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THE OFFICIAL PUBLICATION OF THE YAMAHA USERS GROUP

JUNE 1987 8YAMAHA®

 ----
--
Editor
-- -- -- --
---
Tom Darter ~-

- - --~---~~=~~
Operations
Sibyl Darter -
Editorial Board
Bob Frye
Bill Hinely
Mark Koenig
Jim Smerdel
June 1987 Volume 3, Number 6
Cover Photograph
Issue #21
Jim Hagopian

4 Micro Tuning
Exploring the Micro Tuning capabilities on the DX7 II. By
Howard Sandroff.

6 WX7 Sound Sheet

An introduction to the enclosed Evatone Sound Sheet, featur-
ing Yamaha's new MIDI wind controller. By Tom Darter.

7 RICKNGRETCH
A new DX7 voice created by Chris Corso.

8 STEPORGAN
A new DX7 voice created by Bruno Choiniere.

9 CATHEDRAL
A new DX7 voice created by Barry Carson.

10 SOFT STEEL
A new DX7 voice created by Bryan Pape.

11 TX802
A first look at Yamaha's new 6-operator FM digital tone
generator. By Tom Darter.

14 RX5
"RXS Gated Snare" and "SonarReflection," two new RXS
voice edits created by Vincent Bitetti.
AFfERTOUCH is pub-
lished monthly. Third class
postage paid at Long 15 RX5
Prairie, MN and additional "Meteorite" and "TrainThruTunnel," two new RXS voice edits
points of entry.
SUBSCRIPTIONS: Free. created by Vincent Bitetti.
Address subscription cor-
respondence to AFfER-
TOUC H, P.O. Box 2338,
Northridge, C A 91323-
2338. POSTMASTER:
Send form 3579 to P. O.
Box 2338, Northridge, CA © 1987 Yamaha Music Corporation USA. No parr of rhis publication may be rep roduced, stored in a retrieval system, or rransmined in any form or by any means,
91323-2338. electronically, mechanically, photocopying, recording, o r oth erwise, wirhour rhc prior written pe rmission of Yamaha lntcrnarional Corporation.

2 AFfERTOUCH!Vol. 3 No. 6
From The Editor
O NCE AGAIN, I want to use this column
to pass along some standard information
that continues to be important for AfterTouch
readers. Before we get to that, however, let's
start with a quick look at what you can expect
to find in this issue and the next issue:
This Month: This issue features the return of
the Evatone Sound Sheet. Our first set of
Evatone Disks appeared in the May, June, and
July 1986 issues of AfterTouch. This month,
our Sound Sheet will introduce you to Yamaha's
exciting new WX7 MIDI Wind Controller, fea-
turing compositions and performances by Sal
Gallina, a top New York studio musician. The
Sound Sheet is bound between pages 6 and 7 of
the issue-give it a listen!
In addition, there is an introduction to
Yamaha's new 6-operator FM digital tone gener-
ator, the TX802. You will also find a set of
edited RXS voices, new reader DX7 patches,
and an article that discusses the basics of the
Micro Tuning capabilities found in the new
generation of DX7 instruments (DX7 II FD,
DX7 II D, DX7s, and TX802).
Next Month: In July, we are going to devote
almost the entire issue to material from readers!
Most importantly, two popular columns will
return (after an extended, six-month holiday):
the Questions column, in which we answer que-
ries from readers, and the Final Touch column,
in which we feature hot tips from readers. There
will also be an article that describes some inter-
esting musical uses of the MEP4 MIDI Event
Processor, plus reader patches, and more. See
you then.
Back Issues: If a request for back issues is
combined with a subscription request or other
material, chances are it will not be fulfilled. All
AFTER,
TOUCH is a
requests for AfterTouch subscriptions must go monthly
to our Mailing List input service. After the informational
addresses are entered, the letters are normally publication from
kept on file, in keeping with various postal Yamaha
regulations. To be abso lutely sure that you
receive any available back issues that you want,
make back issue requests separately, and include
the indication "ATTN: Back Issues" on the en-
velope. Please do not send back issue requests
on the attached subscription postcard.
Warranty Cards & AfterTouch: We have
received a number of letters from Yamaha users
complaining that they expected an AfterTouch
subscription because they recently purchased a
Yamaha product and sent in a warranty card,
but stilt haven't received an issue. It is true that
our initial (1985) mailing was developed from a
warranty card list, but no subscriptions were
sent to those names-just a sample mailing of
the first three issues. In order to receive a free
subscription, you need to send us your request
on the attached postcard below.
Product Literature: All requests for specific
product literature must go directly to Yamaha
(Yamaha Music Corporation USA, P.O. Box
6600, Buena Park, CA 90622). We at
AfterTouch are happy to receive specific ques-
tions concerning the use of Yamaha professional
music products, and we will answer as many of
them as we can in the Questions column ; how-
ever, requests for general product information
must be sent directly to Yamaha.
-TD

Receive AfterTouch Free Every Month!

