February 1987

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-TM
THE OFFICIAL PUBLICATION OF THE YAMAHA USERS GROUP
FEBRUARY 1987
--
OYAMAHA®
--
Editor
Tom Darter
------ ~~~~---~=~;
Operations
Sibyl Darter
Editorial Board
Bob Frye
Bill Hinely
Mark Koenig
Jim Smerdel
Volume 3, Number 2
Issue #17
February 1987
4
SUPER SYNTH
A new DXlOO voice created by Warren Stephens.
5
THIKTHNG
A new DXlOO voice created by David Barton.
6
DOUG 17SYNT
A new DX7 voice created by Doug Orlando.
7
EUROPA
A new DX7 voice created by Cristopher Gillis.
8
REVHARMONY
A new DX7 voice created by Jim Hughes.
9
FAIRLIGHT
A new DX7 voice created by Steven Cooper.
10 TX81Z
An introduction to Yamaha's new 4,operator FM digital tone
generator. By Scott Plunkett.
AFTERTOUCH is published monthly. Third class
postage paid at Long
Prairie, MN and additional
points of entry.
SUBSCRIPTIONS: Free.
Address subscription correspondence to AFTERTOUCH, P.O. Box 2338,
Northridge, CA 913232338. POSTMASTER:
Send form 3579 to P.O.
Box 2338, Northridge, CA
9132) .. 2338.
2
14 QX5
Part one of a detailed, two,part guide to creating music with the
QXS digital sequence recorder. By Scott Plunkett.
© 1987 Yamaha International Corporation. No part of this publication may be reproduced, stored in a retrieval system, or transmitced in any form or by
electronically, mechanically, photocopying, recording, or otherwise, without the prior written permission of Yamaha International Corporation.
AFTERTOUCH!Vol. 3 No. 2
any means,
From The Editor
F
OR FEBRUARY, WE CONTINUE our
new year's look at new products with an
introduction to the new TX81Z FM digital tone
generator, plus part one of an in-depth look at
the QXS digital sequence recorder. This
month's issue also includes a number of reader
patches-for both the 6-operator DX7 family
and the 4-operator DXlOO family.
Next month, there will be more 4-operator
patches, featuring reader-submitted voices for
the DX9 and some special new voices created
for the TX81Z. Also in March; an introduction
to the new RXS digital rhythm programmer.
Credit-where-credit-is-due department: Both
this month's cover photo of the TX81Z and last
month's cover shot of the DX7 II FD/D were
taken by Jim Hagopian.
Finally, it is time once again to reprint some
information about AfterTouch subscriptions,
AfterTouch back issues, and Yamaha product
literature. Longtime AfterTouch readers may be
very familiar with the procedures regarding all
of these items, but we still get many questions
about these items every month from newer readers. I want to make sure all of you know exactly
how to get the service you want as quickly as
possible, so here goes:
Warranty Cards & AfterTouch: We have
received a number of letters from Yamaha users
complaining that they expected an AfterTouch
subscription because they recently purchased a
product and sent in a warranty card, but still
haven't received an issue. It is true that our initial mailing was developed from a warranty card
list, but no subscriptions were sent to those
names-just a sample mailing of the first three
issues. In order to receive a free subscription,
you need to send us your request on the
attached postcard below. And remember, don't
combine your subscription request with a
request for back issues: Send the two requests
separately.
Back Issues: If a request for back issues is
combined with a subscription request or other
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requests for AfterTouch subscriptions must go
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make back issue requests separately, and include
the indication "ATTN: Back Issues" on the envelope. Please do not send back issue requests on
the attached subscription postcard.
Product Literature: All requests for specific
product literature must go directly to Yamaha
(Yamaha International Corp., P.O. Box 6600,
Buena Park, CA 90622). We at AfterTouch are
happy to receive specific questions concerning
the use of Yamaha professional music products,
and we will answer as many of them as we can in
the Questions column; however, requests for
general product information must be sent to
Yamaha.
We are very happy to offer AfterTouch as a
free informational service. In order to make
sure that we can serve your needs (and continue
to offer these various services free), we must ask
you to help us by sending different requests in
different envelopes. Thanks.
AfTER,
TOUCH is a
monthly
informational
publication from
Yamaha
-TD
Receive AfterTouch Free Every Month!
Y
OU CAN RECEIVE AFTERTOUCH for an entire year, absolutely free, just by
asking. If you are not already on our mailing list and would like to be, fill out the
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TOUCH every
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Vol. 3 No. 21 AFTERTOUCH
3
SUPER
SYNTH.
ANew
DXlOOVoice
By Warren
Stephens.
~~l.:ol~v~!
I~ I~ I
I! 1:1
C2
I~~MiJM!.I ~u. Id::-1
I;.l: I
-
3.00
IDDUNE
+2
ENYE1.0PE llfoTA
rR8 rL15
AR
31
EGa~
0
QH~
-
~-0 IRR 0
LEVB.41
KI!VaCIARD 8CAUNG
RATE
0
QUTIIUT LaVIL VII.OCITY
It·
+
0
1-
- IDDUNE
-3.00
·2
0
.
ID1R
0
-OPEIIfoTA
IM
I~L15 0
0
5
31
KI!VaCIARD 8CAUNG
EGRATE
LEVEL
0
31
2
AR
CUTI'UT LEYIL
QH~
I
va.ocnv
0
88
I
~
~
- IDDUNE
-1.00
·2
--
AR
20
rR12 rL15
0
These DXlOO
voices can also
be loaded into
the DX21,
DX27, and
DX27S 4~oper~
ator FM digital
synthesizers,
and into the
newTX81Z
4~operator
FM
digital tone
generator.
