Yamaha YCAMS User's Manual

-

- -

-

THE OFFICIAL PUBLICATION

-

OF

THE YAMAHA USERS

--

-

GROUP

-

~TM

MARCH 1986

8YAMAHA

®

Editor

Tom

Darter

Operations

Sibyl Darter

Editorial

Bill Hinely Mark Koenig Phil Jim Smerdel

Board

Moon

-

~

-

March

1986

-

Volume

4 Morton Subotnick & YCAMS

Part 1

of

an exclusive interview.

By

Tom

-

- -

---

--

-

2,

Darter.

-

Number

Issue

3

#6

Production

Leslie Bartz Pat Gates Paul Haggard Chris Ledgerwood

Cheryl Matthews

Joyce

Phillips

A

product

GPI

Tom

P.O.

ridge,

AFfERTOUCH lished monthly. Third class postage paid at Prairie, MN and additional points SCRIPTIONS: Address subscription respondence TOUCH, P.O. Northridge,

2338. POSTMASTER: Send form 3579 to P.O. Box 91323-2338.

of

Editorial

Darter,

Box

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of

2338, Northridge,

Services

Director

2338,

91323-2338

is

Long

entry.

SUB-

Free.

to

AFfER-

Box

CA 91323-

North-

pub-

2338,

cor-

CA

7

8

9

10 11

14

16

18

©

form International Corporation.

GUITARD

A new DX7 voice created by Reggie Turner.

WHATTHE

A new DX7 voice created by

SLAPRHODES

A new DX7 voice created by Kevin M. Bevins.

SHRINGING

A new DX7 voice created by

QX1

Details tures

RX21L

Using MIDI key assignments with the new Latin percussion rhythm

Final Touch

Hot QX SMPTE,and overdubbing QX7; plus a new REV7 patch.

Questions

Answers the YCAMS.

1986

Yamaha International Corporation.

or

by any means, electronically, mechanically, photocopying, recording,

AMP

...

on

the new

of

the Version 6 software for the

controller.

tips

on

programming and recording the RX 11, using the

1 for film and video

to

questions from readers about CXSM software,

RAM,

1 cartridge, and Summer courses

No

part

of

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

Gordon

Cam

Roberts.

Job

Commands

By

Tom

Darter.

sound~ffects

Control

or

otherwise, without the prior written permission

and

data

Alexander.

other improved fea,

QXl.

control without

By

Tom

on

the QX21 and

on

the use

Darter.

of

or

transmitted in any

of

Yamaha

2 AFTERTOUCH/Vol. 2

No.3

Frolll

The

Editor

''

7

HAT

CAN

WE

SAY?

Under

VV

cumstances, I guess we "oops!" Last month, in issue #5 TOUCH, errors that who may be wondering why the ELEC patch piano, pened TeleWord (pages

of

the errors, complete with corrections:

DX7 patch charts chart is internally correct; but, because they got put the charts are wrong. and 7 in issue #5. rithm # 1) belongs with the title and notes

page 6, belongs with the title the algorithm GRAND patch, and the algorithm # 1 chart page 7) is the SPACEMUSIC patch.

issue #5, in the Tele the first paragraph TWE01 notice that a few lines are missing; three, exact. as

it should have run:

computer system, watch for the Processor

we managed

escape

we have some

on

to

Time

First

on

Moving right along, we come

Oops

"For

detection.

page 7 doesn't

or

who may want

part

of a paragraph

to

straighten things

of

all,

we

the wrong page, the titles and notes for

and

the chart

#13

Word

Processor Cartridge," you may

#2. Here is the complete paragraph

access

to

/Tele

to

confused

sound

10~11).

managed on

the wrong pages: Each

Oops # 1.

The

chart

on

page 6 (algorithm

on

chart

(on

Word

of

the section titled

even

more

Word

just

let some rather major As a result,

readers

very much like a

to

know what

in

out.

to

get two

Turn

on

page

7.

In

page

6)

article.

flexibility for your

En

chancer

the

have

of

AFTER~

I'm

out

GRAND

the

article

Here

is a list

to

pages 6

page 7

other

words,

is the ELEC

to

page 11 in

If

you look

CX5M

Word

cartridge

cir~

to

say

sure

there,

hap~

on

of

the

(algo~

on

#13)

(on

at

"The

to

be

(TWE01, Enchancer cartridge). Scheduled for release

mid~'86,

cant enhancements vided by the TeleWord module. Even without the TeleWord module, the cessor cartridge will provide CX5M users with a basic to

create letters, memos, reports, written communication. These documents can then printer) ing Yamaha FD05)

Finally, we mispelled a reader's name. Even

though Ken Leivers' name

on

the contents page article in issue #5, the letters managed themselves in my leaving us with

At TOUCH none switched positions. TeleWord article disappeared during the ing process, and the mispelled name is a case Equally obviously, we're only human.

