Yamaha Audio DX7s User Manual

Y AMA HA

DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER

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Welcome

Welcome to the DX7s, the newest member of the growing family of FM digital synthesizers from Yamaha. Using the industry-standard DX7 as its starting point, the DX7s offers a number of important new features, such as improved sound quality, additional FM features, new performance options, and improved controls.

Since there is so much material available on the DX7 family of synthesizers (and on the theory of FM digital synthesis), this manual will not be an FM tutorial. Instead, it has been designed to be a “users manual” in the truest sense — its goal is to help you make music with your new DX7s as quickly as possible.

If you are already familiar with the operation of the original DX7, this manual will help you make the transition to the DX7s in short order. On the other hand, if this is your first FM digital instrument, this manual will guide you into the operation of your new synthesizer with easy-to-follow, step-by-step instructions and explanations.

After you are comfortable with the operation of your new synthesizer, you may want to explore the fascinating world of FM digital voicing. If so, consult the extensive list of reference works on FM synthesis listed in the bibliography at the back of this manual.

Tips

The DX7s has been designed for years of trouhle-free use. In order to ensure that it remains a healthy member of your family

following tips in mind:

musical instruments, please keep the

Installation:

When setting up the DX7s in your home or studio, avoid exposure to direct sunlight or other sources of heat. Environments with excessive dust, cold, dampness, or vibration can also damage your instrument. Even though the DX7s is electronic, you should treat it with the same kind of care you would lavish on any other musical instrument.

Also, since the DX7s is electronic, you should make sure not to set it too close to equipment (such as a television set) that generates electromagnetic fields. Such proximity could cause both malfunctions in the synthesizer’s digital circuitry and interference noise in the other unit.

Handling:

The DX7s is sturdy, but it can do without rough handling. Don’t subject it to sudden jolts (such as dropping it), as this can damage the internal circuitry. If you plan to travel with it, be sure to use a road case. Also, make sure not to apply excessive force to any of the keys, buttons, or other controls.

Cleaning:

To clean or dust your DX7s, use nothing more than a clean, slightly damp cloth. Using chemical solvents will damage the finish, and using too much water may do considerable damage to the internal circuitry.

AC Power & Other Equipment:

When you are using the DX7s with an amplifier or mixer that has unbalanced outputs, connect both units to the same AC outlet to avoid hum.

If you use a number of electronic instruments in your setup, you may want to consult an electrician, who can make sure that your system does not overtax the available power.

AC Power & Down Time:

Whenever the DX7s will not be used for an extended period of time, it is best to protect it from potential disaster. Electrical storms and other natural or man-made disasters can give rise to power surges, which may damage the digital circuitry of your DX7s — even if the power is turned off. Either unplug your instrument when not in use, or invest in power strips with surge protectors to safeguard all of your electronic equipment.

Service & Your Warranty:

The DX7s contains no user-serviceable parts. Opening it up or tampering with it in any way will void the warranty, and may also lead you to experience some nasty electrical shocks. If you have a problem with your instrument, please take it to an authorized

Yamaha service center.

Modifications & Your Warranty:

Unless you are assured to the contrary in writing, you should assume that any

modifications made to your DX7s will void the original product warranty. Therefore, you

should make sure that you receive a warranty (or some other kind of guarantee) from the

person or company that is responsible for the modification.

Contents

Section 1: Playing the DX7s

Getting Started

Setting the ROM Cartridge Banks

Exploring the DX7s Performance Library

Exploring the DX7s Voice Library

The Play Modes

Using Controllers with the DX7s

Section 2: Creating and Storing New Sounds

Creating New Sounds

21 26

Saving New Sounds

Section 3: Using the New Performance Features

Performance Edit Buttons

31 33 Basic Performance Parameters 36 Performance Controllers

Micro Tuning

Section 4: Using the New Voice Features

Voice Edit Buttons

Basic Voice Editing Functions

New Voice Parameters

Voice Controllers

Fractional Scaling

Section 5: Memory

Utility Buttons

Memory Layout

64 66 Memory Storage Types 68

Basic Utility Functions

Cartridge Memory Functions

Section 6: MIDI

MIDI Buttons

System Setup

MIDI System Exclusives Immediate MIDI Program Change Out

Appendices

Appendix 1:

Appendix 2: Bibliography

MIDI Implementation Chart

Blank Data Chart

Functions

Supplemental

Information

Playing the DX7s

-1-

Contents

Getting Started

Making Audio Connections

Turning on the DX7s Setting the Volume Slider

Setting the ROM Cartridge Banks

Inserting the ROM Cartridge

Selecting the ROM Banks

Exploring the DX7s Performance Library

Selecting the Internal Performance Memories

The Internal Performance Memories

Selecting the Cartridge Performance Memories

The Cartridge Performance Memories

Exploring the DX7s Voice Library

Selecting the Internal Voice Memories

The Internal Voice Memories

Selecting the Cartridge Voice Memories

The Cartridge Voice Memories

The Play Modes

Voice Mode and Performance Mode

Using the 1 ~ 32/33 ~ 64 Button

Using the Poly/Mono Button

Using the Key Shift Button

Using Controllers with the DX7s

Pitch Bend Wheel

Modulation Wheel

17 17

After Touch

Breath Controller Foot Controllers 1 and 2

Footswitches 1 and 2

Continuous Sliders 1 and 2

-2-

Getting

Started

Connecting the DX7s

to a single input

amplifier.

You can begin to enjoy your DX 7s immediately, without poring through a lot of complicated electronic theory. A ll you have to do is take the instrument out of the box and

proceed as follows:

Making Audio Connections

There are three different ways to connect the DX7s to sound reinforcement equipment. The one you choose will depend on your situation:

you

1. If

have a monophonic (single input) amplifier such as a guitar amp, connect the

DX's output to the amp’s input (using a standard ¼” cable).

Using stereo headphones

with the DX 7s.

2. If you are using a multi-channel mixer, connect the DX’s back-panel audio output to one of your mixer’s inputs (using a ¼” cable).

3. If you are using a set of standard stereo headphones, plug them into the DX’s Phones

output.

-3-

The DX’ s “ welcome” display.

Turning on the DX7s

After you have made the audio connection of your choice, turn the DX7s on by pressing the power switch located on the right side of the back panel. This is the first display you

will see on the main panel:

After a few seconds, this display will be replaced by the last Play Mode display selected before the DX7s was turned off:

The DX’ s next

initial display.

The LED’s will now display the voice or

performance number that was displayed

when the DX w as turned off.

The LCD will now show the voice or

performance name which corresponds to

the number in the LED.

-4-

Volume Slider

Setting the Volume Slider

Since the volumes of the various voices differ, start with a setting in the middle of the slider’s range; adjust later to suit your taste, depending on the voice or voices being played.

-5-

Setting the

ROM Cartridge

Banks

The ROM Cartridge supplied with your DX 7s actually contains several sets of data — called “ banks.” These banks can be selected from the front panel. In order to hear all of the Voice and Performance data, you will need to set the Voice/Performance bank to 2. Also, certain voices in the DX7s are created using the new fractional scaling feature. These scalings are stored in bank 3 of the ROM cartridge, so the Fractional Scaling Bank will need to be set to bank 3. Look at the diagram on the next page and make the necessary changes before you begin playing.

Inserting the ROM Cartridge

Before you begin to play your DX7s, insert the supplied ROM cartridge into the cartridge slot:

-6-

Selecting the ROM Banks

This is the Set Bank LCD display

with Bank 2 of the ROM cartridge

selected for Voice & Performance data.

This is the Set Bank LCD display with Bank 3 of the ROM cartridge

selected for Fractional Scaling data.

-7-

Exploring

the DX7s

Performance

Library

The Performance Mode is a completely new feature for the DX7s. It allows a number of useful performance-oriented features to be stored and recalled instantly. These features will be explained in detail in Sections 2 and the steps below, and explore the richness of the Performance Mode by playing through all

of the new sounds available in the Internal and ROM Cartridge memories.

of this manual. For now, though, just follow

Selecting the Internal Performance Memories

-8-

The LCD display will show

the number and name of

the selected Performance

memory.

The Internal Performance Memories

These are the

Performance Memories

loaded into the DX7s when it is

shipped from the factory.

Since these memories

can be adjusted,

your DX’s Internal Memory

may contain different data.

If so, reload the Internal Voice

& Performance

data from bank 4 of the

supplied ROM cartridge

(see page 70).

Performance

Name

SolidStrg

Strings

GrandOrch

Cello

LittleStrg

ReverbBras

BrightBras

MildBrass

W.Leed

SoftFlute

PanPipes

BlowSax

BluesHarp

14 Harp 15 PianoBrite 16 MildPiano 17 Mellow EP

18 Attack EP 19 Crystal EP 20 DX Clavi 1 21 DX Clavi 2 22 Clavicord 23 Harpsicord 24 WireString 25 GreatPipes 26 RotaryOrg 27 ConsoleOrg 28 MagicOrgan 29 SoftOrgan

30 SchoolOrg 31 AngelVoice

32 LadyVox

No.

Voice

INT

INT INT 30 Harp INT 32 PianoBrite

INT 34 Piano 2 INT 36 RubbaRoad

INT 37 HardRoads INT 38 FullTines INT 39 ClaviStuff

INT 40 Clavi INT 41 Clavecin

INT 45 HarpsiWire

INT 46 WireStrg A INT 57 APuffOrgan2 INT 50 TapOrgan

INT 51 BriteOrgan INT 52 MagicOrgan

INT 53 SoftOrgan INT 58 Harmonium1 INT 60 Whisper A

INT 62 LadyVox

Voice

Name

HallOrch NewOrchest LiveStrg BowedBass Violins ReverbBras SilvaTrmpt FrenchHorn Bassoon Flute PanFloot PanFloot Harmonica

-9-

Selecting the Cartridge Performance Memories

The LCD display will show

the number and name of

the selected Performance

memory.

-10-

The Cartridge Performance Memories

Bank 4 of the supplied

ROM cartridge contains the

Voice & Performance Memory

loaded into the DXs Internal

Memory when it is shipped

from the factory.

