

MIDI

Colorado

allows it

solution

RX17 that

With

this

to play).

the

se-

4 AFT'ERTOUCH/Vol. 5 No. 1

HE

NEW YEAR BRINGS with it a num-

ber

of

T

Digital Musical One others will be detailed in issues later this spring. Still, since they are all being introduced year's winter

Music Merchants) industry trade show in Anaheim, California, would like to have a short introduction to each one

1989.

V50

In addition to its powerful dual FM tone generators, in PCM drum machine, an 8-track sequencer, and and patterns may be saved using the built-in

3.

5"

The 4-operator, 8-waveform full 16-note polyphony and 8-timbre capability. At instantly: 100 internal, 100 user preset, and 100 card voices. from YS200, or B200.

In Performance mode, up to eight different voices can be played simultaneously. A Quick Edit option has been added to ing rapid changes to a voice's brilliance, vol-

new musical products from Yamaha's

Instrument

is

featured prominently in this issue, and

NAMM

of

these new units in this, our first issue of

the

multi-timbral V50 features a built-

17

digital effects. All programs, sequences,

disk drive or a Yamaha memory card.

VSO

's synthesizer section consists of two

any time, you can access up

The

the

Yamaha

(National Association of

we

thought

V50

DX11,

(DMI) division.

that

our readers

FM

tone generators, for

to

300 voices

can

also use voice data

TX81Z,

the

V50, allow-

YS100,

at

this

ume, attack, or release time . editing

tures tern along percussion instrument has its own setting for pan, volume, MIDI note, and signal processing. There dard effects.

Section. This trolled from tape recorder-style buttons front panel. 64K, which notes MIDI transmit and receive channels . tures include real overdub, mix, quantize, copy, and erase. To enhanc cated to polyphony.

all programmable for each individual voice. Seventeen types delay, reverberation, distortion, compression, equalization, aided by under

is

also available.

The

Rhythm Section contains all of the fea-

of

a professional drum machine. 100 pat-

s can be created a

with

the

are

61

percussion sounds, including stan-

drums,

Also

of

professional quality

The

is enough for approximately 16,000

. Each track has its

e the sequencer performance, sophisti-

dynamic voice allocation

make full use of

Finally, digital signal processing

of

the

other

of

the

back\it

nd

stored in memory to

100

preset

Latin

percussion, and

is

a full 8-track sequencer, con-

sequencer has a capacity of

and

the

sections.

effects are available, including

and

gate. Ease

use

of

"Soft

LCD, these

Of course, full

go

patterns. Each

special

is

the Sequencer

on

the

own

independent

Other

fea-

step time recording,

is

employed

16 available voices

enhances

These

Buttons."

effects are

of

operation

buttons

Continued on

of

Housed

cor-

pag

e 6

A

At Yamaha's

New

For Year.

.

BY

is

V

50

Quick

Some Of

Products

The

New

Compiled

Tom

Darter.

digital

synthesizer.

Look

Major

Vol.

5 No . 1 I AFTERTOUCH 5

Continued from page 5

respond to

the

menu

currently shown

on

the

LCD screen.

Available

thorized Yamaha DMI retailers,

suggested retail price

by

the

end

of

$1895.00.

February

the

V50 has a

at

au-

RX8

This new 16-bit drum machine

a full line of digital

It

Yamaha.

is

ideal for

rhythm

both

is

the

latest

programmers from

live

and

studio per-

in

formance and composition.

The

RX8 goes beyond being a drum machine: Its sample library includes 5 bass drums, 5 snares, 8 toms, and 5 cymbals; in addition to

this full

unit's

complement

ROM

voices include

of

rhythm

Latin

voices,

the

percussion

instruments, marimba, orchestra, and even two

of

electric bass samples, for a total

An

important new feature two extra assignable outputs basic stereo left and right outputs. ment

can

be assigned to one

43 sounds.

is

the

inclusion

in

addition to

Any

of

these outputs for

of

the

instru-

individual signal processing.

The

RX8 also includes many

of

the

flagship Yamaha RX5 digital

of

the

rhythm

features

pro-

grammer. These powerful capabilities include

the

real time and step writing, any sound, up voice, variable

to

two

quantization, MIDI implementation. volume and tempo changes

ability to reverse

octaves

of

and

You

can

within

tuning

per

extensive

also program

each

of

the

20 songs.

Programming crystal display. patterns options

for Yamaha dump,

and

is

made easy by a backlit liquid

The

and

20 songs;

outboard

MDC32

cassette tape.

internal memory holds 100

there

storage,

memory

are also

including

card,

MIDI

many

the

bulk

WXlliWTll

system.

RXB

digital

programmer.

MIDI

rhythm

wind

The

RX8 will be available by

ary

at

authorized Yamaha DMI retailers for a

of

suggested retail price

$495.00.

the

end

of

Janu-

WXll

The

WX11 MIDI companion under wind tem

WT11

$1000 suggested retail, provide wood-

and

flute players with a ready-to-use

that

plays almost exactly like its acoustic

counterparts.

As with its big brother, allows variations control volume, timbre, and modulation of sound,

using Polyphony may be achieved using hold feature, enabling note

while playing another.

the

ability to transpose up by

or

down by 1

or

For ease of setup,

ity settings, which selected. WT11

the

WXll,

And,

tone

generator

box.

It

is

specifically voiced for use with

and includes 112 preset voices and 96 preprogrammed performances (combinations voices

and

effects). User memory 32 users voices WT11 cessor and

also includes its own digital signal pro-

with

10 effects, including reverb, echo,

distortion.

Now available

the

dealers,

WX11

gested retail price

wind

controller

and its

tone generator, priced at just

the

WX7,

the

WX11

of

lip and wind pressure to

standard

Boehm

fingering.

the

player to hold one The

player also has

1,

2,

or 3 octaves,

WXll's

2 octaves.

the

WX11 has five sensitiv-

can

be easily and quickly

for convenience, the dedicated

is

ready to

and

32 user performances.

at

authorized Yamaha DMI

/WT11

of

$995.00.

go

right out

is

available for

The

system has a sug-

sys-

the

of

the

of

6 AFfERTOUCH/Vol. 5 No. 1

TQ5

In addition to providing hundreds of voices, the table-top TQS tone generator has board 8-track sequencer, plus effects (including reverb, echo, and distortion).

As powerful

ably

easy

editing

as

it

is,

the TQS

is

to use. Calling up, playing, and even

of

sounds

is

extremely intuitive straightforward, even for those with synthesizer knowledge.

The

TQS rests easily top of your synthesizer or piano, or close wind or guitar MIDI controller (such Yamaha PF1500 combining sampled and

WX7

or

GlO).

is

an ideal companion for the TQS,

The

FM

sounds with a se-

quencer and signal processing.

When

MIDI controller,

used with

the

Yamaha

TQS takes full advantage

of the GlO's real time performance capabilities.

the

And, since coming strings

MIDI

can

TQS can accept multiple in-

channels,

be assigned

each

to

a different MIDI

channel for different voices, if desired.

The

TQS's 8-waveform FM, basically YS200 YS200, the TQS

and

tone

the

generator

is

the

TX81Z.

is

And,

8-note polyphonic and 8ncite multi-timbral. Internal memory includes 100 preset voices, with an additional 100 user voices.

Another

100 voices

can from a memory card, giving you up voices available at any time.

Also on-board

is

an

8-track MIDI sequencer. This allows the user to record, play back, and edit up to eight tracks of music.

It

type of extensive editing and versatility found

re

on mo new feature of the TQS

expensive dedicated sequencers.

is

that

it shows

ing of sequences in minutes and seconds.