I Apologies

SPACEMUSIC),

ELEC GRAND), Ken Leivers, and all

of

you. We'll

of

kind issue.

formerly

the

TWE01

word~processing

be

printed

or

stored

Mi~ro

or

any standard cassette tape recorder."

"Lievers."

least five different people

at

different stages

of

us noticed that the patch diagrams had

of

spontaneous typographic mutation.

hope

this clears

to

do

mixup never occurs again. See you next

called

cartridge will offer

to

the basic package

package, allowing them

(using

on

a variety

Floppy Disc Drives (FD03

and

From

The

up

Doug

Gregory

our

best

the

TeleWord

TWE01

the

is

on

the first page

The

Oops

three lines from the

all

Cooper

Emler

to

make sure that this

Word

or

any kind

Yamaha

of

devices,

correctly spelled

Editor column,

proof

of

the confusion.

PN101

to

#3.

AFTER~

the game,

obviously

(creator

of

signifi~

includ~

mutate

the rest

by

pro~

Pr~

of

or

of

his

but

print~

of of

-TD

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3/

AFTER

TOUCH

3

Morton Subotnick &

OR

Part 1

Of

Exclusive Interview. Tom

Darter.

An

By

MORE

F

Subotnick

music

produced

a

restless contexts, and

compositions electronic sounds. His famous electronic position Nonesuch tronic company.

musical instruments tions. to tem posed Albion

Yamaha understanding him In

Silver

music

Subotnick

Most

the

Yamaha Computer-Assisted Music Sys-

(YCAMS). His 1986 piece Return, com-

for TX816

Records.

Although

instruments

to a number

part 1 of

THAN

has

by

experimenter

including

Apples

in 1966, was

to

be

has

recently,

Subotnick

of

this exclusive interview, he discusses

twenty

been

a leading composer

electronic means, as well as

in a variety

multimedia

for

acoustic instruments plus

Of

The

the

commissioned

used a variety

to

produce

he

has

and

QX

has

for a short

the

electronic

innovative uses

years,

of

presentations

Moon,

released

first piece

by a record

of

electronic

his composi-

turned

1, is available

his attention

only

worked

time,

medium

ofYCAMS.

Morton

musical

of

on

his

has led

com-

elec-

New

with

deep

his initial

of

month, techniques some

by

YCAMS

missioned To

using

I

wanted. I wrote

and

The

marimba, xylophone, viola,

QXr

program

work

in

part

he

of

his upcoming musical projects.

TD:

When did

products?

MS:

It

was

by

Songs.

TD:

The

Yamaha

MS:

No, it was just a commission

YCAMS, specifically

instrumental

TD:

What

for

The

MS:

First

the

with

the

TX816

2,

he

will

describe

used

in

Return,

and

* * * *

you

first

get

involved with the

just

a year ago, for a piece com-

the

Fromm

commission

instruments,

the

led

you to

Key

To

of

all, I

instruments

Foundation,

didn't

necessarily

did

it?

piece

for

six

the

QX1

group

included 2 pianos,

and

choose

the

Songs?

appreciated

using

and

QXl.

some will

outline

The

to

do

instruments

and

TX816.

'cello.

TX8r6

and

the

ability

real

FM,

the

Key

inoolt~e

what

the

to

and

I

Subotnick

with (L to R) tal

computer,

sequence

rack-mount

generator

digital

HI

in

his

synthesizer,

QXt

recorder,

FM

s:ystem,

delay.

was im-

home

DX7

FM

CXsM

digital

TX8t6

digital

and D1500

studio,

digi-

music

tone-

pressed with the the the

richness

TX816

number

of

and

of

voices possible.

I felt

that

these capabilities would make

possible

the

to

piece with

it

do

live electronics

instead

of

tape."

4 AFfERTOUCH!Vol. 2

No.3

was

impressed

and

the

these

capabilities

the

piece with live electronics instead which is without ment,

and bound bilities possible ments taking coloristic individual instrument.

had at where sounds a of

to

and

on

The

in

mind

IRCAM,

the are parallel all

computer

processing a live

added a

used

the marimba of

thing have tried a different track, trying parallel synthesis.

Anyway, enough performance, with

the

QX

1 allowed portion start

and

stops coordination computer.

TD:

seventh

that person.

person?

MS:

TD:

tempos

and

MS: tempo musicians, with much, important. without player catch course,

change

the

had

up

with

the

richness

number

the

using

ofYCAMS

to

basic

computer

that

richness

complexity

of

slow/fast

Was

Yes,

And

Right.