Bank 2 contains an entirely

different set of V oice &

Performance data.

Performance

Name

1 SuperBass 2 WoodBass

3 TackBass

4 FazzBass

5 PickGuitar

6 FolkGuitar 7 ClipGuitar 8 ChoGuitar

9 HitPad 1

10 HitPad 2 11 HitPad 3 12 AfroConga 13 Woodblock

14 Vibraphone

Voice

No.

CRT 1 SuperBass

CRT 2 StringBass CRT 3 SkweekBass

CRT 6 OwlBass CRT 9 GuitarBox CRT 10 PickGuitar CRT 13 YesBunk CRT 14 12 Strings CRT 17 Maribumba CRT 19 Nu Marimba CRT 20 StonePhone CRT 25 CongaDrum CRT 29 Claves CRT 21 VibraPhone

Voice

Name

15 Celeste CRT 22 Celeste 16 GrandBells 17 MultiDrums 18 Tomtom

19 MalletBras 20 ClaviBrass

21 Ensemble

22 WarmBrass 23 Synclaria 24 PianoBells

25 St.Elmo's 26 OctiLate

27 EthnicBass 28 Wallop 29 Explosion 30 Thunderon 31 Laboratory

32 Motorcycle

CRT 30 Bells CRT 23 Swissnare CRT 24 Tom C4 CRT 37 MalletHorn

CRT 42 ClaviBrass CRT 36 Ensemble CRT 46 ElecBrass CRT 40 ClariSolo CRT 49 PianoBells

CRT 50 St.Elmo's CRT 55 OctiLate

CRT 52 Pluk

CRT 60 Wallop

CRT 61 Explosion

CRT 63 Thunderon CRT 64 Science

CRT 62 KoikeCycle

-11-

Exploring

the DX7s

Voice

Library

The voices in the DX 7s were created using techniques like those used on the original

DX7. There are a number of new features available in Voice Mode (most

extensions of the Function Mode in the original DX 7). A ll of these features will he

discussed in detail in Sections 2 and 4 of this manual. For now, though, just follow the

steps below: and play through all of the voices available in the Internal and ROM Cartridge memories.

them

Selecting the Internal Voice Memories

The LCD display will show the number and name of the selected Voice memory.

-12-

The Internal Voice Memories

These are the Voice Memories

loaded into the DX7s when it is

shipped from the factory.

Since these memories

can be adjusted,

your DX’s Internal Memory

may contain different data.

If so, reload the Internal Voice

& Performance

data from bank 1 of the

supplied ROM cartridge

(see page 70).

1 MellowHorn

2 SilvaBrass

33 Piano 1

34 Piano 2

3 ReverbBras35 KnockRoad

4 Tuba

5 Trombone

6 HardTrumps

7 Trumpet A 8 SilvaTrmpt

9 BC Trumpet 10 FrenchHorn 11 Strings

12 HallOrch 13 NewOrchest

14 Analog-Str 15 LiveStrg 16 BowedBass 17 EleCello A

18 EleCello B

19 Violins

20 Bassoon 21 Clarinet

22 Oboe 23 Flute

24 SongFlute 25 SpitFlute

26 PanFloot

27 Piccolo 28 Sax

29 Harmonica

30 Harp

31 EbonyIvory

32 PianoBrite

36 RubbaRoad 37 HardRoads

38 FullTines 39 ClaviStuff 40 Clavi

41 Clavecin 42 ClaviPluck 43 NasalClav 44 HarpsiBox 45 HarpsiWire 46 WireStrg A

47 WireStrg B 48 TouchOrgan 49 ShOrgan

50 TapOrgan 51 BriteOrgan 52 MajicOrgan

53 SoftOrgan 54 PipeOrgan

55 PuffOrgan1 56 PuffPipes 57 PuffOrgan2

58 Harmonium1 59 Harmonium2 60 Whisper A 61 Choir

62 LadyVox 63 MaleChoir 64 Whisper B

-13-

Selecting the Cartridge Voice Memories

As explained on page 6, the DX7s ROM cartridge contains several banks. To hear the cartridge voices, make sure that the Voice/Performance bank is set to bank 2 of the ROM cartridge (see page 7 for instructions on how to change the cartridge banks).

The LCD display will show

the number and name of

the selected Voice memory.

-14-

The Cartridge Voice Memories

Bank 4 of the supplied

ROM cartridge contains the

Voice & Performance Memory

loaded into the DX’s Internal

Memory when it is shipped

from the factory.

Bank 2 contains an entirely

different set of Voice &

Performance data.

SuperBass

StringBass

SkweekBass 35

SmoothBass

4 5BopBass 6

OwlBass 7JazzBass 39 8HardBass 9GuitarBox

PickGuitar 42ClaviBrass

FingaPicka

LeadaPicka

YesBunk

12 Strings

Classipika

15 16

Shami

Maribumba

DX Marimba

Nu Marimba

StonePhone 52 Pluk

VibraPhone

Celeste

Swissnare

24Tom C4 56 25

CongaDrum

Tub Bells

Gong

Timpani

Claves Bells

StellCans

Handrum

Analog-X

Phasers

MalletHorn

37 38

FM-Growth ElectoComb

ClariSolo

43WhapSynth

Whasers 45Fifths 46ElecBrass

ElectroBak

HarmoSynth

PianoBells

MilkyWays

TingVoice

Plukatan

OctiLate

LateDown

Glastine A

BellWahh

58 59

RubberGong

Wallop

Explosion

61 62

KoikeCycle 63

Thunderon 64

Science

FMilters

Ensemble

PitchaPad

St. Elmo's

- 15 -

The Play Modes

Now that you have an idea of some a closer look at how the various Play M odes operate. Read on:

Voice Mode and Performance Mode

The DX7s has two different play modes: Voice Mode and Performance Mode. As you have just seen, the Voice Mode is where you recall the 64 Internal Voice memories and the 64 Cartridge Voice memories. Press Voice and use the 1 ~ 32/33 ~ 64 button and the program number buttons to select specific voices. There are 32 Performance memories that you can access by pressing Performance and the program number buttons. When you are in Performance Mode, the light over the Performance button will be lit. When you choose a Performance, features such as Micro Tune and Key Shift are added to the voice.

Using the 1 ~ 32/33 ~ 64 Button

The light above the 1 ~ 32/33 ~ 64 button tells you which set of voices can be selected. If the light is off, voices 1 ~ 32 can be selected using the number buttons; if the light is lit, voices 33 ~ 64 can be selected using the number buttons.

Using the Poly/Mono Button

The light above the Poly/Mono tells you which Key Mode is currently active in Play Mode. If the light is off, the Key Mode is polyphonic; if the light is lit, the Key Mode is monophonic. Key Modes will be explained further in Section 4.

the sound possibilities

the DX7s, it is time to take

Using the Key Shift Button

The Key Shift button determines whether the key shift programmed in Performance Mode will be applied when you recall the Performance. If the light above Key Shift is off, no key shift will be applied; if the light is lit, the preprogrammed key shift is applied.

- 16 -

Using

Controllers

with the DX7s

The DX7s is designed to operate with many controllers, each of which can be set to

perform one of a number of different effects. The settings for these controllers can be

different for each Voice memory or Performance memory. To begin your exploration of the expanded musical possibilities available with controllers on the DX7s, try the examples listed below. Many of you may already be familiar with the operation of the these controller’s; for those who are not, each section below begins with instructions on how to locate or attach the controller in question.

Pitch Bend Wheel

The Pitch Bend Wheel is located to the far left of the keyboard. To get an idea of some of the effects possible with the Pitch Bend Wheel, use it with Internal Performance #1 or Internal Performance #31. Move the Wheel both quickly and slowly as you play.

Modulation Wheel

The Modulation Wheel is located to the near left of the keyboard (to the right of the Pitch Bend Wheel). For a taste of the possibilities of the Modulation Wheel, try it with Internal Performance #6 or Internal Performance #13.

After Touch

After Touch is a keyboard feature that gives you extra control over a voice. It is engaged by pushing down on the keys after they have already been depressed. To try some of the effects available with After Touch, call up Cartridge Performance #4 or Cartridge Performance #5 (from bank 2 of the ROM). After you have played a group of keys, press them down into the key bed and listen to the result.

Breath Controller

The Breath Controller plugs into the mini-jack to the left of the Phones plug on the front of the DX7s. It allows you a great deal of expressive control over the shape of the sounds you play on the keyboard. Try using the Breath Controller in conjunction with Internal

Voice #9. With this voice, you will notice that playing on the keyboard by itself produces no sound. In order to hear the voices, you must hold down keys and blow into the Breath Controller.

- 17 -

Foot Controllers 1 and 2

The Foot Controllers plug into the two Foot Controller plugs on the back panel of the DX7s. They can give you continuous control over a number of aspects of the sounds. Try using Foot Controller 1 with Cartridge Performance #25 or Internal Performance #12 (from bank 2 of the ROM). Foot Controller 2 is most often used as a volume pedal, but other effects are possible.

Footswitches 1 and 2

The Footswitches plug into the two Footswitch plugs on the back panel of the DX7s. Footswitch 1 acts much like a sustain pedal on a piano. Try it with Internal Performance

#19 or Cartridge Performance #5 to get an idea of the different effects that are possible.

Footswitch 2 can be used to engage a number of effects, including that of the soft pedal on a piano. Try it in conjunction with Internal Performance #4 or Cartridge Performance #8 (from bank 2 of the ROM).

Continuous Sliders 1 and 2

The Continuous Sliders are located to the right of the Volume Slider on the left side of the DX’s front panel. They can be programmed to give you control over many aspects of the timbre of the sounds, and can even be used to alter parameters of a voice in real time. Try using Continuous Slider 1 with Internal Performance #8 or Cartridge Performance #3.

Then listen to the effect that Continuous Slider 2 has on Internal Performance #3 or

Cartridge Performance #24.

