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~ ~ ~~ TTHE OFFICIAL PUBLICATION O THE YAMAHA USERS GROUP

OCTOBER 1986

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EditorTom Darter

OperationsSibyl Darter

Editorial BoardBob FryeBill HinelyMark KoenigPhil MoonJim Smerdel

ProductionLeslie BartzRick Eberly

Pat GatesPaul HaggardChris LedgerwoodCheryl MatthewsJoyce PhillipsJune RamirezJoe Verri

A produ t oGPI Editorial ServicesTom Darter DirectorP.O. Box 2338, North-ridge C 91323-2338

AFTER TOUCH is published monthly. Third classpostage paid at LongPrairie, MN and additionalpoints of entry. SUBSCRIPTIONS: Free.Address subscription correspondence to AFTERTOUCH, P.O. Box 2338,Northridge, CA 91323-2338. POSTMASTER:Send form 3579 to P.O.Box 2338, Northridge, CA91323-2338 .

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

-- --

October 1986 Volume 2, Number 10Issue #13

4 PLUKDCLAV

5

6

7

8

9

A new DX7 voice created by Brian Kapitan.

TX816 VoicingAn introduction to a new, e i g h t ~ s l o tcombination patch forthe TX816 r c k ~ m o u n tFM digital tone generator system. ByScott Plunkett Michael A. Huisman.

ttRhodes1 ttRhodes2An Electric Piano voice for slots 1 and 2 of the TX816. ByScott Plunkett Michael A. Huisman.

ttLive Str 1 ttLive Str2A String voice for slots 3 and 4 of the TX816. By ScottPlunkett Michael A. Huisman.

ttBloHorns1 ttBloHorns2A Hom voice for slots 5 and 6 of the TX816. By ScottPlunkett Michael A. Huisman.

ttSuprBas1 ttSuprBas2A Bass voice for slots 7 and 8 of the TX816. By Michael A.Huisman.

10 KX Series

13

16

Use the KX88 or KX76 for r e a l ~ t i m econtrol ofFM voiceparameters. By Bob Frye.

CX5MAn introduction to the FM Music Macro II Program cartridge(YRM504) for the CXSM music computer. By Michael A.Huisman.

SUPER BASSA new DXlOO voice created by Rich Rozmamiewicz.17 NOIZE

A new DXlOO voice created by Ken Como.

18 Final TouchHot tips for the REV7, CXSM, and QX7 (or QX21 .

1986 Yamaha International Corporation. No part of his publication may be reproduced, stor ed in a retrieval system, or transmit ted in anyform or by any means, electronically, mechanically, photocopying, recording, or otherwise, without the prior written permission of YamahaInternational Corporation.

2 AFTERTOUCH/Vol. 2 No. 10

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Frotn The EditorW ELCOME TO OUR 13TH ISSUEThis milestone marks the beginning ofthe second year of publication for AfterT ouch.We ve really enjoyed putting the magazinetogether for you, and we've appreciated all the

feedback we've received. Keep it corningIn this issue, you will find a wide array ofFM

voices: two 4-operator voices for the DX 100,one DX7 patch, and a complete, eight-slot,combination voice for the TX816 Of course,all of these voices can be used with many otherunits, so give them a try.

Also, you will find information on theKX88176 MIDI keyboard controllers and onthe YRM504 FM Music Macro Programcartridge for the CX5M, plus hot tips fromreaders for the REV7, CX5M, and Q){7121.

And now, in keeping with recent tradition, Iwould like to share some more informationwith you on how to get material concerningYamaha products . This time, we are revisitingterritory originally covered in the Questionscolumn:

Service Man ual s Owner s Manuals Inthe May 1986 issue, we printed some information (in the Questions column) on how AfterTouch readers (and all users ofY amaha professional musical products) could get servicemanuals and owners manuals. Although thespecific question concerned manuals for in

struments no longer in manufacture, the answerwas intended to cover all manuals (for bothcurrent and older products).

Well, since then, the basic procedure forordering manuals has changed somewhat, so I

would like to give you the correct, up-to-dateinformation:

Service manuals may be purchased by theconsumer through the Yamaha Electronic Service Division Parts Department if available.

Some of he older model service manuals maynot be available. Inquiries and orders can bemade by phoning 800-654-3687 from California, or 800-854-3619 from all other states. Thecall will be answered by an automated receptionsystem; if you have a touch one phone, you canreach the Parts Department directly by dialing604 after the automated service answers. If youdon t have a touchtone phone, just wait for oneof the attendants to answer your call

Owners manuals must be purchased froman authorized Yamaha Digital Musical Instruments retailer. (Owners manuals are not available directly from Yamaha.) The authorizedretailer may order owners manuals for anycurrect Yamaha product, as well as for a widevariety of discontinued products. Contact yourlocal authorized Yamaha dealer for details.

We would like to apologize for any inconvenience that may have resulted from recent useof he now-incorrect information concerningmanuals published in our May 1985 issue.

Next month we will focus on MIDI accessory units such as the YME8, YMM2, andYMC10, and show how you can use them toexpand the capabilities of your MIDI musicsystem. There will also be more patches fromreaders, plus a long-overdue visit to the Questions column to answer some of your recentqueries. See you then

T D

Receive AFI ERTOUCH Free Every Month

Y OU CAN RECEIVE AFfERTOUCH for an entire year, absolutely free, justby asking. Using the attached postcard, give us your name and address. Thensign the card (a postal regulation-it lets us know that you re lly want to receiveAFfERTOUCH).

After you have filled in the relevant information, put a stamp on the postcardand mail it to us. When we receive the card, we' ll put you on our permanent mailinglist, and you will receive twelve issues of AFfER TOUCH absolutely free There isabsolutely no obligation, and no other strings are attached.

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Also, don t limit yourself to just sending in your address. Let us know what kindof articles you want to read. The more input we receive, the more we will be able totailor the information in AFfER TOUCH to suit your musical needs.

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TOUCH is amonthlyinformationalpublicationfrom Yamaha.

To receiveFfER

TOUCH everymonth, absolutely free, justput your nameand address onthe enclosedcard and mailit to us.