4
AFTERTOUCH/Voi. 3 No. 2
QH~
-
1.00
0
IIIIIIILOI'E llfoTA
~-0
IM0
K-8CAUNG
RATE
LEVEL
0
QUTIIUT LaVIL
83
50
YB.Oenv
0
1-
IDP\111
0
INVB.OPE llfoTA
rL
0
IM
~~R20 15 ~-5
t
15
K-ICAUNG
EGLEVEL
RATE
0
0
1
AR
OPI'll
OUTI'UT LEYIL
to
ALGORITHM 12
va.ocnv
0
1~1
THIKTHNG.
ANewDXIOO
Voice By David
Barton.
LFO & FUNCTIONS
TRI
I
33
I
WAVE
-
I
I
I FULL I
PMS
5
I
0
PITCH
I
0
AMP!.
PITCH
\IIHEB.IWIGE
FAEOUENCV
I DEIIJoiE
14.00
+3
AA
D1A
29
1
EO BIAS
15
RATE
0
1
l
I~E
16
1
14
RATE
1
1
rA
0
46
OUTPUT LEVEL VB.OCITV
99
0
SVNC
I
0
"
PORT
SUSTAIN
FOOTSWITCH
0
0
PITCH BIAS
AMP!.
BREATH RANGE
I
0
EGBIAS
I
I
I
~
I~
FABlUENCV
14.13
29
. 31
15
-
0
1
~
21
WTI'\ITLEVEL VELOCITY
64
0
I
~
FABlUENCV
7.07 I~
ENVELOPE Df<TA
ID1A
29
EGBIAS
0
ON~
I
IRA 3
KEVIIClo\AD SCALNG
RATE
LEVEL
0
OPO
ID1L
-
ID1L
16
14
Notes:
1
ENVELOPE Df<TA
ID1A
AA
6
LEVEL
0
11
I
EGBIAS
KEVIIIYIAD~
EO BIAS
0
3
1
0
ENVB.Df'E Df<TA
D1A
D1L
~
29
01
OFF
I
KEVTRANSPOSE
99
71
7.00
I
AA
OUTPUT LEVEL VELOCITY
FAEOUENCV
7
IWO
LEVEL
0
ON~
ON
1
AA
KEVIIIYIAD~
0
AA
-
I
1
BWB.Df'E Df<TA
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31
27
PMD
TIME
MOllE
PORTAMENTO
P<1ViMONOI P8 RANGE
I sol
I
DELAV
1
5
I
I POLY I
0
I
SPEED
-
0
I
FEEOBACK
LEVEL
7
I
This voice uses detuning
(which is not available as a
function) to create a chorus
effect. Because of the strange
frequency ratios used to create
the effect, transpose must be
set so that middle C equals
Dl.
-
1
IRA 6
KEVIIClo\AD SCALNG
RATE
LEVEL
0
46
OUTPIJT LEVEL VELOCITY
99
0
I
ALGORITHM 115
Vol. 3 No. 2/ AFTERTOUCH
5
~~~~~~~~ ~ ~
~~...:!iiF~~~~
DOUG
17SYNT.
ANewDX 7
Voice By
I
TR1
WAVE
I
35
SPEED
R2
IR1 99
Doug Orlando.
1.2
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POLY I
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0
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R3
99
0
I
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114
99
I
ON
I
SYNC
50
50
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50
KEY TRANSPOSE
~
OSC.SYNC
I
2
RET
ON
0
FlANGE
MODE
GLISSANDO
PORTAMENTO
TME
FlANGE
1'1101
AWI.IlUDE
99
OFF
OFF
EGBIAS
ON
ON
0
STEP
l'llOIBEND
MODYMEEL
FOOT caiTAC1.
99
OFF
OFF
IIAEAlH caiTAC1.
99
OFF
OFF
ON
AFTERTOUCH
72
ON
OFF
OFF
FABlUENCY
1.00
DEl\JNE
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0
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R1 lR2
99 R399 111499 JRS 0
99
11.2
L1
99 1.399 !LA 0 I
99
KEYBOARD SCALING
DEPlH
BREAKPOINT
CUWE
Notes:
I -L
L
This voice has a very percussive analog synth sound when
played hard; when played with
low velocity, the percussive
operators will not be heard.
As with most analog-type
sounds on the DX, this one
will sound best when played
through some sort of chorus
unit.
I
~
99
LA
L3
3
PMS
I L I 0
A-1 I R I 0
R I -L
QUTPUTLEVEL VELOCITY
0
93
4
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88
11.2
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99
99
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85
FRBJUENCY
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J
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I L
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6
!
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o
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1.000Hz
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1114
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99
99
99
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99
99
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OEPlH
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B1 I R I 7
R I -L
CPO
QUTPUT LEVEL VELOCITY
0
99
1
I
ALGORITHM #17
6
AFTERTOUCH/Vol. 3 No. 2
l
l-o
DET\.NE
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IR3
IR2
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0
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!LA 0 I
11.3
11.2
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KEYBOORD SCAUNG
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FREQUENCY
1.00
jLjo
Lj-Lj
A-1
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Rj-Lj
CPO
QUTPUT LEVEL VELOCITY
7
99
6
I
I
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FREQUENCY
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o
1000Hz
ENVELOPE ~T.t.
R199 IR299 IR368 IR499 IRS
L199 11.299 IL3 0 IL4 0 I 0
KEYB<l'RD SC.t.LING
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QUTPUT LEVEL VELOCITY
7
89
5
I
I
J
---- ---- - -=~
7
EUROPA.
ANewDX7
Voice By
I
TR1
WAVE
35
I
I
SPEED
DElAY
R2
99
IR1
0
99
I
50
0
I
PMD
99
IR4
99
I
50
!LA
50
I
3
ON
I
NID
R3
1.3
L2
Ill 50
0
I
I
[EJ
SVNC
PMS
KEY TRANSPOSE
~
PITCH ENVELOPE
FREOOENCY
I DEIIJNE
4.00
ENVELOPE DATA
IR3
IR4
99999933
L1
IL2
11.3
82
82
82 ILA99
IRS
L
I
-L
I
R
I
-L
I
OPo
I
L
I
R
A3
0
<XM"Ra.LER
RANGE
PITCH
AMPLITUDE
MOO WHEEL
0
OFF
OFF
OFF
FOOT CQ<jTRQ.
