YAMAHA ® AUTHORIZED PRODUCT MANUAL
YAMAHA DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER OWNER’S MANUAL
CONGRATULATIONS! Your Yamaha DX27 Digital Programmable Algorithm Synthesizer incorporates state-of-the-art digital FM tone generation technology, providing extraordinarily vibrant, rich voices and outstanding playability.
PRECAUTIONS 1. Location Avoid locations exposed to direct sunlight or other sources of heat. Also avoid locations subject to vibration, excessive dust, cold or moisture. 2. Cleaning Do not attempt to clean the exterior with chemical solvents, as this may damage the finish. Clean with a soft, dry cloth. 3. Service and Modifications 4. Relocation 5. Handling 6. Electrical Storms (Lightning) 7.
CHAPTER I: SETTING UP 1. Audio Outputs 2. Optional Foot Switch 3. Optional BC-1 Breath Controller 4. Headphones 5. MIDI Terminals 6. Cassette The DX27 has a single mono audio output for its tone generator channel. This is labelled OUTPUT. It permits sending a mono signal to either a mono or stereo sound system, or a mixing console for recording or PA applications. The FOOT SW phone jack is for an optional footswitch.
NOTE: When setting up your system, be sure to turn the DX27 and any effects units used on BEFORE turning the main amplifier system on. This will prevent the initial power-on shock surge from possibly damaging your amplifier and speaker system. 8. Music Stand installation 9. ID Function The music stand supplied with the DX27 fits into the two sockets on the rear panel (see diagram).
DX27 CONNECTIONS 5
CHAPTER II: PLAYING THE DX27 1. DX27 Voice Memory Configuration The DX27 has three different voice memories which serve different purposes. They are: The 24-voice INTERNAL memory This voice memory is used for quick selection of voices for performance, and it is in this memory that original voices you have edited or programmed are initially stored. Cassette LOAD and STORE operations are also carried out to and from the 24-voice INTERNAL memory.
mode, while the second group is accessed in the SHIFT mode (these modes will be described below. These voices may be selected and stored in the BANK or INTERNAL memories as desired. They can also be directly accessed and played using the PRESET SEARCH function. The chart below shows the overall DX27 voice memory configuration. The VOICE EDIT BUFFER is a special memory into which a voice is called when selected.
In this mode, you can play any of the voices currently in the DX27’s 24-voice INTERNAL memory individually. 3. The BANK PLAY Mode The BANK PLAY mode enables you to access the 96 BANK memory locations. These initially contain the first group of 96 voices from the 192-voice PRESET ROM. Using the SHIFT mode, however, you can also access the second group of presets while in the BANK PLAY mode. Later, you can store any voices you like in any order in the these BANKS.
4. The 192-Voice PRESET Memory The DX27 comes with 192 different pre-programmed voices in an internal ROM (Read Only Memory). These voices can be loaded singly into the DX27’s selectable 24-voice memory, or into any location in the DX27 BANK memory. THE 192 PRESET ROM VOICE NORMAL MODE VOICES The PRESET voice can also be accessed directly and played using the PRESET SEARCH function.
PRESET SEARCH This function allows you to directly access the voices in the PRESET memory, in the order they appear in the PRESET memory. PRESET SEARCH is accessed in the FUNCTION mode. To enter the FUNCTION mode press the FUNCTION button. Then press any of the PRESET SEARCH selectors to access the corresponding voices (these are the same as the BANK A-D selectors used in the BANK PLAY mode).
CHAPTER III: THE FUNCTION MODE The FUNCTION mode permits access to four groups of functions: tuning functions, MIDI functions, memory management functions, and performance functions. In this chapter we’ll describe each of these functions; what they do and how they are programmed. 1. Accessing the FUNCTION Mode The FUNCTION mode is called by pressing the FUNCTION button. Individual parameters to be programmed are then called by pressing the appropriate voice button.
* Note that performance parameters 13 through 24 can be individually stored for each voice. They must therefore be stored in the appropriate INTERNAL voice memory location after editing using the STORE function (see CHAPTER IV: VOICE PROGRAMMING, 4. Storing Voice Data). 13: POLY/MONO This function selects either the POLY or MONO note output mode. Voice programmed with the POLY mode permit simultaneous playing of up to 8 notes. In the MONO mode the DX27 acts as a monophonic keyboard.