Vol 2 No. 10/ AFTER TOUCH 3

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- -PLUKDCLAV.ANewDX7Voice ByBrianKapitan.

TRI 21 0WAVE SPEED DILAY

A1 A299 99

L1 L250 50

0PMOLFO

113

99u

50PITCH I NVELOPE

0 ON 4AMD SYNC PMS

A4

99I C3

KEY 11IANIIPOIEu

50 I ON I08CSYNC

COII11IOLLIII - PITCH IG IIIAI

Notes:

ry releasing a key qui kly tocreate unusual harnwnicStTuctures

This DX7voice can alsobe loaded intoall the otherYamaha6operator FMdigital synthesizers and tonegenerators,including theDXl, DXS,TX7, TX216,TX816, andTFl.

4 AFfERTOUCH/Vol. No. 10

NA OFF OFF OFFPOOT CONTROL NA OFF OFF OFF

. A l M CONT1IOL NA OFF OFF OFF

AI'T8ITOUCH NA OFF OFF OFF

7.00 luouQI ' D0

l"'go 1.. 7 l"21 1 82 A5

01 L2 u u99 85 0 0

L -L0#1

L 0

R -E R 210 4 l 78 LYELD7

r n ~ : r 1 : 2 2~ ~ : 2 ~I0 l u o ~ s o IUO o ~ - D0

l"'7s l""45 1 36 I 1 '99 1 3o 1 .34 As192 46 01 L2 u u L1 L2 L3 u

99 87 0 0 99 80 0 0I

L +L A-1 L 0 L -L A-1 L 0

R -L R 18 R -L R 0lu"" 2 Iu &r ~ L & 10 3 I r u g g ~ ~JYELOC:r

1 ~ o o o ' H zlu uo r-s 0

99 r_33 l 14 "is ""L1 L2 L3 u 299 80 0 0

L +LE3

L 99

R -L R 010

1 f" .99 L .LD1ALGORITHM #16

2570HzDu. " lAMS

0 0

99 ~ 8 2A3 1 . Ro

75 0L1 L2 u u 099 87 0 0

7

L -L03

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.

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r c = l L l l ~c J U L J

T HISTX816VOICEPATCHUSESALLeight of the slots in a TX816 FM digitalr a c k ~ m o u n ttone generator system. The soundsare created in groups of wo. What this means isthat you can still take advantage of hese sounds,even if you don't own a complete TX816 s y ~tern. f you have a TX216, two DX7s, or aDX7 /TX7 combination, you can reproduceeach individual sound in this TX816 setup.

If you do have a full TX816 rack, the soundsare set up to be playable as follows:

Electric Piano-playable in all rangesStrings-assigned to foot controller , playable

in all rangesBrass-assigned to breath controller, playable

in middle/upper ranges

Bass-playable in low ranges (level scalingprohibi ts upper ranges)

Because the voice charts contains so m uchdata, we did not have enough space to r e p r ~duce a graphic representation of each algorithm.However, we did provide you with informationconcerning the structure of each algorithm,under the column labelled ALS . " In thatcolumn, each Carrier operator is indicated witha C. Modulator operators are indicated bynumbers that represent the Carrier operatorsthat they are modulating. Operators involved inthe feedback loop are indicated by a dot in frontof their number in the # OP column.

Here are notes on the various sound pairsthat make up this combination sound for theTX816:

SI.:OTS 1 &.2Electric Piano sound:Rhodesl /Rhodes2

This electric piano sound differs somewhatfrom the normal DX/TX electric piano sound .It was created using a component voicing a ~

proach: Slot 1 creates the body of he sound,while slot 2 creates the tine sound and the

knock of a traditional electric piano. h a n g ~ing the frequencies of operators #3, 4, and 5 inslot 2 will produce different types of tinesounds.

S W T S 3 . 4String sound:Live Strl /Live Str2

Scott did all the hard work on this sound,which has reverb built in This FM voicing

technique tha t has been around for about a year,but has just recently caught on with soundprogrammers . The key to the reverb in thissound is the fixed frequency modulator in thenumber two position in a stack.

SLOTS5 &.6Horn sound:BloHornsl/BloHorns2

It is sometimes difficult to create brasssounds that play well with bo th a slower, softerattack and a faster, sharper attack . When usingthe breath controller, however, many of theconcerns in programming such a sound areminimized . Changing Rate 1 for opera tor # 1 inboth voices should allow you to fine tune thesounds to suit your own taste.

SLOTS 7&.8ass sound:

SuprBasl/SuprBas2SuprBas 1 is an edit to the now famous

SUPERBASS DX7 voice. (the author of hatvoice is unknown to us, so if he original author

An Introduc-tion To ANe wTX8 1 6

CombinationPatch ByScottPlunkett

Michael AHuisman

The data chartsfor these eightvoices can befound on pages6'9.

happens to be reading-nice, v ry ni e . . . . The T X8r6 rack mount FMedits smooth out the voice so that i t can be digital tone generator .rystem.combined with another sound-the S U P E R ~BASS voice is great by itself but sometimes istoo strong to combine with other voices. S u p r ~Bas2 is more of a o o g ~ t y p eb ss sound. o m bining these two voices together seemed towork well. If you play in mono mode, you canget a Chicago/David Foster . ype of bass sound.

Vol. No . 10/ AFfERTOUCH 5

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r c = ; - c ; - 1 ~

l.::::::J u ContinuedRhodesl By Scott Plunkett Michael A Huisman

V 0 I C E N0 . :.01 VOICE NAME : Rhodes1

ALGORITHM: 06 TRANSPOSE:MIDDLE C=C F .B .LEVEL: 04 OSC KEY SYNC: ON

PITCH EN 1v1 ELOPE L FPR1 PR2 PR3 PR4 PL1 PL2 PL3 PL4 WAVE SPD DLY PMD AMD PMS SYNC

99 99 99 99 50 50 50 50 TRIANGL 14 00 01 00 1 OFF

ALS ... c ENVELOPE KBD SCALE s OL:>OP FREQ. I> R1 R2 R3 R4 L1 L2 L3 L4 LD LC BP RD RC Krs Kvs Ams

.6 5 Ft'=1 01 .00 +7 95 29 20 50 '3'3 81 82 00 04 +L D 3 34 -L 3 4 3 77 5 c F t' =1 01 .00 +6 94 20 20 45 99 95 00 00 00 -L 612 00 -L 4 4 3 99