0
OFF
OFF
OFF
I
KEYBOAAD SCALING
BREAKPOINT
CURVE
OSC.SYNC
1-o
+3
t
Rl
Christopher
Gillis.
EGBIAS
BREATH CQ<jTRQ.
0
OFF
OFF
OFF
AFTERTOUCH
0
OFF
OFF
OFF
DEPTH
J0
57
I
I OOT~LEVB. I va.~TV
3
Notes:
FREOOENCY
I DEIIJNE
2.00
t
FREQUENCY
,-0
-2
ENVELOPE DATA
R1
IR2
IR3
t
IRS
L
I
-L
I
I
-L
I
OPo
I
R1
99
IR2
64
99 e99
DEPTH
L
0
L
I
-L
R I 0
VEL~TV
R
I
-L
I
OPO
IR4
IRS
ILA 0
I
53
I
I
OUTPUT LEVEL
6
99
DEPTH
L
R
I
A-1
0
0
KEYIICW!D SCALING
BREAKPOINT
CURVE
I
I
R3
1.399
99
L1
I
A-1
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2
0
I
KEYBOAAD SCALING
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R
0
ENVELOPE DATA
IR4
99999938
Ll99 IL299 11.399
99
CURVE
The "aftersweep" heard when
the keys are released is caused
by the level 4 settings of Ops
# 1, #2, and #3: level4 of
the modulators (Ops #2 and
# 3) climbs to fuU output
while level 4 of the carrier
(Op # 1) falls to zero.
,,_ 0
DEIIJNE
7.079Hz
0
0
I
I
I
VELOCITY
2
I
I
FREOOENCY
I DEIIJNE
2.00
,-0
+1
FREOOENCY
58
IR2
64
IR3
99
L1
IL2
11.3
809995
L
I
-L
I
R
I
-L
I
OPo
1
I
A-1
IR4
IRS
ILA
I
48
0
I L
I
QUTPIIT LEVEL
99
DETUNE
R
I
Rl
0
DEPTH
IR2
IR3
LI-LI
0
Rj-Lj
VELOCITY
0
IR4
KEYIICW!D SCALING
BREAKPOINT
I 0
I
ENVELOPE DATA
99994443
4
L199 IL299 11.339 IL 0
CURVE
OPO
4
I
A-1
IRS
0
I
DEPTH
jRjo
89
I
R1
IR2
R3
IR4
IRS
L1
IL2
1.369
ILA 0
I
99
99
ILio
OOTPIIT LEVEL
,-0
0
2.00
ENVELOPE DATA
KEYBOAAD SCALING
BREAKPOINT
CURVE
~
FREQUENCY
0
8.00
ENVELOPE DATA
R1
,,_ 0
DET\.NE
VELOCITY
99
99
L I -L
I
CPO
0
42
KEYIIOORD SCALING
BREAKPOINT
CURVE
R
51
5
-L
I
0
DEPTH
I L I 0
A-1 I R I 0
OOTPIIT LEVEL
99
VELOCITY
0
I
ALGORITHM #19
Vol. 3 No. 2/ AITERTOUCH
~---
----------~
-~
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------
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1111 1111
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50
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1113
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654023420
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94
97
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KEYIICWID SCAl.IIG
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0
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TX81Z
An lntroduc..
tion To
Yamaha's New
FM Digital
ToneGener..
ator. By Scott
Plunkett.
T
HE YAMAHA TX81Z IS AN 8-note, 4operator FM tone generator that fits in a
single rack space. It has 128 internal ROM
voices and 32 user-programmable RAM voices.
You can also load voices from a DX21, DX2 7, or
DX100 to expand your sound library quickly.
Like the Yamaha FB-01 tone generator, the
TX81Z is capable of producing eight different
voices simultaneously. You can store any combination of the ROM and RAM voices in one of
the 24 Performance Memories for instant recall.
All of the voice parameters are programmable
from the front panel, with a choice of eight different wave shapes for each operator.
Performance Mode and Performance Edit
In Performance mode you can select any of
the 24 Performance Memories. The Performance Memories contain the information that
determines which voices will play, how they are
tuned, what their volume is going to be, and
other related parameters. All of these parameters are fully editable in the Performance Edit
mode.
In Performance Edit you first determine how
many notes will be assigned to each voice, then
you choose the voices that will play. This is
called an instrument. Any combination is possible, from a simple dual instrument arrangement
(with four notes per voice) to eight separate
instruments (with one note per voice).
Each instrument can be set to receive on a
separate MIDI channel. This is very useful if
you are using the TX81Z with a sequencer or a
controller that will send multiple MIDI channels. There are also two assign modes that
determine how the instruments will respond to
incoming MIDI data. In Normal mode, each
instrument plays on its assigned channel with
its assigned polyphony. In Alternate mode, incoming notes that match the basic MIDI reception channel cycle through the assigned instruments. For instance, if you have eight
instruments assigned to a performance, each
time you play a note it will play a different
instrument. If you put eight slight variations of
the same voice in a performance, you can create
a nice ensemble effect with the Alternate
mode.
If you don't have a keyboard that can simultaneously output multiple MIDI channels,
you can create keyboard splits by assigning different high/low key limits for each instrument.
The relative volume and output assignment of
each instrument is programmable too. An
instrument can be assigned to either one of the
TX81Z's stereo outputs or to both outputs.
Each instrument can be individually tuned. If
you need to transpose an instrument in a Performance Memory, you can use the note shift feature to move it in semitones over a four octave
range. For smaller detunings, there is a Detune
feature for each instrument. This is particularly
good for creating chorus effects when used as a
"dual detune."
The TX81Z has two independent LFOs and a
vibrato mode for complex modulation effects.