Now available at authorized Yamaha DMI re-

an

on-

also remark-

and

no

prior

on

by

your

as

the

new

Yamaha

GlO

guitar

of

the

G lO's

4-operator

same as

as

with

the the

be accessed

to

300

also offers the

One

the

tim-

,

TQ5 tone

generator.

tailers, the TQS has a suggested retail price of $695.00.

DS55

An

auto-accompaniment function

of

the

distinctive features

of DSSS digital synthesizer. Among fessional features are 4-operator 8-waveform digital synthesis

tone

generation, a 61-note touch response keyboard, and a built-in digital · delay.

Priced

at

under $800,

first synthesizer, and it

the

is

DSSS

as affordable. 200 voices are preset, and there additonal memory for 100 user voices. These user voices can be entirely edited from ory.

A very user-friendly editing system allows

quick modification

The hand vides a range musical styles.

the

200 voices in permanent mem-

of

DS55 also features

Auto Performance function. This pro-

of

43 different sequences in many

One

any preset.

type

of

new,

an

auto performance called "Arpeggio," which produces automatic arpeggios when two or more notes are plaed on the

lower octave

of

the

keyboard. "Key Shift" sequences are all single patterns transposed to any priate note, again

In

addition

key,

by

playing the appro-

on

the lowest octave.

to

these

preprogrammed sequences, there are several songs from which to choose. bridge) can be selected in

tailers,

Different

the

lowest octave.

Now

available at authorized Yamaha DMI re-

the

DS55 has a suggested retail price of

sections

by

playing different keys

$795.00.

Sequence

Continuing its support music computer, Corporation

the

of

America introduces Sequence, a

of

the innovative

DMI division of Yamaha

powerful MIDI sequencing software program. Sequence was developed advantage

of

the

Cl

by

Yamaha to take

's

extensive MIDI hardware

and unique keyboard.

Sequence

provides

a fully sequencing environment, which includes one main display screen and five editing windows, accessible using commands. needed

for

most editing operations can

either

a mouse or keyboard

The

main display shows everything

recording and playback. In addition,

be

this display.

The

Sequence package offers fantastic power,

is

just one

the new Yamaha

the

unit's pro-

is

ideal

as

powerful

or they

as

can

it

be

innovative left-

that

may

be

(verse, chorus,

Cl

full

professional

executed from

Continued on

page

20

a

is

Vol. 5 No.

11

AFTERTOUCH

7

Introducing Yamaha's Multi Digital thesizer, Features Expansion And Sequencer.

New

..

Timbral

Syn

..

Which

An

Port

A Built

By

·

..

In

Tom Darter.

GMR

(Grey Matter Response), who assisted Yamaha

theE!

with expansion kits for the series, has developed

OX

co,

the V80FOwith Yamaha, and will continue support with expansion products.

HE

NEW

YAMAHA

thesizer brings together all

T

features needed by today's professional keyboard player, including for future hardware additions. Introduced Winter Music Merchants) nia, tures, including a powerful new user interface, upward expandability, a complete 32-track quencer,

32-note polyphony

capabilities, a built-in digital signal processor,

and

User

8-line designed to be easy to read to dark lighting environments. A contrast knob

located vides optimum clarity for any lighting situation. Right below

tons

that screen displays a lot

all

to

innovations.

sliders (CS)

the

tempo

CS

screen. For example, if

eter

slider will change

screen will show

real time.

ferent

cursor around.

keys, a numeric key pad, arrow buttons,

tion buttons,

to

NAMM

the

V80FD offers many

an

on-board 3.5" disk drive.

Interface

The

VSOFD

backlit

in

that

are used

appear

in

a graphic format

understand

The

front panel also includes several

far left.

of

the

sliders

that

has

This

parameters

Also included

the

(National

Show

FM tone generation system with

has

supertwist

the

top left

the

LCD

to

at

the

and

operate.

Six

programmable

and

a volume slider are located

CS6

is

sequencer

change

"CS

1"

that

the

is

great for getting

without

on

and

an

LCD

V80FD digital syn-

of

the

advanced

on-board expansion

at

Association

in

Anaheim, other

and

16-voice multi-timbral

a large

screen are six menu but-

select

bottom

of

information

usually used to change

parameters

the

exit

screen.

40-character

LCD

both

corner

that

or

parameter,

of

one

of

the

makes

click tone.

the

LCD

to it, moving

to

the

having

front panel are cursor

button

Califor-

powerful fea-

screen.

bright

the

unit

of

the

choices

LCD.

at

one

the

unit

continuous

The

in

the

has a param-

the

and

the

parameter

at

several dif-

to

move a

that

sends you

port

the

of

se-

by

It

is

and

pro-

The

time,

easy

other

on

the

other

LCD

CS

LCD

in

func-

Expansion

One tures internal expansion port. Using many expandability, Yamaha has incorporated a ware boards. These may include add-on PCM and other ing and increasing the power and MIDI, This the VSOFD.

Sequencer

The

ticated 32-track sequencer

features, including loop recording with

pendent tal mixing editing. the sequencer's dynamic voice allocation system make full use polyphony and 16-voice multi-timbral capabilities, using

The memory; there Song,

at

once.

backed up

information even

1

Tone

The version New

ity, velocity to feedback, random LFO, random Pitch modulation.

Port

of

the

most innovative

of

the

new

VSOFD

home

and business computers

1/0

bus system for

types

of

tone

generation systems, updat-

memory

and

upward expandability will prolong

life

VSOFD

operation

sequencer offers

and

Generation

features include negative velocity sensitiv-

system,

other

types

of

and

the

musical effectiveness

contains

looping for

of

The

either

up

The

by

form

of

Yamaha

EG,

each

every track, and individual note

oversized display greatly simplifies

of

the

sequencer. To enhance

performance, a sophisticated

of

the

instruments 32 notes

performances

can

be up to 99 patterns per

to

99 Songs

internal

battery, so it will hold sequence

when

of

synthesis used

6-operator

and

independent

and

exciting fea-

is

its totally unique

the

same idea

future

of

the sequencer

and

additional

communication

an

intuitive yet sophis-

with

many unique

track, automated digi-

is

or

single voices.

both

Song and

can

reside

64K memory

the

unit

is

turned

is

an

FM

as

of

internal

hard-

expansion

audio,

1/0s.

both

of

the

inde-

the

employed to

of

Pattern

in

memory

is

fully

off.

enhanced

synthesis.

operator

8 AFTERTOUCH/Vol. 5 No. 1

In performance mode, it

up

to four different voices. mance voice, locity curves each voice, and audio output selection for each voice.

features in DX7, with the largest available voice library in tence. complex instrument, the Quick Edit features make it possible for musicians with expertise in

sounds, including 64 voices, 64 performances, and voices and 128 permanent

including percussion. Each voice has its own

temperament or microtuning.

features

key

Though there are many new programming

DX7

And

The

unit contains multiple banks

160 permanent ROM (Read Only Memory)

include

and velocity limits for

for

each voice, temperament for

the

V80FD, it

II, and TX802 sounds, providing it

even though the V80FD

FM

to alter

is

possible to layer

Other

new perfor-

transpose

is

compatible with

the

unit's voices.

ROM performances,

each

no

of

for

voice, ve-

is

technical

on-board

each

exis-

a very

Signal Processing

The

built-in digital signal processor offers 31 different reverb hall, reverb room, reverb vocal, reverb plate, reverb distortion reverb, reverse gate, distortion distortion stereo echo, distortion echo, stereo flange, distortion + flange, stereo phasing, chorus

phonic, distortion + symphonic,

1,

pitch change tion, parametric equalization, adr-noise gate, and compressor.

