YAMAHA _. <5 DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER OWNER’S MANUALWelcome Welcome to the DX7 II FD/D, the newest members of the growing family of FM digi synthesizers from Yamaha. Using the industrystandard DX7 as is starting point, the DX offers a number of important new features, such as improved sound quality, two-layer voice programming, additional FM features, new performance options, an expanded front-panel LCD display, and on-board disk storage (on the DX7IIFD), Since there is so much material available on the DX7 family of synthesizers (and on the theory of FM digital synthesis), this manual will not be an FM tutorial, Instead, it has been designed to be a “users manual” in the truest sense — it's goal is to help you make music with your new DXTIFD as quickly as possible. If you are already familiar with the operation of the original DX7, this manual will help ‘you make the transition to the DX7IIFD in short order. On the other hand, if ths is your first PM digital instrument, this manual will euide you into the operation of your new synthesizer with easy-to-follow, step-by-step instructions and explanations. Alter you are comfortable with the operation of your new synthesizer, you may want to explore the fascinating world of FM digital voicing. If so, consult the extensive list of reference works on FM synthesis listed in the bibliography at the back of this manual,Tips | The DX7 Il FDID has been designed for years of trouble-free use. In order to ensure that it remains a healthy member of your family of musical instruments, please keep the following tips in mind: Installation: ‘When setting up the DX in your home or studio, avoid exposure to direct sunlight or other sources of heat, Environments with excessive dust, cod, dampness, or vibration can also damage your instrument. Even though the DX is electronic, you should treat it with the same kind of care you would lavish on any other musical instrument, ‘Also, since the DX is electronic, you should make sure not to set it 100 close to equipment (such as a television set) that generates electromagnetic fields. Such proximity could cause both malfunctions in the synthesizer's digital circuitry and interference n in the ote ut ™ 3 Moving: ‘When you move your DX, make sure to inset the head protection sheet into the disk drive — the magnetic head ofthe drive is very sensitive to vibration, and needs this protection if tis to survive road work. Handling: ‘The DX is sturdy, but it can do without rough handling. Don’t subject it to sudden jolts (such as dropping it), as this can damage the internal circuitry. If you plan to travel with it be sure to use a road case. Also, make sure not to apply excessive force to any of the keys, buttons, or other controls, Cleaning: To clean or dust your DX, use nothing more than a clean, slightly damp cloth, Using ¢ a ‘chemical solvents will damage the finish, and using to much water may do considerable damage tothe intemal circuitry AC Power & Other Equipment: When you are using the DX with an amplifier or mixer that has unbalanced outputs, ‘connect both units to the same AC outlet to avoid hum, If you use a number of electronic instruments in your setup, you may want to consult an electrician, who can make sure that your system does not overtax the available power.AC Power & Down Time: Whenever the DX will not be used for an extended period of time, it is best to protect it from potential disaster. Electrical storms and other natural or man-made disasters can give rise to power surges, which may damage the digital circuitry of your DX — even if the power is tured off. Either unplug your instrument when not in use, or invest in power strips with surge protectors to safeguard all of your electronic equipment. Service & Your Warranty: ‘The DX contains no user-serviceable parts. Opening it up or tampering with it in any way will void the warranty, and may also lead you to experience some nasty electrical shocks. If you have a problem with your instrument, please take it to an authorized Yamaha service center. Modifications & Your Warranty: Unless you are assured to the contrary in writing, you should assume that any ‘modifications made to your DX will void the original product warranty. Therefore, you should make sure that you receive a warranty (or some other kind of guarantee) from the person or company that is responsible forthe modification,Flip open for DX7II Reference Diagram <<Volume stider Continuous slider 1 Data entry slider: (Continuous slider 2) Pitch bend whee! Modulation whee! Cursor (POLY/MONO & PAN) buttons enter PLAY mode PERFORMANCE button: Voice Mode Select buttons. Cartridge slot LoD aise [LED displays [eee Breath controller jack Head phone jack. Store button L___Eaiv/compare button (Enters EDIT mode) Data entry buttons aI->}YAMAHALS<" Power switce—J EMemory select buttons Number buttons [— Operator selecticopy buttons ‘Operator oniotf buttons —_ $258 aoa ~rfs BE Et LOD display cr — — a i KH Cleese $4: ‘Audio output jacks. MIDI Terminats Foot switch jacks Gontinuous foot controller jacksContents 40. 4B 45 50 st 33 54 37 59 62 63 65 61 68 7] B 9 31 2 8 84 85 86 Section 1: Playing the DX7 11 FD/D Getting Started Exploring The New Performance Library Exploring The New Voice Library The Play Modes Using Controllers with the DX Section 2: Creating and Storing New Sounds Creating New Sounds Saving New Sounds Section 3: Using the New Performance Features Performance Edit Buttons Basic Performance Parameters Pan Controllers Micro Tuning Section 4: Using the New Voice Features Voice Edit Buttons Basic Voice Editing Functions New Voice Parameters Controllers Fractional Scaling Section $: Memory Functions Utility Buttons Memory Layout Memory Types Memory Storage Types Basic Utility Functions Cartridge Memory Functions Disk Memory Functions (FD Only) Section 6: MIDI Functions MIDI Buttons System Setup MIDI Data Communications Appendix 1: Supplemental Information Appendix 2: Bibliography Appendix 3: MIDI Implementation Chart Blank Voice Data Chart Blank Performance Data ChartCay section 1 Playing the DX7 II FD/DContents 10 10 i 2 1B 4 4 14 4 4 15 15 15 15 15 16 16 16 Getting Started Making Audio Connections ‘Tuming On the DX Setting the Volume Slider Setting the Pan and Poly/Mono Buttons Exploring The New Performance Library Selecting the Internal Performance Memories The Internal Performance Memories Selecting the Cartridge Performance Memories ‘The Cartridge Performance Memories Exploring The New Voice Library Selecting the Internal Voice Memories y ‘The Internal Voice Memories Selecting the Cartridge Voice Memories ‘The Cartridge Voice Memories ‘The Play Modes Voice Modes and Performance Mode Using the | ~ 32/33 ~ 64 Button Using the A/B Button Using the Poly/Mono Button Using Controllers with the DX Pitch Bend Whee! Modulation Wheel Aftertouch Breath Controller Foot Controllers 1 and 2 “ Footswitches 1 and 2 Continuous Sliders | and 2Getting Started Connecting the DX toa single input amplifier. Using stereo headphones with the DX. You can begin to enjoy your new DX immediately, without poring through a lot of complicated electronic theory. All you have todo is take the instrument out of i's box and proceed as follows: Making Audio Connections ‘There are three different ways to connect the DX to sound reinforcement equipment. The ‘one you choose will depend on your situation: 1. Ifyou have a monophonic (single input) amplifier such as a guitar amp, connect the DX’s A/Mix output to the amp’s input (using a standard 1/4" cable). 2. If you are using a multi-channel mixer, connect the DX’s two back-panel audio outputs (A/Mix and B) to two of your mixer’s inputs (using two 1/4" cables). 3. If you are using a set of standard stereo headphones, plug them into the DX’s Phones output,The DX's “welcome” display. The DX’s next initial display. Turning On the DX After you have made the audio connection of your choice, tum the DX on by pressing the Power switch located on the right side of the back panel. This isthe first display you will see on the main panel: A B MESSAGESIDATA ee YAMAHA DIGITAL *** ‘oem SYNTHESIZER DX? *#* ‘After a few seconds, this “welcome” display will be replaced by the lat Play Mode display selected before the DX was tuned off The LED's will now display the same rogram (or programs) that were displayed when the DX was turned off. MESSAGES/DATA The LCD will now show the voice or performance name which corresponds to the number in the LED.Volume Slider nen pe PolyiMono and Pan Buttons Setting the Volume Slider Since the volumes ofthe various voices differ, start with a setting inthe middle of the slider’s range; adjust later to suit your taste, depending on the voice or voices being played. E THT Setting the Pan and Poly/Mono Buttons Before you begin to play your new DX, make sure thatthe settings of the Pan and Poly/Mono buttons are correct for your situation: To ensure that you ara listening to the voices just as they were created, ‘make sure that this light is OFF. fit is ON, press the POLY/MONO button to turn the light OFF. (The reasons for this will be oxplained later in this manual.) Ityou are using stereo outputs or headphones, make sure that this ight is lit itis not, pross the PAN button to tura the light ON. IH you aro using a single (mono) output, ‘make sure that this Ight is not ft itis, press the PAN button to turn the fight OFF. e 2 PoLy/MoNo PAN Ge JC >)Exploring The New Performance Library ress the Performance button The Performance Mode is a completely new feature for the DX7, It allows you 1 play two diferent voices at once, and offers a number of other useful performance-oriented features. These features willbe explained in deta in Sections 2 and 3 ofthis manual. For ‘now, though. just follow the steps below, and explore the richness ofthe Performance Mode by playing through all of the new sounds available in the Internal and ROM Cartridge memories. Selecting the Internal Performance Memories a Press the Intanal buton. 8 4-5 {Use the numbor butons to select tho dated ral Peformance am The first LED displays "Pi", indicating A P | Performance Internal memory. t The second LED displays the number of the selecied Performance memo. MESSAGES/DATA. df e > Per fornance Qual INT 17 INT49 Internal [INT] warn This portion of the LCD This portion of the LCD displays the name and number displays the location and number of the selected Performance memory. of the voice or voices used 10 create the selected Performance memory.; Each Performance Name can consist of up 10 20 characters; each Voice Name ‘can consist of up to 10 characters. ‘The Internal Performance Memories Performance Name Voice A voice 8 ljwarm String Section INT i|warm Stq a [iNT 49|warm stg B 2[Mallet Brass INT_63|XyloBrass [INT 25|Malleti#orn 3|string Bass-Guitar [INT 27|stringBass [INT 57|GuitarBox 4[pual Clavimeste INT 22|Clavistuff [INT 48|Clavinesse S|Rich Grand piano INT 9|Bbonytvor; 6|Stereo Bletriepiano [INT 50|KnockRoad__|iNT 62|HardRoads 7|Tubular Bell Wah INT 43 Be1lWahh A [INT 56|5el1Wahh B a|niectric Rock Organ |inr 32|Shorgan INT_41[TapOrgan [Jamaica Mallet sand [INT 28|steelCans [iNT 21/EchoMallet 210|Mono Poly synth in? 7[FMilters [INT 35|ClariSolo 11[Dual Octave Trumpets [INT 14|Trumpet A |rNT 24[ Trumpet B 12| angels INT 10|Whisper A |tNT 53[Whisper B ‘43/Acoustic PickGultar [INT 3|PickGuitar [iNT 40|Titequitar 14|Malti Brass Ensemble [INT 46|silvaTrmpt |rNT 54[SilvaBrass 15|st. Elmos StringBell (INT 1|Warm stg A [INT 20|sT.Elmo's 16|Phasar Whasars INT7|Puilters _|1nr 17[Phasers 17/Bass Piano Split INT 39|SkweekBass [INT 62|HardRoads 18|Grand Harpsichord [INT 64[Harpsiwire |1NT_52|HarpsiBox 19|Sea Songs INT 34[ElectoComb | tnr_51{LateDown. 20\FY WireStrang Piano [INT 31|WireStrung |INT_5|FullTines 21/cello Quartet INT 44/EleCello A [INT 60[BleCello B 22|Touch Jazz organ INT 12|TouchOrgan 23|DoubleHarp-SongFlute [INT 11|HarpStrum | INT 16/SongFlute 24) synthBrass Ensemble |inr 4|Analog-K | INT 42[PitchaPad 25|Orchestral Violins |TNT 61|Hallorch B |INT 58/Hallorch A 26| Stereo TinePiano INT 5[FullTines 27|PianoBell Ensemble [INT 19|Ensemble | INT 15|PianoBells 28|MultipercussionSplit [INT 23|Multipere [INT 23|MuitiPere 29|Temple Gong - Shami [INT 38|TempleGong | INT 29/Koto '30/Dual Piano INT 36|PianoBrite |1w? 45|PianoForte ‘B1|Stereo vibraphone [INT 18|VibraPhone |INT 18|VibraPhone 32 [Orchestral Whallop |INT 47|Wallop A [INT S5|Wallop 8Selecting the Cartridge Performance Memories 2 ross tho Edit button 1 = Pross the Performance button. 