- 18 -

Creating and Storing

New Sounds

- 19 -

Contents

Creating New Sounds

Editing and Edit Mode Entering Edit Mode

Editing Performance and Voice Data

Using the Cursor Buttons and the Data Entry Buttons/Slider

23 23

Edit/Compare Edit Button Quick Reference Guide

Saving New Sounds

Memory Protection

Turning Memory Protect Off

Voice and Performance Memory

Storing Performance Data to Internal or Cartridge Memory

Storing Voice Data to Internal or Cartridge Memory

- 20 -

Creating

New Sounds

The Voices and Performance setups in the DX7s are stored as digital information in a

computer-like memory. And, like computer memory, the memory

for

altered they do in electronic organs), but rather as streams (edited) to create new Voice and Performance setups. To find out how this works, read on.

Editing and Edit Mode

Editing is the process of changing various settings of a Voice or Performance memory. In the DX7s, this is accomplished in Edit Mode. Usually, you will use Edit Mode to create a new Voice or Performance setup, but you can also use it to find out the parameter values for the factory preset Voices and Performance setups.

Most of the buttons on the DX’s front panel have multiple functions. You can see this by looking at the way the buttons are labeled on the front panel. For example, the +1 button also functions as YES and ON. In most cases, the buttons will have different functions in different operating modes.

The 32 number buttons are no exception: In the Play Modes, they are used to call up

various Voice and Performance memories; but, in the Edit Modes, they are used to access the various parameter values that make up a sound.

Normally, when you enter the voice play mode (by pressing the voice button), the performance parameters will automatically be initialized. If you then go into the performance play mode (by pressing the performance button) the LCD display will show you this by displaying “INIT PERF”.

different uses. In other words, voices do not exist as unchangeable presets (as

data. This data can be changed

the DX7s can be

Notice that the number in the LED changes to show which memory number you began editing. When you switch between a voice parameter and a performance parameter, the LED will show the corresponding number.

- 21 -

In the Edit M ode, you can edit

both Voice and Performance

parameters.

Entering Edit Mode

In the above procedure, the Edit Mode is entered after the Edit button is pressed in step

#1. At that time, you can push any or all of the buttons indicated as many times as

necessary to make the desired edits.

There is a distinction between editing Performance parameters and editing Voice parameters that you may want to be aware of. In certain cases, (such as using compare) you may not retain all your edits. It is a good idea to edit Performance and Voice data separately (more on this later).

- 22 -

Editing Performance and Voice Data

After entering one of the Edit Modes, use the number buttons to access the parameter whose value you wish to change. Each number button calls up a variety of parameters, often through the use of multiple LCD screen displays. A complete set of these screen displays will be given at the beginning of Section 3 (for Performance parameters) and Section 4 (for Voice parameters). In most cases, each LCD display gives you access to a number of parameters.

Using the Cursor Buttons and the Data Entry Buttons/Slider

The cursor buttons

and the data entry

slider/buttons.

The Edit/Compare

LED display.

In some cases, you will need to use these buttons to position the next to the parameter you wish to edit.

Once you have selected the parameter

to edit (using the cursor buttons),

use the data entry slider or the +1/-1 buttons to change the value of the selected parameter.

The new values will appear in the

bottom row of the LCD, and you will hear the effect of these new values when you play the keyboard.

LCD

cursor

Edit/Compare

Once you have started to edit a voice, you can compare your new sound to the original by pressing the Edit/Compare button:

You may use the compare feature for Voice data, Performance data, or Micro Tune data. It is best not to use compare when you are simultaneously editing more than one type of data. For example, if you are editing Voice data, and then start editing Performance data, using compare may cause Voice data to revert to the original.

- 23 -

Voice parameters

are discussed in

more detail

in Section 4.

Voice parameters

are discussed in

more detail

in Section 4.

Edit Button Quick Reference Guide

Performance parameters

are discussed in

more detail

in Section 3.

Utility parameters

are discussed in

more detail

in Section 5.

MIDI parameters

are

discussed in

more detail

in Section 6.

-25 -

Saving

New Sounds

Once you have altered a particular Voice or Performance memory to your liking, you will want to save your new data in one of the DX’ s memory locations. Voice memories and Performance setups can be saved either to the Internal Memory or to a RAM Cartridge Memory. To do so, proceed as follows:

Memory Protection

Each time the DX7s is turned on, it automatically powers up with both the Internal and the Cartridge Memory Protect feature turned on. Before you can save data, you must turn off this automatic memory protection.

Turning Memory Protect Off

Voice and Performance Memory

If you have edited both Performance data and Voice data, be sure to save the Voice data to

a Voice memory and a Performance data to a Performance memory. Both will need to be

saved independently.

Storing Performance Data to Internal or Cartridge Memory

Storing Voice Data to Internal or Cartridge Memory

- 27

Using the New

Performance Features

Contents

Performance Edit Buttons

Button 27 LCD Displays

Button 28 LCD Displays

Button 29 LCD Displays

Basic Performance Parameters

Total Volume

Key Shift

EG Forced Damp

Performance Name

Voice Number

Performance Controllers

Sustain Footswitch (FS 1)

Footswitch 2 (FS 2)

Continuous Sliders

FM Parameters Assignable to CS1 and

Micro Tuning

Selecting a Micro Tuning

The Micro Tuning Presets

Micro Tuning Editing and Storage

CS2

- 30 -

Performance

Edit Buttons

All of the Performance Mode parameters are adjusted via the LCD displays called up

using buttons 27 ~ 29. A ll of the these buttons call up multiple LCD displays. The charts

below show all of the displays called up by each button, and provide a complete list of

parameters and value ranges. In some cases, the first LCD display in a chart may not be

the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display.

Buttons 27 LCD Displays

Button 28 LCD Displays

- 31 -

Button 29 LCD Displays

32 -

Basic

Performance

Accessed using buttons 28 and 29, these parameters determine the basic voice relationships in Peformance Mode.

Parameters

Total Volume

This parameter allows you to set an overall volume for each Performance memory. If you desire, you can use this setting to balance the levels of your Performance memories, so that constant Volume Slider or mixer adjustments are not necessary.

Key Shift

This parameter allows you to adjust the transposition of the Performance. The Performance can be adjusted up or down as much as two octaves (in halfsteps). The original transposition of the voice is retained as part of the Voice memory, and the Key Shift value is added to or subtracted from that Voice setting when you are in Performance Mode. The light over the Key Shift button must be lit in order to hear changes made to this parameter.

-33 -

Under normal conditions,

the DX’s envelope

acts this way.

EG Forced Damp

Even though the DX7s is a 16-voice synthesizer, these voices can be used up quickly when you use a Sustain Footswitch pedal. When you do exceed the DX’s note capacity, the first notes played will stop sounding to make way for the new notes being played.

Under normal operating conditions, the DX7s considers these new notes to be continuations of the first notes; therefore, the initial portions of the attack envelope will not be retriggered:

If you wish to avoid this effect, turn the Forced Damping function on. It will force the envelope to retrigger for each new note played:

Using the EG Forced Damping

parameter, the envelope is

forced to retrigger itself for

each new note played.

- 34 -

Since you have a total of

ten characters to define

your Peformance Memory,

make sure that your

Performance Name conveys

the basic approach of the

specific Performance Memory.

Performance Name

You can enter a Performance Name of up to ten characters. To do so, follow the instructions below.

Using the left and right cursor buttons while holding the

Edit/Character button lets you place the cursor over a

specific character position. This allows you to easily

edit any character within a name.

Using the Data Entry buttons while NOT holding the Edit/Character button lets you switch between Large or small characters. The +1 button selects the Large character mode, the -1 button selects the small character

mode.

In addition to letting you enter small alpha characters, the small character input mode lets you enter the following symbols as well.

Large mode

small mode

1 2 3 4 5 6

$ % ^ & * ( ) + ,

Voice Number

Each time you select a Performance, one of the 64 Internal or 64 Cartridge Voices is also selected. You determine which voice will be selected via this display.

-35 -

Performance

Controllers

The DX7s features a greatly expanded set of controller options. The settings for Footswitches 1 and 2 and Continuous Sliders 1 and 2 are adjusted in Performance Edit Mode, using button 27. (The other controller settings are accessed in voice parameters.)

Sustain Footswitch (FS 1)

Footswitch 1 is set to operate as a sustain pedal.

Footswitch 2 (FS 2)

Footswitch 2 is a multipurpose pedal with four selectable functions: Sustain, Portamento, Key Hold, or Soft.

If Sustain is selected, FS 2 operates as a sustain pedal (just like FS 1).

If Portamento is selected, voice portamento effects will operate only when the pedal is depressed.

If Key Hold is selected, only notes that are being held when the pedal is engaged will sustain. This effect is similar to a piano’s sostenuto pedal.

If Soft is engaged, the pedal will soften the timbre and volume of the sound. You can edit the range of the soft pedal by pressing button 27 again. The range is 1 ~ 7.

- 36 -

Continuous Sliders

The two Continuous Sliders give you access to real-time control of FM voice parameters. There are a total of 103 different possibilities:

FM Parameters Assignable to CS 1 and CS2

DATA ENTRY slider

The Continuous Sliders provide

a new avenue for exploration

of real-time timbral control.

highest position

Total level

OP 6

OP 1

AMP. MOD. SENS

OP 6

OP 1

Key velocity

OP 6

OP 1

EG Level 4 (L4)

OP 6

OP 1

EG Level 3 (L3)

OP 6

OP 1

EG Level 2 (L2)

O P 6

OP 1

EG Level 1 (L1)

OP 6

OP 1

EG Rate 4 (R4)

OP 6

OP 1

EG Rate 3 (R3)

OP 6

OP 1

EG Rate 2 (R2)

OP 6

OP 1

lowest position

OP 6

EG Rate 1 (R1)

OP 1

OP 6

OSC. detune

OP 1

OP 6

Frequency fine

OPl

OP 6

Frequency coarse

OP 1

Portamento time

Pitch EG Level 4

l l l

No effect

Level 1

Pitch EG Rate 4

Rate 1

LFO AMD

PMD PMS Delay Speed Wave

Feedback level Algorithm Total volume

- 37 -

Micro Tuning

The new DX7s contains eleven

preset Intonations, which provides you with a good

introduction to alternate

intonation schemes.

