Yamaha V80FD User's Manual

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THE OFFICIAL PUBLICATION
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OF
THE YAMAHA USERS
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GROUP
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TM
JANUARY
1989
Page 2
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
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
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
the
future
the
DMI
division
As
reader sur-
issue.
of
important first
some
page 5; and,
check
about
I men-
of
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
Page 3
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January 1989
4
5
8
Questions & Answers
New
V80FD
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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
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~-
--
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---
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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
the
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.
©1989 Yamaha Corporation electronically, mechanically, photocopying, recording,
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
Page 4
&
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
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
Page 5
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
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
Page 6
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
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
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
Page 7
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
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
is
is
Vol. 5 No.
11
AFTERTOUCH
7
Page 8
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
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
previous
an
(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
next
change
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
Page 9
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
Page 10
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
the
we
the
a
a
Page 11
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
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
Page 12
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
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
Page 13
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
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
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
Page 14
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
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
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
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
next
patch, called "Toasty Tubes," little more subtle, aimed tar sound:
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
the
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
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
Page 15
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)
#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
Page 16
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
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
(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
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
Page 17
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
the
group (if they are
bytes
(the
is
"System
first byte
of
in
is
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
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
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
to
of
the
the the
a
if
This diagram operational
MCS2.
shows
structure
the
of
basic
the
Vol.
5 No. 1 I AFTERTOUCH 17
Page 18
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
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
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
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
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,
quit, or to overwrite,
b:
''
'>
>tempfile
18 AFTERTOUCH/Vol. 5 No. 1
Page 19
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
which translates pages of typescript.)
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patch
or
a great voice edit
If
so, send
worry about your writing
as
a full article in AfterTouch, we'll
for $100. 00.
FROM
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join
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DX7 II,
of
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them
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Put
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(An
at
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incredible
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If
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that
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Send
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important secret regard-
paper and send it
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After
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We
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By
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We
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And,
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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
is
a sane, practical lane for
to
expand
can
They
on
be
heightened
musicians
Once
the
find it
can
your musical
who
other
in
you
to
so
be
an
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
Page 20
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
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