Part of the process a Performance, or a effect and which variation will be used is

called up. There in the at a time. However, you can store two variations (sets performance, pressing the Effect will the other.

Disk Storage System

The

3.5" disk drive. be stored to and recalled from disk: Programs & System, Voice & Performance, User Effects, User Tunings, System, and Sequencer

programmable

effects, as follows:

+ gate, distortion + reverb hall,

+ reverb plate, early reflection, gate

+ gate reverb,

+ reverse gate, delay left

and

right,

+ delay, distortion +

distortion

2,

pitch change 2s, pan, distor-

of

Song

is

only

V80FD,

of

values) in

instantly switch from one set of values to

V80FD comes equipped with

so

only one effect type

each

The

following types

+ chorus, sym-

pitch

change

creating a single Voice,

is

selecting which

when

it

one

effects processor

is

active

effect memory. During a

A/B

button

an

onboard

of

data

can

Song.

The

drive can also be used Recorder (MDR) to save MIDI bulk data from other

MIDI instruments.

MIDI

instrument request before it will send provide this with the Dump Request screen. Using this screen, you can

enter a dump decimal; button, the request will be MIDI

Connections

MIDI programmable MIDI

are also stereo audio

jack,

Controllers, two Foot Switches, and a Breath Controller.

The authorized Yamaha Digital Musical Instrument (DMI) retailers, for a suggested retail price $2995.00. For more information, see your authorized Yamaha dealer, or write to: Yamaha Corporation Instruments Division, P.O. Box 6600, Buena Park, many detail in upcoming issues of AfterTouch.

then,

OUT

addition

In

THRU,

and

connectors for two Continuous Foot

V80FD will be available in late Spring at

CA

90622.

of

the

that

V80FD by calling

request message

when you press the

port.

to

the

standard

the

V80FD

OUT

output

of

America,

We

will also be highlighting

unit's

unique

as

a MIDI

And,

if you have a

requires a

out

sent

connectors.

jacks, a headphone

bulk

a bulk, you can

in

OK

out

the

MIDI IN

comes

with

Digital

features in more

Musical

Data

dump

up

the

hexa-

menu

selected

and

three

There

of

V80FD

digital

synthesizer.

Vol.

5 No.

1/

AFTERTOUCH 9

AVE

YOU

EVER FELT

the

rapid

H

the

bewildering options available shopping for your musical needs? to

music stores deciding which instrument buy, or if you've recently purchased a system, you may be feeling confused by

terms

and

instrument of your choice

frustrating.

At

some point, does this frustration take over

and

make instrument creative, experimental-type who actually the

unintended,

from your new instrument; perhaps this

members like tossing

Some

of

world

of

Don't these moments want

you feeling like you're stuck in a

tarpit.

The

ics.

throughout consumers become new

equipment-to

how

to use these intrustments. Division cal advancements offer, they're also aware this equipment help

them attentive in Music method Yamaha makes available ever-expanding. Yamaha's educational efforts also include product specialist clinics.

sicians who goals. these new products correctly, enjoyable, informal atmosphere.

uct specialists, feels

Schools

The

Product Specialists are experienced mu-

They

Mark Santos, a

advancement

an

instrument

Whether

possibilities. Learning how

you feel like tossing your as

far

as

possible? Perhaps you're a

unpleasant

of

your family

you

as

far

as

us

feel like dinosaurs

musical instruments technology.

get in a panic!

of

frustration. Yamaha doesn't

DMI Division

the

country

better

help

is

justifiably proud

and

need

supportive education

best use it. Yamaha has always

the

education department: Yamaha

have

of

education,

can

help you achieve your musical

show you

how

"rookie"

that

OVERCOME

of

technology

to

you

to

accommodate

you're still going

so

many

to

use

can

be tedious

chosen

enjoys

sounds

or

neighborhood feel

possible. Let's face it:

in

There

are ways

of

Yamaha offers clin-

aquainted

music makers

While

of

their

the

many products they

that

the

long

been a respected

and

the

to

their

to

use

and

on

the

these clinics are worth-

coming

is

the

advanced

to

techno-

to

help

with

the

technologi-

people buying

literature

consumers

the

features

do

it

team

of

10 AITERTOUCH/Vol. 5 No. 1

by

and

when

to

new

the

and

when

avoid

their

this

learn

DMI

to

been

that

is

on

in

an

prod-

An

Interview

With

Yamaha's Elite Team Product Spe

cialists. By

Sibyl

Darter.

Of

..

while because, "they're done by musicians.

identify they are also musicians, even if only

ning

Hawaii. wotk Nabors, acts Jermaine clubs which Magnum Yamaha Product Specialist for 3 months. explains, "I while I was still living

thought

Yamaha asked me

Product Specialist, I agreed!" For Mark, one the

people

cialist. His professional credits include working with

Nightfall.

on for programming, Kevin the where have explains. "Usually, I'm hired just sounds." His research beration using FM synthesis ment studio

Yamaha responds, specialist program, tend obviously have However, cate standing

that musically."

popularity: sessions

with

the

people who are there because

level."

Mark recently came

While

residing

with

artists

and

Don

for

the

likes

Jackson.

around

was used as

job's major joys

he

Kevin

Frank Serafine

Short Circuit 2. A musician

Electronic

he

been

of

complement

When

to be too sales oriented. As a business

people

they

Mark offers

How involved with

Honolulu,

P.l.

TV

attended

the

program was a good one, so when

meets

at

Stratton

They

had

Musicians

resides.

used

in

original software programs for a MIDI

asked

what

product

"Other

to

the

DMI clinics are seeking

so

that

of

all this

can

comfortably express

another

"It's

that

makes

to

the

mainland from

in

paradise

such

as Dolly

Ho.

He

of

Whitney

He

also worked in

the

hangout

series.

one

of

and

working in Hawaii. I

to

join

the

is

the

interaction

the

clinics.

is

another

on

the

sounds for

previously worked together

is

"Most

of

television commercials,"

in

creating digital rever-

his many musical skills.

he

feels

specialist

companies

but I think

keep

that

they'll have a

high-tech

reason for these clinic's

the

humanizing aspect

them

special."

the

electronic scene does

he Parton,

performed opening

Houston

including

spot

Mark

has

the

demonstrations

DMI Division

DMI Product Spe-

with a penchant

also

the

Group

in

my compositions

to

and

his develop-

is

unique about

clinics, offer a

many

[sales] in mind.

better

equipment-so

their

at

a begin-

did studio

the

many

Nick's,

for been

with

the

movie

founder

Illinois,

create

Kevin

product

of

them

to

edu-

under-

feelings

of

We

Jim

and

the

He

as

of

the

of

he

the

we

the

a

a person get something

from who have loads for more information

their

need

to be in order to appreciate

out

of

these clinics?

the

novice

to

the

of

equipment

to

more experienced guys

and

are looking

help

them

set-up, show up at these clinics," observes

Santos.