Micro Tuning is another new feature for the DX 7s. It offers the possibility of performing music using tuning and intonation systems other than Equal Temperament (which is the current standard tuning for both pianos and synthesizers). Micro Tuning data is accessed using button 29. New M icro Tunings are created in Micro Tuning Edit M ode, which is accessed using button 14 in conjunction with button 29.

Selecting a Micro Tuning

The DX7s is equipped with eleven preset Micro Tunings as part of its permanent memory.

The Micro Tuning Presets

1 2

3 4 5 6

7 8

9 10 11

Equal Pure (major)

Pure (minor) Mean tone Pythagorean

Werckmeister

Kirnberger Vallotti, yong

1/4 Shift eql

1/4 Tone 1/8 Tone 1/8 Tone

Equal Temperament Pure (Major)

Pure (Minor) Mean tone Pythagorean Werckmeister Kirnberger Vallotti & Young

1/4 Shifted equal 1/4 Tone

In presets 2 ~ 5, the tuning can be adjusted according to the key of the music being played.

Micro Tuning Editing and Storage

If you are interested in alternate tunings and intonations, you may want to create your own sets of Micro Tuning data. The DX7s provides two memory locations for this purpose: User 1 and User 2. These two sets of data are stored as part of the Internal Memory, and will be stored along with all other Internal data when the Internal Voice & Performance Memory is saved to another storage medium (such as a RAM cartridge). In addition, up to 63 Micro Tunings can be saved to a RAM cartridge that has been properly formatted for that purpose.

- 38 -

Entering the

Micro Tuning

Edit Mode

Editing

Micro Tuning

Data

Storing

Micro Tuning

Data

- 39 -

- 40 -

Using the New

Voice Features

- 41 -

Contents

Voice Edit Buttons

Button 7 LCD Display

Button 8 LCD Display

Button 9 LCD Display

Button 10 LCD Displays

Button 11 LCD Display

Button 12 LCD Display

Button 13 LCD Display

Button 23 LCD Displays

Button 24 LCD Displays

Button 25 LCD Displays

Button 26 LCD Displays

Basic Voice Editing Functions

Operator Select

52 52

Operator On/Off

EG Copy

New Voice Parameters

Pitch Envelope

53 53

LFO

Key Modes

Voice Controllers

Function Data and Voice Effect Data

Pitch Bend Modes

Foot Controller 1 and

Pitch Bias

Fractional Scaling

Fractional Scaling and Level Scaling

Fractional Scaling Editing and Storage

-42-

Voice

Edit Buttons

All of the Voice Mode parameters are adjusted via the LCD displays called up using buttons 7 - 13 and 23 - 26. Many of the these buttons call up multiple LCD displays. The charts below show all of the displays called up by each button, and provide a complete list of parameters and value ranges. In some cases, the first LCD display in a chart may not he the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display.

Button 7 LCD Display

Algorithm

(1 ~ 32)

Feedback Level

(0 ~ 7)

Oscillator Key Sync (off, on)

- 43 -

Transpose

(mid c = c1 ~ c5)

(The 'L' indicates Large or upper case

character entry mode)

Voice Name (10 characters)

(The 's' indicates small or lower case

character entry mode)

Button 8 LCD Display

Oscillator Mode (ratio, fixed)

Frequency Coarse (varies

Frequency Fine

(varies)

Oscillator Detune (-7 ~ +7)

Button 9 LCD Display

- 44 -

Rate Scaling (0 ~ 7)

Envelope Generator Rates 1 ~ 4

(0 ~ 99)

Envelope Generator Levels 1 ~ 4 (0 ~ 99)

Button 10 LCD Displays

- 45 -

Button 11 LCD Display

Key Velocity (0 ~ 7)

Amplitude Modulation Sensitivity

(0 ~ 7)

Pitch Modulation Sensitivity (0 ~ 7)

- 46 -

Button 12 LCD Display

LFO Wave (triangle, saw down, saw up,

square, sine, s/hold)

LFO Speed (0 ~ 99)

LFO Delay

(0 ~ 99)

LFO Mode (single, multi)

- 47 -

LFO Pitch Modulation Depth

(0 ~ 99)

LFO Amplitude Modulation Depth (0 ~ 99)

LFO Key Sync

(off, on)

Button 13 LCD Display

Pitch Envelope Octave Range

(1/2, 1,2,8)

Pitch Envelope Velocity (off, on)

Pitch Envelope Rate Scaling (0 ~ 7)

Pitch Envelope Rates 1 ~ 4

(0 ~ 99)

Button 23 LCD Displays

Pitch Envelope Levels 1 ~ 4

(0 ~ 99)

Key Mode Assign (polyphonic, monophonic,

unison poly, unison mono)

Unison Detune (0 ~ 7)

(appears only when Key Mode = unison poly or unison mono)

-48-

Button 24 LCD Displays

Pitch Bend Mode (normal, lowest, highest, key on)

Pitch Bend Range (0 ~ 12)

Pitch Bend Step (0 ~ 12)

Portamento Mode

(Poly: sus-key, p retain, sus-key p follow)

(Mono: fingered porta, full time porta)

-49-

Portamento Time

(0 ~99)

Portamento Step

(0 ~ 99)

Random pitch

(0 ~ 7)

Button 25 LCD Displays

Aftertouch EG Bias

(0 ~ 99)

Aftertouch Pitch Bias

(-50 ~ +50)

Modulation Wheel

Pitch Modulation Depth (0 ~ 99)

Modulation Wheel Amplitude Modulation Depth

(0 ~ 99)

- 50 -

Modulation Wheel

EG Bias (0 ~ 99)

Button 26 LCD Displays

Foot Controller 2 EG Bias

(0 ~ 99)

Foot Controller 2 Volume

(0 ~ 99)

MIDI Controller Pitch Modulation Depth (0 ~ 99)

MIDI Controller Amplitude Modulation Depth

(0 ~ 99)

- 51 -

MIDI Controller EG Bias

(0 ~ 99)

MIDI Controller Volume (0 ~ 99)

Basic

Operator Select

Voice Editing

Functions

Voice editing is easier on the

DX7s, thanks to the direct

operator access provided

by buttons 1 ~ 6 and 17 ~ 22.

The parameters accessed using buttons 8 ~ 11 are adjustable for each of the six operators. While editing Voice data, buttons 1 ~ 6 provide a quick way to move from one operator to another. The number of the operator that has been chosen will appear in the upper right corner of the LCD.

Operator On/Off

In order to adjust the settings for the six operators accurately, it is useful to focus on the sound of certain operators by turning off the output of ones not being edited. While editing Voice data, buttons 17 ~ 22 provide a quick way to turn the six operators on and off. The on/off status of the six operators is shown in the center of the upper line of the LCD. When all six operators are turned on, you will see 111111. When an operator is turned off, a 0 will appear in the corresponding position of the display.

EG Copy

The EG Copy function from the original DX7 is retained in the DX7s, and is made easier through the use of buttons 1 ~ 6. Once you have envelope data you want to copy displayed in the LCD, simply press and hold the Store/EG Copy button. You can then choose the copy destination using buttons 1 ~ 6.

- 52 -

New

Voice

Parameters

Representative Pitch Enselope

Generator shape.

The basic voice of the DX 7s is almost exactly the same as that of the ori,ginal DX7, assuring complete compatibility between the old and new instruments. To discoser the additional voice parameters of the DX7s, read on.

Pitch Envelope

The Pitch Envelope operates as it did in the original DX7, but some new features have been added. The potential depth of the Pitch Envelope effect can now be adjusted using the Range parameter:

Maximum Pitch

Range

1/2

1 2 8

Change Range

6 semitones

1 octave 2 octaves 8 octaves

In addition, the Velocity parameter allows you to control the intensity of the Pitch Envelope with keyboard touch. There is also a scaling parameter that lets you change the speed of the pitch envelope as you move up the keyboard.

LFO

There was only one LFO in the original DX7, so all voices were affected in exactly the same way by the LFO settings. In the DX7s, there are sixteen LFOs, one for each voice. Even though all sixteen LFOs must have the same settings, they can now operate independently of each other if the LFO Mode parameter is set to Multi. If Mode is set to Single, the LFO will operate as it did in the original DX7.

-53 -

Key Modes

The DX7s offers two Unison Key Modes, which create “fatter” sounds. Since these new

Modes use more than one note of the DX’s sixteen-note capacity, they will affect the total number of notes available at any one time:

Key

Mode

Polyphonic 16 Monophonic Unison poly Unison mono

Number of

Notes

1 4 1

- 54 -

Voice

Controllers

The DX7s features an expanded set of controller options. The settings for Pitch Bend Wheel, Modulation W heel, Aftertouch, Breath Controller, and Foot Controllers 1 and 2 are adjusted in Voice Edit Mode, using buttons 24 ~ 26 accessed in Performance Edit Mode.)

(The other controller settings are

Function Data and Voice Effect Data

The original DX7 separated its operational parameters into two groups: Voice data and Function data. Voice data encompassed all parameters used to create a Voice, and Function data involved settings for the various performance Controllers. The DX7 only had memory to store one set of Function settings, so all Controllers operated in the same way for all Voices.

In the DX7s, Function data has been replaced by Voice Effect data (adjusted using buttons 23 ~ 26). This Voice Effect data can be adjusted as part of each Voice Memory — this means that each Voice can have its own Controller settings.

Most of the Voice Effect parameters are exactly the same as the Function parameters of the original DX7. The new parameters are outlined below.

Pitch Bend Modes

The Pitch Bend Wheel in the DX7s functions in one of four basic Modes, which operate as follows:

Pitch Bend Modes

on the DX7s.

Pitch Bend

Mode

Normal Lowest Highest Key-on

Chord notes Applied to sound

affected

all notes lowest note only yes

highest note only yes

all notes

sustained by foot switch?

yes

Foot Controller 1 and 2

The DX7s provides memory space to set the operation of two Foot Controllers. Foot

Controller 1 also has a new parameter possibility. It can be set to control the same Voice

parameter as that of Continuous Slider 1. (For more on the available settings for CS 1, see

Section 3 of this manual.) Since CS 1 operates in Performance Mode, this use of Foot Controller 1 is also confined to Performance Mode.