: PORTAMENTO MODE Two different portamento modes are available: Full Time Portamento and Fingered Portamento. When the POLY/MONO function is set to POLY (button 13), only the Full Time Portamento mode is accessible. In the MONO mode, you have a choice between the Full Time and Fingered portamento modes. (1) “Full T. Porta” (MONO and POLY modes): A conventional portamento effect in which portamento occurs whenever a new note is played.
As you move the DX27 modulation wheel away from you, an increasing amount of LFO (Low Frequency Oscillator) modulation is applied to the selected voice. LFO modulation can be made to modulate the pitch of the voice, producing a range of vibrato type effects. This function is used to set the maximum depth of pitch modulation which can be applied using the modulation wheel. The actual effect produced depends on the settings of the LFO parameters, these will be discussed in CHAPTER IV: VOICE PROGRAMMING.
The four BREATH parameters listed below determine just how the breath controller will affect the DX27’s sound. These parameters may be set individually, or combined for more complex effects. 20: BREATH RANGE, PITCH This function is used to set the maximum depth of LFO pitch modulation that can be applied using the breath controller. The actual effect produced depends on the settings of the LFO parameters-these will be discussed in CHAPTER IV: VOICE PROGRAMMING.
23: BREATH RANGE, EG BIAS This function permits breath pressure applied to the BC-1 breath controller to directly control the amplitude or timbre of the voice, according to settings of the corresponding voice parameters which will be covered in CHAPTER IV. The LFO has no effect-only your breath pressure directly affects the amplitude or timbre of the voice. The data range is from 0 to 99. At 0, EG bias is OFF.
be used once after this function is called. Subsequent changes must be made using the DATA ENTRY slider and -1/+1 buttons after the INTERNAL PLAY mode and KEY SHIFT function have been entered in succession. NOTE: The KEY SET function can not be individually programmed for each voice. This section includes a single function: MASTER TUNE ADJ. 4. Tuning Functions 1: MASTER TUNE ADJ This is the DX27 MASTER TUNE function. All voices are affected simultaneously. The programmable data range is from -64 to +63.
7: INIT VOlCE This function sets all voice parameters in the voice edit buffer to their “initialized” values, permitting voice programming from an effectively neutral set of values—a “clean slate.” When this function is called, the LCD will read “Init. Voice?” Confirm your intention to initialize the voice edit buffer by pressing the +1 button.
for convenience and ease of selection during a performance, you would use the EDIT BANK function to place your 10 required voices in locations 1—10 in BANK A. There are 4 entire banks in the BANK memory. This means you can have 4 personally-arranged 24-voice groups to choose from, i.e., separate BANK for each set in a performance. To enter the EDIT BANK function, press the FUNCTION button, followed by the EDIT BANK button.
Before using this function, make sure that an appropriate data cassette recorder is properly connected to the DX27, as described in CHAPTER I: SETTING UP. When this function is initially called, the LCD will read “Save to Tape ?” Confirm your intention to save the contents of the 24 voices to cassette tape by pressing the +1 button.
memory (remember, this will erase any voices previously in the INTERNAL voice memory) by pressing the +1 button. The LCD will now read “Load all ready ?” At this point, make sure the appropriate cassette tape is loaded into the recorder and is rewound to the beginning of the desired voice file. To execute the load operation, press the DATA ENTRY YES button again and start the cassette recorder running in the PLAY mode.
DX21 CASSETTE LOAD NOTE: If you have a voice set programmed on a Yamaha DX21 Digital Programmable Algorithm Synthesizer, these voices can be transferred from data cassette into the DX27. Of course, since the DX27 has 24 voice memories while the DX21 has 32, using the DX27 cassette LOAD operation will load only the first 24 voices of the DX21 32-voice set into the INTERNAL memory. The other voices (25-32) can be loaded using the DX27 LOAD SINGLE function.
3: CHANNEL The DX27 is capable of receiving or transmitting data on any of the 16 available MIDI channels, or receiving in the OMNI mode which enables reception on all channels simultaneously. This function is used to set the desired MIDI receive or transmit channel or activate the OMNI receive mode. The receive or transmit channel is normally set to match the transmission or reception channel of the MIDI equipment to which the DX27 is connected.
5: SYS INFO This function turns transmission and reception of MIDI SYSTEM EXCLUSIVE INFORMATION data ON or OFF. The -1/+1 buttons are used to turn this function ON or OFF. When this function is ON, voice parameter changes made in the DX27’s EDIT or FUNCTION modes are transmitted in real time. If the SYS INFO button is pressed again, the “Midi Transmit?” display will appear. If the YES button is then pressed, then the DX27 will perform a bulk dump of all voice data—INTERNAL voices 1 through 24.