8 ¢4 Cartridge >Bank —>Fornat Voice & Perf. 1 oHr~2 “Tho LCD should chow this deplay wih tho cursor bnking on the arrow the word GANK. if rot, proce button 15 un is splay appeers. a [T nT A ross the + /ON button ‘oncom tho LCD, the umber displayed under the word BANK will change from ito 2, Bank 2 of re ROM carviages now soiected. ? C- Use he umber tone o float the dostos Cart BotGmance combiraton”‘The Cartridge Performance Memories Performance Name Vole A Voice B i[Bouble French Horns |i 2[Mellowiorn |CAT_37|Frenchiioza 2\Pipe Organ cat 3/Pipedrgan [cat 47/Pufforgan S[Fuli Electric Piano [tT s|Fulltines [CRT 7[HardTines alpickGuitar-spitflute |INT_3[PickGuitaz [CRT 32] spitfiute Bank = ->Fornat 4 Voice & Perf. Dx?-2 ‘The LCD should show this display, with the cursor blrking onthe arrow fost to the word BANK. Ira, prose buton 15 unt is display appears. eo 4 5 ee |S ?¢4-G4 ross the + 1/0N button Press the ross tho Use the eursbor buttons ‘ree; In the LCD, the Shae convge Selet ho doskes Carty ton, on voleo.” umber gspayed uer fhe word BANK wi cane rognogpaiacle ‘ridges row selected. oer “The 1~92/88~64 ight wil be off, indicating that voices 1-22 are curently delectable. To select volcos 33°64, press tho 1~32/39~64 button, The ight wal go on, indicat bat voices 33-64 aro cunt selectable. 12._ Bank 1 ofthe supplied ROM cartridge contains the ice & Performance Memory loaded into the DX's Internal Memory when itis shipped from the factory, Bank 2 contains an entirely diferent set of Voice & Performance data ‘The Cartridge Voice Memories Bank 1. Bank 2 i]warm stq A [33[Fingapicka | [i|Clavecin | 33|Glastine 5 2|Mel1owHiozn | 34|B1ectoComb | | 2|smochBass | 34|Hardrrumps | [3[pickcuitar | 35|clarisolo alPipeorgan | 35| Timpani 4lanalog-x | 36|Pianoprite | [ 4[Clavipluck | 36|Piccolo S[Pu1itines | 37|choir S|RaspySax | 37|Frenchilarn 6|SuperBass | 38|TempleGong | | 6|MilkyWays | 38|StonePhone a[ewitters /39|skweekBass | | 7\HardTines | 39|Whasers. | Pluk 40|Titequitar | | 8|violins 40|Fisths 9|Bbonyivory | 41|Taporgan, g/tingvoice | 41|congoClave 10|whisper A | 42[pitcharad | [20/tadyvox 42|Rubbercong 11/Harpstrum [43|Be1iWanh a | |11/Harmonica | 43/owlBass 12/Touchozgan | 44[Elecetlo A | [42|spitriute | 44|nubbaroad 13|Maribumba | 45|PianoForte | | 13|sopsass 45|PizzReverb 24[ Trumpet _A | 46|Silvatempt | [24/Glastine A | 46|pizzEcho 25[PianoBelis | 47|Wallop a | [15|HardBones | 47|Pufforgan 216|SongFiute | 48|Clavisstte-| [16loctilate | 48|BlecBrass 17|Phasers 49|Warm Sta B | |17/PuffPipes | 49|Spacevox 18] Vibraphone | 50|knockRoad | [18|BC sax 50|JazzBass 19/Ensemble [51] LateDown 19|Clavibrass | 51|ec strings | 20/st.elmo's [52|#arpsiBox | |20/swissnare | 52|PC Choir 21/echomallet |§3|whisper B | |24/Britedrgan | 53)Harmoniuns | 22|[clavistuff | §4/silvaBrass | |22\whapsynth | 54|Bells 23/Multiperc |55|Wallop B | |23|Thunderon | 55|YesBunk 24)rrumpet_& | 56|Bellwahh B | [24|Panricot | $6| Elect roBak 25|Maliettiorzn | 57|GuitarBox | | 25|Englishorn | 57|MaleChoir 26|CongaDrum | 58|Hallorch A_| |26|NewOxchest | 58|HardBass 27/StringBass | 59/Harmoniuma | |27|/Bc Trumpet | 59| LongGong 28|Steelcans | 60\EieCello B | | 28|LeadaPicka | 60|Science 29| Koto, 61|Hallorch 8 | [29|Handrum 61[sxplosion | 30[ru-Growth | 62|Hardroags | [ 30| Tuba 62|Celeste 31|Wirestrung | 63|xylo-Brass | [31|Plukatan | 63|Harmosynth 32|shorgan | 64/Harpsitire | [32|Koikecycie | 64|rr7 vorce, oieThe Play Modes Now that you have an idea of some of the sound combinations available on the new DX. it is time 10 take a closer look at how the various Play Modes operate. Read on: ‘Voice Modes and Performance Mode AAs you have heard from playing through the Performance Memories, i s possible to play ‘two different voices atthe same time on the new DX. However, you do not need to be in Performance Mode to try out various combinations of voices. In addition to Performance Play Mode, there ae thre different Voice Play Modes: Single, Dual, and Split. Single Mode calls up one voice at atime from the DX's library of voices, as you learned on page 10 of this manual. Both Dual and Split involve two voices, A and B. In Dual Mode, both voices are played together, over the entire range ofthe keyboard. In Split Mode, Voice A is played from the left side ofthe keyboard, while Voice B is played from the right side ofthe keyboard, ‘When you are in the Voice Split Mode (rather than the Performance Split Mod), the Split Point is always set at C3. To enter Dual of Split Mode, simply press the appropriate Voice Mode button; the light above the selected Voice Mode button will go on. Only one of these Voice Mode lights cean be lit ata time, (These lights also show which Voice Mode is selected when you are in the Performance Mode.) Once you choose the Voice Mode you want to work wit, use the 1~32/33-64, A/B, and ‘number buttons to select specific voices. Using the 1~32/33~64 Button ‘The light above the 1~32/33~64 button tells you which set of voices can be selected: If the light i off, voices 1~32.can be selected using the numer buttons; if the light is lit, voices 33-64 can be selected using the number buttons. This holds true fo all three Voice Play Modes, Using the A/B Button The light above the A/B button tells you which voice location (A or B) is active for voice selection in Dual and Split modes: Ifthe light is off, Voice A is active, and the voice chosen with the number buttons will be shown as Voice An the LCD display; ifthe ight is on, Voice B is active, and the voice chosen with the number buttons will be shown as Voice B in the LCD display. Using the Poly/Mono Button The light above the Poly/Mono tells you (indirectly) which Key Mode is currently active in Play Mode: Ifthe light is off, the Key Mode remains as programmed; ifthe light i lit, the opposite Key Mode will be active. Key Modes will be explained further in Section 4 ol.Using Controllers with the DX a The DX is designed to operate with many controllers, each of which can be set to perform ‘one of a number of different effects. The settings for these controllers ean be different for each Voice Memory or Performance Memory. To begin your exploration of the expanded musical possibilities available with controllers on the DX, try the examples listed below. ‘Many of you may already be familiar with the operation of the these controllers; for those who are not, each section below begins with instructions on how to locate or attach the controller in question. Pitch Bend Wheel ‘The Pitch Bend Wheel is located tothe far left of the keyboard. To get an idea of some of the effects possible withthe Pitch Bend Wheel, use it with Internal Voice #1 or Internal Voice #11. Move the Whee! both quickly and slowly as you play. Modulation Wheet ‘The Modulation Wheel is located to the near left of the keyboard (to the right of the Pitch Bend Wheel). For a taste of the possibilities of the Modulation Wheel, try it with Internal Voice #2 or Internal Voice #28. Aftertouch Aftertouch isa keyboard feature that gives you extra control over a voice. It is engaged by pushing down on the keys after they have already been depressed. To try some of the effects available with Aftertouch, call up Intemal Voice #3 or Intemal Voice #19. After you have played a group of keys, press them down into the key bed and listen to the result Breath Controller ‘The Breath Controller plugs into the mini-jack to the left of the Phones plug on the front ‘of the DX. It allows you a great deal of expressive control over the shape ofthe sounds you play on the keyboard. Try using the Breath Controller in conjunction with Cartridge Voice #18 or Cartridge Voice #27 (from Bank 2 of the ROM). With both of these sounds, ‘you will notice that playing on the keyboard by itself produces no sound: In order to hear the voices, you must hold down keys and biow into the Breath Controller.Foot Controllers 1 and 2 ‘The Foot Controllers plug into the two Foot Controller plugs on the back panel of the DX. ‘They can give you continuous control over a number of aspects of the sounds. Try using Foot Controller 1 with Cartridge Voice #47 or Cartridge Voice #52 (from Bank 2 of the ROM). Foot Controller 2 is most often used asa volume pedal, bt other effects are possible. Play Internal Voice #4 or Intemal Voice #6 while experimenting with Foot Controller 2. Footswitches 1 and 2 “The Footswitches plug into the two Footswitch plugs on the back panel of the DX. Footswitch | acts much like a sustain pedal on a piano. Try it with Internal Performance 418 or Internal Performance #21 to get an idea ofthe different effets that are possible, Footswitch 2 can be used to engage a number of effects, including that ofthe soft pedal on 4 piano. Try it in conjunction with Cartidge Performance #27 ot Cartridge Performance 428 (from Bank 2 of the ROM). Continuous Sliders 1 and 2 ‘The Continuous Sliders are located to the right of the Volume Slider on the left side of the DX’s front panel. They can be programmed to give you control over many aspects of the timbre of the sounds, and can even be used to alter parameters of @ voice in real ime. Try using Continuous Slider 1 with Internal Performance #1 or Internal Performance #4. Then listen to the effect that Continuous Slider 2 has on Internal Performance #2 or Internal Performance #5, ae“ Mm 45) Creating and Stor , i in New SoundsContents 9 19 2 20 21 1 1 2 24 4 4 25 25 28 Creating New Sounds Editing and Edit Mode Entering Performance Edit Mode Entering Voice Edit Mode Editing Performance and Voice Data Using the Cursor Buttons and the Data Entry Buttons/Slider EdivCompare Edit Button Quick Reference Guide Saving New Sounds Memory Protection ‘Turing Memory Protect Off Performance Memory Storing Performance Data to Internal or Cartridge Memory Voice Memory Storing Voice Data to Internal or Cartridge Memory -18-Creating | tie voices and Performance setups in the DX are stored as digital information in a computer-ike memory. And, like computer memory, the memory ofthe DX can be altered New Sounds | for different uses. In other words, voices do not exist as unchangeable presets (as they do in electronic organs), but rather as streams of daa, This data can be changed (edited) 10 create new sounds and Performance setups. To find out how this works, read on. Editing and Edit Mode | Bing sth process of changing various settings ofa Voice or Performance memory: In | the DX, this is accomplished in Edit Mode, Usually, you will use Edit Mode to create a new sound or Performance setup, but you can also use it to find out the parameter values | forthe factory preset Voices and Performance setups. ‘Most of te buttons on the DX’s front panel have multiple functions. You can see this by looking atthe way the buttons are labeled on the front panel. For example, the +1 button also functions as YES and ON, On most cases, the buttons will have different functions in different operating modes. “The 32 number buttons are no exception: In the Play Modes, they are used to call up various Voice and Performance memories; but, in the Edit Modes, they are used 0 access the various parameter values that make up a sound. Voice Edit Keys te _*) oe Mee Me AS aes ac a ra a Jes “Jles_ "las Ver "Ice "Io "oo Performance Edit Keys—! oCEntering Performance Edit Mode {Use number buttons 27 ~ 90 to access 5]. the various Performance paramet Press the Performance button again to retum to Play Mode, Entering Voice Edit Mode D [eer Press the Eat buon ence Es SES Use number buttons 7 ~ 13 and 23 ~ 26 Tee Mee Mae) 19 202088 the various Voice parameters Press the same button you pressed in forse ex Jerr)‘ Sep #1 stove to rtuinto Pay Mode In both ofthe above procedures, you enter the Edit Mode after the Edit Button is pressed in step #2. At that time, you can push any oral of the buttons indicated (in step #3) as ‘many times as necessary to make the desired edits. Itis possible - even easy - to edit Voice data in the Performance Edit Mode (or Performance data inthe Voice Edit Mode). Ths, however, is NOT a recommended practice, since onty Voice data is stored in the Voice Edit Mode, and only Performance data is stored in the Performance Edit Mode. ipEditing Performance and Voice Data After entering one of the Edit Modes, use the nunber buttons to access the parameter ‘whose value you wish to change. Each number button calls up a variety of parameters, often through the use of multiple LCD screen displays. A complete set ofthese screen displays will be given atthe beginning of Section 3 (for Performance Edit Mode) and Section 4 (for Voice Edit Mode). In most cases, each LCD display gives you access to a ‘number of parameters. 