Pitch Bias

With the new Pitch Bias feature you can use After Touch or the Breath Controller to

control the pitch of a voice. When Pitch Bias is set to 0, there is no pitch change. Positive Pitch Bias settings result in an upward bend, while negative Pitch Bias settings cause the pitch to bend down. The range is -50 ~ +50.

- 56 -

Fractional

Scaling

Fractional Scaling allows you

to adjust the output level

of each operator

for three-note groups.

One

of the most important aspects of DX7 voicing is Level Scaling, which allows

adjustment of each operator’s output over the range of the keyboard. The DX7s offers the

possibility of even more subtle control over operator outputs, through Fractional Scaling.

Fractional Scaling and Level Scaling

Although the DX7’s Level Scaling offers a great deal of interaction between timbre and frequency, Fractional Scaling offers even greater precision. The level can be set independently in groups of three notes, over the entire range of the keyboard. To provide even more control, the resolution of the level settings has been expanded from 0 ~ 99 to 0 ~ 255:

Entering

Fractional Scaling

Edit Mode

Fractional Scaling Editing and Storage

-57 -

Editing

Fractional Scaling

Data

Storing

Fractional Scaling

Data

Memory Functions

-59 -

Contents

Utility Buttons

Button 14 LCD Displays

Button 15 LCD Displays

Memory Types

Voice & Performance Memory

System Setup Memory

Micro Tuning Memory

Fractional Scaling Memory

Initialized Memory

Current Play/Edit Memory

Compare/Recall Memory

Memory Storage Types

Internal Memory

Cartridge Memory

ROM Cartridge

Basic Utility Functions

Master Tune

Recall Edit

Initialize

Cartridge Memory Functions

Using Cartridge Data

Formatting a RAM Cartridge

Loading Voice & Performance Data from a RAM Cartridge

- 60 -

Utility Buttons

All of the memory functions (and related utility functions) are adjusted via the LCD displays called up using buttons 14 and 15. Both of the these buttons call up multiple LCD displays. The charts below show all of the displays called up by each button, and provide a complete list of parameters and value ranges. In some cases, the first LCD display in a chart may not be the first one you see. You may need to cycle through the displays (by

pressing the button repeatedly) until you reach the desired LCD display.

- 61 -

Button 14 LCD Displays

- 62 -

- 63 -

Memory Types

The chart below is a graphic representation of the way all the different DX 7s memory areas interact with one another. Since there are many facets to the memory layout of the DX7s, it may look intimidating at first. Once you become more familiar with the instrument, though, you will fjnd the memory layout is much simpler than it first appears. To understand all of the memory types, study the diagram and read the explanation below:

Voice & Performance Memory

This Memory block includes data for 64 Voice Memories and 32 Performance Memories, plus one System Setup Memory and two User-defined Micro Tunings.

- 64 -

System Setup Memory

System Setup Memory contains most of the basic MIDI settings. System Setup is always retained in Internal Memory, along with the Voice & Performance Memory and the two User-defined Micro Tunings. For more information on System Setup Memory, see Section 6 of this manual.

Micro Tuning Memory

The DX7s contains eleven Micro Tunings as part of its permanent memory. In addition, two User-defined Micro Tunings are stored as part of Voice & Performance Memory. Using a RAM cartridge, it is also possible to store up to 63 Micro Tuning Memories.

Fractional Scaling Memory

Fractional Scaling data cannot be stored in the DX’s Internal Memory. In order to use Fractional Scaling data with Internal Voice Memories, the data must reside in a RAM (or ROM) cartridge installed in the DX’s cartridge port.

Initialized Memory

For those who wish to create Voice Memories or Performance Memories from scratch, the DX7s provides both Voice and Performance “blank page” data as part of its permanent memory. If you want to start from ground zero (instead of working from an alreadyexisting Voice or Performance Memory), call up the DX’s Init Voice or Init Performance data (using button 14 in Edit Mode).

Current Play/Edit Memory

Whenever you call up a Voice Memory or Performance Memory in Play Mode, you are actually sending it to a special location in the DX7s — the current Play/Edit Memory. As the name indicates, this is also the location where Voice or Performance data is edited. In computer terminology, this memory location is often called the Edit Buffer.

Compare/Recall Memory

When you are editing a Voice or Performance and use the Edit/Compare feature, the original Voice data is loaded into the Play/Edit Memory (so you can hear it). The edited Voice data is moved temporarily into another memory location, the Compare/Recall Memory. In computer terms, this memory location might be called the Compare Buffer. When you engage the Recall Edit function for the various Internal Memory types, you are actually recalling the last data moved to the Compare/Recall Memory.

- 65 -

Memory

Storage Types

In addition to having a number of distinct types of memory, the DX7s offers a number of ways to store these various memories. To understand how the various memory storage

possibilities interact, read on.

Internal Memory

The DX’s Internal Memory holds a standard Voice & Performance Memory block, which consists of the following: 64 Voice Memories, 32 Performance Memories, 1 System Setup Memory, and 2 User-defined Micro Tuning Memories. Voice & Performance Memory can also be stored in Cartridge Memory.

Cartridge Memory

A DX RAM4 cartridge can store three different types of data: Voice & Performance, Fractional Scaling, and Micro Tuning.

The RAM4 Voice & Performance Memory is equivalent to the Internal Voice & Performance Memory.

The RAM4 Fractional Scaling Memory holds up to 64 Fractional Scalings, which are tied to the 64 Voices in the DX’s Internal Memory.

The RAM4 Micro Tuning Memory holds up to 63 Micro Tunings.

The RAM4 cartridge

can be used to store one

of three possible kinds of data.

- 66 -

The supplied ROM cartridge

holds a number of different

kinds of DX memory.

ROM Cartridge

The supplied ROM cartridge contains 4 banks, which can be accessed using button 15 in Edit Mode:

The first two banks are Cartridge Voice and Performance data. The third bank contains Fractional Scaling data, and the fourth bank has the original Internal Voice and Performance data. Banks 1 and 2 can be loaded to the Internal memory, but if you try to choose a Performance, you will still need to have the cartridge inserted. This happens because the Performance memories are calling Cartridge Voices. For instance, the first Performance in ROM Cartridge bank 1, SolidStrg, calls up voice C12 (cartridge voice 12). If you want to load the original Voice and Performance data into the Internal memory, you will have to load from bank 4 of the ROM Cartridge. Banks 1 and 4 are identical, except that the Performances in bank 1 call up Cartridge Voices, while the Performances in bank 4 call up Internal Voices.

- 67 -

Basic Utility

Functions

Most of the basic Internal Memory Utility functions are accessed using button 14 in Edit Mode, as follows:

Master Tune

This sets the tuning of the DX7s relative to its internal A-440 reference.

Recall Edit

These functions can be used to recall Voice, Performance, or Micro Tuning data from the DX’s Compare/Recall Memory. Edit Recall is particularly useful if you forget to save a Voice, Performance, or Micro Tuning and don’t realize it until later. The data you edited last will always be in the compare/recall buffer and can be recalled and stored using this function.

Initialize

These functions can be used to call up the DX’s Initialized Voice or Performance Memories, if you wish to create Voice or Performance data from scratch.

- 68 -

Cartridge

Memory

RAM cartridges are useful storage centers for Voice & Performance data. To understand

the basic Cartridqe Utility functions, read on.

Functions

LCD display indicating that

required Fractional Scaling or

Micro Tuning data

is not available. W hen

the needed data is supplied

via a RAM cartridge,

these displays disappear.

Using Cartridge Data

Except for the two User-defined Micro Tunings that are part of the DX’s Internal Voice &

Performance Memory, Cartridge Memory is the only location from which Micro Tuning and Fractional Scaling data may be recalled for immediate use. If you create Voice or Performance data that involves Cartridge Memory (for either Fractional Scaling or Micro

Tuning), the DX7s will remind you as follows:

This symbol signifies that the indicated Performance memory was created to include Micro Tuning from a RAM cartridge, but the RAM cartridge with the necessary Micro Tuning data is not inserted in the instrument’s cartridge port.

This symbol signifies that the indicated Voice Memory was created with Fractional Scaling, but the RAM cartridge with the necessary Fractional Scaling data is not inserted

in the instrument’s cartridge port.

- 69 -

Formatting a RAM Cartridge

Loading Voice & Performance Data from a RAM Cartridge

- 70 -

MIDI Functions

- 71 -

Contents

MIDI Buttons

Button 31 LCD Displays

Button 32 LCD Displays

System Setup

Transmit Channel

Receive Channel

Omni Mode

Local On/Off

MIDI IN Control Number

CS 1 and CS 2 Controller Numbers

Note On/Off

Program Change Transmission

Program Change Memory

After Touch

MIDI System Exclusives

MIDI Device Number

Transmit and Receive Block

MIDI Out

Immediate MIDI Program Change Out

- 72 -

MIDI Buttons

All of the MIDI functions and parameters are adjusted via the LCD displays called up using buttons 31 and 32. Both of the these buttons call up multiple LCD displays. The

below show

charts list of parameters and value ranges. In some cases, the first LCD display in a chart may not be the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display.

all of the displays called up by each button, and provide a complete

Button 31 LCD Displays

Button 32 LCD Displays

- 74 -

System Setup

Since the use of many basic MIDI functions might depend on the contents of a specific set of Voice & Performance data, the DX7s provides a special memory location, System Setup

Memory, to store basic MIDI parameters and orher data in conjunction with a Voice &

Peformance Memory block. This System Setup Memory contains settings for the

following parameters:

Transmit Channel

This parameter allows you to set the DX’s MIDI transmit channel. If you turn this

parameter off, no MIDI data will be sent.

Receive Channel

You set the DX’s MIDI receive channel with this parameter. If you turn this parameter off, all incoming MIDI data will be ignored.

Omni Mode

When Omni mode is on, the DX7s will receive MIDI data from all of the 16 MIDI channels (the MIDI receive channel is disregarded).

Local On/Off

If Local is set to off, notes played on the DX7s keyboard will not engage the DX’s

internal sound mechanism. Turning Local off has no effect on the transmitted MIDI data.