QX

too

to

it

was

of

voices

would

one

thing I've

an

enormous

that

gets

so

complicated

break

down

midstream.

made

do

the

piece in live computer, either a secondary

role. I

wanted

idea

for several years now. I

using

their

instruments

sound

computer

turns

people have

to

do

with sampling. I've been taking

with

the

score.

into

the

between

It

worked

the

it always is;

the

score

starting

Actually,

to

with

practice,

1.

If

the

tempo

It

was

much

to

change

the

conductor

great

the

for

the

large

the

for every live

sound

to

into

a voice.

done

to

the

TX816, I felt

to

do

this

the

number

of

the

me

to

program

And,

features, I

piece

where

the

out

QX

1 actually performed

and

essentially

and

stopping

worry

musicians change feature becomes performed

rehearsal,

tempos

that

he

possible. I felt

make

not

me

terms

without

piece

computer

and

way through:

to

add a decay

do

voice structure.

because

instruments

fine.

there's

about,

always

or

was

s

of

the

TX816

that

it

possible

been

amount

feel

of

the

role

computer

is

one

the

sound.

with

computer,

it.

For

This

with sampling,

it with

kind

of

the

could

needed

there's a score for

inooltJes

the

because seem

haven't

once in San Diego

and

all

slow

able

to

of

tape-

able

to

do,

of

equip-

that

it's

The

capa~

that

it

was

live

instru~

computer

or a simply

to

be

that

I've

did

a piece

facilities,

computer

There

Instead

instance,

to

the

is

the

kind

what

I call

there

was

of

piece

for

voices

of

write starts

and

And

electronic

its

stop/

and

get

and

the

by

changing

QXz?

not

much

the

to

stay

played it

more

the

QX1

the

time, down. to

do

Of

this;

do

an

otherwise, all lost forever! iar change

terms

the part plays a particular written and might say player The

18 restart four bars

is

QX 1 part

I

different

I

separate has there

or

want started ensemble is sure

instruments, just

a

1X8z6?

preset

rest

the

didn't

about

done

piano pianos. sound,

to

ments-variations would

of

the

musicians

But

after

the

with

the

piece,

there

tempo

during performance.

TD:

How

does

the start/ stop feature work in

of

coordination

MS:

For

instance,

six

musicians

is

supposed

into

the

BANK involved.

"STOP

would

next direction might say

four

measures

the

same

of

rest.

The

result

and bar

part

to

look

at

were

four

the

QX

it

up

at

structure

takes a little

TD:

How did you program sounds for the

MS:

For

instrument I used

of

it

was

equipment

have

time

programming

that a lot,

sounds

Then

and

give

different

with

there'll

are

alone,

to

enter

chord.

the

part:

The

BANK

stop

the

QX 1 at

later,"

BANK

of

all

of

this, however, is

the

other

numbers.

for

the

QX

the

QX

1:

measures

to

run

for

again

on

bar

21.

There's

for

the

but

that's

bit

of

The Key To Songs,

done

from

and

program it in five weeks,

to

experiment. I know a lot

piano

so I created a whole

that

would

I started with

made a series

on

attack

would players become hasn't

been a need

the

other

musicians?

be

and

the

when

the

The

relationship

start

or

For

example,

1, measure 17."

the

end

"START

so

the

player

playing

musicians'

It

its

QX

not a real

getting used to.

scratch. I had

after

You

have

operator,

stopped

in

between. I didn't

four

measures,

bar

18,

a different

than

the

was

the

marimba;

sounds,

complement

the

original marimba

of

other

the

marimba-that

structures

have

famil~

places

where

computer

ensemble

stop

point,

the

So

of

bar

measure

would

counting

that

partshave

to

have

because

at

17,

when

there

is

problem.

only

stock

to

and

series

instru~

and

been

to

is

part

the

17.

the

a

he

and

so

I

the

mea~

for

It

the

learn

so

I

I've

of

the

so

u1

started with

the

original marimba sound

and made a series of

other instrumentsvariations the

marimba-

that

would give

on

different attack structures and so

forth."

T'X8z6

tal

tone-generator

rack-mount

FM

system.

digi-

Vol. 2 No.

3/

AFTER

TOUCH

5

Morton

Subotnickanumum

u1

had

to

learn

the

equipment

and

program in five weeks, so I didn't time

to

have

experiment.''

forth.

Next, I

and

sound gether. You always when the

instrument attack, is

type

As I said, I didn't spent ments, piece programmed into basically been written already. I was waiting for the

TD:

it

MS: are

computer they had had within the five week period after I first received YCAMS back

more, another four weeks for that.