Y OU CAN RECEIVE AFTERTOUCH for an entire year, absolutely free, just by

asking. If you are not already on our mailing list and would like to be, fill out the
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To receive
AFTER-
TOUCH every
you really want to receive AfterTouch. month, abso-
After you have filled in the relevant information, put a stamp on the postcard
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Also, don't limit yourself to just sending in your address: Let us know what you to us.
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to your input.
Vol. 3 No. 61 AFTERTOUCH 3
Micro Tuning
Exploring The
Mk:ro Tuning
Capabilities Of
The DX7 II
FD/D.By
Howard
Sandroff.

DX7 II FD digital FM
.~ynthesizer.

On The DX7 II FD/D Each of these tables gives the addition, the deviation of each
Micro Tuning data found in note from equal temperament
the Edit mode LCD displays in cents is indicated in the col-
for the octave C3-C4, includ- umn labelled "6.ET" The
ing the note name, coarse and size of the interval between
fine tune values, and the consecutive notes is also indi-
Micro Tuning data for Preset number of tuning units (TU) cated in tuning units (TU)
#I : Equal Temperament. used to represent each note. In and cents.
T HE CURRENT GENERATION of
Yamaha 6-operator synthesizers and tone
generators (DX7 II FD, DX7 II D, DX7s, and
Note Coarse Fine Tuning t. ET Interval S izc
Name Tune Tune Units Cents TU Cents TX802) gives electronic musicians a number of
>>> c 3 <<< c 3 +0 5034) +0.00 expanded possibilities for the creation of new
86 100.78 timbres. However, the Micro Tuning options
>>> C#3 <<< C# 3 +0 5120) +0.00 open up other universes that offer even greater
85 99 .61 potential for the exploration of new harmonies
>>> D 3 <<< D 3 +0 5205) +0.00 and melodies.
85 99.61
>>> D#3 <<< D# 3 +0 5290) +0.00
100.78 The DX7 II Micro Tuning Presets
>>> E 3 <<< E 3 +0 5376) +0.00
The DX7 II contains eleven preset Micro
85 99.61
Tunings. These can be divided into two groups.
>>> F 3 <<< F 3 +0 5461 ) +0.00
85 99.61 There are nine diatonic tunings, as follows :
>>> F#3 <<< F# 3 +0 5546) +0.00 1) Equal Temperament
86 100.78 2) Pure (Major)
>>> G 3 <<< G 3 +0 5632) +0.00
3) Pure (Minor)
85 99.61
4) Mean Tone
>>> G#3 <<< G# 3 +0 5717) +0.00
99.61
5) Pythagorean
85
>>A 3 <<< A 3 +0 5802) +0.00 6) Werckmeister
86 100.78 7) Kirnberger
>>> A#3 <<< A# 3 +0 5888) +0.00 8) Vallotti & Young
85 99.61 9) '14 Shifted Equal
>>> B 3 <<< B 3 +0 5973) +0.00
85 99.61
Of these nine diatonic tunings, five (presets
>>> c
4 <<< 4 c
+0 6058) +0.00 # 1, #6, #7 , #8, and #9) are "closed" tunings,
~--------------------------------------------------__J
4 AFTERTOUCH/Vol. 3 No.6
while the remaining four (presets #2, #3, #4 ,
and #5) are "open" tunings. The basic dif- Note Coarse Fine Tuning 6ET Interval Size
Name Tune Tune Units Cents TU Cents
ference is that an "open" tuning must be tuned
>>> c 3 <<< c 3 +14 5048) + 16.41
relative to a specific key or tonal center, while a
60 70.31
"closed" tuning remains the same for all keys or C# 3
>>> C#3 <<< -12 5108) -14.06
tonal centers. 114 133.59
The remaining two presets are true Micro >>> D 3 <<< D 3 +17 5222) +19 .92
Tunings: 95 111.33
1/4 >>> D#3 <<< D# 3 +27 5317) +31.64
10) Tone
1/s 60 70.31
11) Tone
>>> E 3 <<< E 3 +I 5377) +1.17
Both are "micro" tunings because they include 96 112.50
pitches that are not part of a diatonic scale . >>> F 3 <<< F 3 +12 5473) +14.06
Both of these Micro Tunings (presets #10 and 60 70.31
# 11) are "closed" and equally tempered. The >>> F#3 <<< F# 3 -13 5533) -15.23
1/4 Tone preset divides the octave into 24 equal 114 133.59
>>> G 3 <<< G 3 +15 5647) +17 .58
parts, while the 1/s Tone preset divides the oc-
60 70.31
rave into 48 equal parts. >>> G#3 <<< G#3 -10 5707) -11.72
Of course, the DX7 II also provides memory 95 111.33
for two user programmable Micro Tunings. This >>>A 3 <<< A 3 +0 5802) +0.00
is where the DX7 II offers the greatest potential 114 133.59
for exploration. However, before one can at- >>> A#3 <<< A# 3 +28 5916) +32.81
tempt to create an interesting experimental tun- 60 70.31
ing, it is necessary to understand the basic >>> B 3 <<< B 3 +3 5976) +3.52
parameters of the Micro Tuning system used in 96 112.50
the DX7 II. >>> c 4 <<< c 4 +14 6072) + 16.41
Micro Tuning daca for Preset #2 : Pure (Major) -key of C major.

