Yamaha YS200 User's Manual

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- -

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THE OFFICIAL PUBLICATION

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OF

THE YAMAHA USERS

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--

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GROUP

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~TM

NOVEMBER

1988

YAMAHA®

&

Product

(DMI) division employs a product specialists, who tour stantly conjunction with local Yamaha DMI dealers. Here tions, covering November and December:

Date Location Specialist Nov.

Dec. 1

Dec.

Dec. 7

Dec. 8 Brian's Guitars

Dec. 9 Center

Dec.

Specialist Clinics

The

Yamaha

giving

is

a list

30 Vincitore's Pianos and Organs Phil Clendeninn and

2-4

12

13

14

15

Digital

clinics

of

upcoming clinic dates

Poughkeepsie,

Yamaha Communications Center

New

Yamaha Communications Center Phil Clendeninn, Danny

New

Manny's Music

New

Bridgeport,

New

Pecknel Music

Greenville,

Musicians Workshop Phil Clendeninn

Asheville,

Music

Richlands,

Audio Light & Musical Phil Clendeninn

Raleigh,

Musical

number

and

York,

NY

York,

NY

York,

NY

CT

for

Electronic Music Phil Clendeninn and

York,

NY

SC

NC

Box

VA

NC

Instrument

of

top-notch

the

country con-

presentations

and

the

first

half

NY

[MIDI

Expo]

in

loca-

of

Danny Hoefer

Phil Clendeninn, Danny

Hoefer, MIDI Band

Phil Clendeninn and

Danny Hoefer

Phil Clendeninn and

Danny Hoefer

Phil Clendeninn

New

WX7

/TX81Z

The

Version 2.1 Demosoft for TX81 Z new wind controller. Interested musicians view Yamaha

YS200

sion of Yamaha produced a television commercial for the new YS200 digital synthesizer. mercia! and beginning sound heard in the

YS200

available. It contains YS200, including a percussion quencer. music sequences. Interested musicians copy of this new demosoft for free at any authorized Yamaha

is

now available.

TX81Z sounds for use with

these

new

WX7

Television

The

Digital Musical Instrument (DMI)

can

be seen nationwide

the

USA

the

YS200.

Demosoft

A Demosoft package for

voices for use

The

Demosoft

the

WX7 and

This

offering features

the

WX7 MIDI

can

pre-

sounds

dealer.

Commercial

Corporation

network for a n,ine-week period,

week

the

commercial was produced

package also includes four new

YS200 dealer.

at

any

authorized

of

America has

This

30-second com-

on

MTV, VH1,

of

October

100 new voices for the

number

24th.

the

YS200

of new drum and

with

the

is

unit's

can

clivi-

Every

by

now

se-

get a

If you

want

to

know more about Yamaha's

elite team

December 1988 issue of After Touch, which will

feature a profile

understand that, although all dates and locations are confirmed, last minute schedule con-

flicts may make it necessary to substitute one

product clinics.)

2 AFTERTOUCH!Vol. 4 "lo.

of

Product Specialists, watch for the

of

the

whole crew. (Also, please

specialist for

another

11

at

any

of

the

Corporate

The

viously

USA tion

represent any major organizational change, and

therefore will

business in the poration was created to "make upper management

with simply business

Name

Change

American

known

has

changed

of

America.

more effective." For all

Yamaha in

Yamaha corporate entity pre-

as

Yamaha Music Corporation

its name

This

name

not

affect

the

United

the

as

States.

United

usual.

to

Yamaha Corpora-

change does

way Yamaha does

The

new cor-

of

us

who deal

States, though, it

not

is

-

---

~

--

-

~

-

Editor Tom Darter

Operations Sibyl Darter

November

4

5

8

14

Questions

YS200,YS100,B200

Soundcheck '88

Hot Tips

1988

& Answers

Answers Tom Darter.

An synthesizers.

An

annual, with the people and T.

J.

research.

Reader tips for

to

questions from readers.

introduction to Yamaha's new series

By

Tom Darter.

insider's look

non~profit

an

explanation

Martell Foundation for Leukemia, Cancer,

By

at

the finals

rock

band

in

charge, suggestions for prospective entrants,

of

the

event's charitable

Sibyl Darter.

the

DX7 II,

RXll,

By

of

this year's version of Yamaha's

competition, including interviews

and

Volume

Steve Deming

of

CXSM.