CHAPTER IV: VOICE PROGRAMMING 1. The Basics of FM Synthesis Before you begin actually programming or editing your own voices, a basic understanding of how digital FM synthesis works will be necessary. In the following explanation, we will learn how the DX27’s FM voice generator produces complex voices. This information will help you to understand the process and make it easier for you to create and edit your own voices.
Operators do not have to be connected “vertically” in a modulator-carrier relationship, as shown above. The outputs of two operators can also be mixed-just as the stops in an organ are mixed. In this case the sounds are simply added together with no modulation effect. ALGORITHMS We have seen two different ways that two operators may be combined. The DX27 uses four operators, offering many potential connection possibilities.
Most algorithms have multiple modulators and carriers. In one algorithm a given operator may be a carrier, while in the next it might function as a modulator—the only difference being how it is connected. In algorithm number 5 for example, there are two vertical stacks of two operators, and the outputs of the carriers in these stacks are connected in parallel (horizontally). Algorithm 5 has an equal number of modulators and carriers—two modulators and two carriers.
Still more variations can be achieved by changing the relative output levels between operators; the greater the level of the modulating operator, the more harmonics are present. FEEDBACK Note that every algorithm’ has one operator with a “feedback loop”-represented by a line from the output of the operator which feeds back to the input of the same operator. In effect, a feedback loop means that the operator is modulating itself.
content of the note changes (the timbre changes) from the time the note is initiated to the time it decays. Each of the 4 operators available in DX27 can be programmed with its own envelope. The envelope applied to a carrier will, generally, contribute to the overall volume envelope of the note, while an envelope applied to a modulator will contribute to the timbre envelope of the note. Here is a copy of the envelope diagram printed to the right of the algorithm diagrams on the DX27 panel.
2. The EDIT and COMPARE Modes To actually program or edit a voice, you need to enter the EDIT mode. This is done by pressing the EDIT/COMPARE button. When the EDIT mode is activated, the LCD will indicate the operator ON/OFF status (the group of four 1s or 0s), the currently selected voice parameter, and the currently selected operator. The latter in the series applies only to parameters that deal with individual operators. You will note, also, a capital letter “E” at the left side of the LCD.
3. The Voice Parameters The following is a brief description of each available voice parameter, how it is programmed, and its effect. These parameters are selected by pressing the appropriately labelled (purple labels indicate voice parameters) button while the DX27 is in the EDIT mode. PB MODE: OPERATOR SELECT This switch (located immediately above the -1 DATA ENTRY button) selects the operator to he worked on. Only one operator can be selected at a time.
2: FEEDBACK Feedback can be applied to one operator in each algorithm. Pressing this button permits setting the amount (level) of feedback which will be applied. The feedback level range is from 0 to 7. At 0, feedback is OFF, and at 7 maximum feedback is applied. Data is entered via the DATA ENTRY slider or buttons. The LFO “LFO” stands for Low Frequency Oscillator. This oscillator is used to apply modulation effects such as tremolo or vibrato to the DX27 voices.
5: LFO DELAY Permits setting a delay of between 0 and approximately 10.7 seconds before the LFO modulation effect begins after a key is played. This is particularly useful for simulating brass instruments, human voice, etc., in which a vibrato effect is gradually applied after the note has been initiated. The data range is from 0 to 99. At 0 there is no delay, and a setting of 99 produces an initial delay of approximately 10.7 seconds, which slowly increases over a period of 10.7 seconds.
The beginning of the LFO cycle is normally synchronized with key-on timing. This parameter permits turning this synchronization on or off. All operators are affected simultaneously. When this parameter is on, the LFO cycle always begins from the peak of a positive half-cycle (90 degrees phase angle) when a key is played. This produces a clear, consistent attack on all notes. When LFO KEY SYNC is OFF, the LFO cycle starts from a random point when a key is played.
effects can be applied to the selected operators. A setting of 7 produces maximum sensitivity and therefore maximum effect depth. 12: KEY VELOCITY While the DX27 has no key velocity sensitivity of its own, its voice generators will accept key velocity data from an external MIDI controller keyboard which does have this feature.
ratio at a low operator level with even-ratio operators to add bite to a string sound and many other effects. The standard DX27 keyboard pitch is 8’; therefore, in terms of footage: 0.50 = 16’, 1.00 = 8’, and 2.00 = 4’. 14: DETUNE This parameter permits slight detuning of the selected operator in relation to the others, making it possible to create richer, fuller voice effects. If detune is applied to carriers, the result is a thick, multi-instrument effect.