Phil

Clendeninn,

New

York,

estimates

teen

clinics a

month. includes his work artists such and

others over a twelve-year span. His experi-

ence

as

and education degree from Syracuse University, make his clinics a valuable source tion for a user levels

of

expertise

clinics

is

something interesting. Why? people coming "From age 8 through 20-30 age

categoryhobbyists, semi-pros, gamut. wanted

Mostly,

to

know

Kevin notes

are right

in

the

usually some beginners,

fair amount

of

a Product Specialist from that

he

gives twelve

Phil's musical background

as

a recording engineer

Diana Ross,

The

(he

holds a Bachelor

Rolling Stones,

in

of

Yamaha products.

of

the

people

Clendeninn

The

attending

always finds

"Because you get all kinds

to

these classes,"

SO-though

I see all levels

amateurs.

it's

people

what

all this equipment does."

that,

"while many

middle

of

the

and

he

most fall in

of

It

who've

of

scale, there are

there seems

people who are experienced

electronic instruments."

Mark says, "I've found

ing to these clinics are

The

biggest challenge for me

clinics

is

with

finding

these

the

people.

group where there will be

that

the

on

many different levels.

at

some

right level

Sometimes

to

communicate

you'll

one

person asking

people com-

which MIDI cord they should use for ticular set-up, and in

the

same session

and

"Anyone,

best utilize

to

fif-

with

of

Arts

New

York)

informa-

varying

the

of

explains.

the

musicians:

runs

the

always

the

people

to

be a

with

of

the

have

their

par-

another

Kevin

Stratton.

person which 'sympathizer' would be

their family. are mostly musicians looking for answers, that

editor Tom Darter,

starts

clinic

amazed

or

really is.

clinic-and

many

machine, maybe two or three hands

a

then

the bicycle

scared

Mark

Santos.

another don't first

three

to sound apart;

is

asking (with

the

deepest sincerity)

the

What

I've experienced

they

can

play their music."

In a recent

conversation

with

Phil described

one

of

his clinics: "I usually start

talking

at

what

people

a lot

When

about

FM synthesis.

who

think

they've heard it all,

of

people's understanding

I ask

the

DX7 owners

there are usually a lot

have actually

I try

to

Edit

button.

with

to

take

kid comes along

ride yet?

few

weeks you may fall down, but after

weeks

of

learn

certain

hit

the

Edit

get

them

over their fear

I use a little analogy about a

training

Are

being involved

that's

wheels,

the

training

you kidding?'

things.'

the

best way

and

I tell

says,

wheels off,

with

them

best

to

is

that

AfterTouch

the

I'm

of

them-how

button

go

of

and

the

"What,

So I say,

it you start

to take a

to

learn.

buy for

they

so

way he

out

the

still

of

FM

at

on

the

up. So

hitting

kid

and

you

'The

You

a

is

find a sound you like, start playing around with

this

or

that

parameter,

Danny reports experience

be and

Danny

that

"pretty

those

has

Hoefer,

the range

of

the

evenly divided between semi-pros

who

play for

been

20 years. His credits

a member band toured

liams

Fire.

of

the

Tower

of

with

such notable artists

and

the

popular group Earth,

"These

clinics

and

see

what

happens."

the

lone guitarist

of

people

at

their

musical ability and

his seminars seem to

of

the

four,

own enjoyment."

playing guitar professionally for

as

a musician include being

historic

San

Francisco-based

Power. He's also recorded and

as

Denice Wil-

Wind

&

allow

me a

Vol.

5 No. 1 I AFTERTOUCH

chance

to

11

Continued from page 11

explain ment, explains. not It's same MIDI chance without Danny speculates tion

the

possibilities

from a guitarist's

"I try

to

reassure

trying

to

replace

not

an

instrument

as

a regular guitar. It's actually a dedicated

controller. It gives

to

play a lot

having

to

that

from guitarists toward

of

using

this

point

of

view," Danny

them

that

the

guitar

with

that

doubles

guitar

of

different sounds,

learn

to

as

players

play keyboards."

a reason for the hesita-

the

GlO previous non-pleasurable experiences lier MIDI guitars gave tion.

"There

were units back from several just

didn't

work

that

other

well.

to

the

guitarist popula-

out

there a few years companies, The

G 10 works really

well!"

In a recent informed music consisted as

"self-taught." Most mented

on brought up the subject come apparent us

MIDIOTS

looking for

Before choking guitar synthesizer with a MIDI ing desperate enough plug

on

your entire system, consider these spe-

survey

us

that

of

what

they needed more guidance

that

out

an

educational

AfterTouch's

their

background

an

education

of

the

of

MIDI. It starts

there are a whole

there!

And

but

the

neck

to

pull

in

often

readers who com-

many

musical

of

your new

cord

the

main power

cialist's observations after talking with eral

public understanding and

cannot

ences from these clinics tell

at

these

clinics.

of

what

MIDI

do

is

still very basic. Danny's experi-

is

him

Many and

that,

what

instru-

Yamaha

the

GlO.

or

is

the

the but

could be that

ear-

but

they

readers

electronic

described

on

to

be-

bunch

of

us

are

path.

GlO

or becom-

the

gen-

people's

it

can

"A

lot

of

is

of

Danny

Hoefer.

guitar players still

MIDI, so I give

don't

know too much about

an

overview

of

MIDI at

my

clinics."

continues

Phil start assuming comfortable

introducing

first

time."

Kevin concurs lem with MIDI. really

understand explains. to

of

be

the

thing.

"And,

problem. MIDI

You Exclusive in real simply, just layering two synthesizers

"It's

still such a new

becomes more confusing

combine this MIDI knowledge other

electronic technology available today."

Kevin thinks

tion

and

applications.

mental

do,"

that,

images

he

explains.

they feel it. I spend a lot it

do this?' kinds

Phil

points out, "I try basic level, and show how have found ways

always related strations

single

to

band?"

find

"I

way

their

work

This

of

that

quite often: one-man cheating

band

with

replacing

augmenting

the

reasons we

on

that

everybody understands

with

MIDI, I always find myself

the

whole

that

"It

is

the

once

can

go

time-or

that

of

what

"And,

that

of

time answering

of

questions."

to

use different MIDI gear. It's

to

music, with specific demon-

parts

of

it has

own

way."

in

a band.

is

a question

"A

lot

of kind their

musicians.

what

they are doing.

put

together

the

subject: "Every time I

or

concept

to

people for

many people have a prob-

mostly because they

purpose

of

don't

MIDI,"

again, application seems

is

an

open-ended kind

to

the

extremes-System

you

can

do things very

together."

thing,"

Mark notes.

when

with

people try to

all

of

the

people basically lack direc-

"They

they

they just

to

the

gear.

to

be used. Each person has

How

people

of situation, or

music,

They

come

up

think

MIDI

when

it

doesn't do

don't

understand

'Why

introduce MIDI I,

a fellow musician,

There

really

can

I use MIDI in a

that

Phil says

think

it's only for a

that

or

that

can't

see

That's

the

MIDI band.

with

should

doesn't

on

is

asked

they're

it

one

the

he

"It

no

it's

as of

To

show people a live performance situation using

MIDI

equipment."

the

Yamaha Burdette playing PTX

drums,

Danny

Hoefer showing guitarists how

twine musically

"We

kept around," They and what.

Phil recalls.

had

a video camera shooting

they could never guess who was playing

At

times

Besides Phil

MIDI

and

switching

band

includes

the

WX7, Tony Verderossa

fellow

with

the

product

MIDI using

bass

parts

"That

was

WX7 was playing bass, at

on

keyboards,

specialist

the

G 10. and

the

fun thing.

the

Avery

to

inter-

thing,

on

stuff

is

a

12 AFTERTOUCH/Vol. 5 No. 1

times the G 10 was playing bass, even

the

drums were playing bounced fun,

ting calls. I went NYU out

them

it

around pretty much. It was a

and

the

reaction

on

MIDI

of

the forty people who showed up,

had

seen

we

got

to

a panel discussion down

the

following Wednesday,

the

MIDI band.

excited about it. It became like a

the panel discussion: 'Well, gee, MIDI used

in

a live situation.' I was just amazed

people

don't

really see that.