4,

Number

Issue

#38

and

user~friendly

connection

and

digital

to

AIDS

the

11

Production Sibyl Darter Tom Darter

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

Thatcher

Cover

Photograph Jim Hagopian Dee Dee Cawley

16 MIDI

17

MIDI

Mixup

Why

won't ties) created by Darter.

it play? A quick look

Matchup

Use MIDI Program remote control.

18 C 1 Users Central

An

up~to~date

for use with the Darter.

electron~eally,

mechanically, photocopymg, recordmg,

of

Amenca.

No

part of this publication may be reproduced, stored in a retneval system, or transmttted in any form or

or

otherwise,

the

existence

Change

By

Tom Darter.

list

of

music software currently in development

Cl

music computer.

wtthout

the

prior

written permission

at

the

problems

of

MIDI channels.

messages to call up

By

Rick Huyett

of

Yamaha

International

(and By

Tom

new

Corporation.

possibili~

sounds by

and

by

Tom

any means,

AFTERTOUCH lished monthly. Third class

postage paid at Long

Prairie, MN and additional points of entry. SUBSCRIPTIONS: Address subscription

respondence to AFTERTOUCH, Northridge,

7938.

Send form 3579 to P.O.

Box 91327-7938.

Vol.

4 No.

is

pub-

P.O.

Box

CA

POSTMASTER:

7938, Northridge,

111

AFTERTOUCH 3

91327-

Free.

cor-

7938,

CA

Answers To Questions From Readers.

By

Steve

Deming

&

Tom Darter.

My

setup

features a

ucts,

including

tone

generator rack, board controller. I have assigned ume pedal

However,

(which should mean hint me

cut Tallarico, Valley Stream, NY.

First reprogram all that the KX88 voices.

to

control two

when

of

the

sound. A Yamaha tech explained

that

the

volume pedal

the

sound.

of

all, you

of

they will respond properly to messages from

KX88; then, you have

is

set

up

number

an

original

and a KX88

the

pedal is all

no

What

have

the

voices

properly

of

Yamaha prod-

DX7, a TX816

MIDI

the

of

the

TX

the

sound),

should I do?-

to

there

cannot

use your DX7

in

the

TX modules

to

make sure

to

control

key-

KX's

vol-

modules.

way

down

is still a

to

completely

Tony

to so

that

the

TX

&

Memory Internal Memory Protect DX7

the the Select point, use for editing. the if it Every time you enter new data tion or Edit parameter key relating mitted to the contents the

all Carriers,

Sensitivity to

Foot Controller. store using

Once the set new approach:

Controller assignment from Controller."

Protect

to

the

Now,

on

Edit mode ("Ed").

Edit mode, use

Program

SWl

DX7's Edit Buffer, where it

was

one

to

of

same.

Here are the edits to make for each voice: For

the

new voice

the

Store mode.

these changes have been made to all

TX module's voices, all

the

KX88

is

off,

and

that

the

is

off;

then, switch

"SYS INFO AVAIL'' mode.

the

TX

module, press SW3 to enter

Once

you have reached

SW3

again

to

sub-mode

and SWZ

The

selected voice will be sent

of

the

DX7's own internal voices.

that

key will be immediately trans-

TX

module; in

both

Edit Buffers will always remain

set

the

7;

then,

Once

to

control voice volume using this

On

the

("PC").

to

select the

can

be edited

or

press a Func-

on

the

DX7,

other

words,

Amplitude

assign EO bias to

these changes are made,

data

KX88, change

Modulation

to

the

TX

that

remains

"Volume" to "Foot

enter

At

TX

the

module

the

DX7's

the

this

voice

to as

data

the

of

is

to

Foot

TX816

FM

digital

generator

tone-

system.

4 AFTERTOUCH/Vol. 4 No.

Start

by

making MIDI connections between

the

DX7 and

OUT

port of

port

on

nect

the mon MIDI TX816.

Next, reprogram. Leave it set to mode, and set all "INDIVIDUAL" mode. Make sure the

DX7 and

MIDI

channel

Finally, make sure

11

the

TX

the

DX7 to

the front panel

MIDI IN port

OUT

port

select

the

TX

of

the

selected TX module are set

1.

rack:

Connect

the

Common

of

the

TX816, and con-

of

the DX7 to

on

the front panel

module you

the

other

that

the

"COMMON"

modules to

TX

the

MIDI

MIDI IN

the

Com-

of

the

want

the

that

both

module's

I recently purchased a transfer out Northford, Answers to this problem have been supplied

two AfterTouch readers, in two different

Tips" columns.

called "Transferring Single Voices Between

Disk Files

reader

to

RAM4 of

to

called "Transferring Voices From A DX7

a patch from

copying

The

the March 1988 issue

The

the

CT.

first solution, provided

On

The

Dan

Linehan,

cartridge. This tip appeared

second solution, provided in a

II

FD

Without A RAM

DX7

II

one

disk

complete file?

DX7

II

FD,"

and

required the use of a

of

After Touch.

Continued

FD.

to

another

-Henry

in a Hot

File

How

can I

with-

Will,

by

"Hot

Tip

came from

on

page 18

Hot

Tip

To

File

On

Cartridge,"

on

page

19

=

~·.

HEN YAMAHA UNVEILED the DX7,

the

first

W

thesizer, the world of synthesis ever.

Since Yamaha has continued upon the bodied in the DX7; this ongoing research has led

to

such instruments as DXlOO, and

however: ated in a new realm peopled "carrier," "modulator," "algorithm," and Earlier analog synthesizers offered a knob to alter each function, were relatively easy to understand; the ness one function could be altered at a time. course, most same intuitive sound trols had. great new vistas new levels

with, Yamaha has unveiled a affordable digital synthesizers.

three 4-operator, 8-algorithm, 8-waveform nology featured

DXll, ogy

the

DXll.

There

was

All

with

other

by

creating a new system, whereby only

that

To make

of

these new units take advantage

they discard

long associated with FM digital sound ere-

affordable

that

milestone

FM

approach to sound creation em-

DX7

II, the TX802,

one

problem for some musicians,

of

these digital instruments oper-

of

new terms such as

and

hand, maintained its cost-effective-

of

those functions did

connection

the

earlier analog synthesizer con-

The

FM digital synthesizer offered

of

sound; but it also asked for

of

understanding.

FM

digital synthesis easier to work

in

the

FM

digital

was

changed for-

introduction,

to

refine and improve

the

TX816,

the

sound creation, a realm

most

of

those functions

the

not

to

the

new

Although

recent

complicated terminol-

TX81Z

syn-

the

TX81Z,

"operator,"

so

on.

DX7,

on

And,

of

have the

shaping

family

FM

of

tech-

of

all

the

and

ation, and replace it with variables for all musicians to understand.

this new group

for musicians to experiment with

new sounds, even if they have

ence

as

synthesizer programmers.

The

three (YS200, nology, but they offer a new, uncomplicated path through

FM digital synthesis.

These new synthes

than

differences; and, in many ways, the YS200

is

the flagship

begin

by YS200, and between the in

this new family

of

instruments make it possible

instruments

YSlOO,

and 8200) all have

the

sometimes choppy waters of

of

the group.

describing the basic features of

end

by

YS200

(YSlOO,

in

izers

have more similarities

explaining the differences

and

the

8200).

that

are easy

In

other

words,

the

creation

no

prior experi-

this new family

FM

Theref

ore,

we

other

instruments

of

tech-

will

the

YS200

The

YS200 features a full-size, 5-octave,

touch-sensitive

aftertouch.

put

jacks, the standard set

OUT,

and ume and Sustain pedals. phone jack and a Breath Controller jack.

More importantly,

the

gateway synthesis. First oversize Volume control large LCD display; underneath, there are four pairs

of + 11-1

sequencer control buttons. To the right of this

keyboard,

The

back panel includes stereo out-

THRU),

to

plus connections for Vol-

the

an

entirely new approach to

of

all, moving right from

buttons; above, there are four

complete

of

MIDI ports (IN,

There

is

also a Head-

YS200's front panel

on

the

left, there

with

is FM the is

An

lntroduc

tion To

Yamaha's

Series Friendly Digi tal Synthesiz

ers.

By

Darter.

a

¥5200

digital

Of

Tom

synthe

..

New

User

..

sizer.

..

Vol.

4 No.

111

AITERTOUCH

5

Continued

from

page 5

central grouped in two rows

is

provides Exit

Play

300

memory; 100 in and

These

mode

The

as YSlOO

Easy

umn. Each

two altered using pair edit a description of

velope generator settings for tone.

to

(Volume+ parameters

Each range decrease faster; negative values increase

make the sound synthesis terminology,

the

affects

the

sound;

waveforms used

parameter controls how bright

tone

tive values make

synthesis terminology, Brilliance controls output

Wave parameter changes

harmonics

group,

a numeric keypad; and finally,

there

of

and

Store buttons.

are

five.

ten

Farther

Mode

In

Play mode, you have

voices: 100 in

100

in

can

buttons

YS200 uses

its cartridge storage device (as

and

B200).

Edit

Mode

There

are five

button

to

four adjustable parameters; these

or

the

numeric keypad. Here are

areas accessed by

EG:

The

first +

select

the

Tone) for editing.

of

these

from + 10

the

carrier

the

modulator operator(s).]

TONE:

The

harmonic

it

also allows you

is.

The

level

in

internal

Card

(RAM

be accessed using

on

the

buttons

calls up a display screen

either

the

EG display allows you

11-1

Volume EG,

are

Attack,

parameters

time,

and

change

operator(s),

TONE

content

in

range

the the

of

the

modulator operator(s).]

the

sound,

\!Ccess

ROM

RAM

cartridge)

instrument's front panel.

new

MCD32

in

the

related +

each

button,

changeable parameters:

both

button

the

Tone EG,

The

Decay,

has

to -10;

and

the

is

from + 10

tone

positive

make

the

more slowly. [In FM

the

volume EG affects

while

display allows you

the

to

voice.

brighter, while nega-

more mellow. [In FM

the

frequency

and

Mode

buttons,

right, there

the

front panel

to

as

many

(permanent)

(user) memory;

memory.

the

three

Memory

do

both

Easy Edit col-

can

11-1 button

the

followed

to

adjust en-

volume

pair allows you

or

other

and

Release.

an

adjustable

values

sound

change

the

time,

the

tone

brightness

determine

The

Brilliance

or

mellow

to

- 10; posi-

therefore alters

as

Play

Card

the

with

be

voice-

by

and

both

three

and

EG

to

set

of

the the

the

The

of

the

fundamental

range

is

from + 10 produce higher overtones, while lower settings produce lower overtones. [In FM synthesis minology, Wave controls setting Input-4Nos! waveforms eration. Each voice has four sound sources, and each waveforms. brighter determine ity sented by be selected for [In FM synthesis terminology, parameter determines operator, operators used

the or parameter adjusts effect, parameter adjusts of pitch modulation simultaneously, with a range of the lation simultaneously,

assign names be up characters include all letters (in

16 additional special characters

tion

assign and effect.

of

one

than

of

the

sound.

the

and

LFO:

The

speed,

tremolo

with a range

0-99.

The

depth

NAME:

to

ten

both

upper

marks.

EFFECT:

one

then

The

ten No. No. No. No.3: No. No. No. No. No. No.

character

the

modulator

parameter

that

the voice uses for its sound gen-

can

use Because others, this parameter also helps

the

overall brightness

The

numbers

each

the

four sound sources are the four

to

create

LFO display allows you to adjust

depth,

and

of

edit

0:

1: 2:

4:

5: Stereo Echo 6: Distortion + Reverb 7: 8: 9: Reverse

and

effect

on

the

both

Tremolo parameter adjusts

sensitivity

The

NAME

to

edited voices. Voice names can

characters in length.

and

lower case), numbers, and

The

EFFECT display allows you to

10 preset digital effects

the

parameters of

preset effects are

Reverb-Hall Reverb-Room Reverb-Plate Delay Delay-Left/Right

Distortion + Echo

Gate

Reverb

of

the

sound.

to

-10;

positive settings

the

coarse frequency

operator(s).]

lets you

one

of

some

eight waveforms are repre-

0-7;

any of

of

the

four sound sources.

the

waveform for each

the

sensitivity

the

voice.

speed

of

0-99.

the

depth

of

with

a range

display allows you to

Gate

change

eight

different

waveforms

and

tone

the

eight

the

Input-4Nos!

sound.]

of

the

The

of

the modulation

The

and

sensitivity

amplitude modu-

of

9-99.

The

available

of

the

alphabet

and

punctua-

to

the

as

follows:

The

ter-

The

the

are

qual-

can

vibrato

Speed

Vibrato

both

a voice, selected

6 AFTERTOUCH!Vol. 4 No.

11