The following EG curves show the parameters for some common instruments. 20: OPERATOR OUT LEVEL Permits setting the output level of the selected operator. The data range is from 0 to 99. At 0, the operator is OFF. A setting of 99 produces maximum output level from the selected operator. Varying the output level of an operator functioning as a carrier results in a change in the overall level of the sound contributed to the voice by that operator.
The data range is from 0 to 3. At 0 RATE SCALING is OFF, and at 3 the greatest, variation in envelope length is produced. KEYBOARD RATE SCALING RS These values are added to AR, DIR, D2R according to the Rate Scaling setting. Only 1/2 of these values are added to RR. 22: LEVEL SCALING This parameter produces a gradual decrease in note output level towards the right (high) end of the keyboard.
4. Storing Voice Data If you have edited any of the above voice parameters and wish to store the new voice, you must use the STORE function BEFORE PRESSING ANY VOICE BUTTON AFTER EXITING THE EDIT OR FUNCTION MODES, and store the new data in one of the 24 INTERNAL memories. For this reason it is a good idea to have a free memory location ready before you begin editing.
If you choose to program a voice from scratch, you’ll need to have a clear memory location (or one containing a voice that you either don’t want or have already backed up on cassette tape, so that when you’ve completed programming the voice, you can save it). Since all editing is done in the separate voice edit buffer, nothing is erased while you are actually programming the voice. But when you save the new voice, whatever was in that memory location will be erased and replaced by the new data.
CHAPTER V: VOICE PROGRAMMING EXAMPLE In this section we’ll go through the steps in creating a fairly percussive electric piano voice from scratch. This simple example should help you understand the programming process. Initialize a Voice STEP 1: Enter the FUNCTION mode (press FUNCTION button) and call the MEMORY PROTECT function. Turn MEMORY PROTECT OFF. Call INIT VOICE function and press the YES button twice. This initializes the voice and automatically enters the EDIT mode.
Since the voice has been initialized, the output level of operator 1 will be set at 90 and that of operator 2 will be 0, so at the moment we only hear the sound from operator 1. Set the OP1 (carrier) EG STEP 4: Select the ENVELOPE GENERATOR AR parameter, and select operator 1 by pressing the OPERATOR SELECT button. We want an instantaneous attack, so AR should be set at 31. Select the D1R parameter and set to 10 for a relatively slow initial decay. Select the D1L parameter and set to 10.
Set OP3 (carrier) EG STEP 8: Before we actually set the OP3 EG parameters, select OP3 using the OPERATOR SELECT button, call the OPERATOR OUTPUT LEVEL parameter and set it to 99. Now enter the following EG parameters: AR = 31 DIR = 13 D1L = 0 D2R = 0 RR = 10 Copy OP3 (carrier) EG Parameters to OP4 (modulator) STEP 9: Hold down the EG COPY button and press the OPERATOR/AMS ON-OFF 4 button.
Set Keyboard Level Scaling STEP 14: Play a few notes or chords across the range of the keyboard. At this point the upper-range notes are a little to loud and tinny for proper overall keyboard balance. Select the KEYBOARD LEVEL SCALING PARAMETER, select OP1 and set to 20. Next, select OP2 and set to 30. Try the entire keyboard range again—much better overall balance.
GENERAL SPECIFICATIONS Keyboard ....................................................... 61 keys Sound Source ................................................ FM Tone Generator (4 operators, 8 algorithms) Simultaneous Note Output ................................. 8 notes, reverse priority Internal Memory .......................................... 24-voice INTERNAL memory (alterable) 192-voice PRESET memory (reading only) 96-voice number bank (alterable) Effects ........................................
MIDI DATA FORMAT 1.
2. Transmission Data All MIDI data is transmitted when the MIDI ON/OFF function is ON, The MIDI transmission channel is determined by the setting of the MIDI T CH function. 2-1. Channel Information 2-1-1 Channel Voice Message (1) Key On/Off Status Note. no. Velocity 1001 nnnn(9n) n=channel no. k=36(C1) ˜ 96(C6) 0kkkkkkk Key on 01000000(40) Key off 01000000(00) (2) Control Change Status Control no. Control code 1011nnnn(Bn) 0ccccccc 0vvvvvvv n=channel no.