MIDI IN Control Number

This parameter sets the MIDI controller number for the MIDI Controller (MC) functions programmed with each voice. The function of this controller is set via button 26 (see page

51).

CS 1 and CS 2 Controller Numbers

The CS 1 and CS 2 Controller Number parameters have two functions:

1. To set the controller numbers that will be transmitted by CS 1 and CS 2 via the MIDI out. This is useful for controlling external MIDI instruments.

2. To set the controller numbers that will control the voice parameters assigned to CS 1 and CS 2 in the Performance data. This is useful for changing voice parameters

from an external MIDI device.

- 75 -

Note On/Off

This parameter works with MIDI receive only. It’s usually set to “all,” meaning that all

Note On information received at the DX’s MIDI In will play a note. If the Note On/Off parameter is set to “even,” it will only play notes that have even MIDI note numbers. Similarly, if this parameter is set to “odd,” the DX7s will only play notes that have odd MIDI note numbers. This can be used in conjunction with other MIDI instruments to produce a variety of interesting effects. Since the Note On/Off parameter works with MIDI receive only, it won’t produce any noticeable effect when you play the DX7s keyboard.

Program Change Transmission

If the DX7s is connected to another MIDI instrument, various levels of MIDI communication are possible. The MIDI Program Change Mode determines how the DX7s will relate to an external MIDI instrument.

Off

Normal

Memory

program changes on the DX7s will have no effect on an external unit

a program change on the DX7s will send the same Program number to the external unit

the program changes sent will be be those programmed in the Program Change Memory LCD

Program Change Memory

The Program Change Memory allows you to transmit a different MIDI program change number for each of the DX7s number buttons. CS 1 selects 1 of the 64 program switches, and CS 2 selects the program change number that will be sent. The Program Change Memory only determines which program change number will be transmitted via MIDI and has no effect on the selection of DX7s memories.

After Touch

You can disable MIDI transmission of After Touch data with this parameter. After Touch

will still affect the DX7s voices normally when this parameter is turned off. The After

Touch parameter is not saved with the System Setup data.

- 76 -

MIDI System

Exclusives

If you use the DX7s as part of a MIDI system, there are a number of advanced MIDI

functions available for your use:

MIDI Device Number

If the DX7s is connected to another Yamaha product, this parameter must be used to set a Yamaha System Exclusive Device Number for MIDI System Exclusive data reception or transmission. The MIDI Device Number is saved with the System Setup data.

Transmit and Receive Block

A block of DX7s Voice data has thirty-two voices. You can independently set the Memory Transmit block and Memory Receive block to be either Internal Voices 1 ~ 32 or 33 ~ 64. Both of these parameters are saved with the System Setup data.

MIDI Out

Using these LCD displays, you can transmit various kinds of MIDI System Exclusive data from the DX’s Internal Memory to an external instrument. These functions are useful if you are transmitting data to another instrument (such as another DX7s) that is capable of understanding and using it.

- 77 -

Immediate

MIDI Program

If you wish to send a quick MIDI Program Change Message to an external MIDI unit, use the following procedure:

Change Out

This function allows you

to send a program change

number to an external MIDI

tone generator without

changing the program number

on the DX7s.

In either of the Play Modes (Voice or

Performance), press and hold the

button of the current Play Mode. You will see one of the following CD displays:

Now, while still holding the Play number you desire (1~128) using the 1~10 number buttons (1 through 0 character buttons). All three positions in the LCD must be filled:

for example, to send program #1, type in 001.

Once you have typed in the third number, the program change you have

typed in will be sent over MIDI to the instrument connected to your DX7s.

Mode button, type in the program change

- 78 -

Appendices

-79-

Appendix 1:

Supplemental

Information

As mentioned at the outset, this manual has not attempted to cover all of the functions of the DX7s in exhaustive detail. To do so would have required a manual of large scale and density, one in which it would have been very difficult to locate specific information needed to

For continuing information concerning the DX7s, consult AfterTouch, the official publication of the Yamaha Users Group. Many advanced functions will be discussed in its pages in the coming months. There will also be information concerning the availability of other material concerning more advanced applications. Some areas that will be covered in AfterTouch or in supplemental booklets include the following:

begin

using the DX7s.

Quick Reference Guide Memory Management Fractional Scaling Micro Tuning (Basic) Micro Tuning (Advanced) FM Voice Programming (Basic) FM Voice Programming (Advanced) Real-Time Parameter Changes Advanced Controller Usage Advanced MIDI Applications MIDI Technical Data & Charts

To receive a free copy of AfterTouch every month, send your request to AfterTouch, P.O. Box 2338, Northridge, CA 91323-2338. On your letter or postcard, be sure to indicate that you are the owner of a DX7s.

80 -

Appendix 2:

Bibliography

Many of the basic functions of the DX7s are the same as those of the original DX7. Since there is a wealth of material available on the operation of the original DX7, this manual has focused on the new functions and features. For more information on the parameters and features that the new DX shares with the original DX7, consult the following:

DX7 Owner’s Manual. (Available through your local authorized Yamaha dealer).

The Complete DX7, by Howard Massey; published by Amsco Publications; 1986.

FM Theory and Application, by Dr. John Chowning and David Bristow; published by Yamaha Music Foundation; 1986.

How to Understand and Program the Yamaha DX7, by Lorenz M. Rychner; published by

Alexander Publishing; 1985.

The Secrets of Analog and Digital Synthesis, by Steve de Furia; published by Hal Leonard

Publishing; 1985.

Yamaha Easy DX7; published by Yamaha Music Foundation and Hal Leonard Publishing;

1986.

- 81 -

(Digital Programmable Algorithm Synthesizer)

Model DX7s MIDI Implementation Chart

Version : 1.0

Recognized

Function

Transmitted

...

Basic Default 1–16 1–16

Channel Changed 1–16 1–16

Default

Mode

Messages

Altered

Note

3 X

x 2

36-96 0–127

Number : True voice

Velocity

Note ON

o 9nH,v=1–127

1, 2, 3, 4

POLY, MONO (M=1)

1–127

o v = 1 – 127

Note OFF x 9nH,v=0 2

After Touch Ch’s o l o

Pitch Bender

Key’s

1 2 4

0 l o 0–12 semi 2

o l o 2 o 1 o 2 Breach control o 1 o 2 Foot Controller

Control 5 x 1 o 2

o l o 2

Change 64 o 1 o 2

65 66 67 96 97

5 – 31

11 – 31

o 1 o 2 Portamento f switch o l o 2 o l o 2 soft o l x Data entry + 1 o l x Dara entry – 1 o l o (11–31) 2 Continuous slider

x o 2 MIDI IN control

Remarks

memorized

7 bit resolution

Modulation wheel

Portamento time Volume Sustain foot switch

Sostenuto

Prog o o 0–127 Change : True #

System Exclusive

System :

Song Pos

Song Se1

Common : Tune

System Real Time

Aux

: Cloek : Commands

: Local ON/OFF

x x x

x x

3 o

0 -127

x x x

x x

: All Notes OFF x o (126,127)

Mes— : Active Sense o o

sages

: Reset

Notes :

1 =transmit if trasmit channel is not off.

2 =receive if receive channel is not off. 3 =transmit/receive if Exclusive is not off.

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF. PLOY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

64–127 : Cartridge

Voice parameters

o:Yes

x:No

1. Transmission Requirements

MIDI DATA FORMAT

Add-1

2. Transmission Data

2-1. Channel information

Transmission is possible only when 1 ~ 16 is specified as the transmission channel.

Channel voice message

Key ON/OFF

Status 1 0 0 1 n n n n ($9n) n=channel No. Note No. Velocity 0vvvvvvv (v ≠ 0) Key ON

Control change

Status 1 0 1 1 n n n n ($Bn) n=channel No. Control No. 0ccccccc Control Value 0 v v v v v v v

Control No.

c=1 Modulation wheel v=0~127 c=2 Breath control c=4 c=7 c=5~31 Continuous slider 1,2 c=64 c=65

c=66

c=67 soft v=0: OFF, 127: ON c=96 Data entry +1

c-97 Data entry -1

Program change

Status 1 1 0 0 n n n n ($Cn) n=channel No. Program No.

After touch

Status

Value

Pitch bender

Status Value (LSB) 0uuuuuuu Value (MSB)

Resolution 7bit The transmission data are as follows:

0000

0100

0111 1111

0 k k k k k k k k=36(C1)~96(C6)

00000000 (v ≠ 0) Key OFF

v=0~127 Foot control 1 v=0~127 Foot control 2 v=0~127

v=0~127 Sustain SW Portamento SW Sostenuto

0PPPPPPP

1 1 0 1 n n n n ($Dn) n=channel No. 0vvvvvvv v=0~127

1 1 1 0 n n n n ($En) n=channel No.

0vvvvvvv

MSB

0000

($00)

($40) ($7F)

0000 0000

0111

v=0: OFF, 127: ON v=0: OFF, 127: ON v=0: OFF, 127: ON

v=0: OFF, 127: ON

p=0~127

LSB

0000 0000

1110

($00)

($7E)

($00)

Min.

Mid.

Max.

2-2. System

1) System real time message

Active sensing Status 1 1 1 1 1 1 1 0

System exclusive message

Transmission is possible only when the device No. is not set to OFF.

Parameter change

Status 1 1 1 1 n n n n ID No. Substatus 0 0 0 1 n n n n ($1n) n=device No.

Group No.

Parameter No. 0 p p p p p p p Data

EOX

There are seven parameter group Nos. and parameter Nos.