Background Information Micro Tuning daca for Preset #3 : Pure (Minor) -key of A minor.
Twelve-tone equal-tempered tuning is per- Note Coarse Fine Tuning 6ET Interval Size
haps the most widespread method of deriving Name Tune Tune Units Cents TU Cents
specific pitch material in Western music. Equal >>> c 3 <<< c 3 +14 5048) +16.41
temperament is often credited to compose r/ 60 70.3 1
theorist Andreas Werckmeister [1645 - 1706], >>> C#3 <<< C# 3 -12 5108) - 14.06
although its roots can be traced back at least 95 111.33
two hundred years earlier. Its acceptance in >>> D 3 <<< D 3 -2 5203) -2.34
general musical practice was not widespread un- 114 133.59
til the middle of the 19th century. >>> D#3 <<< D# 3 +27 5317) +31.64
The basic principle of equal temperament is 60 70.3i
to divide the octave into twelve equal steps. >>> E 3 <<< E 3 +1 5377) +1.17
96 112.50
This equal division faci lit ates the musical
>>> F 3 <<< F 3 +12 5473) + 14.06
usefulness of all twe lve pitches regardless of
60 70.31
their specific relationship to any given tonic in >>> F#3 <<< F# 3 -13 5533) -15.23
any given key. 114 133.59
Since the frequency ratio of an octave is 2: I , >>> G 3 <<< G 3 +15 5647) +17.58
the frequency ratio of a semitone (S)-one 60 70.31
twelfth of an octave-can be determined by the >>> G#3 <<< G# 3 -10 5707) -11.72
following equation: 95 111.33
>>>A 3 <<< A 3 +0 5802) +0.00
S 1Z = 2; therefore, S = 12
Yl = 1.05946
114 133.59
Since tuning schemes are based upon the ra- >>> A#3 <<< A# 3 +28 5916) +32.81
tio of intervals (the octave is 2:1, a perfect fifth 60 70.31
>>> B 3 <<< B 3 +3 5976) +3 .52
is 3:2, and so on), it is necessary to find numeri-
96 112.50
Continued on page 16
>>> c 4 <<< c 4 +14 6072) +16.41