1g the Cursor Buttons and the Data Entry Buttons/Slider Use these buttons to position the LCD cursor next to the parameter you wish to edi Parameters are listed along the top row of the LCD display, and the cursor should be positioned over the > character pointing to the parameter you wish to edit, | ‘Once you have selected the parameter to edit (using the cursor buttons), use the data entry sider or the ‘+1/-1 buttons to change the value of the selected parameter. The cursor buttons ‘and the data entry [ slderbutons. | ‘The new values will appear in the eI botiom row ofthe LCD. “g En | | otthese new values when you mi play the keyboard. Eait/Compare ‘Once you have started to edit a voice, you can compare your new sound to the original by pressing the Edit/Compare button: The EditiCompare | A £ Once you have changed a value in Edit mode, LED display ths 6a wil ight ndieatng that you are now 3) |4,5) —istenng to an sated voce The LCD wil spay edited vaues | MESSAGES DATA VANAHA fF fyoupress the Edit/Compare button after editing a voice, the LED number wil flash, indicating that you can now play and listen to the original, unedited voice. LCD values will be those of the original, unedited voice. Edit/Compare only operates in Voice Edit Mode, not in Performance Edit Mode (with the exception of Micro Tuning Edit Mode, which will be discussed in Section 3 of this, manual)| Edit Button Quick Reference Guide Voice parameters ALeonmrhnt OSCILLATOR Fo. Pee are discussed in cy c_4 (CZ 1 ‘more detail | a >Algorthin >0scilator Mode >Rato Scaling __>Sealing Modo in Section Seecdback Level >Coarse Frequency _->Rates 1~4 ) | Sosa Sine Frequency SLovels 1-8 Normal Sealing STranspose S0seilater Detune ‘Output Level aNclas name: Lett Scaling Depth eft Sealing Curve Serato 2Right Sealing Dept sensinty 19 erento sftgh Seana Depth I ma 3 \ lt j Fractonal Sealing sVolosty sWaveshape Octave Range 2Offgct | | Samplitude Mod >Spe0d >¥eloclty >Scaling Level for SP ch Mod Delay before LEO Rate Sealing rota ou 3Moda Sates 1-4 | 3Pich Mod Depth Levels 4 Same Mod Depth SFO Syne | Voice Edit parameters ey MODE PomtaieNtio ae Feb are discussed in fe] ee? fe Ge) ‘more detail | 5 as "| 23 28 in Section, | Pitch Bend Breath Control Foot Control + >Key Mode >Renge >Pitch Nod Pach Wed TSpRenge —— SAreude Mos Ate ned Unison Detune > SEG Bias SEGBias | 2th Bias pea Biss | Portamento ‘Modulation Whee! ‘Foot Control 2 >Modo Pitch Mod Ne od 3Step Range Samplitude Mod Re Stime SEG Bias 2iG Bes Random Pitch Attertouch MID} IN Controt s >Piteh Mod Pitch Mod Deen Zampltude Mod Pampitude Mod | SEG Bias SEGBas 3Pich Bias 3Volume PERU oot ee ee | orPerformance parameters & voice move sucno TUNE PAN are discussed in Ge) 73 ai a cme er) feo "J @_*J so in Section 3 Sustain Ft. Sw. SBark A Voice mode STuningSelet Pan >Mode >BarkB >Bank 3BankB >Bange Foot Switch >Select >Select SBane a sTotal volume 20 Forced SBancB Balance Damping 3Sah Henge Pan Envelope >Select Note Snitt Rates 1-4 es1 SBarkA Dual dotune Bank A Stevel 1-2 SBark8 oe Sark B —. >Spit point >Select Performance 0S2 Banka Name j SBark 8 Utility parameters Ne cantaibae die z Fractional $C. aare discussed in a] ‘Micro Tuning Velee and Performance more delail | | ester Tune & Memory Protect sara Caries 3Bark inSection 5. ond fom Gortnck Fe ‘iagier Tuning $toad fom Cartidge SFormat internal Memary Protect 3Canridge Mamary Protect ro ae Coarse Frequere; >Back up Disk ero Tuning 2s eauorey (16 ea Voice Eat Internal Files Cartridge Files MDA Files Recall Edt SPertormance Est Directory SDreolory < -sDirectory S Mico Tuning Edt Save Ele SSaoFin Elon $hoad Filo Stead File Sle Out | sVoice Bank A Solo Fi SDolote Fie SDelote Fila Initiatize soi Bark 8 3Rename SRename Fle >Rename Fie $Perfermance >Cartidge Bark Mibr gor MIDI parameters H MIDI >Note Selecion A 3Program Change >Device number are discussed in 31 Transmit Mode a2] SReceive block more detail Se Nee m Program Chango >ProgcamNumbe to MIDI OUT Voice _>Edit bul in Section 6 a" ge >Froat * a 333.64 Channel Messages >Transnit Channel SReceve Charme! A Performance >Edi but $Receve Channel 8 SINT 30mm Meds " MicroTuning >Edit but Control Number >\4I0| In Gorter A SINT S¥IDI In Contr B SCAT | SMIO! In Sider 1 SABI In Sidr 2 System Soup >Systom setup -2-Once you have altered a particular Voice or Performance memory 10 your liking, you will want to save your new data in one of the DX’s memory locations, Single Voice memories ‘and single Performance setups can be saved either 0 the Internal Memory or to RAM Cartridge Memory. To do so, proceed as follows: ‘Memory Protection Each time the DX is turned on, it automatically powers up with both the Internal and the Cartridge Memory Protect feature turned on, Before you can save data, you must tum off this automatic memory protection. ‘Turning Memory Protect Off ‘i ea Press the Eait button % Jide) Press the Tune button (#14) to access the Master tuning/Memory 2 >) prot eit 3 C5) Press the rat cursor buton to select INT Memory Protect. A Pross the -1/NO button to turn the INT Memory Protect ot 5 CS] rene stt cute binon agin ste CAT Memory Pract Coy Pross ms EEE Ee INO button to tur the CRT Memory Protect of Performance Memory Do not try to edit Performance data while in Voice Edit Mode. If you do, you will hear and see the Performance edits, but they will not be stored as part of memory when you store the Voice data, heStoring Performance Data to Internal or Cartridge Memory |] Ea Press the Peformance buton Q [aa] Presse ltl ton or he Cant button to select ho storage area for your editad Performance data. NOTE: Ifyou wish fo save the o_ Performance data to a RAM cartridge, make sure that a properly [Eee] tormatid Gartidge (0x72) is inserted in he carnidge por Prose ang hot te Store bon While holding the Store button, use the number buttons ~Ge_)] to select tha memory location for your edited Perform: anea data. The LCD will echo your choice, While stil holding the Store button, press the +1/YES button, Voice Memory Do not tr to edit Voice data while in Performance Edit Mode. If you do, you will hear and see the Voice edits, but they will not be stored as part of memory when you store the Performance Data, Storing Voice Data to Internal or Cartridge Memory (Garon er) Press one ofthe Voice Mode butions ? 2 Press ihe Intnl buton or he Cantidge bution to select he storage area fot Your esitad Voice data, NOTE: If ou wish to save the Voice S__. data to a RAM cartridge, make sute that a properly formatted Cartridge (OX7-2)} is inserted in the cantrge port 3 [Gee] Press and hold the Store button, ss While holing the Sore but, use the number buttons (FY. ETT ersine 5838 sa Buin Fnacassany) te selec ng * memory location or your edited Voice data. The LCD will echo your choice, 5 While sti holding he Stor button, press tho +1/YES button, 25+ foSeCUON Using the New Performance FeaturesContents 29 29 30 31 31 2 32 32 2 33 3B 4 35 36 36 36 37 38 38 39 39 40 40 40 Performance Edit Buttons Button 27 LCD Displays Button 28 LCD Displays Button 29 LCD Displays Button 30 LCD Displays Basie Performance Parameters Total Volume Balance Dual Detune Split Point Note Shift EG Forced Damp Performance Name Dd Pan Basic Pan Function Pan Modes. Pan EG Controllers: Sustain Footswitch (FS 1) Footswitch 2 (FS 2) Continuous Sliders FM Parameters Assignable to CSI and CS2 Micro Tuning Selecting a Micro Tuning The Micro Tuning Presets ‘Micro Tuning Editing and Storage »a Performance Edit Buttons fs cs 27 [#3] All ofthe Performance Mode parameters are adjusted via the LCD displays called up using buttons 27 ~ 30. All of the these buttons call up multiple LCD displays, The charts below show all of the displays called up by each button, and provide a complete list of parameters and value ranges. In some cases, the first LCD display in a chart may not be the first one you see. You may need to cy repeatedly) until you reach the desired LCD display. Button 27 LCD Displays Sustain foot suitch >R OB (64) on_on press (aS) again Foot switch >Select >A >B (64-67) Portanent on on CS 1 >Select (8]_0P2 Freavency fine on : pres ea pin 05 2 >Select oh 8 (16) 0P2_Freauency fine on off 29. le through the displays (by pressing the button DA Bank (of on) 8 Bark (ot on) >Select, Select (Sustain, Porter, Key hold, Sof DA Bank ff on >B Berks (ofan >Ranse Sot Range (0-7) >Select Seiact (S00 Seisct Table) mA Bank A ot on >B Bak (of on) >Select Solet (ome Select Table) oA Berka (oton) >B Back (ot on)‘YOICE MODE 0 28 Button 28 LCD Displays dUoice node —-Uoice A Uoice B single INTL press agin >Total volune (oR) 99 pUoice node Uoice A Uoice B dual INT 1 THT 2 press GJ again >Total volune >Balance 9@ +e press agin >Dual detune @ dUoice node Voice A Uoice & split INT 1 Int 2 press (G27) again >Total volume >Balance 9a +8 ‘Press ce again I eee >Split point c3 -30 >Uoice node Voice Mode (single at pt) >Total volune Tota Volume (0:29) >Yoice node Voice Made ine cal spl) >Total volune ‘Torn Volume (0-95) >Balance Balance. (500 +80) >Oual detune Busi Ostine (0-7) >Uoice node Veo Mode (srg, cua soy >Total volune Teal Voune (0-99) >Balance Balance (50% +50) Split point Spit Poot (62.68 half ors)Button 29 LCD Displays MICRO TUNE >Table Select | Micro tuning >Table select DAB | Tina Tee (Preset 1-1, User 12, Gat 1-69 29. Preset 1 Equal tenreranent off off] >A Tate Bark Switch (Of 0) 8 Table Bank Swen (oon) >EG forced dane EG Fored Damping ff on) oA BankNot Shit (2610426) 2B Bank Note Shit (24 0 +24) >Perfornance nane >Perfornance nane Warn String Section |) Patemanse ame (ochaact nam) [nd Button 30 LCD Displays PAN >tode "Postede 0-9 1? Rion >Range Pan Rarg 0-59) >Select Pan Seiect (UFO, Vlocty, Note oumtber) DRL >R2 ORS ORE Pan Ervvope Rass 1-4 (2-89) DLL >L2 Ld. ols PanEnvwopa Levale 1-4 (0:95) PAN EG DRIDR2RIPRAPLLPLDLILE 99 99 99 99 50 50 50 50 aleBasic Performance Parameters Dual Detune settings and their effect ‘on Voice A and Voice B. | ‘Accessed using buttons 28 and 29, these parameters determine the basic voice relationships in Performance Mode. Total Volume ‘This parameter allows you to set an overall volume for each Performance memory. If you desire, you can use this setting to balance the levels of your Performance memories, o that constant Volume Slider or mixer adjustments are not necessary. Balance This parameter adjust the relative volume of the two voices in Dual and Split Modes: je. Balance Seting =~ ~ Dual Detune ‘This parameters shifts the pitch of both voices in Dual and Split Modes. Each voice is shifted an equal amount, Voice A is shifted up, and Voice B is shifted down: Dual Detune a a ‘Satting Pitch of voice B: 114) stop -32-Split Point In Performance Mode, the Split Point is adjustable, and is memorized as part of the Performance Memory. The Split Point can be selected using the Data Entry Slider/Buttons or the keyboard: The first note played on the keyboard after accessing the Split Point | parameter will be entered as the Split Point in the LCD display. The Split Point is adjustable wet in Performance Mode. hal split J point Ic VOICE A GiGi VGREB Note Shift This parameter allows you to adjust the transposition ofeach voice in Dual and Split Modes. Each voice may be adjusted up or down as much as two octaves (in halfsteps). ‘The original transposition of each voice is retained as part of the Voice memory, and the | the Note Shift value is added to or subtracted from that Voice setting when you are in Performance Mode Voice Memory A=-1 octave, B=+ 1 octave Performance Memory un |____. +1 octave oieEG Forced Damp Even though the DX isa 16-voice synthesizer, these voices can be used up quickly when | you are in Dual Mode (or when you use a Sustain Footswitch pedal). When you do exceed | the DX’s note capacity, the first notes played will stop sounding to make way for the new notes being played. Under normal operating conditions, the DX considers these new notes to be continuations of the first notes; therefore, the