Voice

Additional voice Note 3)

Performance

Master tuning

Micro tuning

Fractional scaling

Note 1) Data bytes

0 k k k k k k k 0 h h h h h h h data (high) 0 1 1 1 1 1 1 1 data (low)

Note 2) Data bytes

0 0 0 0 0 p p p operator number 0-5 binary 0 0 k k k k k k key group number 0-127 binary 0 h h h h h h h data (high) 0 1 1 1 1 1 1 1 data (low)

information

($FE)

($F0)

0 1 0 0 0 0 1 1

0ggggghh

0 d d d d d d d Single or multiple 0 d d d d d d d bytes 1 1 1 1 0 1 1 1

Parameter

key number 0-127 binary

($43)

($F7)

1 0

0-84 binary 0-127 binary

0-1 binary 4 byte 0-127 binary

g=group No. h =sub group No.

h p

0~127

0~30

0~73

0~52

126

127

total of

3 bytes

total of

No. of

data byte

Note 1)

Note 2)

Note 3) Under the Supplement parameter change, DX7

function parameter change will be transmitted along with the above.

Add-2

Note 4)

Operator number

Fractional Scaling Parameter Change Data

Note 5)

Fractional Scaling Parameter Change Data

0 1 2 3 4 5

operator

OP6 OP5 OP4 OP3 OP2 OP1

2 3 4 5 6

7 8 9

11 12 13

14 15 16 17

18 19

22 23

24 25 26

27 28 29 30

32 33 34

35 36

39 40

key group

offset –128~+127

C—2 ~C—1 C#—1~D#—1

E—1

~F#—1

G—1

~A—1

A#—1~C0

C#0

~D#0

~F#0

G0 ~A0

~C1

A#0 C#1

~D#1 +0~+255 E1 ~F#1 G1

~A1

A#1~C2

C#2~D#2

~F#2

~A2

A#2

~G3 C#3~D#3 +0~+255 E3

~F#3

~A3 ~C4

A#3

C#4

~D#4

A#4

C#5

G5 A#5~C6 C#6

C~7

G7 A#7~C8

C#8~D#8

~F#4 ~A4

~C5

~D#5 +0~+255

~F#5

~A5

~D#6 ~F#6

E6 G6

~A6

A#6

~C7 ~D#7

~F#7 +0~+255 ~A7

~F#8 +0~+255

data

+0~+255

+0~+255 +0~+255

+0~+255

+0~+255 +0~+255 +0~+255 +0~+255

+0~+255 +0~+255

+0~+255

+0~+255 +0~+255 +0~+255 +0~+255

+0~+255 +0~+255

+0~+255

Add-3

Bulk dump

Voice edit buffer

For

Status ID No.

Substatus 0000nnnn

Group Byte count (MSB) Byte count (LSB) Data

Checksum EOX

There are 4 format numbers as follows.

Voice edit buffer

Additional voice edit buffer

Packed 32 voice

Packed 32 additional voice

Additional voice edit buffer

Packed 32 additional voice

Packed 32 voice

1111nnnn 01000011

No.

0fffffff 0bbbbbbb

0bbbbbbb

0ddddddd

0ddddddd 0eeeeeee 11110111

Data

($F0) ($43) ($0n) n=device No.

($F7)

f=format No.

Format

No.

Byte

count

155

4096

1120

When using universal Bulk Dump

Performance edit buffer Packed 32 performance

System setup

For

Status ID No.

Substatus Group No. Byte count (MSB)

Byte count (LSB) Classification 0aaaaaaa

name

Data format name

Data

Checksum EOX

Micro tuning edit buffer Micro tuning wiht memory number Micro tuning in cartridge

Fractional scaling edit buffer Fractional scaling in cartridge

1111nnnn 01000011 0000nnnn ($0n) n=device No. 01111110

0bbbbbbb 0bbbbbbb

0aaaaaaa 0aaaaaaa 0aaaaaaa 0mmmmmmm

0mmmmmmm

0ddddddd

0eeeeeee 11110111

($F0) ($43)

($7E)

Repeat loop

($F7)

There 8 types of format as follows:

Data

Performance edit buffer

Packed 32 performance

System setup

Micro tuning edit buffer

Micro tuning with memory #x

Micro tuning in cartridge

Fractional scaling edit buffer

Fractional scaling in cartridge

Note 1) The x of MCRYMx is a memory No. expressed in binary form, 0 or 1. Note 2) When the number of repeats is 64, the data group from byte count to checksum will be transmitted 64 times. Note 3) Fractional scaling data is converted into P-byte ASCII codes by adding parameter $30, after assigning data from 0 to 255

to the upper 4 bits and to the lower 4 bits.

Byte

count

1642

266

502

Classification

name

LM__

Data format

name

8973PE

8973PM

8973S _

MCRYE _

MCRYMx

MCRYC _

FKSYE _

FKSYC _

No. of

repeats

Add-4

3. Reception Requirements

Add-5

4. Reception Data

4-1. Channel information

1) Channel voice message

Key OFF

Status

Note No.

Velocity

Key ON/OFF

Status

Note No:

Velocity

Control change

Status Control No. 0ccccccc Control Value

Control No.

c=1 Modulation wheel v=0~127 c=2

c=4

c=5 Portamento time v=0~127 c=7 Volume v=0~127 c=11-31 Continuous slider 1,2 v=0~127 c=11-31 c=64 c=65 c=66 c=67

Note 1)

Note 2)

Program change

Status Program No.

0~31 select internal PERFORMANCE combinations in PERFORMANCE mode. 32~63 select cartridge PERFORMANCE combinations.

Values over 64 repeat this order of selection (INT 1~32

CRT 1~32). In voice mode, 0~63 select INT voices, 64-127 CRT voices.

1 0 0 0 n n n n 0kkkkkkk 0vvvvvvv

1 0 0 1 n n n n ($9n) n=channel No. 0kkkkkkk 0 v v v v v v v (v=0) Key ON 0 0 0 0 0 0 0 0 (v=0) Key OFF

1 0 1 1 n n n n ($Bn) n=channel No.

0 v v v v v v v

Breath control Foot control 1

MIDI IN control Sustain SW Portamento SW Sostenuto v=0: OFF, 127: ON soft

The continuous sliders can be assigned to certain

internal effects.

MIDI IN control can be assigned in the same way as foot control 2.

1 1 0 0 n n n n ($Cn) n=channel No. 0PPPPPPP

($8n)

k=0(C-2)~127(G8)

n=channel No. k=0 (C-2) ~ 127 (G8) ignore v

v=0~127 v=0~127

v=0~127 v=0: OFF, 127: ON v=0: OFF, 127: ON

v=0: OFF, 127: ON

p=0~127

After touch

Status Value

Pitch bender

Status Value (LSB) 0uuuuuuu Value (MSB) 0vvvvvvv

Operates with only the MSB data.

MSB

0000

0100 0111

2) Channel mode message

POLY/All note off

Status Control No. Control value

MONO/All note off

Status Control No. Control value

4-2. System information

1) System real time messages

Active sensing

Status

Upon reception of the code, sensing will start. When there is no status byte or data for 300 msec, the MIDI reception

buffer is cleared and the on-going sound turned OFF. As far as AFTER TOUCH/MIDI IN CONTROL=0, BREATH CONTROL/FOOT CONTROL/MODULATION WHEEL is concerned, its element value is assigned.

Reception is enabled regardless of the Device Number. All the switches on the panel can be controlled. The numbers are assigned to the switches as follows:

1 1 0 1 n n n n ($Dn) n=channel No. 0vvvvvvv v=0~127

1 1 1 0 n n n n ($En) n=channel No.

0000

($00)

0000

1111

($40)

($7F)

1 0 1 1 n n n n ($Bn) n=channel No. 0 1 1 1 1 1 1 0 ($7E) 0 0 0 0 0 0 0 0

1 0 1 1 n n n n ($Bn) n=channel No. 0 1 1 1 1 1 1 1

0 m m m m mm

1 1 1 1 1 1 1 0 ($FE)

Min.

Mid.

Max.

($7F)

Set to the Mono mode with

only m=1. recognized. Ignore when m=1.

Add-6

2) System exclusive messages

Parameter change (Switch remote)

Status ID No. Substatus

No.

Group Parameter No.

Data

EOX

All the panel switches are controlled. The switch numbers are follows:

Parameter change system reset

Status ID No. Substatus Group No. Parameter No. Data EOX 1 1 1 1 0 1 1 1 ($F7)

Reception is enabled regardless of the Device Number. Upon reception of this code, operation will be carried out

as if the power is just turned on.

Parameter change system setup

Status

ID No. Substatus Group No. Parameter No.

Data

EOX

Upon reception of this code, the corresponding parameter is changed. However, the change is not in effect if the parameter stays displayed in the LCD.

1 1 1 1 n n n n 0 1 0 0 0 0 1 1 ($43) 0 0 0 1 n n n n ($1n) n=device No. 0 0 0 1 1 0 1 1

0PPPPPPP

0ddddddd

1 1 1 1 0 1 1 1

1 1 1 1 n n n n ($F0) 0 1 0 0 0 0 1 1 ($43) 0 0 0 1 n n n n ($1n) n=device No. 0 0 0 1 1 0 1 1 ($1B) 0 0 1 0 1 1 1 0 ($2E) 0ddddddd

1 1 1 1 n n n n ($F0)

0 1 0 0 0 0 1 1 ($43) 0 0 0 1 n n n n ($1n) n=device No. 0 0 0 1 1 0 0 1 ($19)

0PPPPPPP

0ddddddd

1 1 1 1 0 1 1 1 ($F7)

($F0)

($1B)

p=switch number

(0~45) d=0: OFF d=127: ON

($F7)

Ignore d value

p=parameter No. (64-84)

d=0: OFF d=127: ON

Parameter change

Status

ID No.

Substatus

Group No.

Parameter No. Data

EOX

Upon reception, the EDIT MODE will be forced to activated.

The parameter group number and parameter number for the

6 parameters are as follows:

Parameter

Voice

Additional voice

Performance

Master tuning

Micro tuning

Fractional scaling

Bulk dump

Same as in transmission.

Universal bulk dump

Same as in transmission.

Dump request

For

Status ID No. Substatus Group No.

EOX 1 1 1 1 0 1 1 1

Universal bulk dump request

1 1 1 1 n n n n ($F0) 0 1 0 0 0 0 1 1 0 0 0 1 n n n n ($1n) n=device No.