"A

common misconception people still have about MIDI that

it's all keyboard players," Phil continues. "It's just amazing are getting

is

that

it's all

about

to

see

the

with

the MIDI band. People are saying, "Wow, you're redefining musicians," because we would switch off

and

at

the

bass line.

...

We're still get-

They

were all

"buzz"

thing

sequencing, or

reactions

the

that

roles

times

lot

ten

can

of

We

of

at

and

of

at

be

that

we

the

and play different parts during a live performance. Avery does some real nice stuff

he

plays

the

where

bass line,

panies himself with chords, a call

kind

of

thing.

It

was just too

we'll be doing more MIDI

"MIDI definitely allows you

paths

in

your own musical performances," offers Hoefer. guitar player. how allowed me guitar player, weird, maybe. was the he him. But, same folk style,

"I started

much

strumming

unit

was set up

thinking

In

fact, the G 10 made me realize like a guitar player I to

think

of

my playing

but

as

a musician.

At

one

clinic, a g\ly came up

the

GlO

with

asked for a violin sound,

he

still strummed

and

it sounded wrong. You'd

never hear a violin sound like

Kevin says

he

"spends a lot people in these seminars teaching acoustic sounds.

and understands

When

the

acoustic properties actual acoustical instruments, approaching synthesizer becomes

Phil

thinks

that

they knew

that,

much

"although

how

to program analog syn-

thesizers, they're learning

with

the

and

then

and

response

much

fun! I

band

performances."

to

explore new

musically

as a non-

do

play. It's

as

not

That

in

a folk music style;

a guitar sound.

so

we gave it to

the

strings

that."

of

time

them

one

concentrates

more simple."

everybody

now

that

they were

WX7,

accom-

hope

just a

sounds

and

Then,

in

that

with

about

on

of

the

thinks

basically just spinning knobs until they came up with a sound they liked. kind of system, it's anymore. I tell people

With

the

not

so

easy to spin the knobs

that

if they get involved,

data

entry

they'll learn something. I still do a thing about

the

fear

of

getting over stress

the

point

that

FM

because you get timbre changes you hit. into expressing

And

that's

yourself."

delving into FM.

you

can

the

kind

play

of

thing

on

sounds

the

harder

that

And

in

goes

Phil

Clendeninn.

Kevin sees a large

an

educational opportunity musicians about qualities offered not whistles suddenly Kevin. and approach Yamaha's instrument himself.

by

built

as

that

He

devices

We

of

the Yamaha. techno-boxes

allow you

sound

elaborates,

can

to

creating and expressing feelings.

philosophy

that

don't tures directing your music. push a product customers are about creating may feel alienated from us.

not

As

the

last."

GlO

the

will

understands toward new products.

part

of

his clinic

that

the

important

products

"These

demonstrated

instruments were

with

to

press a

like

Herbie

"These

bring

about a whole

is

to

allows a musician

want

the

If

without

not

their

specialist

any education,

aware

of

own

music,

in

how they

the group,

various bells and

Hancock,"

high-tech boxes

build

instrument's fea-

we simply try to

The

as

can

enlighten

and

admirable

button

a musical

to

express

can

the

customer

relationship

Danny

being

new

and

alienation a customer may feel

"If

the

targeted group of

and

says

if

go

consumers have unrealistic goals for a product

and

then

find

that

they

can't

reach these goals,

they become frustrated,

become "When

further

too many obstacles interfere with some-

one's creative process, they start

tive views

Mark understand all these people

or

feelings about

is

impressed

that

at

the

and

involved,"

that

"the

common

the

clinics

then

hesitant

he

points

to

have nega-

the

product."

people

at

thread between

is

that

they

to

out.

Yamaha

want

to make music."

I

Danny tries the

instrument

their

ability

clinics like a

"to

give

can

as a total

bunch

them

a vision

of

what

do, how it could expand

musician. I

think

of

the

of guys who have come

Continued on

page

19

Vol.

5 No.

II

AITERTOUCH 13

Resonance Effects For

SPX90.

By

Tom Miller.

The

Tips

sINCE I AM A GUITARIST

most,

the

applications described

de

will center most immediately around guitar.

However, I'm certain

found useful

situations.

play

I searching for harder I

had before my SPX90 in ration (preset even going of

the trolled feedback loops, I found provided I needed. I wanted a totally different approach.

I

had

up

my

pen

if I used a delay time shorter scale Because

0.1 millisecond intervals (down to a minimum value that. In addition, since there are two delay tions feedback settings (with inversion), a great variety

of clarity to these very All

of the

Delay L,R preset ( preset and

front panel values.

The "Chinky," a really gnashing, toothy sound for use

on

material:

Chinky

L

ch

L

ch

R

ch

R

ch High: 1.0 R Balance: 100%

Output

in

many different signal processing

Speed

been

using

#30).

so

far as

SPX

output

the

biting resonance

long

been

sound,

of

with

these sorts

the

#7,

and

the individual waves being processed. are

the

SPX90 has delay times variable

0.1 millisecond), I was able to do just some general principles for setting up desired

independently

(and

for lack

short

SPX90 patches given below start from

and

first

patch

distorted guitar

(res effect, from preset Delay: 0. 5 FB:

-51%

Delay:

0.2

FB:

+46%

Level: 100%

that

Metal,

I wondered

of

then

and

harsher guitar sounds.

distortion

the

parametric EQ configu-

After

to

route a measured amount

back to its input for con-

using digital delays

sounds

of a better

delays

#7).

enter

I'm

or

other

ms

first

and

fore-

in

this arti- (FB) level,

these ideas will be

I'm

constantly

and

an

exciter

exhaustive tweaking, L

that

none

of

this R

and

bright clarity

to

spice

what

would hap-

than

the

time

in

sec-

variable times

can

be created. For "longer" delay times

name), I'll refer

as

resonance effects.

In

each

case, call up

the

given parameter

sharing

bright program

#7)

is

and

called

Care

should be taken

as

these effects get their distinctive

sound

by

hanging squeal. Also, they eardrums, so keep the volume down!

The

Toasty

neither EQ

sounds with resonances. First, squeals, keep the

tend sound, whereas shorter delay times have a era! tendency to increase content seems somewhat more least to me) expect patch overall sound.

cially for distorted guitar:

Hatefull

Tubes

(res effect, from preset

ch

Delay: 0.1

ch

FB:

L R

High: Balance:

Output

It

is

not

or

feedback (FB) levels below 100%. Second,

Here are two more resonance programs espe-

L

ch

L

ch

R

High: Balance: 100%

Output

-40%

ch

Delay: 0. 2

ch

FB:

+48%

1.0 100%

Level: 100%

important

delay effects in

can

filter combination.

to increase

of

the

parameters

(res effect, from preset Delay: 0.1 ms FB:

ch

Delay: 0.1

ch

FB:

0.7

to

they be duplicated by any normal

the

sound.

than

unexpected, as small changes

-45%

+45%

Level: 100%

in

modifying feedback

on

the

edge

of

feedback

can

be a little rough

at

"warming up" a gui-

#7)

ms

remember

combined absolute values

of

low frequency

Third,

positive feedback. Finally,

can

have a great effect

ms

that,

while these

the

conventional sense,

There

are, however,

to

avoid feedback

0.8

to

3.0

milliseconds

content

the

high

frequency

negative feedback

"musically useful" (at

#7)

on

in

on

the

is

of a

gen-

the the

a

of

14

AITERTOUCH/Vol. 5 No. 1

Metal

Hell

(res effect, from preset

L

ch

Delay: 0. 7 ms

Lch

FB:

-44%

R

ch

Delay: 0.2

R

ch

FB: High: 1.0 Balance: 100% Output

These are more harsh sounds. "Hatefull"

midrange oriented, while "Metal extra-crispy variety. Effects like these helpful in cutting through The by signal with effect signal via

Here are two more patches, a bit abstract this

time:

Oboe (res effect, from preset

L Lch R R High: 1.0 Balance: 100%

Output

Fat Boy (res effect, from preset

L Lch

R Rch High: 0.8

Balance: 100%

Output

"Oboe" an Boy"

ally a flange effect).