initial portions of the attack envelope will not be | Fetriggered £@ Forced Damping Off Under normal conditions, the DX's envelope acts this way. | | This part ofthe attack. // isnot reproduced 7 / Fist note aah ncte* If you wish to avoid this effect, turn the Forced Damping function on. It will force the | envelope to retrigger for each new note played: EG Forced Damping On Using the EG Forced Damping | parameter, the envelope is forced to retrigger itself for ‘each new note played. (nits tne “torced damping’—»|) _/a—The entire attack i reproduces First note shnce* + rr note nthe case of single play med, “MePerformance Name You can enter a Performance Name of up to 20 characters. To do so, follow the instructions below. Since you have a total of 1 ress the Performance button. awenty characters to define your Performance Memory, 5) we ieamemayen | |e Prot eat on Performance Name conveys = the basic approach of the specific Performance Memory | immediately. "Press the Micro Tune button (#29) to access the Perlormance Wie hating the EivCharacter button down, typ inthe desredPartormance name Using the alphanumeric characters under the buttons, raven pas Usiogthe let and right carer tons wl hldng tho Sn ae iecarriethre ott comm eS a eter greta ear ara [G2R=]] Pressing tho Castigo buiton selects UPPER CASE (cop) lots, [Gam] Pressing the Internal button selects lower case letorsPan Pan Modes are operative ‘only if you are using both of the DX’s audio output jacks The Pan features represent an entirely new class of Performance controls forthe DX. Accessed using button 30, these parameters provide control over the stereo image of the instrument's output. Basic Pan Functions In order for Pan effects to operate, you must connect both ofthe audio outputs on the DX’s back panel. In addition, the light over the Pan button must be lt — if itis not, the Pan function is turned off. Pan can be tumed on and off only in one of the Play Modes. (In Edit Mode, the Pan button becomes one of the cursor buttons.) There are four basic Pan Modes. Mode 0 can be used with all Voice Modes, while Modes 1 ~3 operate only in Dual and Split Modes. eo Pan Modes Mode A B Type 0 TMX] Pan 1 ‘ON |[ON ] Level 2 [ON] OFF Level orF [ON] Level Ir you sleet Pan Mode 0, the output of the two voices in Dual or Split Modes is combined, and the location of the sound in the stereo panorama is determined by the Pan effect selected. If you select Pan Modes I ~ 3, the two voice outputs remain separated, and the relative level of the two voices is determined by the Pan/Level effect selected. ® There are three basic types of Pan/Level effects: LFO, Velocity, and Note Number. Each one opens up & numberof possibilities If LFO is selected, the Pan/Level effect will be controlled by the Voice LFO (the LFO of Voice A in Dual or Split Modes). f you are operating in Pan Mode 0, the LFO controls the position ofthe audio output in the stereo mix; if you are operating in Pan Modes 1 ~ 3, the LEO controls te level of the selected voices (both, A, or B). If Velocity is selected, the Pan(Level effect will be controlled by the force of your keyboard touch, If you are operating in Pan Mode 0, Velocity controls the position of the audio output in the stereo mix: Softer touches (slower velocities) will position the sound ‘more in output jack A, while stronger touches (faster velocities) will position the sound ‘more in output jack B. If you are operating in Pan Modes | ~ 3, Velocity controls the ‘output volume ofthe selected voices (both, A, or B). -36-Representative Pan Envelope | Generator shape. If Key Number is selected, the PanyLevel effect will be controlled by the right/eft position of Keys played on the keyboard, If you are operating in Pan Mode 0, Key Number controls the position of the audio output in the stereo mix: Notes played to the left of C3 will position the sound more in output jack A, while notes played to the right of C3 will position the sound more in output jack B. If you are operating in Pan Modes I ~ 3, Key Number controls the output volume of the selected voices (both, A, or B) ‘The overall depth (intensity) of these Pan/Level effects is controlled by the Range parameter. Please note that all of these Pan/Level effects are global, rather than note by note: Each new Velocity input or Key Number input will reposition the audio (or readjust the output) of all notes currently sounding. Pan EG ‘The Pan EG allows you to create an envelope for automatic control of Pan (Pan Mode 0) or Level (Pan Modes 1 ~ 3) Keyen Key ofControllers | the Dx features. greatly expanded set of controller options. The settings for | Footswitches 1 and 2 and Continuous Sliders and 2are adjusted in Performance Edt Mode, using button 27. (The other controller settings are accessed in Voice Edit Mode.) Sustain Footswitch (FS 1) Footswitch | is set to operate as a Sustain pedal. In Dual and Split Modes, FS 1 can be | selected to affect Voice A, Voice B, or both. Footswitch 2 (FS 2) | Footswitch 2is a multi-purpose pedal with four selectable functions: Sustain, Portamento, Th | Key Hold, or Soft. If Sustain is selected, FS 2 operates as a Sustain pedal jut like FS 1), oe If Portamento is selected, Voice Portamento effects will operate only when the pedal is depressed. If Key Hold is selected, only notes tht are being held when the pedal is engaged will sustain, This effect is similar toa piano’s sostenuto pedal If Soft is engaged, the pedal will soften the timbre and volume of the sound, to degree determined by the Range parameter. In Dual and Split Modes, FS 2 can be selected to affect Voice A, Voice B, or both. a5The Continuous Sliders provide ‘anew avenue for exploration ofrealstime timbral control. Continuous Sliders ‘The two Continuous Sliders give you access to real ‘There are a total of 105 different possibilities: FM Parameters Assignable to CS 1 and CS2 DATA ENTRY slider highest position ‘*OP 6 Total level t op 1 20P.6 AMP. MOD. SENS t op 1 SOP 6 Koy velocity t opt *0P 6 EG Level 4 (L4) a oP *0P6 EG Lovel3 (L3) a oP 1 sOP6 EG Level2(L2) a opt *OP6 EG Level 1(L1) z opt *0P6 EG Rate 4 (Ra) t op 1 OP 6 EG Rate 3 (R9) t opt SOP 6 EG Rate 2 (R2) a op4 1 control of FM Voice parameters. 20P6 EG Rate 1 (Rt) a op1 #0P6 OSC. detune Q opt *0P 6 Frequency fine a op 1 20P 8 Frequency coarse a oP 1 ‘#Portamento time Pitch EG Level 4 v Level t ‘Pitch €G Rate 4 v Rate 1 #LFo AMD ‘*Feedback level Algorithm ‘*Dual dotune ‘PAN select ‘*Output balance (A/B) ‘Total volume No effect In Dual and Split Modes, CS 1 and CS 2 can be selected to affect Voice A, Voice B, or both.Micro Tuning | | The new DX contains eleven preset Intonations, which should provide you with a good introduction to possiblities of alternate intonation schemes | Micro Tuning is another new feature for the DX. It offers the possibility of performing ‘nusic using tuning and intonation systems other than Equal Temperament (which isthe current standard tuning for both pianos and synthesizers). Micro Tuning data is accessed using button 29. New Micro Tunings are created in Micro Tuning Eait Mode, which is accessed using button 14 in conjunction with button 29. Selecting a Miero Tuning The DX is equipped with eleven preset Micro Tunings as part of its permanent memory. {In order to hear the sound of these presets, itis necessary to turn Micro Tuning on for Voice A, Voice B, or both (using the A and B parameters in the Micro Tuning LCD display). When Miero Tuning is not on, the DX automatically operates in Equal ‘Temperament. ‘The Micro Tuning Presets {__[_Equal Temperament 2 [Pure (Major) = [3 | Pure (Minor) _ | L_4 iMaanitorie =aeeaeameere 5 Pythagorean a [Te Werckmeister hr | “8 __|_Vallotti & Young al 9 Shifted equal [40 | 1/4Tone_ | (1 [1 Tone 4 In presets 2 ~ 5, the tuning can be adjusted according tothe key of the music being played. Micro Tuning Editing and Storage If you are interested in alternate tunings and intonations, you may want to create your ‘own seis of Micto Tuning data. The DX provides two memory locations for this purpose: User | and User 2. These two sets of data are stored as part ofthe Internal Memory, and will be stored along with all other Internal data when the Intemal Voice & Performance Memory is saved to another storage medium (such as RAM cartridge or disk). In addition, up to 63 Micro Tunings can be saved to RAM cartridge that has been properly formatted for that purpose.Entering the | Micro Tuning Edit Mode [feroncs}_ Press the Performance button 3 w [fer] Press tho Eat baton ea Brae he Mir To ton (291 ene the Mle Tung Leo isplay. e~ —e Use the +1/-1 buttons to selact the Micro Tuning Preset you (Germ) wah use asyourstanngpoit 128 Press the Tune button (#14) to select the Micro Tuning edit LCD 14") display, & a Editing Micro Tuning q Press and hold the Key ofthe note you wish ood Date ¢ sd Came) write noting the kay, press ether the Internal or the Cartridge btton. Tha note you have chosen will displayed In the »>>>> ALS>Fb1>0sc. sync >Transrose »Uoice mane 15 7 off nid» C3_Uarn Sto A Button 8 LCD Display OP1 Ose Made | >CoarseFine >Detune alglS 111111 fixed 1.8208 +8 Button 9 LCD Display OPL EG Rs >RIPR2RSRALILZLIALF algi5 W111 @ 45 35 10 48 99 99 99 8 ons ‘Noort (1-32) >FbL Feedback Level (7) >0se. syne reir 8y%6 (ot on) >Transpose Transpose (mdC~ 05) >Uoiee mane eles Name (10 character nam) Made rciltr Moc (ratio, eee) >Caarse Coase Frequency (ares) Fine Fine Fraquoney (vais) >Detune Ouclator Datune (710467) Rs Rate Seaing (0-7) DRL >R2 ORS ORF (Operator Envelope ten 1-4 (0-95) DLL >L2 >L3 ole part Envelope Levelt = 4 (0-99)Button 10 LCD Displays OP1 — Qutlul >Scaling nod algi5 111111 __nornal OP! Gut lvl >Level>Ld >Le >Be >Re Rd algi5 111111 97 31 -lin AZ -lin OP! Qutlul >Scaling mode algi5 111111 fractional OP1— Qutlu) >ofst. algis tii +O 183187 Button 11 LCD Display sensmurty Sens >Uelocity >Ans >Pns(all OP) [5 sists inti ee 46 > C2» CAL-> >Scaling node Sealng Mode (normal, tactona) >Level Operator Oust Level 0-89) Ld ot Seating Depth 0-55) Le La Scaling Cure (tn -xp, sexs +n) >Be Brook Point (A108 by hal tos) >Re. Fight Sealing Curve (in, 2p exp fn) >Re = Fight Sealing Doth (0-80) >Scalind node ing Mode (rev, Factona) >ofst, Fractonal Scaling Ofeet127 0 +127) > C-2-4 Scaling Loval er yrange (0 255) >Uelocity Velocty Seasitiy (0-7) >8ns ‘Ample Mocuaton Saratvty (0-7) >Pns(all OP) Pitch Modustion Sansiivy ©-7)Button 12 LCD Display ruave UFO Wevestape ry (tag gr oem (ey LFO rave >Speed>Delayrtiode>Pnd?Aind>Sunc | sceeed | | sine 30 15 multi 18 2 off | “tro spas (0-99 Delay Delay Boers LFO bogine (0-29) made LO Med (inl, mat >Pnd Pith Mosusion Desth (0-98) >and Ample Modulation Dapth (0-95) >Sune FO Syne (een) Button 13LCD. play >Rng PITCH EG. aio Octave Range (121, 2.6) (sj Pes PRng>Uel Rs PRLRARIRPLDLDLDLA | FH Boct off @ 64 95 95 60 50 S050 50} MEL a oy Rs to Sealing (0-7) DRL >R2 ORT ORE ch Envelope Raton 1 = (0-29) >LI 9L2>L3_ Lt ch Envelope Lovels 1-4 (0-89) Button 23 LCD Displays key Mone —— okey node 7 >Kew node ey Mode K23 polyphonic ‘ayphons, moreprris, | -— >Unison detune i >Kew node >Unison Unson estone 0-7) unison nono e rears only when Key modePITCH BEND PORTAMENTO pc ww Button 24 LCD Displays Pitch bend | >Range >Step —>tiode 12 @__hish Portanente Mode —«->Step->Tine (5) sus-kew p retain 8 @ os (ec) oo Randon pitch >Deeth 1 Button 25 LCD Displays Breath control >Pnod»Anod>€Gbias?Pbias, (2) oltetl @ +a After touch >Pnad >Anod »EGbias >Pbias a8 99 +8 ‘Press ‘agin Hodulation wheel »Pnod >Anod —>€Gbias. «ay 75 a @ 48 - >Range Ph Bond Range (0-12 >Ster ich Band Stop Rang (0-12) ottode Pon Bond Mode (nara bw, high Koy on) >tlode "aarp ah, akoy flow) aster Borament Sip Range 0-12) Tine Posen Tine (012 >Deeth Random ich Depth (0-7) >Pnod Pitch Modulation (0-99) >Anod ‘Arrpltude Medulaion (0-95) >EGbias, Envelope Generator Bas (0-95) >Pbias Pitch Bins (50% +50) >Pned Ph Medan @-99) >Anod Areltsde Modulation (2-85) >eGbias Envelope Generar Bes (0-99) >Pbias ch Bes (S010 +80) >Pnod ch Modlin (0-85) >Anad Amplitude Medulation (0-99) >EGbias Envalope Generator Bas (0-99) A)Fo Fe Button 26 LCD Displays cy press Foot control 2 a) [M101 IK central ua) Foot control 1 >C51>Pnad>Anod>€Gbias>Uol off @ e@ 99 0 >Pnod >finod >EGbias >Uol ota) a 9a >Pnod >And EGbias >Uol eo 8 eo >est Conta! Sider (ot. on) >Pnod Pitch Medan (0-89) >Rinod Amplitude Modulaton (0-89) >eGbies Envelope Generator Bes (0-95) >Uol Volume (0-28) >Pnod eh Modulation (0-89) >Aned ‘mpitude Modulation (0-99) >EGbLas Envelope Generator Bias (0-99) >Uol Volume (0-99) >Pnod ch Modustion (2-99) >Aned Ameitude Modulation (2-99) >EGbIas Envelope Generar Bie (0-29) >Uol Volume (0-99)Basic The new DX offers an expanded LCD display, which makes Voice editing much easier Voice Editing | than it was withthe original DX7. A number of other basic Edit operations have also heen . simplified, as follows: Functions | Operator Select The parameters accessed using buttons 8 ~ 11 are adjustable for each of the six operators In Voice Edit Mode, butions 1 ~ 6 provide a quick way to move from one operator to another Operator On/Off In order to adjust the settings forthe six operators accurately, itis useful to focus on the | sound of cena operators by turning off the output of ones not beng edited. In Voice Bait AA Mode, buttons 17 ~ 22 provide a quick way to turn the six operators on and off Voice editing is much easier | con the new DX, thanks to the expanded LCD display and the | direct operator access provided by buttons I ~6 and 17 ~ 22. OP1 Ose Mode >Coarse>Fine >Detune e915 1111 fixed 1,820Hz +8 | EG Copy ‘The EG Copy function from the original DX7 is retained in the new DX, and is made | easier through the use of butions 1 ~ 6. Once you have Envelope data you want to copy displayed in the LCD, simply press and hold the StorefEG Copy button, You can then choose the copy destination using buttons 1 ~ 6. 50New | The basic Vice ofthe new DK is alos exact the same as that ofthe orginal DX. Voice assuring complete compatibility between the old and new instruments. To discover the additional Voice parameters of the new DX, read on, Parameters Pitch Envelope The Pitch Envelope operates as it did in the original DX7, but some new features have been added. The potential depth ofthe Pitch Envelope effect can now be adjusted using the Range parameter: [ einai Pr RNG | Change Range __6 semitones _ octave 2 octaves octaves | L™ E Key on Key tt Representative Pitch Envelope Generator shape. | Te tr In addition, the Velocity parameter allows you to control the intensity ofthe Pitch Envelope with keyboard touch. LEO There was only one LFO in the original DX7, so all voices were affected in exactly the same way by the LFO settings. Inthe new DX, there are sixteen LFOs, one for each voice, Even though all sixteen LFOs must have the same settings, they can now operate independently of each other if the LO Mode parameter is set to Multi If Mogi is set to Single, the LFO will operate as it did in the original DX7.Key Modes ‘The new DX offers two Unison Key Modes, which create “fatter” sounds. Since these ‘new Modes use more than one note of the DX’ssinteen-note capacity, they wil affect the total number of notes available at any one time: Key ‘| Voice Mode ] Mode __| Single Dual ‘Split Polyphonic. 16 Monophonic 1 I Unison poly 4 ~ | Unison mono [1 t- - In Split Mode, the actual number of voices avaiable will depend on the settings for the ‘two Voices involved, For example, if Voice A is set to Polyphonic and Voice B is set for Unison poly, a total of 10 notes can be played simultaneously (8 for Voice A and 2 for Voice B).Controllers Pitch Bend Modes ‘on the new DX. The new DX features an expanded set of controller options. The settings for Pitch Bend Wheel, Modulation Wheel, Aftertouch, Breath Controller, and Foot Controllers I and 2 are adjusted in Voice Edit Mode, using burtons 24 ~ 26, (The other controller setings are accessed in Performance Edit Mode.) Function Data and Voice Effect Data ‘The original DX7 separated its operational parameters into two groups: Voice data and Function data, Voice data encompassed all parameters used to create a Voice, and Function data involved settings forthe various performance Controllers. The DX7 only had memory to store one set of Function settings, so all Controllers operated in the same way for all Voices. In the new DX, Function data has been replaced by Voice Effect data (adjusted using buttons 23 ~ 26). This Voice Effect data can be adjusted as part of each Voice Memory — this means that each Voice can have its own Controller settings. “Most of the Voice Effect parameters are exactly the same as the Function parameters of the original DX7. The new parameters are outlined below, Pitch Bend Modes The Pitch Bend Wheel in the new DX functions in one of four basic Modes, which operate as follows: Chord notes Applied to sound affected __| sustained by foot switch? | notes yes I Towest note only yes __]| High Tchighest note only | vos mma Key on all notes - ~ no | Foot Controller 1 ‘The new DX provides memory space to set the operation of two Foot Controllers. Foot Controller | also has @ new parameter possibility: It can be set to control the same Voice parameter as that of Continuous Slider 1. (For more on the available settings for CS 1, see Section 3 of this manual.) Since CS 1 operates in Performance Mode, this use of Foot Controller 1 is also confined to Performance Mode,Fractional Scaling Fractional Scaling allows you {0 adjust the output level of each operator {for three-note groups. Entering Fractional Sealing Edit Mode One of the most important aspects of DX7 voicing is Level Scaling, which allows adjustment of each operator's output over the range of the keyboard. The new DX offers the possiblity of even more subtle control over operator outputs, through Fractional Sealing Fra al Scaling and Level Sealing Although the DX7’s Level Scaling offers a great deal of interaction between timbre and | frequency, Fractional Scaling offers even greater precision: The level can be set independently in groups of three notes, over the entire range of the Keyboard. To provide even more control, the resolution ofthe level settings has been expanded from 0 ~ 99 to 0~ 255: 1» ae Level Fractional Sealing Editing and Storage DV Car Ye fer) Press one ot tne Voie Mode buts 2 ED ree ro cetnnon SEH ross tho Output Lovel button (#10) to access the Scaling mode LCD 8 display. | 4 Cor] Press the +1/¥ES buton to select Fractional Scaling Mode ‘Scaling Edt LCD display. | 5 ross the Output Level button (#10) again to access the Fractional Ss -54-Editing Fractional Sealing Data Storing Fractional Sealing Data Cs) Press the right cursor button to select the Note Group Edit parameter. Use the Operator Select buttons (#1~6) to choose the operator whose sealing you wish to edit Press and hold a key in the note group you wish to edi. ross he Inna or the Catigge button. The neo group you havo — lected wil be shown next to the > indicaior in the LOD. ermmne Use tho Internal and Cartridge buttons a ltt and right. ‘cursors to move the desired note group into position next to the > indicator in tho LCD, Use the data entry slider o the +1/-1 buttons to edit the value for the selected note group, ‘Mako sure that a properly formatted Cartridge (FKS-Y)is insorted in tho ‘eantidge por. [ez] Press one ofthe Voice Mode buttons, ®) © Prt and Str btn & Use the umber butons a sole the dasived mamory t Seaton he Fractional Scaling data wil be ited he oral Deornarce metry wis te ‘same location number @ Wiest hong the Stor buon, pres the +/YES buon7Memory FunctionsContents 59 59 61 oe 63 6 6 6 6 6 65 65 66 66, 0 7 67 67 68 9 0 n nN n "4 Utility Buttons Button 14 LCD Displays Button 15 LCD Displays Button 16 LCD Displays Memory Layout Memory Types Voice & Performance Memory System Setup Memory Micro Tuning Memory Fractional Scaling Memory Initialized Memory ‘Current Play/Edit Memory ‘Compare/Recall Memory Memory Storage Types Internal Memory Cartridge Memory ROM Cartridge Disk Memory (FD Only) Basic Utility Funetions Master Tune Recall Edit Initialize Cartridge Memory Functions Using Cartridge Data Formatting a RAM Cartridge Loading Voice & Performance Data from a RAM Cartridge Disk Memory Functions (FD Only) Using and Handling Disks Basic Disk Drive Operations Disk MDR 58-Utility Buttons | Tue Allof the Memory functions (and related utility functions) are adjusted via the LCD displays called up using buttons 14 ~ 16, All of the these buttons cal up muttiple LCD displays. The charts below show all ofthe displays called up by each button, and provide 4 complete list of parameters and value ranges. In some cases, the first LCD display ina chart may not be the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display Button 14 LCD Displays olaster tuning Mastr Turing (410 +69) >INT Master tuning Memory protect >INT >CRT ] ital Memory Protect (oon) +a on on | ocrt aridge Memory Protect ft ny pres GJ agin 6 corse —--- Coa Preguncy (C42 yb. Niere tuning ides er oii! Ey al a tose) >CoarserFine Colt a¢ 939) a Fine Fraqurey (4210 +42) rUoiee see Recat Voiew Eat Recall edit >oice >Pert. ontero tuning] po Fecal Paromance Eat otlicro tuning Racal Mio Turing Et Initialize >Uoice® >Per formance rUoicer, Iniaize Voie Bank A rUoices Irian Voce Bark 8 >Per formance Inalze PcormanceButton 15 LCD Displays cantange Save 7 Cartridge >Save Load Sava Cage = penke >Lead {ou em Cate pres (7) asain >Bank ban 9 Cartridge >Bank —>Fornat Uoice & Pert. 1 ox?-2 >Fornat, Foumat (0X72, KS-Y, MTT) press ea again L >Bank Cartridge >Bank —>Fornat Bark (1-4) Fractional SC. 3 FKS-Y >Fornat Format (0X72, FKS-Y, MTT-Y) * >Bank Cartridge >Bank —>Fornat Bark (1-4) Micro tuning 4 ntT-¥ >Fornat Format (0X72, FAS-Y, MIT)ois (e 4) Disk INT >Dir >Save >Load >Del >Renane Button 16 LCD Displays Disk >Fornat >Back up ¥* Set disk and eush [yes] Free bytes ** Set disk and push [ves] Disk CRT >Dir>Save>Lasd>DelRenane>Bank ¥* Set_disk and push [yes] 1 Disk MOR >Dir >In >Out >Del >Renane ¥# Set disk and push [yes] >Fornat Format ek >Back uP Back Up Disk Free bates Free Fes OnDick (1-44) >0ir Internal Fes Dectory >Save Save interna Fte >Load ead rma Fie >Del Delete ternal Fle >Renane Rename Ineral Fe Die Cartidge Fave Directory >Save Save Canrisge Fle >load Load Cari >Oel Delete Caridge Fie >Renane Roname Caridge Fis >Bank Canidge Bank (1-4) >0ir MOR Flos Ovectery >In MOR Fie in >out, MOR Fie Out >0el Delete MOR Fie >Renane Rename MOA FileMemory LayoutMemory Types ‘As you can see from the diagram on the facing page, there are many facets to the Memory layout of the new DX. To understand all ofthese types of memory, study the diagram and read the explanation below: Voice & Performance Memory ‘This Memory block includes data for 64 Voice Memories and 32 Performance Memories, plus one System Setup Memory and two User-defined Micro Tunings System Setup Memory System Setup Memory contains a number of basic MIDI settings, plus Master Tuning and Cartridge Bank number settings. System Setup is always retained in Internal Memory, along with the Voice & Performance Memory and the two User-defined Micro Tunings For more information on System Setup Memory, see Section 6 of this manual Micro Tuning Memory ‘The DX contains eleven Micro Tunings as part of its permanent memory. In addition, two User-defined Micro Tunings are stored as part of Voice & Performance Memory. Using a RAM cartridge, iis also possible to store upto 63 Micro Tuning Memories, Fractional Scaling Memory Fractional Scaling data cannot be stored in the DX’s Internal Memory. In order to use Fractional Scaling data with Internal Voice Memories, the data must reside in a RAM (or ROM) cartridge installed in the DX’s cartridge port h For those who wish to create Voice Memories or Performance Memories from scratch, the DX provides both Voice and Performance “blank Page” data as part of its permanent ‘memory. Ifyou want to start from ground zero (instead of working from an already. existing Voice or Performance Memory), call up the DX’s Init Voice or Init Performance data (using button 14 in Edit Mode), alized MemoryCurrent Play/Edit Memory Whenever you call up a Voice Memory or Performance Memory in Play Mode, you are actually sending it to a special location in the DX — the current Play/Edit Memory. As the ‘name indicates, this is also the location where Voice or Performance data is edited. In computer terminology, this memory location is often called the Edit Buffer. Compare/Recall Memory When you are editing a Voice and use the Edil(Compare feature, the original Voice data is loaded into the Play/Ealit Memory (so you can hear it). The edited Voice data is moved temporarily into another memory location, the Compare/Recall Memory. In computer terms, this memory location might be called the Compare Buffer. When you engage the Recall Edit function forthe various Internal Memory types, you are actually recalling the last data moved to the Compare/Recall Memory.Memory Storage Types The RAM4 cartridge can be used to store one of three possible kinds of data. In addition to having a number of distinct types of memory, the new DX offers a number of ways to store these various memories. To understand how the various memory storage possibilities interact, read on. Internal Memory The DX’s Intemal Memory holds a standard Voice & Performance Memory block, which consists of the following: 64 Voice Memories, 32 Performance Memories, 1 System Setup Memory, and 2 User-defined Micro Tuning Memories. Voice & Performance Memory can also be stored in Cartridge Memory or in Disk Memory. Cartridge Memory ADX RAMS cartridge can store three different types of data: Voice & Performance, Fractional Scaling, and Micro Tuning ‘The RAM Voice & Performance Memory is equivalent to the Internal Voice & Performance Memory. ‘The RAM Fractional Scaling Memory holds up to 64 Fractional Scalings, which are tied to the 64 Voices in the DX's Internal Memory. ‘The RAM Micro Tuning Memory holds up to 63 Micro Tunings. Possible RAM4 Contents Voice & Performance Memory + 64 Voice Memories +32 PERFORMANCE Memories + 2 micro tunings +1 system setup Fractional Sealing Memory Micro Tuning Memory ey SE Each of these kinds of Memory can be stored from cartridge to disk (ED only).ROM Cartridge ‘The supplied ROM cartridge contains 4 banks, which can be accessed using button 15 in Edit Mode: Contents of Supplied ROM Cartridge The supplied ROM cartridge | Voice & Performance Memory | holds a number of different Sa ene } kinds of DX memory. + 2 micro tunings +1 system setup Voice & Performance Memory Bane 2 * 64 Voice Memories Bank 2 152 PERFORMANCE Memories +2 mioro tunings + T system setup Bank 3 Fractional Scaling Memory Bank 4 Micro Tuning Memory* | TTI ERE at eco EE * may all be equal tempered data Disk Memory (FD Only) Disk memory can be used to store the following: Voice & Performance Memories from the DX’s Intemal Memory; Voice & Performance, Fractional Scaling, or Micro Tuning Memories from Cartridge Memory; and MIDI data from an external unit via the DX's | MIDI ports. = 66-Basic Utility Functions ‘Most of the basic Internal Memory Utility functions are accessed using button 14 in Edit Mode, as follows: Master Tune ‘This sets the tuning of the DX relative to its internal A-440 reference. This setting is stored as part ofthe DX's System Setup Memory. Recall Edit, ‘These functions can be used to recall Voice, Performance, or Micro Tuning data from the DX’s Compare/Recall Memory. Initialize ‘These functions can be used to call up the DX’s Initialized Voice or Performance Memories, if you wish to create Voice or Performance data from scratch,Cartridge Memory Functions LCD display indicating that required Fractional Scaling or Micro Tuning data is not available, When the needed data is supplied via a RAM cartridge, these displays disappear. RAM cartridges are useful storage centers for Voice & Performance data, In addition, they are the only storage source from which Fractional Scaling data and Micro Tuning data can be accessed for immediate use with DX Internal Voice & Performance data. To understand the basic Cartridge Utlty unetions, read on. Using Cartridge Data Except for the two User-defined Micro Tunings that are part of the DX’s Intemal Voice & Performance Memory, Cartridge Memory is the only location from which Fractional Scaling and Micro Tuning data may be recalled for immediate use. Fractional Scaling data and Micro Tuning data can be stored on disk, but cannot be used directly with Internal Memory from disk: In onder to interact with Internal Voice & Performance data, Fractional Scaling and Micro Tuning data must reside in a cartridge plugged into the DX’s, Cartridge port. If you create Voice or Performance data that involves Cartridge Memory (for either Fractional Sealing or Micro Tuning), the DX will remind you as follows; This symbol signifies that the indicated Voice Memory ‘was ereated with Fractional Scaling, but the RAM cartridge With the necessary Fractional Scaling data is not inse inthe instrumont’s cartidge pot. Dual =: MINT46 /HINTS4 Multi Brass ensenble Performance Internal INTL4 ‘This symbo| signifies that the indicated Performance memory was created to include Micro Tuning from 2 RAM cartidge, but the RAM cartridge with the necessary Micro Tuning Hote on/off >PC trns mode rLocal | Na Section at ¥ all normal on >PC trns node Program Change Tiararit Mode (of normal programmable) iin >Local Lees! Node (on) a) Progran sus -] [ ~] >[ 1] [ 21 [ 3] change trns #2 --- --- ai aa2 @@3} >f 1] £27 3) - r Program Number to Sand (004-128) pres G5} again Tens ch Toran hand (1 Channel >Trns ch Rev cho >B >Onni ed nessades 1 ee ere ‘i >B Receive Channel (1-16 of Control MIDI IN control 28 >B CS >1 >2] Onn a nunber 112 aie og MIDI In ContotierA (11-99) 28 MOI in Contodar 8 (11-31) PT Mot n Sir 9 (8-99) >2 Dn Siar 2 (5-99) Te‘Mor A Button 32 MIO HID out. NIDI out. MIDI out HIDT out LCD Displays >Device nunber Receive block Voice Edit buf >1-32 733-64 Transnit edit buffer data ? Performance —_>Edit buf >INT Transnit edit buffer data ? Nicro tuning >Edit buf>INT>CRT Transnit edit buffer data ? >Susten seti Transmit systen setup data? >Device nunber Device Numbur (1-1, 0% >Recelue block Racave Block (1-52.59-64) >Edit but it Voice Et Bulle >1-32 Transit Voice Ota 1.92 >33-64 Trani Voice Data 33-66 >edit buf, Transmit Performance Edt Suter >INT Tranamit tena Peformance Memry >Edit buf Trane Mo Turing Et Butler >INT “Transmit tena Mir Tuning Memory >oRT Trane Caridge Mc Tuning Merrery >Systen setup Transmit 8ysem SetupSystem Setup D> a Since the use of many basic MIDI functions might depend on the contents ofa specifc set of Voice & Performance data, the new DX provides a special memory location, System Setup Memory, to store basic MIDI parameters and other data in conjunction with a Voice & Performance Memory block. This System Setup Memory contains settings for the following parameters: Channel Messages This LCD display allows you to set the DX’s MIDI transmission channel, MIDI receive channels (for Voice A and Voice B in Performance Mode), and MIDI Omni Mode reception (on or off — if on, the receive channel settings are inactive) Note OwOft ‘This parameter is usually set to off, meaning that all keys played produce a note, Other settings (Odd, Even) can be used in conjunction with other MIDI instruments to produce a variety of interesting effects Program Change Transmission If the new DX is connected to another MIDI instrument, various levels of MIDI communication are possible, The MIDI Program Change Mode determines how the DX will relate to an external MIDI instrument: If Mode is set to Off, program changes on the DX will have no effect on the external unit; if Mode is set to Normal, a program change ‘on the DX will send the same Program number to the external unit; if Mode is set to Programmable, the program changes sent will be be those programmed in the Program Change Trans LCD display. Local On/Off This parameter allows you to tur the DX’s intemal synthesizer on and off (as pat of a MIDI system), If Local is set to Off, notes played on the DX keyboard will not engage the DX’s internal sound mechanism. 19| Immediate MIDI Program Change Out If you wish to send a quick MIDI Program Change Message fo an extemal MIDI unit, use | the following procedure: In any of the Play Modes (Single, Dual, Spit, or Performance), ress and hold the button of the current Play Mode (the one with the lit LED), You will see this LCD display: Performance! Dual INTA6 7 INTS4 Sending program change No Now, while stil holding the Play Mode button, type in the program change | number you desire (1-128) using the 1=10 number buttons (1 through 0 Character buttons) Allthree postions in te LCD must be filed: for example, to send program #1, type in 001 (Once you have typed in the third number, the program change you have typed in will be sent over MIDI to the instrument connected to your DX7 I. Control Number ‘These parameters set the MIDI Controller numbers for external MIDI Controllers that ‘may interact with the DX. The function of these Controllers is set via button 26 in Edit Mode. In addition, these parameters set the MIDI function of CS | and CS 2 {as Controllers of | extemal MIDI instruments), and also set the Controller numberof an extemal MIDI Controller that can be used to control the Voice parameters connected to CS | and CS 2 in Performance Mode. If Controller values of S~ 8 are selected, only MIDI transmission is possible -80- €MIDI Data Communications Other System Setup Parameters In addition to all of these MIDI settings, The System Setup Memory stores the Master ‘Tune setting (button 14) and the Cartridge Bank setting (button 15). Whenever you load Voice & Performance data from Cartridge Memory or Disk Memory to Intemal Memory, you have the option of loading with or without the System Setup stored withthe Voice & Performance data, [System Setup Data. | __Button | [Master Tuning ia [_ Cartridge Bank Number “MIDI Trns ch, Rev ch, Omni Mode Local Control Number Note on/off “PC trans mode ——+t Program change out = If you use the new DX as part of a MIDI system, there are a number of advanced MIDI functions available for your use MIDI Device Number Ifthe DX is connected to another Yamaha product, this parameter must be used to set a ‘Yamaha System Exclusive Device Number for MIDI System Exclusive data reception or transmission. This parameter is also used when the FD’s disk drive is used as a MIDI data recorder Receive Block ‘This parameter allows you to set the Memory Reception block as either Intemal Voices 1 ~32 or Internal Voices 33 ~ 64, MIDI Out ‘These LCD displays allow you to transmit various kinds of MIDI System Exclusive data from the DX’s Internal Memory to an external instrument, Obviously, these functions are useful only if you are transmiting data to another instrument (such as another DX7 Il) that is capable of understanding and using i -81-Appendix 1: Supplemental Information ‘As mentioned at the outset, this manual has not attempted to cover all ofthe functions of the new DX in exhaustive detail. To do so would have required a manual of lrge scale and density, one in which it would have been very difficult to locate specific information needed to begin using the DX. For continuing information concerning the DX7 II FD/D, consult AfterTouch, the official publication of the Yamaha Users Group. Many advanced functions will be discussed in its pages in the coming months. There will also be information concerning the availability of other material concerning more advanced applications. Some areas that will be covered in ‘AfierTouch or in supplemental booklets include the following: Quick Reference Guide ‘Memory Management Fractional Scaling Micro Tuning (Basic) Micro Tuning (Advanced) FM Voice Programming (Basic) FM Voice Programming (Advanced) Real-Time Parameter Changes Advanced Controller Usage Advanced MIDI Applications MIDI Technical Data & Charts To receive a free copy of AfterTouch every month, send your request to Aftertouch, P.O. Box 2338, Northiridge, CA 91323-2338, On your letter or postcard, be sure to indicate that you are the owner of a DX7 IL FD)D. -82-Appendix 2: | stay of tn basicunsions of te DX7 1 FD are th same as those of thoi ‘bli DX7. Since theres wealth of material available onthe operation ofthe original DX7, Bibliography | primate tosclenneneaaa features, For more information onthe | parameters and features that the new DX shares with the orginal DX7, consult the | following: DX? Owner's Manual, (Available through your local authorized Yamaha dealer), The Complete DX7, by Howard Massey; published by Amsco Publications; 1986. FM Theory and Application, by Dr. John Chowning and David Bristow; published by Yamaha Music Foundation; 1986. How to Understand and Program the Yamaha DX7, by Lorenz M. Rychner; published by Alexander Publishing; 1985, The Secrets of Analog and Digital Synthesis, by Steve de Furia; published by Hal Leonard Publishing; 1985, Yamaha Easy DX7; published by Yamaha M 1986. Foundation and Hal Leonard Publishing; ieAppendix 