2-2 System lnformafion 2-2-1 System Real-Time Message Active sensing Status 11111110(FE) Transmitted once approximately every 200 milliseconds 2-2-2 System Exclusive Message Transmitted only when MIDI SYS INFO is ON (1) Parameter Change Status ID no. Substatus/ch. no. Parameter group no. Parameter no. Data EOX 11110000(F0) 01000011(43) 0001nnnn(1n) 00010010(12) n=channel no.
Byte count Data 00000000(00) 0ddddddd Checksum EOX 0ddddddd 0eeeeeee 11110111(F7) 4096 bytes The data of 32 voices, including the 24 voices in RAM memory, will be transmitted if the YES key is pressed in response to the “MIDI Transmit?” display which appears when the SYS INFO key is pressed twice in the FUNCTION mode. The data for all 32 voices will also be transmitted when a format no. f=4 dump request is received. The transmitted data is shown in voice data table 5-1.
3.
4. Reception Data All MIDI data is received when the MIDI ON/OFF function is ON. When a specific MIDI receive channel has been selected using the MIDI R CH function, and the OMNI mode is OFF, MIDI data will be received only on the specified channel. MIDI data will be received on all channels when the OMNI mode is ON. 4-1. Channel information 4-1-1 Channel Voice Message (1) Key Off Status Note no. Velocity 1000nnnn(8n) 0kkkkkkk 00000000(00) n=channel no.
Functions only on MSB data: MSB 00000000 01000000 01111111 Lowest value Center value Highest value 4-1-2 Channel Mode Message n=channel no. 1011nnnn 0ccccccc 0vvvvvvv Status Received whether MIDI CH INFO is ON or OFF V=0 V=1 V=0 C=123 C=126 C=127 All notes OFF MONO mode ON POLY mode ON 4-2 System information 4-2-1 System Real-Time Message Active sensing Status 11111110(FE) Sensing begins when this code is received once.
(3) 1 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the transmitted 1 voice bulk data. The 93 voice data bytes are read into the voice edit buffer, replacing the current voice data. The 93 received data bytes are shown in voice parameter table 5-2. CHORUS, FOOT VOLUME RANGE and PEG data are ignored. (4) 32 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the transmitted 32 voice bulk data.
5. System Exclusive Data 5-1. VOICE DATA (VMEM format) Parameter no.
5-2. VOICE PARAMETERS (VCED format) parameter no.
5-3. FUNCTION PARAMETERS Parameter no. P 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 Parameter LCD Display OPERATOR ENABLE/DISABLE OPETATOR SELECT EDIT MODE 1 = ON FUNCTION MODE 1 = ON STORE MODE 1 = ON E. e F. f Mem Store Data Note 0, 1 0~ 3 0, 1 * 0, 1 0, 1 * * PLAY MODE 1 = ON P.
[ Digital Programmable Algorithm Synthesizer ] Date : 5/10, 1985 MIDI Implementation Chart Version : 1.0 Model DX27 Transmitted Recognized Remarks Function ...
YAMAHA DATA NAME : DATE : NUMBER : PROGRAMMER : AME OP 4 3 2 1 WAVE ALGORITHM FEEDBACK 2 1 SPEED DELAY AMD PMD PITCH AMPLITUDE EG BIAS MODULATION SENSITIVITY SYNC LFO 3 4 AR D1R 15 16 5 6 7 8 9 10 KEY VELOCITY 11 12 23 24 OP 4 3 2 1 FREQ RATIO DETUNE OSCILLATOR 13 POLY/MONO 14 PITCH BEND RANGE D1L D2R ENVELOPE GENERATOR PORTAMENTO MODE TIME 17 FOOT SW ASSIGN 18 RR OUT LEVEL RATE LEVEL OPERATOR KEYBOARD SCALING 19 20 WHEEL RANGE PITCH AMPLITUDE 58 21 PITCH 22
DATE : PROGRAMMER : No.
DATE: PROGRAMMER : A No. VOICE NAME B REMARKS No.
C No. VOICE NAME D REMARKS No.
FCC INFORMATION (USA) While the following statements are provided to comply with FCC Regulations in the United States, the corrective measures listed below are applicable worldwide. This series of Yamaha professional music equipment uses frequencies that appear in the radio frequency range and if installed in the immediate proximity of some types of audio or video devices (within three meters), interference may occur.
SINCE 1887 YAMAHA NIPPON GAKKI CO., LTD. HAMAMATSU. JAPAN 85 09 0.
DX27 OM 9/20/98 198001 YAMAHA DX27 OM Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O.