Vol. 3 No. 6/ AFfERTOUCH 5

 7 Sound Sheet
An Introduc ..
tion To The
Attached
Evatone Sound
Sheet, Featur..
ing Yamaha's
New MIDI
Wind Control..
ler. By Tom
Darter.
WX7 MIDI wind controller.
T HIS ISSUE FEATURES the return of the
Evatone Sound Sheet. Our first set of
Evatone Disks appeared in the May, June, and
July 1986 issues of AfterTouch. This month,
the Sound Sheet is a musical introduction to
Yamaha's exciting new WX7 MIDI Wind
Controller, featuring compositions and perfor-
mances by Sal Gallina. Sal is a top New York
studio musician who has worked with a number
of artists on such labels as RCA, CBS, Poly-
gram, Arista, and Capitol.
Side 1 of the Sound Sheet displays the
expressive power of the WX7 in a series of solo
voice performances. Except where noted, the
tone generator used was a TX81Z.
1) E. Guitar
2) Power 01
3) Violin
4) Flute01
5) A. Guitar
6) Clarinet
7) A. Bass 01 (DX7 II)
8) E. Bass 01 (DX7 Il)
9) Sax 01
10) Strings
Side 2 of the Sound Sheet features two Sal
Gallina compositions, "Rock 1" and "Orches-
tral 1."
"Rock 1" was created in the studio with tape
overdubs. On the first pass, the drum part (gen-
erated by an RXS) was recorded, along with the
"rhythm guitar" part. Actually, the rhythm gui-
tar part is the WX7 controlling a TX81Z with
the "Power 01" patch. On the second pass, Sal
added the "bass," which was again the WX7,
6 AITERTOUCH/Vol. 3 No. 6
this time controlling a DX7 II with the "E. Bass
02" patch. On the third and final pass, Sal re-
corded the "lead guitar"- WX7 controlling a
TX81Z with the "E. Guitar" patch.
"Orchestral 1" was created in real time, with
no overdubs. Sal used various Strings voicings
on the TX81Z, with pitch shifts and other
effects used to create complex voicings. In addi-
tion, he made use of the WX7's "sustain" fea-
ture: To begin with, 4 string voices were as-
signed to MIDI channel 1, and the other 4 were
assigned to MIDI channel2. Sal began by play-
ing on channel 2, and then engaged the "sus-
tain." While the notes on MIDI channel2 were
sustaining, he switched to MIDI channel 1 and
played the other 4 string voices in real time.
Both an SPX90 and a REV7 were used
throughout the recording-the REV7 for reverb,
and the SPX90 for delay, flanging, pitch shift,
and other signal processing effects.
For those who are interested in more infor-
mation on the WX7, Sal Gallina has written a
book: Expressive FM Applications. The book
is being published by the Yamaha Music
Foundation, and will be included with your
WX7. It will also be available in the fall at your
local book store or Yamaha music dealer. The
86-page book will come complete with a dem-
onstration cassette (which will be new material,
not a duplicate of the Sound Sheet in this is-
sue), as well as complete voice data and special
effects setups for all the material on the cas-
sette. In all, there will be data for 32 TX81Z
voices and 32 DX7 II voices.
 DX7
RICKN..
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Vol. 3 No. 6/ AITERTOUCH 7

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0 ~ x; ~- ~ sr 9 0'2~ ~ ::. g_ ;s~~~Ci:l§-~~ ~ ~0
c ~ ;:s ~ ~ ~ c;· .... ~ ;:s ~
() :;·O'q -o·O'q _P- ;:r ~ :::::5- S" ::: ~ 5.. o-Q._- ~ Fr g -..]:::0
::c ~ 5- ~ ~ 0 ~ ~ ~ c;· 5· E.." '""s:- " c; . >
..2_ (I;) 8 ?" ~ :; · ;:s ·c: "'>- §
\0
-, = " "{ -·a. ;:s -S., "'- r
~
~
DX7
SOFT STEEL.
ANewDX7
Voice By SINE
WAVE
15
SPEED
0
DElAY
0
PMD
0
f,JIO
ON
SYNC
0
PMS
Bryan Pape.
~
KEY TAANSI'OSE

~
OSC. SYNC

CONTACUEA RANGe PITCH AMPliTUDE EGBIAS

MOO WHEEl 99 OFF ON OFF
FOOT CONTRa. 0 OFF OFF OFF
BREATH CONTRa.. 0 OFF OFF OFF
AFTEATOUOi 0 OFF OFF OFF

FAEQJENCY
0 .50
I CET\.NE

ENVELOPE
0
~TA
IM61
FAB:lUENCY
1.00 l~E •
ENVELOPE ~TA
1M61

AI
95
IA2 ,...
28 27
lR4
43
IRS
0 AI95 1A228 1"'27 1 R443 JRS0
L199 ILz99 99 l 3 lu
0 I u99 ILz99 l 350 lu 0 I
KEYBOARD SCALNG KEYBOARD SCALING
CURVE BREAKPOf.IT DEP1H CU<VE BAEAKPOIH CEPTH

L I -L I I L I 0 L I ·L I I L I 0
A-1 A-1
R J -L j j R l 0 R 1 -L 1 l R l 0
01'10 J OUTPUT LEVa J va.ocnv 01'10 _l OUTPUT LEVB. __l VB.OCITY
3 92 3 6 99 0

FREQUENCY
~ FAB:lUENCY
J
0.50 I~E IM61 1.00 I~E IM61
ENVB.OPE MTA ENVELOPE O.UA
AI88 IA292 IA371 IR443 IRS m83 IA2 0 t'
27 IR<43 IRS 0
L1
99 IL299 90 l 3 lu
90 I o Ll99 ILz99
0 l 3 lu
0 I
KEYBCirll.ROSCAL.NG KEYBOARD SCALHG 1
CURVE BREAKPOINT OEPTH CU<VE BREAKPOINT DEP1H