3: MIDI Implementation Chart [ Digital Programmable Algorithm Synthesizer 1] Date : 11/21, 1986 Model DX7-2 MIDI Implementation Chart Version : 1.0 + Transmitted Recognized Remarks. Function ... Default memorized Changed Default: 1,2, 3, 4 : memorized Messages : x POLY, MONO(K=1): Altered YECXKUKKXEE x 12 36 - 96 Xl: @- 127 Wee YUXXXXYXXKITE True voice: ° IL: 0 Modulation whee: ° Mio Breath control ° Mio 12 :Foot Controller x ° 12 :Portamento time ° ix :Data entry knob ° Mio x2 :Volume x/ x ovo X2 :Balance / Pan ° IL: 12 :Sustain foot ew ° IL: 12 :Portamento f cw : ° Xl: 0 X12 :Sostenuto : ° Wo X2 :Soft : : ovo Ki oo) x2 :Data entry #1/-1: : ° 11:0 (11-31) x2 :Continuous slidi 0 0 - 127 x1 OT 64-127 :Cartridge: Voice parameters : Song Pos Song Sel Tune System —:Clock x tx eal Time :Commands: x x :Local ON/OFF All Notes OFF ctive Sense Aux (126,127): X1 = tranemit if transmit channel is not off. 12 = receive if receive channel is not off. 13 = tranemit/receive if device number is not off. OMNI ON, POLY © Mode 2 : OMNI ON, MONO 0: Yes OMNI OFF, POLY © Mode 4 : OMNI OFF, MONO x: NoBlank Voice Data Chart L “e's ma e039 | all owv | 9 = _ cow's | = | yenog 2eay ry waa = [ ses | a _ conv | a ta | cow ‘a ren07| nding su eau wees | = E ro shea _— uy [sag gow v 2 dofien7 ndino[ 9 a Wag aa owe | va Bus ow ¥ 104M _UaneNpOW a ows| aowa S woud wopury = = 12RU09 NI | oma At I ae = a3 I zon | a cow ¥ | __ eweuepoa zal | cows oPow tw Z lenus> wo ans = sale saa | eae | 9 eo] 93 | a03 PueE HON i: 7 ‘oumea ‘UKs 050 cont aaa ees ag sso cow's | [spew Bisse oy a a Ube seauesey 2 lo[souvT10so| __WHLODTW / eed Coan : 9ueu 2210, ax? -85-Blank Performance Data Chart DOS< arcs Performance name : Voice mode Voice No(name) Total volume Balance Dual detune Split point Sustain foot switch Foot switch )RNG Continuous slider ¢ ) Continuous slider 2 ¢ ) Micro tuning table select G ) Key= EG forced damping Note shitt PAN mode PAN range PAN select RI Re RS PAN EG Ra ui Le us La -86-EEE MIDI DATA FORMAT 1. Transmission Requirements ACTIVE SENSING NOTE ON/OFF MODULATION WHEEL BREATH CONTROL FOOT CONTROL VOLUME CONTINUOUS SLIDER 1 “1 CONTINUOUS SLIDER 2 #2 SUSTAIN SWITCH PORTAMENTO SWITCH SOSTENUTO SOFT DATA ENTRY +1 DATA ENTRY —1 PROGRAM CHANGE AFTER TOUCH PITCH BENDER VOICE EDIT BUFFER SUPPLEMENT EDIT BUFFER PACKED 32 SUPPLEMENT PACKED 32 VOICE PACKED 32 PERFORMANCE. PERFORMANCE EDIT BUFFER SYSTEM SETUP MICRO TUNING EDIT BUFFER MICRO TUNING IN MEMORY MICRO TUNING IN CARTRIDGE. FRACTIONAL SCALING EDIT BUFFER FRACTIONAL SCALING IN CARTRIDGE VOICE PARAMETER CHANGE. SUPPLEMENT PARAMETER CHANGE. PERFORMANCE PARAMETER CHANGE MICRO TUNING PARAMETER CHANGE FRACTIONAL SCALING PARAMETER CHANGE SFE $90. SBo, $01 Bn, $02 SBn, SBo, SBo, Bo, ‘$Bo, SBn, SBo, SBn, SBn, SBr, Ca sDn En SFO, $43, $08, $00—— SFO, $43, $05, $05 SFO, $43, $08, $06) SFO, $43, $08, $09 SFO, $43, $08, $7E SFO, $43, $08, S7E SFO, $43, $05, $7 SFO, $43, $08, $7E SFO, $43, $08, §7E SFO, $43, $08, $7 SFO, $43, $08, §7E SFO, $43, $0S, $7E SFO, $43, $1s, s00~so1 SFO, $43, $15, $18 SFO, $43, $15, $19 SFO, $43, $15, $18, S7E SFO, $43, $18, $18, $77 J Device Number ‘OF 41 BALANCE $Bn, $08 in EDIT MODE Add-l MIDI ‘OUT2. Transmission Data 24. Channel information ‘Transmission is possible only when 1~ 16 is specified as the transmission channel 41) Channel voice mes 1 Key ON/OFF Status 1001AnAN NoteNo. OkKKKKKK Velocity 2 Control change Status 1011anAn ControiNo. Ocecccce Controt Value Ovvvvvvy Controt No. cnt Modulation whe Breath contro! Foot control Portamento time Volume Continuous slider Sustain SW Portamento SW ©=68 Sostenuto cm87 Sof 3 Program change Status 1100nnAn Program No. Oppppppp 4 After touch Status 1101anan Value ovvvvyyy 5 Pitch bender tatus Value (LSB) Valve (MB) Resolution 7bit 1t10nnAn Ouvuuuuy Ovvvvvvy (99) on k=36(C1)~96(66) Ovvvvvvy (v=0) KeyON 00000000 wv: shannel No, Key OFF (Bn) _n=channel No. veo~t27 OFF, 127: ON v=0: OFF, 127: ON v= 0: OFF, 127: ON v=0: OFF, 127: ON (cay INTERNAL, ~ 127 CARTRIDGE ‘The transmission data are as follows: MsB LsB 0000000 (00) 00000000 (00) — Min. 01000000 (40) 00000000 (00) — Mid. onvaitat (7) 04141910 (7E) Max, Add-2 2.2. System information 1) System real time message Active sensing Status 11441110 (FE 2) System exclusive message Transmission is possible only when the device No. Is set to 1216. 1 Parameter change Status 11110000 (Fo) IO No. 01000011 (43) ‘Substatus/ Sone 0001nnmAn (In) Parameter gg ggnn ‘group No. eel Parameter No. Oppppppp Data 944d dda ) Sate or mutta Oddddddd) bytes FOX Vatiotss (7) re Seven parameter group Nos. and parameter Nos. T No. ot Parameter oi] p | data byte, 0 | o fons] 1+ Voice ° ons | 1 Supplement Notes) | 6 | 0 | o~73 | 1 Performance e | 1 [oe] 4 ‘System set-up e [+ fem | a 3 Micro tuning 8] o | 126 | uote 1 Fractional scall e}o| w lit ractional scaling Note 2) wores oem Benth SEARS” oat aoa] Se 01111111 data (low) 0-127 binary } 3 bytes Nove2— Data bytes 00000ppp OOkKKKRK Ohhhhhhh. onsstitt ‘operator number key group number data (high) 0-1 data (low) total of binary {4 byte 0-127 binary Nores— Under the Supplement parameter change, OX7 function parameter change will be transmitted along with the above.‘© Fractional Scaling Parameter Change Operator number P ‘Operator ° 6 1 ops 2 ond 3 op ‘ op? 5 ot | Key group number K Key Data 0 offset 127 ~ 127 1 C2- Ct 0 = 255 2 cea~pe-t a Ea ~Fe-1 4 Gi~ At 5 Ag-1~ co 6 cHo~Da0 7 Eo ~F#0 8 co ~ a0 9 Ano~ C1 10 c#i~ DEL n El ~F#1 2 a~ Al 8 Ag1~ C2 u c#2~ paz 18 E2 ~F#2 16 G2 ~ a2 a AB2~ €3 8 c#3~ Dea | 19 E3 ~FH3 2» Ga ~ a3 a AgS~ C6 2 cea~pee 23 EA ~FH4 2% Ga~ 2 ARG 65 6 cas~ pas 2 ES ~F#S 28 Gs ~ As 29 ABS~ C6 0 cae~ Dae a ES ~FH6 32 G6 ~ a6 2 ABe~ cr M ceT~pe7 38 ET ~FR7 36 G7 ~ ar 37 AaT~ cB 38 cae~ Das Po Es ~F#s 0 os. (Complement of 2) (Binary) Add-3 2 Bulk data For Voice edit butter ‘Supplement edit buffer Packed 82 supplement Packed 32 voice Status 11110000 (FO) IDNo. 01000011 (43) ‘Substatus/ eae 0000nnAA (On) FormatNo. ott ttt tt Byte count (MSB)0bbbbDDD Byte count (LSB) ObbbbbbD Data Oddddada ‘ odddaaaa Checksum Ococccee EOX vitiotit Format Byte No. Dota count 0 _| Voice edit butter 165 5 _| Supplement edit butter 49 6 _| Packed $2 supplement 1120 9 _ | Packed 32 voice 4096 (© when using universal Bulk Damp status 11110000 (FO) IDNo. 01000011 (43) Substatus/ aise 0000nnAN (On) FormatNo. 01111110 (7E) Byte count (MSB)O bb bbbbD Byte count (LSB) ObbbbbbD Classitication Oaaaaaaa Asch’ name Oaaaaaaa ™ (4 bytes) Oaaaaaaa — Oaaaaaaa — | Repeat group Data format == Ommmmmmm ASCIl name (6 bytes) 1 ommmmmmm Data oddddada 1 oddaaded Checksum Oe eeeoce ox van104tt (FD)ata Byte Classiication Date format No.of count name repeats OX7 II Performance Edit Butter 6 2979P E 1 DX7 Il Packed 82 Performance 1642 8973 M 1 ~ Dx7 It ‘System Set-up 112 8973S 1 “Micro Tuning Eat Butler 266 MCRYE 1 Micro Tuning with Memory #x 266 MCRYM 1 Micro Tuning Cartridge 266 MGRYO— Cy Fractional Sealing Edit Butfer 502 FKSYE — 1 Fractional Scaling in Gartridge with Memory # 502 iM FKSYC — 22 ‘Note 1) The x of MCRYMx is a memory No. expressed In binaty form, 0 or 1. Note 2) When the number of rer Add-4 S18 64, the data group trom byte count to checksum will be transmitted 64 times.3. Reception Requirements MIDI IN SFE pSén [son [-sBn, [-sBn, }-sBn, b-sBn, [-SBn, [-sBn, |-sBn, [-sBn, [-sBn, [-sBn, [-SBn, [-SBn, [-SBn, foscn [spa L-sen MEMORY (—SFO, PROTECT [_, tel sro, oFF |_ sro, SFO, 343, $43, $43, sor $02 $04 $05, $07 $08, $09~SiF $09~$1F 40 $1 $42 $43 TE STF $43, 80S, $09 $43, $08, $06 $43, $05, S7E 343, $05, $7E $43, 80S, $7E $43, 80S, $7E 43, 80S, $7E $43, $08, $00 343, $05 $43, Sve $33, S7E $43, 80S, $7E $43, $1S, $00~sor $43, SIS, $18 $43, s19 sis $18, $7E $18, $7F Add-S ACTIVE SENSING NOTE OFF NOTE ON/OFF MODULATION WHEEL BREATH CONTROL FOOT CONTROL PORTAMENTO TIME VOLUME BALANCE CONTINUOUS SLIDER ‘MIDI CONTROL SUSTAIN SWITCH PORTAMENTO SWITCH SOSTENUTO SOFT POLY MONO, PROGRAM CHANGE AFTER TOUCH PITCH BENDER PACKED 32 VOICE PACKED 32 SUPPLEMENT PACKED 32 PERFORMANCE SYSTEM SETUP MICRO TUNING IN MEMORY MICRO TUNING IN CARTRIDGE, FRACTIONAL SCALING IN CARTRIDGE VOICE EDIT BUFFER SUPPLEMENT EDIT BUFFER PERFORMANCE EDIT BUFFER MICRO TUNING EDIT BUFFER FRACTIONAL SCALING EDIT BUFFER VOICE PARAMETER CHANGE SUPPLEMENT PARAMETER CHANGE PERFORMANCE PARAMETER CHANGE. REMOTE SWITCH MICRO TUNING PARAMETER CHANGE FRACTIONAL SCALING PARAMETER CHANGE DUMP REQUEST4. Reception Data 4-1, Channel information There are two types of MIDI reception channels for channel messages: A and B. Single mode —_: Only Ais effective Dual mode Only A is effective Split mode A,B independent ‘The split point function is effective when A=B, assigning A to the lower half and B to the upper halt, 1) Channel voice message 1 Key OFF Status 1000nnnAn (8m) n=channel No. NoteNo. OkKKKKKK KC.2)~ 127168) Velocity Ovuvvv vy Ignore vs 2 Key ON/OFF Status 1001mnan (9) A=channel No. NoteNo. OkKKKKKK 0(C.2)~127(Gs) Velocity Ovvvvvvy ~127 Key ON 00000000 Key OFF 3 Control change Status 10110nAw ControtNo. Oececece Control Value Ovvv vv (en) Modulation whee! Breath control Foot contol Portamento time Balance Continuous slider MIDI control Sustain SW )~ 63: OFF, 64~127: ON ones, Portamento SW ~63: OFF, 64~127: ON = 68 Sosutenuto (0~63: OFF, 64~127: ON omer Soft v= 0~63: OFF, 64~127: ON ‘The continuous sliders can be assigned to certain internal cttects, MiDI controican be assignedin the same way as foot control Add-6 4 Program change Status Program No, 1100nqmnn (Cn) n=channel No. Oppppppp p=0~t27 (0~31 select Internal PERFORMANCE combinations. in PERFORMANCE mode. 32~63 select cartridge PERFORMANCE combinations. Values over 63 repeat this order of selection (INT 1~32 -+ ‘ORT 1~32), In Single, Dual or Split mode, 0~63 select INT voices, 64~127 CRT voices. 5 After touch Status 1014nnAN (On) n=channet No. Value ovvvvyyy v=0~127 6 Pitch bender Status 1140AnAM (En) n=channel No. Value (LSB) Ouuuuuuu Value (M88) OvVV VV Operates with only the MSB dat (usB} 00000000 Min, 01000000 Mid. onittttt Max. 2) Channel! mode message 4. MONO/AII note off 1ottAnan orsiitio0 Ommmmmmm (en) (7E) Mono/All note off Set to the Mono mode with only m=1 recognized, Ignore when my. POLYIAII note off 1Ottannn otataad 00000000 Poly/All note off (Bn) cy 4 ‘System information 1) System real time messages. Active sensing Status 11114140 (FE) Upon reception of the code, sensing will start. When there Is no status byte or data for 300 msec, the MIDI reception butter is cleared and the on-going sound turned OFF.2) System exclusive messages 1. Parameter change (Switch remote) Status 10No. Substatusy device No. Parameter ‘group No. ‘Switeh No. Data EOX 11110000 (Fo) 01000011 (43) 0001nnAA (in) 00011011 (1B) ommmmmmm Oddddddd a v4110111 (FD) All the panel switches are controlled. ‘The switch numbers are follows: a ey es Se] wee 2. Parameter change ‘Same 3 Bulk data for transmission ‘Samo as for transmission 4 Dump request For Voice edit butter Supplement edit butter Packed 92 supplement Packed 32 volce Status IONo. Substatusy/ device No. Format No. EOX 11110000 (Fo) 01000011 (43) 0010nANN (an) Ortttett 0,569 vit101tt 7) © Universal bulk dump Status IDNo, Substatus/ device No. Format No, Classification name (ASCII 4 letters) Data format name (ASCII 6 letters) Ox Classification name and data format name are 11110000 01000011 0010nAnA ortitit0 Oaaaaaa 1 oa Ommmmmmm 1 Ommmmmmm viai01tt ‘same as for transmission. Fo) (43) en) ve)5-1. Voice Parameter (VCED format) |r |PNO |ParaMeTeR | pata | noTES ww ojo} o!