The two LFOs are for instruments that need
amplitude modulation or both amplitude and
pitch modulation. If you need to have only
pitch modulation, you can select the vibrato
setting for an instrument. In the vibrato mode
each instrument adopts the LFO setting from
the assigned voice. This means that you can
have up to eight independent LFOs in a performance. One of the 11 micro tune scales can be
selected for a performance group. These allow
you to use .tunings other than standard equal
tempered tuning. Instruments in a Performance
Memory can either be assigned to the equal
tempered scale or to the selected micro tune
scale. You may also add one of the TX81Z's
three effects-delay, pan, or single note chord.
All of the performance parameters can be
stored to one of the 24 Performance Memories.
Like voices, performances can be named. The
name is displayed at the top of the LCD window
for quick identification whenever a performance
is selected.
In addition to the Performance Edit mode,
there is a Performance Utility mode. The performance utilities help you create and edit your
performances, but are not saved with them.
This is where you initialize a performance.
There are several preset initialization types to
choose from (single, dual, split, poly 4, mono
8), so that you can find the one that most
closely suits your needs. There is also a voice
edit feature, so that you may edit a voice in a
performance without going to the Single Edit
mode (where voice editing normally takes
place).
Play Single and Single Edit
The Play Single mode is where you select
individual RAM and ROM voices for playing
10 ,AFI'ERTOUCH!Vol. 3 No.2
---
---------------- ---------------- ---------------- ---------------- ---------------- ----------
and editing. Every voice plays with full 8-note
polyphony, without any of the effects or added
features in Performance mode. When you find a
voice you want to edit you enter the Single Edit
mode to change it.
The TX81 Z uses FM synthesis to produce
sound, so the programmable parameters in Single Edit are similar to the other DX/TX FM synthesizers. A multiple page approach is used in
Single Edit. For instance, if you want to edit the
speed of the LFO, you must first go to the "Edit
LFO?" display. When you press the YES button,
you will enter the LFO editing page and the
associated parameters will appear for you to
edit. All of the parameters in the Single Edit
mode are stored with each voice.
The first parameter you can edit when you
enter Single Edit is the algorithm. There are
eight algorithms, and a graphic representation
of each is given in the LCD as you scroll
W1
Sine wave. Only fundamental.
W2
Odd partials somewhat like a square wave
I
1
2
3
4
5
6
7
8
9
10
11
12
100
0
0
0
0
0
0
0
0
0
0
0
W3
Even partials.
II
2
3
4
•
5
100
39
0
8
0
2
100 109
1
2
100
0
2
3
4
5
6
7
8
9
10
11
12
100
0
19
9
3
0
1
0
0
0
0
0
I
•
7
8
9
10
11
12
II
1
2
3
4
5
6
7
8
9
10
11
12
4
0
2
0
1
0
1
100
55
18
0
3
0
1
0
0
0
0
0
I
•
3
4
5
6
7
8
56
0
15
0
6
0
.
.
9
10
11
12
4
0
2
0
W7
Partials 3, 4, 5,. 7, 8, 9, ... (no 2, 6, 10, .... )
I
1
6
.
W5
Partials 2, 3, 5, 7, 9 .... (stronger partials than W4)
Second partial is stronger than fundamental.
1
I
W4
Partials 2, 3, 5, 7, .......
1
I II
This chart shows the harmonic
content for each of the
TX81 Z' s eight available
waveforms. The amplitude
(volume) of each harmonic
partial is given as a percentage
of the fundamental.
II
W6
Partials 2, 3,. 5, 6, 7,. 9, 10, 11, ... (no 4, 8, .... )
Second partial is stronger than fundamental.
I II
3
4
100 116
66
0
1
2
I
5
6
34
25
.
7
8
9
10
11
12
6
0
3
4
1
0
W8
Partials 3, 4, 5, 7, 8, 11, .... (no 2, 6, 8, 10 .... )
3
4
5
6
•7
8
•
.
9
10
11
12
56
50
15
0
6
9
4
0
2
4
I
I
•
I
1
2
III
3
4
5
6
7
8
9
10
11
12
100
0
66
74
34
0
6
0
3
0
1
0
•
Vol. 3 No. 2/ AFTERTOUCH
11
TX81Z
through them. There is also a pullout menu
underneath the TX81Z that shows the algorithms and lists all of the available editing
parameters.
In the LFO page you can program the wave
and speed of the LFO, determine the delay
before the LFO enters, and turn LFO sync ON
or OFF. The initial amount of pitch and amplitude modulation can be set here as well. The
Sensitivity page follows, allowing you to determine the pitch modulation, amplitude modulation, EG bias, and key velocity sensitivity for
the voice.
The Edit Frequency page is where you change
the coarse and fine frequency settings of all the
operators. For the first time in a 4-operator
instrument, fixed frequencies are available.
Also for the first time, eight different
waveshapes are available for each operator. In
addition to sine waves, there are seven
waveshapes that have more complex harmonic
structures. This not only means that you can
create sophisticated timbres using fewer oper·
ators, it also offers a relatively unexplored area
for creating unique sounds.
The EG page includes the same five-stage envelope that the DXlOO uses. Four rates and one
level are programmable for each operator. There
is also an EG Shift parameter that has been
added to the TX81Z. This feature "compresses"
the EG range. Normally, the EG changes the
operator output level from - 96dB (no sound)
to OdB (maximum). You can use EG Shift to
change the range from - 48dB to OdB, - 24dB
to OdB, or - 12dB to OdB. If you apply this to a
modulator, you can create a more defined attack
and quickly make large timbre changes. Other
voice parameters include feedback, operator
detune, operator output level, and operator
scaling. Both rate and level scaling are available
for each operator.
You can determine how each voice will
respond to MIDI Controller information in the
This diagram shows how the
TXBIZ's EG Shift parameter
changes the 011eraU range of
the envelope generator.