4 3 F i : 87 .18 +0 99 60 35 74 99 35 27 00 10 +L F 2 54 +L 3 3 3 853 c F ct 01 .00 +0 95 50 62 73 99 00 00 00 00 -L 6 3 99 +L 2 3 3 932 1 Fr=1 01 .00 5 '39 21 00 76 97 44 00 00 10 +L D 3 12 -L 3 5 3 891

c Fret 01 .00-4

9924 5 7

53 9900

00 00 00 -L A -1 00 -L 3 5 3 98POL'r'/MONO

Me;:. de Gl ssn d Time M.W F.C A.T B.CPOL 'r' Reta i r, OFF 00 Range 08 08 15 08

P i t c h ON OFF OFF OFFLEVEL ATT Sto l i t

LOI J High Range Step Amplt OFF OFF OFF OFF07 c -2 G 8 07 00 E6 .b i OFF OFF OFF OFF

Rhodes2 By Scott Plunkett Michael A Huisman

VOICE N0 . : 0 2 VOICE NAME : Rhodes2

ALGORITHM: 22 TRANSPOSE:MIDDLE C=C 4 F .B .LEVEL: 07 OSC KEY SYNC: ON

PITCH ENVELOPE L F 0PR1 PR2 PR3 PR4 PL1 . PL2 PL3 PL4 WAVE SPD DLY PMD AMD PMS SYNC

82 99 99 '39 50 50 50 50 SAW DWN 15 00 02 00 4 OFF

ALS 0 s c ENVELOPE KBD SCALE s OLOP M FREQ. D R1 R2 R3 R4 L1 L2 L3 L4 L] ) LC BP Rl> RC Krs Kvs Ams

.6 345 Fr=1 06 .00 +1 99 45 .. .. ' 34 99 48 00 00 20 -L c 4 00 -L 3 4 0 80c F r ct 1 7 . 0 0 +3 99 58 23 45 99 00 00 00 99 -L E 4 24 +E 3 5 0 73-

4 c F r ct 06 .08 +2 9'3 9 c;.-:>?

' 61 99 00 00 00 99 -L E 3 16 -L 2 6 0 733 : F ct 00 .50 +0 99 71 23 58 99 59 00 00 99 -L E 3 08 -L 2 5 0 80.-, 1 F i;>( 75 .86 +0 99 62 69 40 99 00 00 00 00 -L 6 3 99 +L 2 1 0 94:1 c Fr=1 00 .50 +7 99 62 69 40 99 22 00 00 00 -L A 2 00 -E 2 5 0 99

POL'r'/MONO Mode Gl ssn d T ime M.W F.C A.T B.C

POL'r' R e t a i n OFF 00 Ra n9e 08 08 15 08P i t c h ON OFF OFF OFF

LEVEL ATT S p l i t Low H i : ~ h Ra r : ~ e Step Amplt OFF OFF OFF OFF

07 : -2 G 8 07 00 EG.bi OFF OFF OFF OFF

6 AFI'ERTOUCHNol. 2 No. 10

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Live Strl By Scott Plunkett Michael A Huisman

VOICE NO. :03 VOICE NAME : Live S t r1

ALGORITHM: 15 TRANSPOSE:MIDDLE C=C 3 F .B .LE\,.IEL: 07 OSC KEY SYNC: OFF

PITCH ENVELOPE L F 0PR1 PR2 PR3 PR4 PL1 PL2 PL3 PL4 WAVE SPI> DL r PMD AMD PMS SYNC

84 95 95 60 50 50 50 50 SINE 30 00 18 00 1 OFF

ALS 0 s c ENVELOPE KBD SCALE s OLOP M FREQ. D R1 R2 R3 R4 L1 L2 L3 L4 LI> u BP RI> RC Krs Kus Ams6 4 Frq 03 .00 -7 84 36 10 16 99 99 95 00 eo +L C 4 00 -L 0 0 0 595 4 Frq 01 .00 -6 84 36 10 12 99 99 35 00 18 +L C 4 00 -L 0 1 0 75

4 3 F ix 2 .455 -3 84 36 10 00 9 3 99 99 00 06 -L B 2 00 -L e 1 0 803 c Frq 01 .00 +6 38 07 07 41 93 92 92 00 31 -L A 2 00 -L 0 1 3 99

.2 1 Frq 01 .00 +7 44 :36 H l 22 9 3 99 9 3 eo 00 -L G 2 ee -L 0 1 0 78

1 c Fi x 1 . 8 2 0 +0 45 35 10 48 9939 3 3

00 31 -L A 2 00 -L 0 1 3 99POLY/MONO

Mode Glssnd Time lt. F.C A.T B.CPOLY R e t a i n OFF 013 Range 08 15 08 15

P i t c h ON OFF OFF OFFLEVEL ATT S p l i t

Low High Range Step Amplt OFF OFF OFF OFF

07 c -2 G 8 07 00 EG.bi OFF ON OFF OFF

Live Str2 By Scott Plunkett Michael A Huisman

VOICE NO.: 134 VOICE NAME : Live S t r2

ALGORITHM: 115 TRANSPOSE:MIDDLE C=C 3 F .B .LEVEL: 07 OSC KEY SYNC: OFF

PITCH ENVELOPE L F 0PR1 PR2 PR3 PR4 PL1 PL2 PL3 PL4 WAVE SPD DL r PMD AMD PMS SYNC

84 95 95 60 50 50 50 513 SINE 31 00 33 00 1 OFF

ALS 0 s c ENVELOPE KBD SCALE s OLOP M FREQ. D R1 R2 R3 R4 L1 L2 L:3 L4 LI> LC BP RD RC Krs KJS Ams

6 4 Frq 03 .00 +6 84 36 10 00 99 99 95 08 00 +L C 4 00 -L 0 e e 685 4 Frq 01 .00 +6 84 36 10 00 99 99 35 07 18 +L Cl4 00 -L 0 1 0 74

4 3 Fi x 2 .951 -3 84 36 10 00 99 99 99 013 06 -L B 2 00 -L 0 1 0 77

3 c Frq 01 .00 -5 37 12 10 4 ':: 96 94 94 00 31 -L A 2 00 -L e 2 3 99.2 1 Frq 131.00 -6 44 36 10 34 99 99 99 00 00 -L B 2 00 -L 0 1 e 76

1 c Fi x 1 305 +0 56 35 10 43 99 99 9 3 00 31 -L A 2 013 -L 0 1 3 g )....

POLY/MONO < PORTAMEN TO> Mode Gl ssn d Time M. ~ F.C A. T B.C

POL r R e t a i n OFF 013 Ran;.te 08 15 08 15p i t:::h ON OFF OFF OFF

LEVEL ATT S p l i t Low High Range Step Arlt:. 1 t OFF OFF OFF OFF

07 c -2 G 8 07 3 3 EG.bi OFF ON OFF OFF

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~ L J l r c =l = : J U l==J Continued

BloHornsl. By Scott Plun kett Michael A Huisman.

VOICE NO.: 05 VOICE NAME : BloHorns1

ALGORITHM: 18 TRANSPOSE:MIDDLE C=C 3 F.B.LEVEL: 07 OSC KE r S r NC: ON

PITCH ENVELOPE L F 0PR1 PR2 PR3 PR4 PL1 PL2 PL3 PL4 ~ l A V E SPD DLY P ~ D AND PMS S r NC

92 93 88 60 47 4 3 50 50 SINE 2 3 00 00 00 3 OFF

I ALS 0 s c ENVELOPE KBil SCALE " OLjOP M FREQ. D R1 R2 R3 R4 L1 L2 L3 L4 LD l.C BP RD RC ~ t S Kv s Arns6 5 Frq 01 .00 -1 42 39 28 0:3 3 3 34 88 07 04 +L F 2 ee -E 0 1 0 705 4 Frq 01 .00 -5 60 39 31 40 99 98 81 01 24 -L c 3 00 +L 0 :3 0 824 1 Fi x 2 .512 +1 49 39 32 46 39 98 81 00 24 -L D 4 16 -L 0 .-..;) 0 82

.3 1 Frq 01 .00 -5 613 39 32 67 99 81 81 00 31: -L c 3 02 -L 0 3 0 782 1 Frq 01 .00 -5 61 46 42 71 99 98 86 00 49 -L Fl3 00 +L 0 2 13 801 c Frq 01 .00 -5 59 30 :3 56 99 77 81 00 eo +L c 4 00 +L 3 7 :3 35

POLY/MONO

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SuprBasl. By Michael A. Huisman.\ } O I ~ NO.: 07 VOICE NAME : SuprBas1

ALGORITHM: 17 TRANSPOSE:MIDDLE C=C 3 F .B .LEVEL: 97 OSC KEY SYNC: ON

PITCH EN\.. ELOPE L F 0PR1 PR2 PR3 PR4 PL1 PL2 PL3 PL4 WAVE SPD DLY PMD AMI> PI IS SYNC99 99 99 9 3 54 50 50 50 TRIANGL 31 08 09 99 3 ON

ALS 0 s : EN\..1ELOPE KBD SCALE s OLOP M FREQ. D R1 R2 R3 R4 L1 L2 L3 L4 LD LC BP RD RC Krs Kvs Ails6 5 Fix 416 .9 +0 9 3 99 65 99 99 99 00 00 00 -L A -1 00 -L 4 3 8 99IC'

1 Frq 07 .00 -2 99 99 38 39 99 99 00 00 90 -L E 3 99 -L 7 7 9 704 3 Frq 03 .00 -2 81 53 41 78 99 97 00 00 00 -L G 3 99 -L '7 '7 e 783 1 Fr=1 00 .50 +6 61 99 99 14 99 99 99 00 00 -L A -1 00 -L '7 1 e 75

.2 1 Fr:lf 02 .02 -5 95 99 19 59 84 86 90 00 00 -L A -1 00 -L 5 5 e 831 : Fr=1 01 .00 +2 99 64 33 67 99 86 00 00 00 -L D 3 99 -L 2 2 e 99

POL t /MONO ode Gl ssn d Time M.W F.C A.T B.C

POL .. R e t a i n OFF 00 Range 08 88 08 15P i t c h ON OFF OFF OFF

LEVEL ATT Sp 1 i t LOI.I High Range Step Amplt OFF OFF OFF OFF

07 c -2 G 8 07 00 EG.bi OFF OFF OFF OFF

SuprBas2. By Michael A. Huisman.

''OICE NO. :08 VOICE NAME : SuprBas2

ALGORITHM: 22 TRAN8POSE:MIDDLE C=C 3 F .B .LEVEL: 04 OSC KEY SYNC: ON

PITCH ENVELOPE L F 0PR1 PR2 PR3 PR4 PL1 PL2 PL:3 PL4 WAVE SPD IlLY PMD AMD PMS SYNC

99 95 95 60 50 50 50 50 SINE 29 63 35 08 1 OFF

ALS 0 s : ENVELOPE KBD SCALE s OLOP M FREQ. D R1 R2 R3 R4 L1 L2 L3 L4 LD LC BP RD RC Krs Kvs Ails

. 6 345 F t q 01.130 +0 81 88 38 48 93 9 3 00 00 00 -L F 2 99 -L 3 7 9 945 c Ff':Jt 00 .50 +0 39 05 00 39 99 92 00 00 00 -L F 2 99 -L 3 0 0 994 c Fr:Jt 01 .00 +0 39 05 00 9'3 99 '32 00 00 00 -L F 2 99 -L 3 e e 963 - Fr=1 01 .00 +0 99 05 00 99 H 92 00 00 00 -L F 2 99 -L 3 e 3 952 1 Fr=1 01). 50 -5 99 73 46 53 99 99 00 00 00 -L A -1 00 -L 3 3 1 921 c Frq 01 . 01) -5 39 2 3 35 9 3 99 99 07 00 ee -L F 2 99 -L 3 1 3 99

POL ', .. MONO (PORTAMENTO> Mode Gl ssn d Time M.W F.C A.T B.C

POL r Re t in OFF 00 Range 08 08 08 15P i t c h ON OFF OFF OFF

LEVEL ATT S p l i t Low Hi3h Range Step Amplt OFF OFF OFF OFF

07 c 2 G 8 07 00 EG.bi OFF OFF OFF OFF

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--------- eries-

- -- - = - - - =Use TheKX8 8 0 rKX76ForReal-TimeControl OfFMVoiceParameters.ByBobFrye.

I

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1. Place the KX in the Parameter Assignmode by pressing the MODE switch.The LED readout will read CA to i n d i ~cate Controller Assign. This is the o n ~troller Assign mode.

2. Now press and hold the MODE switchuntil the Upper LED reads P A. You arenow in the Parameter Assign mode.

We will now use one of he Controller Codenumbers ( 0 ~ F Fand enter the MIDI data todefine that Controller Code. The necessaryMIDI data can be found in the KX88/76owners manual on pages 1 ~ 3 3 .The KX willprompt you as to what data is required at eachstage of he process. For this example, we willassign the Frequency Coarse of operator #6 to

Controller Code 51 . Follow these steps:

1. Enter the Parameter Change u b ~ m o d eby pressing Bank A switch 12, which islabeled Parameter Change. The UpperLED will now read PC.

2. The Controller Code which you wish todefine must now be entered. This is doneby pressing the Bank B switches ~ Fwhich are labeled in hexadecimal. Whenprogramming in this mode, any Hex datamust be entered by following the printingas it appears in hexadecimal, above theBank B buttons themselves. For thisexample, enter Controller Code 51.

3. The Upper LED will now read LM,prompting you to enter the Parameter'srange of value (or limit . This data isobtained from the tables on pages 3 1 ~ 3 3of he owners manual. The Data Limitfor Coarse Frequency of any operator inthe DX/TX voice is 31. To enter thisdata into the KX, press Bank B but tonnumber 4. (This is described in theowners manual on page 11, where Bank

B buttons 1 ~ 6are shown to representData Limits 3, 7, 15, 31, 63, 99).4. The Upper LED will now read G,

prompting you to enter the Parameter'sGroup number. Again, this informationis printed on pages 3 1 ~ 3 3in the KXowners manual. Coarse Frequency foroperator #6 is in Group 00. Enter thisdata by pressing the appr opriate Bank Bbuttons.

5. The Upper LED will now read SG,prompting you to enter the Parameter'sSub Group number. Coarse Frequencyof operator 6 is in Sub Group 0.

6. The Upper LED will now read P p r o m p t ~ing you to enter the Parameter number.For operator #6 Coarse Frequency, it isnumber 12. Remember that this andother hexadecimal numbers must beentered as per the Hex notation above the

ankB buttons.

At this point, you have entered the codesnecessary to define Controller Code 51 to

mean Coarse Frequency of operator 6. Wemust now take the final step, and enter C o n ~troller Assign mode to assign that ControllerCode to a Performance Controller. An p p r ~priate controller would be the ContinuousSlider 4 (which we will use for this example),though you could use other controllers such asAfter ouch or one of the Foot Controllers.Follow these steps:

1. Press the MODE button, and the LEDwill read CA. You are now in the C o n ~troller Assign mode.

2. Press the Bank A button that is labeledCS4 above the #8 button. The UpperLED will show C4, indicating o n t i n u ~ous Slider 4.

3. You may now enter the Code number 51by pressing the appropriate Hex numbersabove the Bank B buttons. This assignsthe Controller Code 51 (defined as o p e r ~

ator #6 Coarse Frequency) toC o n t i n u ~

ous Slider 4.4. This setup may now be stored in one of

KX88 MIDI keyboardcontroller

Vol. 2 No. 10/ AFI'ERTOUCH

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eries mumum---

----the Code Memories by pressing the ankA button number 15, which is labeledSAVE. UsetheBankBbuttons 1,16tochoose a Code Memory location. Theselected Code Memory number willappear in the lower LED and will flash.Press the appropriate Bank B button asecond time, and the setup will be savedto the selected Code Memory.

After you have completed all of these steps,go back to the Play mode by pressing theMODE switch, and explore the control younow have over the Coarse Frequency of opera,tor #6. Whenever you wish to return to theoriginal (unaltered) voice, simply call up thevoice number from the panel of the KX.

Real,time parameter change brings contro lover Yamaha FM instruments to new levels ofsophistication. I t s possible to write code forany parameter within the Edit or Functionmodes of the DX/TX voice modules. Withearlier synthesizers, the musician could playthe sound, defining it's identity in real time, as

S E T

NUMBER

MIDI CHANNEL I I I8 1 II mcs1

TRANSPOSE I I I sj II mcs2K E ~ASSIGN MODE Isinqle I dual I solit

I I mcs3

SPLIT POINT I I mcs4

Notes:

12 AFrERTOUCH Vol. 2 No. 10

Use this blank table to keeprerords o aur KXBBorKX;76 rontro ler assignmentprograms

each parameter would have its own front panelcontrol.

With the advent of ~ p e r a t o rFM synthesisand it' s 145 voice parameters, it would be phys,ically impossible to have separate controls for

every parameter. So, while FM brought us anamazingly powerful new way to generate sound,we did not yet have the ability to control any ofthe edit mode parameters directly in real time.

This musically impor tant technique is nowpossible with the KX88 and KX76, combiningthe accuracy and precision ofFM digital synthe,sis with the power of real,time parameter con,trol. This technique is particularly well suitedfor the musicians working in the film and televi,sion industries, where new and vital sounds areconstantly needed. These players often play

directly to a scene, and the ability to haveextended real,time control over the actualsound is very enticing.

The technique of real,time parameter con,trol will enable musicians to create an entirelynew range of expressive sounds that were pre,viously impossible. The KX88 and KX76 giveelectronic musicians full control over the kindof gestural nuance that acoustic musicians havealways savored.

Atst~ r8

I ~ ~

IDJS11I 8

A .-I 13

A13f

I ~ f

1Dr ?JI 8

I .Ar8

IMstl .A -8Ms2 ~ f

8

IMS3l

IMS41

IMssl

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I N THE LAST TWO ISSUES OF F T E R ~Touch, we have explored some of the usagesof CA V ( o m p u t e r ~ A i d e dVoicing) programsin conjunction with the FB-01 FM tone module.In this issue, we will look into the area of

CAM programs, and will explore some of hecapabilities that CAM programs may offer you.

CAM is an acronym for o m p u t e r ~ A i d e dMusic. C o m p u t e r ~ A i d e dMusic programs i n ~volve such areas as MIDI sequencing and liveperformance using computers. the YRM504FM Musk Macro I I program, which is the focusof this article, is also a CAM program, althoughit doesn't fall exactly into either of he categoriesjust mentioned. Just as CA V programs involvethe editing or creation of electronic instrumentvoices through the use of a computer, CAM

programs involve the creation or performanceof music with the aid of a computer . Any p r ~gram that can be used for this purpose is a CAMprogram .

What Is The YRM504?

The YRM504 is a Program cartridge forYamaha's CX5M music computer. The name ofthe program is FM Music Macro II Some ofyou may already be familiar with the YRM104FM Music Macro Program cartridge; theYRM504 Program cartridge is an updated v e r ~

sion of the YRM 104 cartridge (with many newfeatures).

The CX5M's programming language isMSX BASIC. When you boot up (power up)the CX5M, you are automatical ly placed inMSX BASIC. MSX BASIC has program t t e ~ments that allow you to access the internal soundchip of the CX5M, but they do not give youaccess to the SFG05 MIDIIFM tone generatormodule that may be plugged into the CX5M'sslide slot. The FM Music Macro I I programallows you to access the SFG05 FM tone e n e r ~

tor module from within MSX BASIC throughan extensive set of extra program commands.Here are the main features of the YRM504

FM Music Macro I I Program cartridge:

up to four voices can be specified forsimultaneous performance

up to 8 tracks may be defined

b u i l t ~ i nrhythm instrument sounds can beused to create original rhythm patterns;

or, one of six predefined rhythm patternsmay be used

volume and pitch can be changed duringperformance to create various specialtysounds and sound effects

performance data can be output throughMIDI terminals for playing other M I D I ~compatible instruments such as the DXand TX series ofFM digital synthesizersand tone generators

How oes The YRM504 ProgramCreate Music?

The FM Music Macro I I program interprets

strings of characters (data) to determine whatnotes to play and for how long . Characterstrings appear between quotation marks( )

I An Introduc-tion To TheYRM5 4FM

Music Macro

II ProgramCartridge ByMichael AHuisman

in MSX BASIC. Here are two examples of valid CX M II\U ic computer string data :

1 Mickey Mouse is a character string that istwelve characters in length, containingMickey a space, and then Mouse

2. 2 1 3 ~ 5 5 5 ~ 1 2 1 2is also a string that istwelve characters in length, containingnumbers and minus signs ( -) . This is stil lconsidered string data for a single string,because it appears within one set of quotes.

Notes

Notes are specified by string data containingthe symbols c,d,e,f,g,a, and b. Most of us shouldbe familiar with these symbols, as they c o r r e ~spond directly with the notes of he scale. To

Vol. No. 10/ AFTER TOUCH 13

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cause the first five notes of the C major scale tobe played, we would supply the following datato the program:

cdefg

To specify sharps, a # or + symbol shouldimmediately followthe note to be raised by a halfstep. To specify flats, a - symbol shouldimmediately follow the note to be lowered by ahalf step. To cause the first five notes of he Dmajor scale to be played, we would supply thefollowing data to the program:

def#ga

Octave

The notes in the above strings would all beplayed within a single octave. The o symbol isused to designate higher and lower octaves. Thebasic (default) octave setting is o3 when firstusing the program (or after any initialization).All note data following an o symbol will beplayed in the new octave specified. To cause thefirst five notes of the major scale to be playedin a stepwise sequence, we would supply data asfollows:

o2abo3c#de

This causes the first two notes A and B to beplayed in octave two, while the remaining notes(Ci , D, and E) will be played in octave three.

There is an alternative method for specify,ing octave: The less,than symbol ( < may beused to raise notes by one octave, while themore,than symbol ( > may be used to lowernotes by one octave. Once again, any change is.in effect until a new octave specification ismade.

Rhythmic ValuesObviously, we need to be able to specify the

durations {lengths) of o t ~ sand rests. This isaccomplished by the L symbol followed by alength value. L8 says that all notes followingare in eighth,note increments, while L16 saysthat all notes following are in sixteenth,noteincrements. Dotted values are specified with aperiod(''' ') placed after the note to be extended.

Rests are specified just as note lengths,except that the R (rest) symbol is used in

14 AFTERTOUCHNol. 2 No. 10

Continued

place of the L symbol. The first two phrasesof The Star Spangled Banner would be speci,fied as follows:

L8geL4cegc:::cR4L8e.L16dL4c>ef#gR4

The PHRASE Statement

The FM Music Macro II program uses thePHRASE statement to convert the characterstrings we supply as data into notes that theCXSM can play (and we can hear). ThePHRASE statement must know two things: Itneeds to know what instrument the phrase isfor, and what the phra se is. An example of hePHRASE statement is as follows:

100 -PHRASE(1, cdefg )

his PHRASE statement causes the program toconvert the character string cdefg into thefirst five notes of the C major scale.

The PLAY Statement

Once a character string has been processedby the PHRASE statement, we can then causeplayback to occur by using the PL Y statement.The PLAY statement has two requirements: Itneeds to know what instrument to play, and

which track to play. An example of the thePL Y statement is as follows:

110 _PLAY{1,1)

This PLAY statement causes the program toplay the phrase that was prepared in line 100.

Rhythms

The FM Music Macro II program has built,in rhythm instruments and rhythms. Tempo isu s e r ~ l e c t a b l e

and there are six preset rhythms(ranging from a sixteenth,note pattern to awaltz). User,defined rhythms can also becreated using the following selection of rhythminstrument voices: hi,hat (closed and open),bass drum, high tom, and low tom.

Sample Program

The sample program printout accompany,ing this article gives one example of an experi,

ontinued on page 2 0

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10 '*************************************************************************20

*

30 '*40 '*50

*

60 '*70 *

YRM-504 MIDI Macro I I Example Program

program o r i g i n a l l y publ i shed i n YRM-504 Owner 's Manualcomments and minor modif icat ions by Michael A. Huisman 10/86i t a l i c s are comments fo r a r t i c l e - do no t e n t e r in CX5M

0*

90 '*************************************************************************100 CLS110 INIT120 _TRACK(2)130 INPUT NUMBER OF BARS ;X140 IF X"h" OR A$(I)marke r ' sp l a y t r a c k 1 and 2 a t marker M1 s t t ime? s t a r t p l a y b a c k e l s e wai t

427 ' l i n e s 450 t h r u 510 contain t h e d a t a fo r t h e musical phrases433 ' d a t a e lements a re sep era t ed by commas ( , )440 1 1 s t d a t a i t em marker number443 ' 2nd d a t a i t em bass l i n e446 ' 3rd d a t a i t em accompianment448 '450 DATA l ,L8o2aaar8aa,%20r4L8{o2aa

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SUPER

BASS. A N e wDXlOOVoice

By Rich Roz.. marntewtcz.

These DXlOOvoices can alsobe loaded intothe DX21,DX27, andDX27S 4,operatorsynthesizers.

16 AFI ERTOUCH/Vol. 2 No. 10

LFO a FUNcnONS

TRI 25 0

I9 0 OFF

WAVE -ED DELAY PMD AMD SYNC

5 0IMS AMS KEY TRANSPOSE

POLY I 2 NA I 0 - I ONPDLY/110NO PB RANGE MODE TIME PORT SUSTAIN

PORTAMENTO FOOTSWITCH

NA NA N NA N NA

PITCH AMPL PITCH AMPL PITCH BIAS EO BIAS

WHEEL RANGE BREATH RANGE

IFREQUENCY DETUNE lAME

FREQUENCY DETUNE

J M E O2.00 3 0 1.00 0

ENVELOPE D T ENVELOPE D T

AR

1

D1R r L 1R 1RR AR r I L r 1RR 2 5 9 0 0 7 14 6 5 7EO BIAS KEYBOARD SC LING EGIIIAS KEYBO RD SC LING 7

RATE LEVEL RATE LEVEL

0 0 0 0 0 001'0 OUTFUT VELOCITY 01'0 OUTFUT VELOCITY

LEVEL LEVEL

3 71 0 4 63 0

IFREQUENCY OETUNE

I"'ME O0.50 0

ENVELOPE DAT A

AR

1

D1R

1

D1L rR

1

RR

31 5 12 5 7EO BIAS KEYBO RD SC LING

RATE LEVEL

0 1 001 0 OUTFUT VELOCITY

LI VEL

2 73 0

IFREQUENCY DETUNE

lAME 00.50 0

ENVELOPE D T

AR f R ID1L i 2 R IRR31 5 12 5 7

EO BIAS KEYBOARD SCALINGRATE LEVEL

0 1 001'0 OUTFUT VELOCITY

LEVEL

1 99 0

ALGORITHM 2

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LFO A FUNCTIONS

S/H 99 0I

99 0 OFFWAVE SPEED DELAY PMD AIID IYN

6 0IMS AMI KEY TRANSPOSE

POLY I 4 FULL I 0 I ONPOLY/MONO P8 RANGE MODE nME PORT SUSTAIN

POATAIIENTO FOOTSWITCH

50 0 0 0 50 0

PITCH AIIPL PITCH AMPL PITCH BIAS 'EGBIASWHEEL RANGE BREATH RANGE

IFREQUENCY

DETUNE /AilEFREQUENCY DETUNE

'AilE O10.38 0 0 0.50 +3

ENVELOPE DATA ENVELOP : DATA

AR

1

D1R r L 1R rR11 31 15 10 3 AR 1D1R 1D1Lr:

rR

11 25 15 3 1EGBIAS KEYBOARD SCALING EGBIAS KEYBOARD SCALING

RATE LEVEL RATE LEVEL

0 0 0 0 0 0OPO OUTPUT VELOCITY OPO OUTPUT VELOCITY

LEVEL LEVEL

2 78 0 4 99 0

I IFREQUENCY DETUNE

r M E 0FREQUENCY DETUNE

r M E 01.00 0 25.95 -3

ENVELOPE DATA ENVELOPE DATAAR

1

D1R

1

D1L r R

1

RR

5 31 15 6 7AR r L 1R 1RR5 25 15 3 5

EGBIAS KEYBOARD SCALING EO BIAS KEYBOARD SCALINGRATE LEVEL RATE LEVEL

0 0 0 0 0 0OPO OUTPUT VELOCITY OPO OUTPUT VELOCITY

LEVEL LEVEL

1 66 0 3 97 0

I IALGORITHM 5

7

NOIZE.ANewDXlOOVoice By KenComo.

Notes:

The basic noise in t1Wpatch is created b ps 3and #4, while ps I and

2 add a nois:Y resonantwhistle. To hear more of hewhistle, raise the output le oelof p I; to hear the noiseonly, lower the output ofOp I.

To change the shape ofthe noise, alter the enmopeWJlue s to suit 'JIM taste.

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Final TouchA REV7 Patch For Use With Drum Sounds.

By Ken Como.

This is one of my favorite patches for use withboth Drum Machines and real drums. Start withthe Early Reflectio n 2 preset, #6, and use thesesettings:

LIVENESS: 10INITIAL DElAY: 5.0 ms1ST DElAY: 0.0 ms1ST LEVEL: 10MODE:5ROOM SIZE x20.0DIFFUSION: 10

By mixing the reverb level to full and removingthe original drum sounds from the mix, you'llfind yourself with a real "nasty" drum kit.

This patch has great applications for creatingsounds with a special kick (such as toms or

Hot Tips ForThe E V ~TheCX5M,AndQX?/21.

QX2 digital SeJlueRCerecorder

t e c h n o ~ f u n ksnares) ~ both recorded and live REV digital rewrberacor.uses. The sound is similar to the processed tomsound in the Mr. Mister song "Is It Love?" . I havefound that I lean towards using the REV7 as aninstrument (full reverb mix) rather than as an

effect. Used in that way, it produces some veryinteresting textures.

UsingTheExtra Voice Slots In YourCXSMVoicing Programs To Index Your FM Voices.

By Cindy Koenig.

Most of the CX5M's Voicing Programcartridges (such as the YRM304 TX7 / TF 1

18 AFTERTOUCH/Vol. 2 No . 10

This CX5M s reen displayshows how the e:ma wicememory locatioru in the uari-ous FM Voicing programscan be used t create anindex /or )'OI'T synthesi terwice files

Voicing program and the YRM305 DX21Voicing program) have memory slots for 48voices, while the instruments themselves onlyhave internal memory space for 32 voices. (TheDX100 and DX27, which operate with theYRM305 program, only have space for 24 s e r ~programmable voices ) While many find thisextra memory space in the CX5M desirable forstoring extra programs, I have found this extravoice directory space useful for another purpose.

When you connect your FM digital s y n t h e ~sizer to the CX5M (equipped with the proper

Voicing Program cartridge) and turn both unitsON, the internal RAM memory of the s y n t h esizer is loaded into the CX5M. As you look at thevoice directory on the screen, the 32 voice names(24 in the case of the DXlOO andDX27) aredisplayed in memory slots 1 ~ 3 2while the othermemory slots simply say init voice. At thispoint, I type in blank spaces in all of the initvoice' ' locations, and then use the o w ~ b l a nvoice name locations in th e top right of he screento type in indexing information for the basic setof voices (see the accompanying diagram).

In this way, I am able to print out voice i r e c ~toties on my PN101 printer, and the identifying

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index information is already part of the printoutIt is an easy matter to refer to my folder of r i n t ~outs, locate the file names I want on my discs, andcall up the desired voice file quickly. I have found

this to be a very useful way to keep track of mygrowing voice hbrary.

* * * *

Re-Channelizing MIDI Data O n the QX7QX21 Sequencers.

By Ken Como.

During the process of loading tracks into theQX7, I sometimes forget to select the MIDIchannel before beginning to RECORD a s ~

quence; at other times, I simply change my mindregarding my choice of MIDI channel. In eithercase, I have data on the "w rong" MIDI channel.

f you catch errors hke this in the initial stage(the first recording), it is possible to correct theproblem. Basically, the technique is simila r tobouncing tracks on tape; only in this case, you arebounc ing digital MIDI data. Follow these steps(on either the QX7 or QX21 :

1. Take the Track 1 data, which is on the wrongMIDI channel, and EXCHANGE it with the

empty Track 2 Gob B--1 .2. NowthatTrack 1 isempty,plugtheMIDI

OUT of the QX7 into the MIDI IN of theQX7

3. Set the correct MIDI record channel (JobA ~ 6 ,set the QX unit to RECORD (Job

A ~1 , and push the f ART button. The datafrom Track 2 will be recorded onto Track 1,but it will now be recorded on the MIDIchannel you have specified.

4. Finally, EXCHANGE the position of thecorrected data (Job ~ 1 ), p lacing it ontoTrack 2.

Once this exchange is completed, ERASE theold data, which is now back on Track 1 Gob B 4 ,and you are ready to proceed.

"t"I 7E INVITE YOU TO CONTRIBUTE TO AFTER TOUCH. f you'veVV developed a novel use of one of he AFTER TOUCH products, write it up and

send it to us. Don't worry about your writing style-just get the information down.f we decide to use your idea as a full article in AFTER TOUCH, we'll try it

ourselves, write it up in the magazine, put your name on it, and send you a check for$100.00.

f you've got a hot tip on applications or use, send it along. f we use it, you 11receive full editorial credit, plus a check for 25.00.

Do you have a great new DX7 patch, a CX5M program, or a great pattern for theRXll? Send them in-we'l l pay 25.00 for each one used.

By the way, we cannot assume liability for the safe return of unused ideas,patches, or manuscripts. We will only be able to return unused material to you if

1 you enclose a self-addressed, stamped envelope with your material.f you just have a question regarding the use of Yamaha professional products,

send it along too, and we'll do our best to answer it in the pages of AFTER TOUCH.(We regret that we won't be able to answer questions through the mail, but we willuse all of your questions to guide us in our choice of future topics.)

Finally, ifyoujustwant to get something off your chest, or if you'd like toestablish direct contact with other X users, send something in to our letters column,tTouch Response." We'll do our best to print names and addresses of all those whoare interested in starting up regional users groups.

AFTER TOUCH is your publication. Let us hear from you

XsM music computer

Write To:AFTERTOUCH,P.O. Box2338, Northridge, CA91323-2338.

Vol. No. 10/AFTERTOUCH 19

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FTER TOU HP.O. Box 2338Northridge, CA 91323--2338

ment using the FM Music Macro II program.The program was originally printed as part ofthe YRM504 owner's manual. Some slightmodifications have been made to the program,and nearly every line has an accompanyingcomment- so that those readers who have noexperience reading BASIC can understand whatis going on.

The program generates a bass line and acamping part in time with one o f the preset

rhythms. There is data (remember the characterstrings?) for six different chords: C, Dmin EminF, G, and Amin The program asks for thenumber o f bars to play, and then asks for achord for each one of the bars. Once the userhas completed inputting the chords, playbackbegins immediately. Take a few minutes to lookat the sample program-note how the DATAstatements correspond directly with what willbe played.

Continued from page 4

ulk RateU S Postage

P I Dlong Prairie MN

Permit No. 56

o f the musical capabilities o f the FM MusicMacro II program, the graphics capabilities ofthe CXSM are not exploited at all. It is possibleto include extremely colorful graphics t t e ~

ments as part of he program. You could expandon the sample program to include graphics thatwill show on the computer screen while themusic is running

The CXSM music computer, used in c o n ~

junction with the FM Music Macro II Programcartridge (YRM504 ), offers a number of p ~

bilities not available in most music software.For those who are in teres ted in combiningc o l o r ~ g r p h i c swith FM sounds, or for thosewith a keen interest in computers and music, theFM Music Macro II program should prove most