0ggggghh

0PPPPPPP 0ddddddd

0ddddddd

1 1 1 1 0 1 1 1

Voice edit buffer Additional voice edit buffer (f=5) Packed 32 voice Packed 32 additional voice (f=6)

1 1 1 1 n n n n

0 1 0 0 0 0 1 1 0 0 1 0 n n n n ($2n) n=device No. 0fffffff

($43)

g=group No. h=sub group No.

single or multiple

bytes

($F7)

g h

($F0) ($43)

f=format No. (0, 5, 6, 9)

($F7)

0~127

0~30

0~73

0~52

126

127

(f=0)

(f=9)

No. of

data

byte

Add-7

Status ID No. Substatus Group No. Clasification name

Data format name

EOX

1111nnnn 01000011 0010nnnn 01111110 0aaaaaaa 0aaaaaaa 0aaaaaaa 0aaaaaaa

0 m m m m m m

0 m m m m mm

11110111

($F0) ($43)

($2n) n=device No.

($7E)

ASCII 'L ASCII ‘M ASCII ’— ASCII ’—

ASCII

($F7)

The 8 types of format are as follows:The 8 types of format are as follows:

Data

Performance edit buffer

Packed 32 performance

System setup

Micro tuning edit buffer

Micro tuning with memory

Micro ro tuning in cartridge LM_ _ MRCYC_

Fractional scaling edit buffer

Fractional scaling in cartridge

LM_ _

LM__

LM_ _

Classification name

Data format name

8973PE

8973PM

8973S_

MCRYE

MCRYMx

FFKSYE_

FKSYC_

Add-8

5. PARAMETER

CHART

5-1. VOlCE PARAMETER (Voice edit buffer)

g h

OPERATOR 6 5 4

0 0 0 21 42

0 1 0

PARAMETER NUMBER

3 2 1

63 84 105 0-99

1 22 43 2 23 44 3 24 45 4 25 46 5 26 47 6 27 48 7 28 49 8 29 50 9 30 51

10 31 52 11 32 53 12 33 54 13 34 55 14 35 56 15 36 57 16 37 58 17 38 59 18 39 60 19 40 61

20 41 62

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . .

126 127

2 3 4 5 6 7 8

10 11 12 13 14 15

17 18

19 20 21

22 23 24 25 26

27 28

64 85 106 0-99 65 86 107 0-99 66 87 108 0-99 67 88 109 0-99 68 89 110 0-99 69 90 111 0-99 70 91 112 0-99 71 92 113 0-99 72 93 114 0-99 73 94 115 0-99 74 95 116 0-3 75 96 117 0-3 76 97 118 0-7 77 98 119 0-3 78 99 120 0-7 79 100 121 0-99 80 101 122 0-1 81 102 123 0-31 82 103 124 0-99 83 104 125 0-14

. . . . . . . . . . . . . . . . .

DATA

0-99 0-99 0-99 0-99 0-99 0-99

0-99 0-99 0-31 0-7

0-1

0-99

0-1

0-5

0-7

0-48

ASCII ASCII ASCII ASCII ASCII VOICE NAME ASCII ASCII ASCII ASCII ASCII

0-63

0-5

(INIT)

(99) (99) (99) (99) (99) (99) (99)

(0)

(C3)

(0)

(0) (-LIN) LEFT CURVE (-LIN) RIGHT CURVE

(0)

(0, OP1:99)

(RATIO) FREQUENCY MODE

(1)

(0)

. . . . . . . . . . . . . . . . . . . . . .. .

(7)

(99) (99)

(99) (99) (50) (50) (50) (50)

(ALG1) ALGORITHM SELECTOR

(0)

(ON)

(35)

(0) (0) (0)

(ON)

(TRI)

(3)

(C3)

(1)

(N)

(I)

(T)

EG RATE1 EG RATE2 EG RATE3 EG RATE4 EG LEVEL1 EG LEVEL2 EG LEVEL3 EG LEVEL4 BREAK POINT LEFT DEPTH

RIGHT DEPTH

RATE SCALING MODULATION SENSITIVITY TOUCH SENSITIVITY TOTALLEVEL

FREQUENCY COARSE FREQUENCY FINE DETUNE

. .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

PEG RATE1 PEG RATE2 PEG RATE3 PEG RATE4 PEG LEVEL1 PEG LEVEL2 PEG LEVEL3 PEG LEVEL4

FEED BACK LEVEL OSC. SYNC

LFO SPEED

LFO DELAY TIME PITCH MODULATION DEPTH AMPLITUDE MODULATION DEPTH LFO KEY SYNC LFO WAVE LFO PITCH MODULATION SENSE TRANSPOSE VOICE NAME VOICE NAME VOICE NAME VOICE NAME

()

(V) (O)

(I) (C) (E)

(ALL ON) OPERATOR ENABLE B5:OP1, B0:OP6

VOICE NAME VOICE NAME VOICE NAME VOICE NAME VOICE NAME

OPERATOR SELECT 0:OP6, 5:OP1

PARAMETER

--,

Add-9

5-2. ADDlTlONAL VOICE PARAMETER (ADDITIONAL VOlCE EDIT BUFFER)

g h

P.NO

6 0 0

1 2 3 4 5 6 7 8 9

10 11

. . . . . . . . . . . . .

.....................................

12 13 14

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. . . . . . . . . . . . . . . . . . . . . . . .. . . . .. .. . ..

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .

16 17 18

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...... . . . ..

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . .. . . .

20 21 22

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . 

23 024 25

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 

26 27 28 29

. . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .

30 31 32 33

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34 35 36 37

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . .

. . . . . . . . . . . . .

39-63

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

64 65 66 67

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . .. . . . . .

68 69 70 71

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . .. . . . . . .

. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DATA (INIT)

0- 1 (norm) 0- 1 (norm)

OP6 scaling mode normal/fractional OP5 scaling mode normal/fractional

PARAMETER

0- 1 (norm) OP4 scaling mode normal/fractional 0- 1 (norm) 0- 1 (norm) 0-

1 (norm)

7 (0)

OP3 scaling mode normal/fractional OP2 scaling mode normal/fractional OP1 scaling mode normal/fractional OP6 amplitude modulation sensitivity OP5 amplitude modulation sensitivity OP4 amplitude modulation sensitivity OP3 amplitude modulation sensitivity OP2 amplitude modulation sensitivity OP1 amplitude modulation sensitivity

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............. . . .

0- 3 (8oct) pitch EG range 8oct, 4oct, 1oct, 1/2oct 0- 1 (singl) LFO key trigger (delay) single/multi 0-

00-

1 (off

3 (poly)

12 (2) 12 (0)

pitch EG by velocity switch off/on: 0/1

bit0; poly/mono, bit1; unison off/on

pitch bend range

step

0- 3 (norm) mode normal/low/high/key on

7 (0)

1 (rtn)

12 (0)

99 (0)

99 (0) 99 (0)

99 (0)

0- 100 (50)

99 (0)

00- 100 (50)

7 (0)

reserved

99 (0)

7 (0)

1 (0)

random pitch depth off/+ -3.5c to + -45.4c at C3

portamento mode retain/follow fingerd/fulltime

step time

modulation wheel pitch modulation range

amplitude modulation range EG bias range

foot control 1

pitch modulation range

amplitude modulation range EG bias range

volume range

breath control

pitch modulation range

amplitude modulation range EG bias range

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

after touch

pitch bias range

pitch modulation range amplitude modulation range EG bias range pitch bias range

pitch EG rate scaling depth

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . ..

foot control 2

pitch modulation range amp modulation range EG bias range volume range

MIDI IN control

pitch modulation range amp modulation range EG bias range volume range

unison detune depth

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . .

foot control 1 use as CS1 switch off/on: 0/1

Add-10

5-3. PERFORMACNCE PARAMETER

(PERFORMANCE EDIT BUFFER /1 PERFORMANCE MEMORY)

g h

P.NO

DATA (INIT)

1 0-127 2 0-127

3 4

5 6 7

10 11 12

13 14 15 16

17 0-105

(0) (0)

74 (EQUAL)

({C})

1 0- 7(0) 0-

127

(C3)

1 (OFF)

(PORT)

000-

(0)

48 (0) 48(0)

100

(CENTER) VOLUME BALANCE (–50 ~ + 50)

99(99)

(NO EFC) CONTINUOUS SLIDER 1

105

(NO EFC) CONTINUOUS SLIDER 2 b2: CS2A, b3: CS2B

19 5 20 21 22 023 24 25 26 27 28 29 30 31 32

33 34

35 36

0- 3(ON-ON) 0-

99(0)

2 (LFO)

99(99)

99(50)

99(50) 99(50)

0ASCII (I)

(N) (I) (T) ()

(P) (E) (R) (F)

PARAMETER

SINGLE A-CH VOICE NUMBER B-CH VOICE NUMBER MICRO TUNING TABLE SELECT MICRO TUNING KEY MICRO TUNING SWITCH BIT0: A, BIT1: B0/l: OFF/ON DUAL DETUNE DEPTH SPLIT POINT EG FORCED DAMP SWITCH O/l: OFF/ON SUSTAIN FOOT SWITCH BIT0: A, BIT1:B, 0/1: OFF/ON

FOOT SWITCH ASSIGN 0: SUS, 1: PORT, 2: SOSTENUTO,

SOFT FOOT SWITCH BIT0: A, BIT1: B0/1: OFF/ON SOFT PEDAL RANGE NOTE SHIFT RANGE FOR SINGLE, DUAL, SPLIT (A) NOTE SHIFT RANGE FOR SPLIT (B)

TOTAL VOLUME

CONTINUOUS SLIDER, ASSIGN SWITCH b0: CS1A, b1: CS1B, A: ON CS1/2

PAN MODE 0: MIX, 1: ON-ON, 2: ON-OFF, 3: OFF-ON PAN CONTROLL RANGE

PAN CONTROLL ASSIGN 0/1/2: LFO/VELOCITY/KEY No.

PAN EG RATE 1

PAN EG RATE 2

PAN EG RATE 3 PAN EG RATE 4 PAN EG LEVEL 1 PAN EG LEVEL 2 PAN EG LEVEL 3 PAN EG LEVEL 4 PERFORMANCE NAME

()

Add-11

Yamaha Audio DX7s User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual