---- ---- - - - --- - -- ~ TM THE OFFICIAL PUBLICATION OF THE YAMAHA USERS GROUP DECEMBER 1985 --- OYAMAHA®
-- --- Editor Tom Darter Operations Sibyl Darter Editorial Board John Gatts Bill Hinely Mark Koenig Paul Meisenzahl Phil Moon Jim Smerdel Production Leslie Bartz Ray Betts Pat Gates Paul Haggard Chris Ledgerwood Cheryl Matthews - -- Volume 1, Number 3 December 1985 4 -- John Chowning Part II of an exclusive interview with the father of digital FM synthesis. By Tom Darter. 5 VICSRHODES A DX7 voice created by Manny Fernandez.
Fron1 The Editor M ANY NEW THINGS for this third issue of AFrERTOUCH! First of all, we have our first contributions from readers. From Manny Fernandez, we have a Rhodes,like voice he programmed for keyboardist/ percussionist Victor Feldman. You will find Manny's voice, called VICSRHODES, on page 5.
John Chowning Part 2 Of An Exclusive Interview With The Father Of Digital FM Synthesis. By Tom Darter. A S DIRECTOR OF the Center for Compu_n ter Research and Musical Acoustics at Stanford University [CCRMA], John Chowning has long been an articulate and enthusiastic spokesman for music produced by electronic means. While still a graduate student in composition at Stanford in 1964, he became interested in electronic music.
---- - - 7 ~ ---- ---- VIes.. 14 0 0 53 OFF 0 SPEED DELAY PMD AIID SYNC PMS TR1 WAVE RHODES. A DX7Voice By Manny Fernandez. LFO R1 L1 L2 99 99 99 L3 50 50 I C2 [ON] R4 R3 R2 99 KEY TRANSPOSE L4 50 50 OSCSYNC PITCH ENVELOPE FUNCTIONS POLY 2 POI..YIMONO 0 RANGE SYEP PITCH BEND FREQUENCY OFF 0 MODE GLISSANDO TIME R1 PORTAMENTO L1 CONTROLLER RANG£ NA NA NA NA MOO WHEEL FOOT CONTROL BREATH CONTROL AFTERTOUCH FREQUENCY DETUNE 229.
Blank Voic.. ing Charts In TheAFfER.. TOUCH Format.
L2 L1 • u AMS I RS IOUTPUT LEVEr:ITY L3 R3 DET\INE I= I PMD LFO I= I L2 L1 OPO L1 A1 L2 A2 FREQUENCY OPO A2 A1 A I L4 I L4 AS PTH OSCSYNC lAMS AS PTH VELOCITY I DATA A4 I IOUTPUT LEVEL IVELOCITY y L3 ENV A3 DETUNE OUTPUT LEVEL I y L3 PMS I I L2 A2 OPO L1 A1 L2 R2 FREQUENCY OPO L1 A1 FREQUENCY I I KEY TRANSPOSE I I lAMS SYNC OETUNE I I ENV L PE DATA A3 A4 AMD FREQUENCY PITCH ENVELOPE DELAY 1: I L3 L4 L3 A3 L4 -.J .
Conversion Factors And Hints For Programming DX7 Voices Into The CX5M.By Ken Leivers. T HERE ARE NOW A number of different FM digital operator/algorithm configura~ tions available, from the 6~operator system of the DX7 and related instruments to the various 4~operator systems such as those found in the DX9, the DX21, and the CX5M's internal FM digital tone generator unit.
Rate 3 = AMS DX7 CXSM 1 1 2 2 3 3 On the DX7, if Level 1 = Level 2 and Level 3 does not equal zero, then: DX7 PMS DX7 1 CXSM 3 2&3 4 5&6 4 5 6 7 7 DX7 CXSM Saw up (or Saw down) Square Sine or Triangle Sample & Hold = 0 = 1 = 2 = 3 F (frequency of operator)-Values for frequency are the same for both the DX7 and the CXSM.
;-~~M EG conversion tables-For use with EO formulas given earlier: CX5M 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1st-Decay& 2nd-Decay Rate DX7 CX5M 1 10 2 13 16 3 19 4 21 5 6 24 27 7 8 30 33 9 36 10 11 39 12 42 13 45 48 14 51 15 16 54 57 17 60 18 19 63 66 20 21 69 22 72 23 75 24 78 25 81 26 84 87 27 28 90 29 93 % 30 31 99 Sustain Level DX7 CX5M 35 1 39 2 3 44 48 4 53 5 6 57 62 7 66 8 9 71 10 75 80 11 84 12 89 13 Release Rate DX7 CX5M 21 1 2 27 32 3 38 4 5 43 49
T HE CX5M MUSIC COMPUTER System now has a number of new components, designed to answer the needs of users who have asked for more flexibility and more capability. One of the most important new items is the SFG05 FM digital tone generator unit. This new tone generator plugs into the computer's slide slot, replacing the original tone generator, the SFGO 1. The SFG05 is fully MIDI compatible, meaning that (unlike the SFGO 1) it can be controlled from an external source via MIDI.
VC02 YRM302 $10.00 Video cable for connecting the CX5M to a CRT monitor. CAOl $25.00 Single cartridge adapter, to allow connec~ tion of a second cartridge via the CXSM's back port. UDCOl $75.00 Blank data memory cartridge. $55.00 RX Editor program. YRM305 $55.00 DX21 Voicing program. YRM501 $55.00 FM Music Composer II program. YRM502 $55.00 FM Voicing II program. YRM504 $55.00 FM Music Macro II program. TWEOl Programs & Cartridges GAROl YRMlOl $55.00 Teleword Enhancement program. $50.
MIDI Understand.. ingThe Four Basic MIDI Modes. By Tom Darter. AS INFORMATION travels down a MIDI .n. cable, it may be sent to (or through) a number of instruments; but each instrument may respond to this information differently, depending on how it has been set to operate. In other words, MIDI instruments have a number of different modes of operation, and these modes determine how the instrument will react to MIDI information.
T HE RXll IS A VERY sophisticated rhythm programming device; it can also be difficult to program. There are many variable functions, many more than can be easily dis~ played through the instrument's front panel. The YRM302 RX Editor program for the CXSM gives you the full power and conveni~ ence of the CXSM Music Computer and its associated peripherals, all dedicated to the task of programming rhythm patterns and song chains for the drum and percussion sounds that reside in the RX11 and RX15.
mode allows for the sectional input of rhythm patterns. You begin by choosing a pattern num~ her (00~99) and giving it a name. Then you determine the time signature and the number of bars in the pattern. There can be from 1 to 99 beats per bar (the top number in the time signa~ ture ), and the beat duration (the bottom num~ her in the time signature) can be 4, 6, 8, 12, 16, 24, or 32, giving you a range from quarter~notes to thirty~second~notes.
REV7 T HE REV7 Professional Digital Reverberator is a programmable, MIDI-controllable signal-processing device with stereo output. It offers a wide variety of reverb, echo, delay, and ambient effects. The 30 preset programs in the REV7 can be divided into the following basic types: REV (reverb), E/R (Early Reflection), DELAY, ECHO, and MOD (Modulation Type, including Phase, Chorus, and Flange effects).
REV7 digital reverberator. a starting point, you can define a number of different "large halls." In addition to its programmable features, the REV7 also offers MIDI control of program selection. It can be set to respond to any one of the 16 MIDI channels (or to OMNI mode), and each one of the 90 internal programs can be programmed to respond to a specific MIDI Program Select number.
Final Touch Hot Tips On Preprogram.. mingRXll Song Tempos, And Programming RXDrum Patterns Via TheQXl. Pre-Programming Tempos With The RXll Rhythm Programmer. By Jim Mancuso. When I first started using my RX 11live, the only problem I had was setting the tempos between songs. I didn't have a lot of time to fine tune the tempos, so I needed a system by which I could somehow preset the tempo so that all I had to do was select the SONG number, push START, and go.
2. RECORD on TRACK 8. On this first pass, we lay down the foundation-basically KICK and SNARE, maybe a few HI HATs. For playback, diisconnect the RX from the QXl's MIDI THRU, and connecttheQXl's MIDI OUT #8 to the RX MIDI IN . Then PLAY and determine if any QUANTIZE is needed to tighten up this "foundation" part. 3. Now to overdub. Since TRACK 8 is nice and tight, why screw it up with bad overdubbing? It is much safer to do overdubs on other tracks, and then mix them all together when you are sure.
AFTERTOUCH Bulk Rate U.S. Postage P.O. Box 2338 Northridge, CA 91323-2338 PAID Lang Prairie, MN Permit No. 56 John Chowning rich interaction. I think we worked out some ways using the TX816 to create some very good piano sounds. It's not a question of trying to replicate exactly, but to produce a sound where the feeling for the player and the listener both is piano-like. And I think we succeeded. TD: Did you find yourself using the full resources of the 8 I 6? JC: Right.