More interesting sounds are obtained

these resonance effects are combined with conventional echo (repeat) runs through cess again solve into a weird wash

Premonitions

L Lch R Rch High: 0.9 Balance: 4 7% Output

Level: 100%

patches

lowering feedback levels

ch

Delay: 0.3 ms

FB:

ch

Delay: 0.4

ch

FB:

Level: 100%

ch

Delay: FB:

ch

Delay: 0.1 ms FB:

Level: 100%

provides a reedy

oboe, a sort

is

just plain gross, real brassy

and

ch

Delay:

FB:

ch

Delay: 0.5 FB:

Level: 100%

ms

-44%

an

can

be tamed

-50% ms

-50%

30.0

ms

-46%

+51%

of

long

again until they gradually dis-

{res

effect, from preset

333.0

+49%

ms

-47%

or

the

tone

middle-Eastern

delays.

of

sound.

ms

#7)

Hell"

is

can overbearing mix. toned

down a

and/

or

mixing dry

Balance control.

#7)

reminiscent

feel.

and

fat (actu-

In

this

way,

the

resonance pro-

#7)

of

the

be

bit

of

"Fat

when

the

each

is

War

0'

The

Worlds (res effect, from preset

L

ch

Delay: 100.0

L

ch

FB:

+57%

R

ch

Delay: 0.1 ms

ch

FB:

R High: 1.0 Balance: 100% Output

"Premonitions" intended to convey a feeling Try this voices. varied to adjust The sound effects in

the

Worlds.

percussive attacks.

All

fied. However, since they are somewhat un-

predictable, consuming to fiddle eters, I've stored about a dozen resonance patches

reference. In this quickly

locations) to spice a guitar sound or fix thesizer sound that's just

all processing occurs sound

As for how all

no

earthly idea,

monophonic

for certain ing stereo imaging. I look forward to reading material from subject.

The advantage with REX50, as

amusing as I have.

-41%

Level: 100%

one

with

The

right

Worlds"

of

science fiction movie classic

This

patch

of

the

patches

(I

keep

is

assured.

these effects will have wide

patches

and

the

ms

is

an

eerie ambience, effect,

of

creeping dread.

bends, glissandos, noises, and

channel

the

tone

is

an

attempt

the

Martian invaders' machines

responds best to sounds with

in

and

since

in

way, I can

them

in

of

this sounds

as

my

use-alas! However, I'm fairly

other

AfterTouch readers

in

this article will work

the

SPX90,

GEP50. I

delay time

of

the

repeats. "War

to

duplicate

the

article

can

it

can

be very

with

independent

of

memory for quick future

flip through

all

in

adjacent memory

not

quite right. Since

the

digital domain, crisp

in

stereo, I have

preset setup

the

hope

is

and

SPX90 II, you find

#7)

can

be

0'

the

War

Of

The

be modi-

time

param-

my favorite

them

that

syn-

configured

interest-

on

the

to

good

the

them

SPX90

digital

processar.

These

SPX90 patches work SPX90

with the

II,

REXSO, GEPSO.

multi-effects

will

also

the

and the

Vol.

5 No. 1/AITERTOUCH 15

Ml

&

Solving

MIDI Emergencies With Merge.

MIDI

By Michael Babcock.

THERE'S

der

I've seen a thousand articles trying to tell me

in

the read whatever I me less and less. I'm ready for practical are you? Here's a story from my experience; I could

maybe more later.

For once I wanted my studio to less standard stuff, ended up with MIDI controller, a rack and

an

modules.

and I'm

Hookups with MIDI IN, MIDI MIDI conversation between two boxes plus maybe some listeners, if you the

old rural party people talk, etly listens 6-op

Yamaha modules (a TF1 DX7-in-a-tiny-box modules in a 19" relay- gigs. (Lost pride.) Nasty. rack box), I needed to pass a pair tween my TX216 and

That's

keyboard. Besides gram was really designed to tie into a real DX7, computer where you could hear your tweaking from Apple voicing program

the

So, when tweak, Not

without repatching cables. cables, I really have to shut everything down. byte over a MIDI cable. Serious pain! intermix

My basic voicing setup involves connecting (By

the

MIDI

the

Apple,

the

Apple to

However, MIDI keyboard to my Yamaha TX216, and I have way to do it!

-connector,

a Y information from the computer with

THAT

what

simplest terms

relate

Apple

Time

in

trouble

THRU

and

...

fine,

but

voicing program doesn't generate notes receiver

connected

or I can

OUT

and

the

in

note

information from my MIDI master mode" here), we have a theoretical upper limit

The

RED

LIGHT

didn't

get through

what

can

find,

but

many

more

but

somehow different. I simply a

an

analog keyboard synth

of

II

computer to voice

to

hook

up

right

now.

can

boil down to being a private

aren't

line-the

for miles around everybody qui- try to

) In

my

case, to

my

Apple II's MIDI card.

Oops!

No

that,

my

by

to

TX216

play,

but

not

of

the

TX216 to

connecting

MIDI IN

addition to this, I

obvious-but

which

combines

again. Won-

...

MIDI

is

all about. I even for analog audio signals. For these digital

the

articles help MIDI signals, you are inviting disaster.

cases-

from

other

folks-

have

more

as

Yamaha 6-op stuff,

the

Yamaha

the

MIDI

cables-

OUT, and

careful. (Remember

phone

rings, two

do

voicing

TX216-that's

way to

Apple voicing pro- digital signals

hitting a DX7

modules. I can

at

the

And

the

MIDI

of

the

wrong-answer

of

two

of

cables be-

connect

key.

same time.

to change "stop" bit. So, it takes 10 pulses to send

MIDI IN

OUT

TX216.

need

to get

the

MIDI

the

MIDI lots

information from the keyboard controller, and sends

both

to

the

TX216's MIDI IN port.

Y -connectors are a middling to bad solution

problem bad. It may

equipment. Here's something

first:

or

tion

my MIDI ports "sees"

OUTs each

both

the

port

not notice anything. Worse yet OUTs that

my

more current-possibly enough to overheat itself and

by for analog signals

my

or

the

really just send a stream of electronic pulses

and

groups

of

(pulses) per second or about 3125 10-bit chunks

of

(reduces MIDI (pitch

no

of

is

232 cable port

is

that

this hookup

not

work

at

What

we

think

of

as

(two

OUTs

three-way

are trying to run each other!) So, what

of

the

of

the

amount

that

should be

be enough strength left for

sense

each

was designed to handle. Each

accommodate

blow up. Down time. Bills. Lost music. Lost

The

second problem

go into your cassette tape deck) won't

or

along

of

my

TX216) agree

of

10-a

pulses

the

way: MIDI pulse speed

to

note

and

just

under

that to your modem slower-typically

feeding

tieup-each

the

other

OUT

connections tries to do

other

two.

This

of current available to the MIDI IN

the

two

things to run,

us by trying

(the

type

out

of

your modem). MIDI cables

a single wire.

those pulses

from

8-bit bytes) per second. Since a

event takes a minimum

intensity;

1600 notes per second.

goes from your computer's serial

(in

that

"start" bit, 8 "data" bits, and a

two

is

The

first

is

electronically

all, and it may damage

we

may

not

see

a two-to-one connec-

one

IN)

is

in

reality

of

the

three

two.

(Yes,

the

two

is

feed

attempt

only target.

is

that

type

that

run around in your

my

the

And

different

we assume

very similar, 1200

can

reduce

There

the

IN port to

that

both

of

not

just

the

one

to

provide

what might get

that

came out

go

on/

The

sender

case,

my

Apple

pulses come in

an

you'd

better

byte

streams!

is

31,250 bits

of

two bytes

"running

(The

but

usually

baud,

about

may

one will

and

8-bit

RS-

120

at

the

of

for

off

II

not

16 AFTERTOUCH/Vol. 5 No. 1

bytes

per

second.) MIDI groups bytes.

bits

"off'). bytestreams. byte The

of

bytes-generally groups

The

first byte

"most-significant" or "leftmost" of

(the

is

"on");

the rest in

there) are

"data"

An

exception

The

that

announces a special stream of bytes.

last

of

the

stream announces bytes.

there mean ment exception

the

Everything

can

be any number,

is

up

to

the

that

is

sending

is

"running

end

of MIDI messages, you

that

of

data

identifies a

of

that

"Note

byte lots sending a only a single byte pair and intensity, you could send a single On"

status byte, followed by many byte pairs,

each

where

pair specifies a separate note's

data

organizes itself in

of

1,

2,

is

always a "status" byte

the

group (if they are

bytes

(the

is

"System

first byte

of

in

is

a special byte

this

between

and

manufacturer

the

stream.

mode."

can

send just one status

data

type,

"leftmost"

a special status

special

is

what

of

With

and

bit

Exclusive"

stream

data

bytes-

the bytes

the equip-

Another

some types

then

type. For example, instead

On"

status byte followed by

that

state

one

note's

pitch

"Note

pitch

or

that

of

send

of

and intensity.)

Now

the

reason for connector ports time. All

to

is

plain. It

try

to

send streams

the

bits will get mixed together, even interfere with from one "Off' intermediate, either there best I

OUT

bit from the other, creating a bit

that

"On"

or

is

no

way

can

hope thesizer doesn't messages every

few

potential

is

possible for

each

port

might

the

IN

"Off'

-and

to

untangle this mess. So,

for

is

that

send

out

milliseconds

disaster in a

of

bits

other.

An

combine with

port

might

no

matter, because

my keyboard syn-

MIDI time syncing

that

both

OUT

at

the

same

"On"

that

take for

would foul

Y-

and

bit

an

the

up a System Exclusive message from my Apple II

that

is

the

modules

and

poke a synth

trying to change a

of

my

TX216.

key

parameter And

too

soon,

in

one

of

if I get excited

before

my voicing bytestream finishes transmitting, I have the same collision problem, "error" light on, telling me

MIDI

IN

e-

MIDIIN2

~-

'V

MIDI1nS 1 are merged

together. Ass1gnable

on

my Yamaha TF1 module goes

that

the

1

~cs1

-continuous

~~

_..,-foot

and

2

These can be assigned to send any valid MIDI controller code.