} x 0-99 | EG RATEL 21 42 63 84 105 99 1 | Rr 0-99 | EG RATE? 22-43-64 85 106 99 2 | Rp 0-99 | EG RATES 23446586 107) 9 3 | Rt 0-99 | EG RATES 24 45 66 87 108 99 a]ou 0-99 | BG LEVELI 25 46 67 88 109 9 5 | we 0-99 | EG LEVEL2 26 47 68 89110 9 6] ob 0-99 | EG LEVEL3 27 48 6990 111 9 7 | 0-99 | EG LEVELA 28 49 7091 112 0 a | eP 0-99 | BREAK POINT 2950 71 92 113 39 9 | w 0-99 | LEPT DEPTH 30517293 118 ° w | RD 0-99. | RIGHT DEPTH 3152 73.94 115 0 n | Lc 0-3 | LEFT CURVE 7495 116 0 2 } RC 0-3 | RIGHT CURVE 15 96 117 0 3 | RS 0-7 | RATE SCALING 1697 118 0 | AMS 0-3 | MODULATION SENSITIVITY 7798 119 0 | Ts 0-7 | TOUCH SENSITIVITY 7899 120 0 1% | TL 0-99 | TOTAL LEVEL 37 58 79 100 121 | (OP1-9990 7 | pM 0-1 | FREQUENCY MODE 38 59 80 101 122 0 we | PC 0-31 | FREQUENCY COURSE 39 60 81 102 123 1 19 | PF 0-99 | FREQUENCY FINE 40 61 82 103 124 ° 2 | PD 0-14 | DETUNE 41-62 83 104 125) 1 | fas | PRL 0-99 | PEG RATEL 9 wz | Pre 0-99. | PEG RATE? 9 o}1 | re | prs 0-99 | PEG RATES 9 19 | PR 0-99 | PEG RATES 99 wo | PLi 0-99 | PEG LEVELI 50 it | PLe 0-99 | PEG LEVEL2 50 12 | PIs 0-99. | PEG LEVEL3 50 133 | PLA 0-99 | PEG LEVELS 50 134 | ALS 0-31 | ALGORITHM SELECTOR 0 135 | FBL 0-7 | FEED BACK LEVEL ° 136 | OPI 0-1 | OSC.PHASE INIT 1 137 | LRS 0-99 | LPO SPEED 3 138 | LED 0-99 | LFO DELAY TIME 0 139 | LPMD = [0 - 99. | PITCH MODULATION DEPTH ° uo | LAMD — [0-99 | AMPLITUDE MODULATION DEPTH ° | ua | teks 0-1 | LFO KEY SYNC 1 we | LEW 0-s | LFO WAVE ° 43 | Lems 0-7 | LFO PITCH MODULATION SENSITIVITY 3 ua | TRNP [0-43 | TRANSPOSE 4 45 | VNAMI [ASC | VOICE NAME 1 6 | VNAM2 | asc | VOICE NAME N a7 | vNams [asc | voIcE NAME 1 we | vNaMa | ASC | VOICE NAME T 49 | VNAMS | ASC | VOICE NAME 150 | vNAMs | ASC | VOICE NAME v 11 | vNAM7 | ASC | VOICE NAME ° 12] vNAM8 | ASC | VOICE NAME 1 183 | VNAM9 | ASC | VOICE NAME c 1s¢ | VNAMIO | ASC | VOICE NAME it 15 | OPE 0-63 | OPERATOR ENABLE B5:0P1.--,B0:0P6 136 | OPSEL [0-5 | OPERATOR SELECT 0:0PI.-.5:0P6 Add-85-2, Additional Parameters (ACED format) &[h |PpNo [Paramerer | DATA | wit | NOTES ol o | sw o- 1 [0 | OP6 scaling mode normal/fraction 1 | SCM O- 1 ]0 | OPS sealing mode normal/fraction 2 | scm 0- 1/0 | OPS sealing mode normal/raction 3 | SCM D- 1/0 | OP3 scaling mode normal/fraetion 4 | ScM O- 1 ]0 | OP?2 sealing mode normal/fraction 5 | SCM ©- 1/0 | OPI sealing mode normal/fraction, 6 | Ams ©- 7 [0 | OP6 amplitude modulation sensitivity 7 | AMS O- 7/0 | OP5 amplitude modulation sensitivity 8 | AMS = 10 | OPS amplitude modulation sensitivity 9] AMS = 1 |0 | OP3 amplitude modulation sensitivity 10 | AMS 0- 7 [0 | OP2 amplitude modulation sensitivity n | AMS 0-7/0 | OPI amplitude modulation sensitivity wz | PEGR O- 3 ]0 | pitch BG range 8va/4va/lva/1/2va 1 | LTRG — ]o- 1/0 |LFO key trigger (delay) single/multi [| | Wesw [0-1 [0 | pitch BG by velocity switch off/on0/1 15 | PMop —|o- 3 [0 | bito;poty/mono , bitksunison off/on 6 | PBR 12 }2 | piteh bend range vw | PBs o- 2/0 step. as | PEM o- 2/0 ‘mode low /high/k.on 19 | RNDP [0-7 |0 | ramdom pitch fluctuation off/Sc-4le 20 | Porm —[o- 1 |0 | portamento mode rtn/fllw fnged/fitm a | PONT |o- 12 Jo step || 2 | Pos 0- 99 |o time 23 | wpm |0- 99 [0 | modulation whee! pitch mod range % | Mwam [0-99 |o ‘amplitude mod range 25 | Mwes |o- 99 |o EG bias range } 26 | FewpM —|0- 99 |0 | foot controler I pitch mod range a | FCIAM jo- 99 |o ‘amplitude mod range 2% | FCEB [0-99 0 EG bias range 29 | FCIVL = |o- 9 |0 volume range |] 30} Bepm — [0-99 }0 | breath controler pitch mod range 31 | BCAM jo 99 |o amplitude mod range 32) BCEB o> 99 Jo BG bias range 33 | BCP 0-100 | 50 pitch bias range ue) atpm — [o- 99 Jo | after touch piteh mod range 3 | ATPM [0-99 [o amplitude mod range 36 | ATER |o- 99 [o EG bias range | 37 | ATPB [0-100 | 50 pitch bias range 38 | PGRS 0- 7 [0 [pitch BG rate scaling depth 39-63 | reserved 6 | Foxpm |o- 99 |o piteh mod, range | FOAM |0- 99 Jo amp mod. range 6 | FEB |o- a9 |0 EG" bias range | 7 | FOvL |o- 99 Jo volume range 6 | Mcpm = |o- 99 Jo pitch mod, range 6 | McaM = |o- 99 |o amp. mod, range 7 | MCEB 0-99 |o EG bias range a | MCvL jo- 99 Jo volume range mz_| uptn —|o- 7 {0 | unison detune depth ma | recs: [o- 1 Jo _ | foot entht use as CS1 switch off/ono/1 Add-9rarer aaa nearer 5-3. PERFORMANCE Parameters (PCED, PMEM format) 6 [h |PNO | PARAMETER | DATA | NOTES wT 6]1} 0 | pimp [o- 2 Jone: siNcLE/DUAL/spLiT 1 1 | vnma — |o- 27 | ACH voIce NUMBER ° 2 | vamp [o~- 127 | BCH VOICE NUMBER ° 3 | MCTB |0- 74 [MICRO TUNING TABLE SELECT ° 4 | Mcky . }o- 11 [MICRO TUNING KEY ° 5 | mcsw [0-3 | MICRO TUNING SWITCH BITO:A,BITI:B 0/1:0FF/ON o 6 | porn jo- 7 |DUAL DETUNE ° 7 | sppr— |o- 7 |spLit pont 60 8 | romp — [0-1 | BG FORCED DAMPING SWITCH 0/1:0FF/ON 0 a | sFsw /o- 3 | SUSTAIN FOOT SWITCH BIT®:A.BITL:B 0/10FF/ON 3 i | FSAS —|o- 3 | FOOT SWITCH ASSIGN 0SUS.:POR2:KHLD3SFT 1 n | FSW 0-3 | FOOT SWITCH BITO:A,BITL:B 0/1:0FF/ON 3 w | sprnc |o- 7 |SOFT PEDAL RANGE ° 13 | NSFTA 0-48 | NOTE SHIFT RANGE FOR SINGLEDUALSPLIT(A) m | NSPTB Jo - 48 | NOTE SHIFT RANGE FOR SPLIT) m | | 15 | BuNc — |o~- 100 [VOLUME BALANCE (-s0 -+50) ° w | TvEM = /o- 99 | TOTAL VOLUME * wv | cstpr Jo - 105 | conTINUOUS SLIDER 1 ° 18 | csLp2 [a - 199 | CONTINUOUS SLIDER 2 ° | | 1 | cssw 0 - 3. | CONTINUOUS SLIDER ASSIGN SWITCH b1.3:B.602:A 0 | | 2 | Pye — o- 3 | PAN MODE O-MIX,:0N.ON.20N.OFF2:0FF-ON 1 | | 21 | panrne ]o- 99 | PAN CONTROLL RANGE ° z | PANASN |0- 2 | PAN CONTROL ASSIGN 0/1/2:LFO/VELOCITY/KEY# ° 23 | PNEGRI [0-99 | PAN EG RATE? %9 2 | pNecRe |o- 99 | PAN EG RATE2 9 | | 2 | PNEGR Jo- 99 [PAN BG RATES 9 | | 2 | pNecra fo- 99 | PAN EG RATE 4 9 | | 27 | pnecii |o- 99 | pan gc Lever 1 50 23 | PNEct2 |o- 99 | PAN EG LEVEL 2 50 m | prects [0-99 |paN so tevaLs | 50 | 30 | PNEGLE /o- 99 | PAN eG LEVEL 4 | 50 3 | pwam — |asci | PERFORMANCE NAME Jor 2 " ” " N 3 " . ” 1 jou ” . " T 6 " . " 6 ” " " P au ” " . E ” ” ” . R 0 ” ” . F 40 " . ® so » ® : Add-105-4. Voice Data (VMEM format) No ers ems ams wrs a2, wti aio o |r RI 17 34 51 68 85 1 [Re Re 18 35 52 69 86 2 (Rs Ra | 19 36 53 70 87 3 [Re Re 20 37 54 71 88 a fu Li 21 38 55 72 89 5 |i L 22 39 56 73 90 6 {Ls 13 23:40 57 78 91 7 |u La 24 41 88 75 92 8 | BP BP 25 42 59 76 98 9 |i LD 26 43 60 77 94 wo |RD RD 27 44 61 78 95 n {Rc - aa RC 1 Lc 28 45 62 79 96 2 |PD PD 1 RS 29 46 63 80 97 a3 | ts oe | Ts 1 AMS 30 47 64 81 98 uo {TL TL 31 48 65 82 99 15 | PC - | PC PM 32 49 65 83 100 16 | PF PF 3350 67 84 101 we | PRI PRI 103 | Pro PR2 10s | Pro PRS 105 | PRe PRA 1s | PL PLI 107 | PLe PL2 108 | PL. PL3 109 | PLA PLA no | ALS =] Hl ALS. mort - to dos for 4 FBL. 2 | LFS LFS us| LED LFD a} LPMD LPMD ms | LAMD LAMD ne | LPMs LPMS t LFW | LEKS nt | TRNP ‘TRNP ug | VNAML VNAMi ng | vwaM2 VNAM2 10 | VNAM3 VNAM3 11 | VNAMG VNAMi 122 | VNAMS VNAMS 123 | VNAM6 VNAM6 1 | VNAM? VNAM? 125 | VNAMB VNAMS: 126 | VNAM9 VNAMS 127 | VNAMI0 VNAMIO Add-115-5. Additional Data (AMEM format) eesaeeunns|8 0 u 2 B in 1% 6 " 1B 19 2 2 2 2 m4 Fa 26 2 20 30 a 2 x” [urn ers ers aré. sara, m2swi—wiTo SCM - | OP1 | OP2 OP3 opt OPS | OPS AMS = 1 ops os AMS - 4 ops ors AMS - I OPi 1 OP2 PEGR | RNDP VPSW! LTRG| PEGR PMop }- 4 PBR | PMOD | Pas = 4 PBM | PBs. RNDP - 1 - 1 PQNT PORM Pos Pos | west MWPM Want MWAM MWEB Mwes ForM FcIpM FCIAM FCIAM FCIEB FOE FcIvL | FCwvL BPM. | BcPM BCAM | BCAM BceB BCEB BcPB BCPB ATPM ATPM | aTan ATAM ATER | ATEB AtPR ATPB Pars \ PGR. RESERVED FC2PM FoaPM FCM FOAM FOORB Fors, FOL FO2VL McPM MCPM MAM MCAM McEB | McEB MCVL | MCVL i | Fecsit UDTN: Add-125-6. System Set-up Parameters 1... SYSTEM memory 102 bytes lot ame data seit notes, 640 | TxCH 0-15 0 * MIDI TX channel 61 |cvmsw fou 1 * MIDI channel voice message TRANS switch 6 2 |RxcHa | 0-16 o * MIDI RX channel lé:off 67 3. |RXCHB | 0-16 ° * MIDI RX channel 16:off 6 4 OMNI on 1 * MIDI OMNI MODE SWITCH 0/1:0FF/ON 6 5 |McoNTA ju-n [iz ‘* MIDI CONTROLER NUMBER m6 |McoNTB jun las + MIDI CONTROLER NUMBER m7 |McsNuMi |11-31 [14 * CONTINUOUS SLIDER 1 CONTROLL MUMBER m8 | McSNUM2 }1I-31 [15 '* CONTINUOUS SLIDER 2 CONTROLL NUMBER 73.9 |MKoEFG | o-2 0 '* MIDI key on/off normal/odd/even:0/1/2 flag 10 | Ppcmop |o2 1 '* PROGRAM CHANGE TRANS MODE FLAG 0/1/2i0f/nor/pre mu |rocaL jor 0 * LOCAL SWITCH 0/1:0FF/ON % 12 |MTBRLG | 0-1 o * MIDI transmit block flag 713 | MRBFLG | 0-1 0 + MIDI recieve block flag 14 |scMcH — |o-15 ° ** MIDI system common message RX channel (device No) 7915 |SCMSW Jo-1 1 '* MIDI system common message switch 8016 | APTBNK1 | 0-15 ° * cartridge appoint bank number 8117 | APTBNK2 | 0-15 2 cartridge appoint bank number 8218 | APTBNK3 | 0-15 3 + cartridge appoint bank number 8319 | PRoTEcT | 0-3 3 memory protect - bitO-INT. bit+CRT. 637 |MSTUNE jou? — | 6 * master tune -3-101 | PPCBUF [0-127 | sw#_ | PROGRAMMABLE PROGRAM CHANGE TRANS SET BUFFER Add-13renner nr career aaa tt 5-7, Micro Tuning Parameters ByTe| KEY NAME | DATA Notes 0 | ce 0-84 MSB 480, -95C2_— ad CH_ aH ac 1 | c2 | 0 -127 0-10798 | LSB @ 97 us 193, za 2 | cee o-m MSB 50 8 46 194 ad 3 | cre 0 -127 0-10794 | LSB 51 9 ur 195, 23 a] v2 0-8 MSB 82 100 Ma 196 24 s | pe 0 -127 0-10794 | LSB 53 101 49 aT 5 6 | Dee 0-8 MSB St 102 150 198 26 7 | pee 0 -127 0-10794 | LSB 55, 103 151 19 ur a | E2 0-8 MSB 56 104 152 200 28 9 | Ez 0 -127 0-10794 | LSB st 105 153, m1 249 w | Fa 0-8 MSB 58 106 154 202 250 n | Pe 0 127 0-10794 | LSB 59 107 155 203 21 | Fee 0-84 MSB 60 108, 156 208 2s2 3 | Fee 0-127 0-10796 | LSB 6 109 187 205 253 u | G2 0-84 MSB G2 no 158 206 254 5 | G2 0-127 0-10798 | LSB 6 ML 159 207 255 1 | Gee 0-4 MSB 64 uz 160 208 a | a2 [0-127 o-10794 | LSB 65 us 161 209 w | az jo- a [MsB 66 ad 162 210 19 | Az 0-127 0-10794 | LSB 6 us 163 an 20 | ae 0-8 MSB 68 us 164 a2 a | ate 0 -127 0-10794 | LSB 6 ur 165 23 2 | Be 0-84 MSB 70 18 166 2a 2 | Be 0 -127 0-10794 | LSB m 19 167 215 a | ca Cl 10C3_—eB CSB CT 2 | 2 ray 169 27 26 m 12 170 218 2 % 123, m 219 an % 14 172 220 2 n 15, 173 2 an * 125 174 m2 3 | 7 127 15 223 Fd 80 18 16 204 3 | aL 129 am 25 34 2 130 178 26 3% 8 131 179 T 6 | oT 132 180 28 37 | 85 133 181 29 F 86 134 182 230 9 a7 135, 183 231 0 88 136 1st 22 a 89 137 185 233 2 0 138 186 234 a a 139 187 235 “4 9% 140 188, 236 6 98 i 189 2a «6 o a 190 238 a 95 3 191 239 Add-145-8, Fractional Key Scaling Parameters ore Joes [ore fora = ope Jom: — [vata 0 | ors a 2 13 4 205 1 Jer - ca 2 « 124 165 | 206 2 |on = pa 2 a 25 6 | 207 3 [El PRL “ 5 126 6 2 « fe - a 6 6 m 168 29 s jan - @ “6 87 ne 9 ao 6 | co - pro a 8 v9 |ato m 7 |e - Fro 48 9 wo [in 22 a et) 0 0 BI me a | 9 fap - a 50 2 12 mau w fon - pa 51 % 13 m4 215, ule - ma 2 9 14 m5 a6 vw ja - «a 53 4 15 mar 3 fan - ce 54 % 16 m 218 uo |ce = - pe 55 96 17 1% ng 3» |e - Fe 56 s7 18 179 m0 we |e - wa st 95 19 wo fan vw lar - @ 58 r uo 1 ze w | ce pis 0 100 ut we | yw |e - RB ® ji 1 ws Jae o |@ - a jon 102 13 we | 205 a fap - ® 103 ua ws | 26 2 |cH - pe 6 14 165 we Jar 3 |e RM a 106 M6 w/z u |e = a 6% 106 ua ws | 3 |aw = cH 6 107 18 wo | 290 6 CHS. = DAS er 108 9 | 190 231 nh 8 io | 50 1 2 = |G as 6 juno 151 1 238 » | ab - 6 0 m 182 w/z w |cs - Des n | nz 153 19 25 a mF 2 us 154 19286 we |e - as % ry 155 waar sw fae - co " us 156 wr 8 a | car Dir 6 16 17 198 29 es |e - Fr %6 7 158 w/o 3 |e - a n ne 159 | 200 21 Pe 78 n9 260 201 2a = |oe - re 79 mw fas ae | as Ce wo faa 182 ms | 2 wo fo a re 163 204 28 Note: For the bubk data transmission, 8 bit (0~255) data willbe divided in hal: lower 4 bits and higher 4 bil, tobe converted into ASCII codes. Add-15SPECIFICATIONS © Keyboard 61 keys (C1~Cs), with ini /atter touch = Tone Generator FM tone Generator (6 operators 82 algorythms) = Simultaneous Note Output (Reverse priority) ‘-volce: 16 notes (single play) 2wvolce: 8 notes (Dual play) 2.volce: 16 notes (Split play) = Internal Memory 64 voices/32 performances, 2 micro tunings, 1 stem set-up © External ROM Memory 128 voices/64 performances, micro tuning, fractional level s Hing ‘= External Memory RAM cartridge (Optional, RAM4)= Internal Memory x + * Micro floppy disk (Optional, MF2DD)= Internal Memory x 40, MIDI exclusive data = Controt Sliders and switche Volume slider, Continuous sliders CS1, CS2 (Data entry) Data entry switch x 2, Mode setting switch x 12, Voice switch x 32 © Controle PITCH BEND WHEEL, MODULATION WHEEL © External Control Terminale BREATH CONTROL, SUSTAIN, FOOT SWITCH (Sustain, Portamento, Key hold, Soft), FOOT CONTROL 1 (Volume, Modulation, Voice parameter), FOOT CONTROL2 (Volume, Modulation). RAM-ROM CARTRIDGE SLOT MIDI IN — OUT — THRU © Output Terminals Output A/MIX-B, Headphones © Disk Drive 3.5" Micro Floppy Disk Drive, built-in 20D IM Bytes (720K bytes when formatting) = Display LO: 40 letters x 2 lines (illuminated) LED: 7 segments x2 © Dimensions (W x H x D), Weight 999 x 85.8 x 939.7 mm, 10.5 kg/11.2 kg" (* OX7 IT FD) ‘= Power Supply, Power Consumption U.S & Canadian Models: 120V, 50/60H2 General Model: 110V/220V/240V 50/60H2 © Standard Aces Music holder, ROM cartridge, 3.5" Micro floppy disk (MF2DD) © Optional Accessories RAM Cartridge RAMA Flight Case Lo-7iF Hard Case Lo-7iIH Soft Case sc-711S Cartridge Adaptor ADP Foot Switch FC4/ECS, Foot Controller FC7, Breath Controller BC, Head Set Breath Controller BC2, Stand LG-100, MIDI Cable MID1 01/03/15, 3.5" Micro Floppy Disk MF2DD. Add-16SINCE 1887 @ YAMAHA \MIPPON GAKKI CD, LTD. HAMAMATSU, JAPAN [OMD-2090] 87 1 20 0R Printed in Japan ee ee