EG Shift
Function page. Pitch and amplitude modulation may be controlled by a foot controller,
modulation wheel, or breath controller. A foot
controller can also be assigned to change volume, and the breath controller can control EG
bias (for changing volume and timbre) and
pitch bias (for directly controlling pitch). All
control parameters can be set over a wide range
(0-99), so different amounts of each effect can
be controlled from a single controller. In the
Single Utility mode, there is a feature that
allows all of the breath control assignments to
respond to aftertouch messages, in case you
don't want to use a breath controller.
The Function page is where you also select
edit mode assignments (poly, mono), pitch
bend range, portamento time, portamento type
(full time, fingered), and voice names. The
voice transposition feature lets you transpose
the voice over a four-octave range, and there is
a reverb feature that automatically affects all of
the operator EG release rates to create a reverb
effect. This effect is adjustable in seven steps to
simulate different reverb times.
Single Utility
Parameters that aren't programmable as part
of a voice-master tune, memory protect on/ off,
voice initialize, and edit recall functions-are
accessed in the Single Utility section of the
TX81Z. This is where you will also find the
MIDI control parameters, cassette parameters,
the three effect setups, and two userprogrammable micro tune tables.
Parameters on the MIDI Control page determine how the voices in the TX81Z will respond
to incoming MIDI messages. The basic MIDI
transmit and receive channels can be set. You
may filter out control change, pitch bend, and
system exclusive information if needed. There
is also a feature that lets you choose a global
MIDI channel for pitch bend and control
24c:IB
OFF (normal)
48dB
---~--
OdB
(max)
-24dB
-4BdB
1
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
1
1
I
-96<:18
(min)
12
AFTERTOUCH!Vol. 3 No. 2
Key On
Key Off
Key On
Key Off
Key On
Key Off
change commands. This means that you can
have all of the instruments in a performance on
different MIDI channels, and add modulation
or pitch bend effects to all of them simultaneously by sending messages over the global
channel you have selected.
You can initiate MIDI system exclusive bulk
data dumps from the MIDI Control page. This
is useful if you want to send data to another
TX81Z or a storage device, like the Yamaha
MDFI or a computer. Voice data, Performance
data, and Setup data can be sent separately.
There is a menu for the Setup data that allows
you to individually send system information
(your MIDI setups), the current settings of your
program change table, the settings for the three
effects, or the data for the two userprogrammable micro tuning tables.
The MIDI page includes the Program
Change Table. The table determines how the
TXBIZ will react to program change commands
that appear at its MIDI input. You may assign
any of the internal RAM or ROM voices or any
of the 24 performances to be selected by a single
program change command. You can initialize
and edit the Program Change Table. There is
also a Program Change select mode that gives
you the option of filtering out incoming MIDI
program change messages, changing all instruments in a performance from a common program change (on the basic MIDI receive chanContinued on page 19
This chart shows the paramecers awilable in the TXBIZ's
Single Edit mode.
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Vol. 3 No. 21 AFT'ERTOUCH
13
QXS
A Detailed
Guide To
Creating Music
With TheQX5
Digital
Sequence
Recorder, Part
1. By Scott
Plunkett.
T
HE YAMAHA QX5 Digital Sequence
Recorder is a sophisticated MIDI sequencer that offers a wide variety of composing
and arranging options. In this and the next issue
of AfterTouch, we will take a closer look at
some of these options, and see how they can
help you simplify and arrange your work. For a
brief description of the QX5's features, see the
introductory article on the QX5 in the December 1986 issue of AfterTouch.
Using Macros and Guide Tracks
The 32 macros are powerful tools for almost
any musical job. A macro can be something as
simple as a single program change or something
as complex as an entire track of 16 channels
worth of MIDI data. Since the macros can be
tailored to meet the particular needs of the
music you are working on, they can be particularly useful when you are recording and developing a song.
When you want a macro to play, you insert a
macro "call" into a track. This indicates the
place in the song where the macro will begin
playing. You can call a macro from any track or
macro, but you may find it easier to specify a
guide track to take care of the job. This will
make it easier to edit as the composition
becomes more complex.
Before you begin writing, save the data in the
QX5 to cassette tape and clear the machine
with the Clear command in Track Edit. Prepare
a guide track by using the Create mode in Measure Edit. The Create command allows you to
insert empty measures of any time signature
into a track. For instance, if the piece is in 4/4
time throughout its entire length, you can tell
the QX5 to create about 100 measures in 4/4
and use that as your guide track. If you have a
more complex composition, you can change
time signature whenever you need to, even from
measure to measure. When you are finished, go
Front panel of the QX5.
YAMAHA
DELETE
~X~
TEMPO
rrn
rrn
1!!1
DIGITAL SEQUENCE RECORDER
14
AFTERTOUCH!Vol. 3 No. 2
TIE
REST
MEASURE
TRACK
CLOCK
c:::l
,,,,,,,,,,,,
I!Il
STEP BACK
to Track Edit mode and use the Exchange command to swap Track 1 with Track 3. You now
have the guide track on Track 3, and have Track
1 empty and ready for recording.
Now you can use the macros to build your
drum track quickly. First, record the drum part
for the intro of the song on Track 1. Put the
drum part on Macro 1 using the Exchange command. You can now record the drum track for
the verse of the song and put it on Macro 2
(using the Exchange command again). Record
as many drum parts as you like and put them on
separate macros.
When all the drum tracks are recorded and
on separate macros, Exchange Track 1 with
Track 3. The guide track is now on Track 1 and
ready to edit. Enter Event Edit and put the
appropriate macro calls at the starting points of
all the sections (verse, chorus, etc.) of the song.
If a verse repeats, you don't have to worry about
creating new parts; you simply call the verse
macro again at the location where it repeats.
When you are finished, press Start to hear the
fully composed drum part. If you decide that
you want to try a completely different song
structure, you can enter Event Edit at any time
and change the macro calls. This ability to test
alternate arrangements is one of the most powerful features of the macro system.