TD:

program the sounds,

took

restructured

to

the

vocal sound. I mixed

don't

integrated

an

instrument

sound.

about

two weeks programming instru-

and

the

TX

and

the QX.

Was it

Well,

it

solos,

were

only

more

than

five weeks.

to

go

out

instruments.

and

work

and

do

the

Did you

the

basic vocal

it,

adding a lot

hear

it

into

an

plays;

have

other

three

the

completely

was

about

and

sort

of

graphed

to

the

players,

on

the instrument sounds some computer

use

any

computer

or

did

sound

directly,

attack

but

the

an

organ/

that

weeks

QX

1.

notated?

80%

notated. There

those weren't notated;

out.

The

instrument parts

and

Then I had

solo

you

just program on a

DX7?

MS: I used

could

not

think.

Not

TD:

MS:

TD:

one

with

MS:One. TD: MS:

used

two

it

played are seven QX1 disks involved. But time

you

remix it, however, because The

Return are going

going simultaneously.

get a richer sound.

to

do

to

TD: MS:

process

on

the original recording

TD:

MS:

the

have

done

in

that

Is

that

the

Yes.

Far

The

Key

TX8r6 or

But

you

used

No,

I only used one. TX816s from

only hear

To

Yes,

Do

For

beginning

redo

add

to

the

sound

you

wark

The

and

to

Return

the

add

Key

CXSM

amount

way

it

you still

To

Songs,

music

on

the

of

time, anyway.

war-k?

were

two?

two

far

Return,

For

two

QX

1s

to

end,

one

TX816.

We're

Key

come

out

as a

using

overall

richness

some

slight

We'll

use a series ofSPX90s,

a little

bit,

of

Return.

with a

producer?

To

Songs,

Michael Hoenig

in

the

TX

of

my

piano

them

to-

because

that

result, after

vocal/'

much

getting

The

Actually, I

they

time

parts. I had

enhancement

computer.

DX7, I don't

you warking

it's

happens

cello-

time.

the

piece had

did-

to

go

to

right?

the

recording,

in

order

to

get

because

CD, two

detuning

which I didn't

at

any given

going

To

Songs

and

TX816s

of

the

there

to

and

we're

sound?

and

did the producing, me

on

the

CD

TD:

What

Key

To

Songs?

MS:

It

comes from a

can't

really pronounce the original French title, but I guess English made

I

restructured. exotic, into what he calls There's end think day, whichever Ernst has chosen for the last day of piece, since it was of little

translation.

up

and

"Blood"

of

it is called

is called

the

week.

the

days. I also

bit

of

Schubert,

schoene Muellerin;

19th

century

collage quality in the piece.

I

imagine

book

as

if

the images were ballet dancers in a set.

What

I intend

pany

is go

through show them what I was thinking while the music was being created. I think it

I

Also, the LA Philharmonic has commission-

ed

me

to

expand The

YCAMS, two pianos and viola

of

the orchestra.

and

the 'cello will become the string parts

TD:

When

and

he's going

version

is

The

19th

And

beautiful.

"The

So I used

etchings

the

to

the

of

Return.

the significance

book

Week

Of

Kindness is

It's a surreal

century

they're

He

divides

the

"seven deadly elements."

and

"Fire"

"The

Key

To

Key

To

that

the

most

went

back

Schubert

they

add

to

create

piece

as a

do

one

day with a ballet com-

the

book

Key

To

four

solo

two mallet instruments.

are you going

to

of

by Max Ernst. I

collage

etchings

really strange,

and

so on;

Songs." Sunday I

Songs,"

for

the

musical

and

songs

that

dimension

ballet. I used

with

sounds

Songs

for orchestra,

instruments-the

to

start working on

that?

MS:

Well,

I'm

going

to

start

I

won't

finish it until I've solved a few problems.

For

a thing like

about

three tra, I want able

to

follow the conductor, because you're

going

to have the time puter

part.

proaches,

one

to

take.

nists

not play the boards, very seriously.

then

become the mallets would remain exactly as they are.

that

where they'll probably have

hours

of

rehearsal with the orches-

to

make

sure

that

the

computer

get

the

conductor

to

learn

There

and I haven't

One

possibility is play the original piano parts computer

which

is

something

The

part

of

part

and

the orchestra

how

to

follow

are

several yet

using two KX88 key-

original

the

orchestral

possible

figured

to

have the pia-

I'm

considering

piano

parts

work

with

the title

the

picked

the

like a ballet.

soon,

the

that

week

and

or

Satur-

title

of

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best

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up

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of

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6 AFTERTOUCH/Vol. 2

No.3