controllers-

~~~

-pusn

swncnes-

lli~

-loot

sw1tches-

MIDI

controllers are added.

and

the

last voicing message

~cs2

sliders-

--....a.

Other

little red

p1tch

modu-

bend

lat1on

controfler mtormat10n

didn't

3

"BLAT!"

8

ple MIDI Merge.

is

cop unscrambled. Control box to merge MIDI are wrecking enough while a place

make

it-and

So, what's

as

the

a cable. Rather, something

now

real solution?

Something

and

keep

the

bitstreams uninterrupted

One

example

Station

that

a synthesizer.

capability:

OUT

combined

smarts

the

that

(MCS2),

can

add several MIDI control features

One

of

two

MIDI

port-the

incoming MIDI signals

into a single

anything.

to

other

The

store a little

finishes something,

it could wait in

the

Nothing

that

can

act

is

the

Yamaha MIDI

a little wedge-shaped

its features

IN

stream

box

has

bit

of

turn.

My problem got solved by using this MIDI hookup: connects

the the

OUT

of the

The

MIDI

OUT

of

to

the

MCS2's MIDI IN 2 port, while

MIDI

OUT

from

the

MCS2's MIDI IN 1 port;

from

the

MCS2

connects

the

TX216.

TX216

In

addition,

connects

to

my master keyboard

Apple

II

the

Merged MIDI

to

the

MIDI

the

MIDI IN

Apple II.

Answers make more questions,

the

How

Only

merger

make more problems. Exclusive

and

data

it

only tells

stream?

(End-of-System-Exclusive

is

we're sending Yamaha voicing parameters, we'll

be sending these SysEx merger has tem other stream. message,

But

to

watch

Exclusive bytes,

MIDI IN

After

the

second

what

if

the more stuff comes in the

merger memory

mation

be delayed, suppose, somehow, sive never comes? ...

no

sound

at

all

lights

...

breath

control

data

for starting

and

let

channel

break in during

End-of-System-Exclusive

channel

stream

...

is

on

the second

can

hold?

and

some

the

End-of-System-Exclu-

bumpy timings

...

Stay tuned, for more red

and

long

the

sender knows,

when

data

byte).

streams often.

and

nothing

can

go.

very long?

Won't

of

@

Program changes (1-64) can be made. are output.

IS

added.

thing

goes

so

sim-

that

does a

as

a traffic

is

a MIDI

ports

and

without

to

have

one

stream

or

comes

connects

MIDI IN

OUT

of

solutions

is

a System

it

is

done

Since

The

ending Sys-

from

What

input

than

that

infor-

it lost?

MIDI

...

lost notes

messages

And

and

to

of

the

the the

a

if

This diagram operational

MCS2.

shows

structure

the

of

basic

the

Vol.

5 No. 1 I AFTERTOUCH 17

C1

Presenting A

Cl

Program For Dumping Data From

DX7

Cl

II

Disk.

A

To A

By

Jim Smerdel

And

Tom

Darter.

HIS

MONTH,

T

gram

that performance Cl

data disk.

we

present a simple

can

be used to dump voice

data

from a DX7

Cl

II

and save it to a

In order to use this program, you must first

put

together a disk

gram

and

the erate

the

Cl.

1)

Boot up in

drive format it, using follows-format

2}

The

computer will prompt you from there,

and

format form of Copy

3) COMMAND.COM

in

drive A (use

that

will hold

other

system files needed to op-

the

computer with

A.

Put a blank disk in drive B

the

format command (as

both

the

b:/s).

the

disk

in

drive

DOS

will be copied

onto

the

this

onto

disk

from

the

command-copy

this pro-

DOS

B.

A basic

the

DOS

command. com b:).

the

MIDI

the disk

OOS

Monitor

disk

bulk'.'

text editor

4) Insert

5)

Copy

the

from command-copy

At

this point, you still

gram, using

onto

Monitor

the

Type it in just as it looks,

Be

as a text only file. extension in

is a DOS

Once

the

batch

you have entered disk, you are set. Put can

boot

the

computer with this disk), and

a

data

disk in drive

the

between

that

the

The

of

information from Voice don't you

want

"x"

as a placeholder. To run

the

in the

file names you banks put

a single space

names);

Cl

DX7's Device

program

bank

B,

have to send or receive all three banks.

to skip a

file name (DP-DX7II.BAT) followed by

of

data coming from

then,

sure to include

file name; this indicates

file.

the

B.

Make MIDI connections

and

the

Number

is

expecting

the

and

Performance); however, you

bank

want

between

hit

RETURN.

all files names have to be

disk

in

drive

the

four BULK files

in

drive A (use this

b:}.

need

to

enter

the

of

your choice.

and

save it to your disk

the

program

disk

in

drive A (you

DX7 II, and make sure

is

set to

to

see three banks

DX7

II

(Voice

bank

or banks, use a single

the

program, type

to give to

the

DX7 (be sure to

each

of

the

Remember

in

DOS

format.

pro-

and

disk

and

disk.

file disk

A.

pro-

"BAT"

that

on

the

put

1.

A,

three

file

that

echo off rem

===========================

rem AfterTouch Version

DP-DX7II.BAT SEPT

rem rem Written rem

rem rem Check to see if all x's rem

if not% l = = x goto notx

if

not%2 = = x goto notx

if not%3 = = x goto notx goto end!

:notx

rem rem rem

if"/o

I = = x goto next

if

not exist

echo··

pause

:next

if"/o2

= = x goto next l

if not exist b:%2 goto next!

echo

• • "%2

pause

:next! if0/o3

= = x

not

if

echo

• • • %3

pause

:next2 rem rem insert rem and create temporary file= tempfile rem

echo pause • ' ·ready to receive

it

if"/o

l = = x goto skpbk I echo receive :skpbkl if%2

= = x goto skpbk2 echo receive :skpbk2 if0/o3

= = x goto skppfl echo receive :skppfl echo beep

rem rem redirect commands from temporary rem

bulk<tempfile

If

rem rem delete old templile and return to dos rem

del tempfile goto end

rem rem H rem

:end! echo :end

by

===========================

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

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

"%1

exist b:%3 goto next2

===========================

=======================~===

===========================

==============~============

• • • •

Jim Smerdel,

Check to see if the

b:%1

goto next

file

already exist

file

already exist

go

to next2

file

already exist

file

names into bulk receive commands

"b:%l",l,dx7_2_vol(O),

"b:%2",l,dx7_2_vo2(0), I >>tempfile

"b:%3",l,dx7_2_per_m(O),l>>tempfile

'''finished

you

dumping,

come directly here

must enter at least one

29,

1988

ver

l.

were

entered?

files

already exist

on

drive b:, Ctrl

on

drive b:,

Ctrl

on

drive b:,

Ctrl

dx

711

data, >tempfile

Iiles

are now

you

must have entered all x's

file

0

on

b:

+break

to

+break

to

+break

to quit, or to overwrite,

l>>tempfile

on

drive

f1le

into bulk program.

name, try again.

drive?

quit, or to overwrite,

b:

''

'>

>tempfile

18 AFTERTOUCH/Vol. 5 No. 1

ET

US

HEAR

L

AfterTouch to be

all

users

for products, so please many different kinds

Have you created formance for the

other

digital synthesizers and

about a processor, RX5? rial, we'll give you full credit plus $25.00 for each

item used.

Have you discovered a trick musical flexibility

sional musical products? Tips" column. If we use your tip, you'll receive full credit plus a

Have you developed a new approach the

Yamaha professional musical products, or

have you discovered

ing their use? Don't the

information down. If we decide material write it up, put your check always covers

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or

a great voice edit

If

so, send

worry about your writing

as

a full article in AfterTouch, we'll

for $100. 00.

FROM

Yamaha professional musical

join

of

an

DX7 II,

of

the Yamaha family

for

the

them

of

one

check

an

Put

it

on

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(An

at

least

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at

YOU!

an

information network

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incredible

the

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or

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If

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that

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Send

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After

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We

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Touch

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By

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impossible,

exciting."

So, it seems there you to learn how musings. music technology enjoyable

to

the

what

man

see

that

and

Your

atmosphere-by

climb a mountain.

first guy going up. But,

it

can

they'll try.

current understanding of today's

It's

always

when

you're doing, I find it's great

for the climb.

be done, it doesn't seem

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a sane, practical lane for

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expand

can

They

on

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heightened

musicians

Once

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find it

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so

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are

Continued from page 13

not

only knowledgeable

and

eager

pages

to

how

of

friendly better

understand

goals.

Your local Yamaha Music dealer should be

able

to

get information regarding clinics will be watch clinics scheduled for your area. Remember, goal "to sicians they are capable

happening

the

of

these clinics,

help

DMI product owners be

in

the

field,

help

their

fellow musicians

to achieve

in

cities

Aftertouch

as

Mark Santos puts it,

of

being."

their

near

for notices

the

but

musical

you.

best mu-

Also,

also

that

of

the

is

Vol. 5 No. 1 I AFTERTOUCH 19

AFTERTOUCH

P.O. Northridge,

Box

7938

CA

91327~

7938

which fulfills plex piece may be recorded. simultaneous input notes, and

128 simultaneous notes.

clocks per quarter-note.

Sequence video, available. shown

Minute/Second/Frame

Sequence Yamaha DMI retailers, price of

the

of

music.

is

also ideal for use

as

all MIDI and

Sequence

in

both

Measure/Beat/Clock

is

$295.00.

needs

The

now

of

even

the

Up

to 400 sequence tracks

C1

can

accept unlimited

can

Clock

resolution

SMPTE

and

available

sync formats are

data

positions

formats.

at

with

a suggested retail

PF1500

The

Yamaha PF1500

of

electronic pianos offered

sion

of

Yamaha.

PF2000,

tures (AWM)

weighted keyboard.

cert

E.

and

separate two-way speaker systems

the

16-note polyphonic PF1500 fea-

the

realism

sampled

The

five onboard voices are

grand piano},

PIANO

A powerful

{electric piano},

VIBE.

20-watt stereo amplifier

is

the

latest in a full line

by

the

Similar

of

Advanced Wave Memory

voices

PIANO

in

design

and

an

PIANO

2 {upright piano},

HARPSICHORD,

most com-

output

up to

is

in

film

and

Hour/

authorized

DMI Divi-

to

88-note

1 {con-

and

reproduce

480

and

are

the

two

Continued frmn page 7

these authentic sampled sounds full, rich tones. To further the

PF1500 has stereo digital reverberation with

three

settings: amount Depth

slider.

As with

its

own

custom stand, which includes two pedals-one either

an put ers may line input jacks for mixing in external tone sources such Yamaha

authorized Yamaha DMI dealers, retail price matching gested retail price

products, America, Digital Musical Instruments Division, P.O. Box 6600, Buena Park,

for sustain, and

soft pedal

If desired,

external sound system using

jacks; for convenience,

then

TQ5

The

PF1500 will be available

For more information

Room,

of

reverb

the

PF2000,

or

the

PF1500

be switched off.

as

a drum machine

tone module.

of

$2395.00.

bench

for

write

to: Yamaha

Stage,

can

be

the

key hold.

the

of

$195.00.

with

clarity. and

enhance

adjusted

PF1500 comes with

the

other

can

the

The

PF1500, with a sug-

on

the

sound,

and

Hall.

using

assignable to

be amplified with

the

stereo out-

internal speak-

There

are also two

or

the new

in

February at

at

a suggested

CHPF2000

any

of

these new

Corporation

CA

90622.

The

the

is

of

a

20 AITERTOUCH/Vol. 5 No. 1