At this point, you could continue using
macros to build up the bass and keyboard parts
in a similar fashion. The only limitation is that
no more than four macros can be playing at
once. But, since you can combine as many parts
into a single macro as you like, this never
becomes a serious problem. For instance, you
could combine all of the verse drum, bass, and
keyboard parts together and have a single verse
macro.
In addition to the convenience and flexibility
it offers, the macro system is also an invaluable
memory saver. In many sequencers, you have to
duplicate a verse every time it needs to be
DISPlAY
AUTO LOCATE
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STOP/
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ENTER
QX5 digital sequence
recorder.
played. If the verse uses 2,000 notes and is repeated four times in the song, it takes up 8,000
notes of the sequencer's memory. By taking
advantage of macros, you use only one quarter
of the memory you would normally use on the
verse sections.
Building Tracks from Macros
Once you have decided on the song structure, you will sometimes find it useful to construct a continuous track from your macros.
Using your existing drum macros, you can construct a continuous drum track on Track 8.
First, Exchange Track 1 with Track 3 to put the
guide track back where it belongs and to keep
Track 1 open for editing. Next, use the Copy
command in Track Edit to copy the intro drums
from Macro 1 to Track 8. Unlike the Exchange
command, the Copy command puts a copy of
the drum data in Track 8 and leaves the data in
Macro 1 as well. This offers you some degree of
protection in case you change your mind while
editing and want to return to the recorded
version.
Copy the verse drum track from Macro 2 to
Track 1. By using the Insert command in Track
Edit, you can now paste the verse drum part into
Track 8. The Insert command allows you to put
the contents of Track 1 into another track at
any specified measure. For example, if your
intro drum part is 16 measures long, you can
paste the verse drums into Track 8, measure 17.
Track 8 will now play the intro and verse drum
part. If the first verse repeats, you can paste the
verse again at the measure where the repeat
begins. You can continue building the drum
track by following the same two steps: 1) Copy
the needed macro to Track 1; and 2) Insert
Track 1 into Track 8 at the appropriate measure.
You will find that the destination measures are
identical to the macro call locations in the
guide track, so if you ever get lost, you can
check Track 3 for the proper macro numbers
and locations.
After you have finished creating your drum
track, you may decide to enhance the sampled
drums with other synthesized drums or even
another drum machine. Sometimes this can be
a problem if the note assignment for a snare
drum, for example, is C2 on one drum machine
and A3 on the other. Fortunately, the QXS has
a Shift feature that gives you the ability to
defeat this problem. First, Copy Track 8 to
Track 1-this will erase the contents of Track 1,
so be sure there is nothing that you want to
keep. Next, enter Track Edit and choose the
Shift feature.-Select Shift Note, and shift C2 to
A3. This will change every C2 in Track 1 to
A3. You can change note assignments for the
kick, toms, and all the others drums by using
the same technique.
Since it is possible that the new note assignments will play unwanted parts on the first drum
machine, you should put the drum machines on
different MIDI channels. You can use the Shift
command in Track Edit again to change the
MIDI channel assignment. Select Shift Channel and choose the new channel. Set the second drum machine to the new channel and play
the sequence to make sure everything is the way
you want it. If you are satisifed, use the Track
Down command in Track Edit to move the data
from Track 1 to Track 8. This mixes in the
Vol. 3 No. 2/AFTERTOUCH
15
QXS
Continued
material from Track 1 without disturbing the
existing data on Track 8. You now have your
completed drum part on Track 8.
Even after you have completed the drum
track, you can still edit any of the drums at any
time. As you continue to work on the song, you
may decide that the hi-hat part needs to be
changed. First, Copy Track 8 to Track 1 for
editing. Now, you need to isolate the hi-hat
part so that you can work o~ it without affecting
the other drums on the track. The Extract command in Track Edit allows you to isolate or delete almost any kind of MIDI data. In this case
you will want to use Extract Note, select the
note number that corresponds to the hi-hat and
move it to an empty track. For instance, if the
hi-hat note number is B2, you could have the
QX5 Extract all B2 notes in Track 1 and move
them to Track 2. Then, use Exchange in Track
Edit to exchange Track 1 and Track 2. You now
have the hi-hat part on Track 1 and are ready to
edit.
When you are finished, use Track Down and
mix Track 1 to Track 2. Turn off Track 1 and
Track 8, and listen to the song with Track 2
playing the drums. If you like the new drum
track, Copy it to Track 8 to replace the old one.
You will find that the Extract.command is one
of the QX5's most useful features. You can combine parts when it is convenient and never have
to worry about being able to separate them
when editing is necessary.
Track Recording
Once you have a completed drum track to
play with, you can record the bass part. You can
either use the macro method of construction, as
you did with the drums, or the track method.
With the track method, you r~cord the whole
part on Track 1, using Realtime Record, Punch
in Record, and Copy to go from song section to
song section. This is different from the macro
method because you construct the part from the
beginning of the song to the end, in a linear
fashion. Reorganizing the song structure is not
as simple with the track method as the macro
method, but it's easier to monitor your progress
with the track method. A combination of both
techniques is also possible. Since you've already
used the macro approach, try recording the
entire bass part on Track 1 using the track
record method.
Before you begin recording, it's a good idea to
16
AFTERTOUCH/Vol. 3 No.2
clear Track 1 using the Clear command in Track
Edit. Since you don't need the guide track
(Track 3) at this time, turn it off. Also, be sure
that Track 8 is turned on. Set the QXS to
Realtime Record, and press Start to begin
recording. You will get a two bar count and
recording will begin. Record the intro and verse
bass parts and stop the machine.
When you are ready to record the chorus bass
part, you can either continue in Realtime
Record or use Punch in Record. To use
Realtime Record, you set the measure number
to the first measure of the chorus and press
Record and Continue. You will get the same
two bar count as you did at the beginning but
you will begin recording at the beginning of the
chorus.
If you decide to use Punch In Record, you
must first set the punch-in and punch-out
points. You can set the punch-in point to be the
beginning of any measure in the song. The
punch-out point will occur at the end of the
specified punch out measure. In this case, you
will want the QX5 to punch in at the beginning
of the chorus and punch out at the end of the
chorus. Make sure the QX5 is in the Punch In
Record mode (hold down Shift and press
Record until you see Punch In in the display),
and press Record and Continue to start
playback at a spot before the punch-in measure.
The QXS will begin playing and the Record
LED will light, but actual recording won't start
until you reach the punch-in measure. At the
end of the selected record section, the QXS will
punch out-preserving any data that comes after
the punch out point. Pressing Stop returns you
to the measure where playback began-before
the punch point-so that you can keep recording the part over until you are satisfied.
The advantage of Punch In Record is that it
makes it possible to play along and get comfortable with the feel of the song before recording
takes place. It also keeps your hands free for
playing, so that you don't have to worry about
being the engineer and the performer at the
same time.
If you are recording a song with a typical song
structure, it is likely the second verse will follow
the chorus. Rather than punch in and record as
you have been doing, you can copy the first
verse to the second verse with the Copy command in Measure Edit. The Copy command lets
you specify a measure or range of measures to be
copied to the end of Track 1. Select the first
verse measure to be copied, and they will be
pasted immediately after the chorus. Once you
have recorded the basic sections of the songverse, chorus, bridge-you can construct practically the entire part with the Copy command.
When you have finished recording the bass
part, move it to Track 7 using the Exchange
command. The bass and drums are now on
Tracks 7 and 8. Record the rest of the partskeyboard, percussion, and so on-and put them
on Tracks 5 and 6. You can use either the macro
or linear method of recording. Here is a condensed description of each method:
System Exclusive
The next step is to insert MIDI System
Exclusive data into the song. Most MIDI messages are common to all of the different makes
and models of synthesizers. For instance, all
MIDI synthesizers recognize a Note On message
and will respond by playing the specified note at
the specified velocity. Unlike other MIDI data,
System Exclusive messages pertain only to a
particular make or model of synthesizer. They
will be ignored by any other synthesizer in the
system. These messages usually pertain to voice
parameter changes, but can include almost anything the manufacturer desires.
The ability to include voice information as
part of the composition is one of the most common uses for System Exclusive data in a
sequence. There are two basic ways to accomplish this: 1) voice bulk data dumps; and 2)
individual voice messages.
Most MIDI instruments allow you to send
and receive voice information via MIDI using
System Exclusive bulk data dumps. Since the
QX5 will record this information, you can add
blank measures to the beginning of the composition (using the Create command in Measure Edit), and store the bulk voice data for your
synthesizers. When you play the sequence back,
the correct voices will automatkally be loaded
before the sequence l?egins. The advantage of
this method is that you don't have to worry
about the voice data slowing down the QX5
while the sequence is playing. The disadvantage
is that a voice bulk is usually quite large and can
Macro method:
1) Construct a guide track using the Create
function.
2) Record a section of the song in Realtime
Record.
3) Move the recorded section to an empty
macro.
4) Repeat steps 1 and 2 to record all of the
sections of the song and place them on
separate macros.
5) Use the guide track to determine the song
structure.
Track method:
1) Record a section of the song in Realtime
Record.
2) Use Realtime or Punch In Record to
record all the major sections of the song.
3) Use Copy to build the song structure.
FREE MEMORY
MEASURE
,..--,
2501
STEP
I
1/04 080" 084
.
L--.J
STEP TIME
JOB TABLE
EVENT EDIT
STEP RECORD
L--.J
GATE TIME
CLOCK
I
fir-. with
SHIFT
NOTE (1)
1...--1
•
DATA
EVENT
VELOCITY
TEMPO
•
I
EVENT EDIT
SEARCH
CHANGE
~DISPLAY
M•0001-01-00/96
1/04 080" 064
NOTE
AFTER TOUCH
PITCH lEND
CONTROL
MODE
PROGRAM
EXCLUSIVE
MACRO
TEMPO
MEASURE
SEARCH - F 1 - CHANGE
1/02
112
,,.
1/03
128
1/24
,.
1/32
12
F4
.
8
SHIFT + RECORD
DELETE
SHIFT+ STOP
INSERT
SHIFT + START
REPLACE
STEP TIME
1/04
CLOCK
.
STEP TIME
84
1/48
1/08
4S
1/12
32
,
1/08
1/84
CLOCK
24
•
4
For your reference, this Job
Table is supplied on the rop
~~ of the Q'X5. lr shows
how 10 access the various Job
groups, and gi~~es a quick
guide 10 ElleTit Edit mode and
Seep Record mode.
F3
lACK
F2
CURSOR
F4
FWD
F3
-1
+1
PreuTwice •
SETUP
BEAT/MEASURE
CLICK
REPEAT
MEM.PROTECT
FOOT SWITCH
LOCATE DELAY
I MEASURE I
•
I
TRACK
•
MEAS EDIT
TRACK EDIT
COPV
DELETE
REMOVE
SHIFT
QUANTIZE
TRANSPOSE
VELOCITY
GATE TIME
CRESCENDO
CREATE
EXCHANGE
COI'V
TR.OOWN
CLEAR
CUT
INSERT
EXTRACT
CLOCKMOY
THIN OUT
SHIFT
MONITOR
I
MIDI I
INPUT-MONITOR INPUT ASSIGN
OUTPUT MONITR OUTPUT ASSIGN
VELOCITV
AFTER TOUCH
PITCH BEND
CONTROL CHNG
~
•
LOAD/SAVE
TAPE SAVE
TAPE LOAD
TAPEVEIIIFV
MIDI TRANSMIT
MIDI RECEIVE
SETUP STORE
SETUP RECALL
MIDI2
REMOTE IN
REMOTE OUT
ECHO
DEVICENUMNR
SVS.EXCLUSIYE
Vol. 3 No. 21 AFTERTOUCH
17
QXS
Continued
eat up a lot of memory.
An alternative to this method is to send data
for individual voices as part of the sequence.
Some synthesizers will send voice data from the
MIDI output when you make a program
change. That is, if you are recording a part and
press a program number, the QXS will record
· the actual voice data instead of the Program
Change number. The synthesizer will receive
this information when the sequence is playing
back, but it will sometimes take a moment
before it is ready to play. Also, the amount of
data needed for even a single voice can slow
down data transmission, which can make the
tempo drag. It is best to send individual voice
data during rests or relatively sparse musical passages. The main advantage (a big one) in sending individual voices is that it takes up much
less memory than bulk voice data dumps.
Using System Exclusive data, you can also do
real time parameter changes as part of a
sequence. You could assign a TX7 parameterfor example, operator 6 Frequency Coarse-to
one of the sliders on a KX76 or KX88. As you
start recording, move the slider and the timbre
of the TX7 sound will change. After you have
recorded the data you can perform many of the
standard edit operations, like quantize and
clock move. For those of you who are particularly adventurous, you can edit any byte in a
System Exclusive message in Event Edit.
If you have never worked much with MIDI
System Exclusive data on a sequencer, it is
something you will want to explore. Recording
and editing System Exclusive voice data can add
a unique sound to your compositions. Since
these sorts of parameter changes are often hard
to access and control in real time performances,
they are sometimes ignored. With the aid of the
Jobs in the Track Edit mode of
the QX5.
+-I
SHIFT
IIIJ
1+1"-~--'
JOB
18
AFTERTOUCH/Vol. 3 No.2
QXS, you can alter virtually any aspect of a synthesizer voice while the sequence is playing.
After you are done recording all of the System Exclusive parts, move them to Track 4.
This will be your System Exclusive track. Tracks
1 and 2 are now the only two tracks that are still
open. It is a good idea to leave Track 1 blank in
case you decide to do more recording or editing
at a later date. Leave Track 2 open to function
as a safety track while you are editing information on Track 1. For example, let's say you
decide to record a new part and then quantize
it. First, record the new part on Track 1 and
Copy it to Track 2. Next, go to the Quantize
command in Measure Edit and quantize the new
part. If you find that you aren't happy with the
way the part feels after it has been quantized,
you can Copy Track 2 to Track 1 and get the
original part back. You can also use an empty
macro if you need to make a copy of Track 1 and
you have no other tracks available.
At this point you have a completed
sequence. Some parts are on tracks and some on
macros. Your track layout should look like this:
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
blank
blank
guide (macro calls, meter changes)
system exclusive
percussion
keyboards
bass
drums
Next month, we will discuss alternate ways to
configure tracks on the QXS, and will take a
close look at one of the unit's most powerful features: Event Edit. See you then!
.____,1-+
JOB
2> COPY
3>TR,DOWN
4> CLEAR
9 >THIN OUT
8 >CLOCK MOV
7> EXTRACT
TX81Z
Continued from page 13
nel), or letting each instrument in a performance receive program change commands
individually on their own MIDI channel.
Finally, there is a Key Number mode that
determines how the TX81Z reacts to incoming
MIDI Note On commands. The TX81Z can
receive all incoming notes, just odd note numbers, or just even note numbers. If you play two
TX81Zs simultaneously, and set one of them to
receive only even note numbers and the other
to receive only odd note numbers, you can have
what amounts to a single 16-note TX81Z capable of playing up to 16 individual instruments.
The Cassette Control page gives you the ability to save your work to a standard audio cassette. You can save, verify or load 32 voices, 24
performances, or entire setups (with all of the
setup options available in the MIDI Control
page). You can also load just one voice or performance if necessary.
The TX81Z includes three effects-delay,
pan, chord-that can be edited in Single Utility.
The delay time, feedback amount, effect level,
and pitch shift amount are all programmable for
the delay. Although this effect sounds like a
digital delay, it actually creates the delay effect
by retriggering the voice at a lower velocity.
This creates an extremely clean-sounding delay.
The pitch shift feature can be set in semitone
increments so that the voice will be transposed
every time it is echoed.
The panning effect moves the voice between
output I and output II. Panning can be controlled by the LFO, Note On velocity, or note
number (the voice pans as you move from one
Continued on page 20
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other members of the Yamaha FM digital synthesizer family? How about a program
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Write To:
AFTER,
TOUCH,
P. 0. Box 2338,
Northridge, CA
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Vol. 3 No. 2/ AFTERTOUCH
19
AfTERTOUCH
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TX81Z
PAID
Long Prairie, MN
Permit No. 33
Continued from page 19
end of the keyboard to the other}. To further
enhance the effect, pan direction and pan
depth are programmable. Chord, the third
effect, lets you set up a chord (up to four notes)
and assign it to any MIDI note. 12 different
chords can be defined and assigned to different
MIDI notes.
Finally, the two user-programmable micro
tune scales can be initialized and edited in the
Single Utility section. On many electronic
instruments only standard equal tempered tuning is available. Most acoustic instruments
don't have this limitation. For instance, when
string players perform as a section, they often
deviate from strict equal tempered tuning. You
can use the micro tuning scales to imitate these
20
-.
AFTERTOUCH/Vol. 3 No. 2
- - - - - - - - - -
types of tunings or to experiment with new
tunings. There are 11 preset micro tune scales
that can be used with a performance or as a
starting point for building the two user micro
tune scales. Any new scales you create can be
stored and used with a performance as well.
The TX81Z list price is $495.00. Its multitimbral capabilities make it an ideal addition for
writing and sequencing. Front panel user
programmability guarantees that you will always
be able to create new voices and the eight
waveforms, three effects and micro tune tables
add a unique flavor to the sound of FM
synthesis.