L I -L I I L I 0 L I -L I I L I 0
A·1 A-1
R I -L I l Rl 0 R j-L j j R j 0
These DX7 OP•
2
ICMJTPUT LEV B.
90
IVELOCrTY
1
01'10
5
J OUTPUT LEVEL J va.ocrrv
88 3
voices can also
be loaded into
FAEQJENCY
~ ~
I~E
FRB:IUENCY
all the other 0.50 IM61 1.00 ~~E JM61
Yamaha 6~oper~ AI99 IA2 0
eNB..OPEMTA
I"' 0 IR443 IRS AI IA2 I"'
ENVELOPE ~TA

IR4 IRS
ator FM digital
synthesizers and
L199 t 99 l 3 0 [LA 0 I 0
88
uJ•ttJ
99 99
28
99 0
27 43 0

K~RDSCALNG KEY90ARO SCALING

CU<VE BAEAKPOI<T CU<VE
tone generators, OEPTH BREAKPOINT DEPTH

including the L I -L I
A-1
lLJ 0 L 1 ·L JA·1 l L j 0
R I -L I I R I 0 R I -L I I R I 0
DX5, TX7, OP• IOUTPUT LEVB.. IVELOCrlY 01'10 I OUTPUT LEV B. I
VB..OCITY
1 99 4
TX216, TX816, 4 99 4

TFl, DXl I I
DX7s, TX802, ALGORITHM #4
and DX7 II
FD/0.
10 AFTERTOUCH/Vol. 3 No.6

Y AMAHA HAS TAKEN the expanded
technology of its growing family of second-
generation DX7 digital FM synthesizers and
packaged it in a new rack-mount FM digital
tone generator-the TX802. Like the other
members of this new generation, the DX7 II
FD, DX7 II D, and DX7s, the TX802 uses the
industry standard DX7 6-operator, 32-algo-
rithm voice as its starting point; but, also like its
older brothers, it offers a number of important
new features.
Like all members of the new 6-operator gen-
eration, the TX802 has a faster DAC (Digital-
to-Analog converter) and a more powerful
CPU (Central Processing Unit). The higher
resolution and faster computation provided by
these new components gives the TX802 a
cleaner, clearer, warmer sound. Any patch cre-
ated on a first generation 6-operator instrument
will sound better when transferred to the
TX802 .
The TX802 also bears a kinship with
Yamaha's other recent FM tone generators, the
FB-01 and TX81Z, in that it is multi-timbml.
The TX802 has the same 16-note capacity of
the DX7 II, but these 16 notes are created by
eight independent tone generators; therefore,
the TX802 can play up to eight different
timbres at the same time. In the TX802's exten-
sive Performance mode, each timbre can be
assigned its own MIDI channel, note range,
and number of notes (in multiples of two).
Memory
The TX802 features a memory that is much
expanded over that of the first generation of 6-
operator synthesizers and tone generators. First
of all, it comes with 128 factory preset voices,
which are a permanent part of the instrument's
Read-Only Memory (ROM). In addition, the
Internal memory has capacity for 64 user-
programmable voices. Beyond this, an addi-
tional 64 voices can be accessed from a RAM4
cartridge via the cartridge port on the instru-
ment's front panel. As many as 256 voices can
be available for use at any one time.
In addition to the 64 Voice memories, the
TX802's Internal memory has capacity for 64
Performance memories, 2 user-defined Micro
Tuning memories, and an extensive System
Setup memory.
TX802
The TX802 features a 40 X 2 backlit LCD
and an easy-to-use front panel. The eight Mode
Select buttons call up a number of different op-
A First Look At
Yamaha's N ew
erations. The Performance Select and Voice
6 .. 0perator FM
Select buttons allow you to call up a Perfor- Digital Tone
mance or a Voice for playing or editing. The Generator. By
System Setup, Utility, Performance Edit, Voice Tom Darter.
Edit (I), and Voice Edit (II) buttons each call
up a menu with eight items, which are selected
using the eight Parameter Select buttons situ-
ated under the LCD. The function of the Store/
Compare button depends on the situation. On
the TX802, both the Performance Edit mode
and the Voice Edit mode offer Edit/Compare
(unlike the DX7 II, which only allows Edit/
Compare in Voice Edit mode).
Performance Select Mode
As mentioned above, the TX802 contains
eight independent tone generators, each of
which produces two notes. Each tone generator
has its own rear-panel audio output. Each tone
generator can be set to a different voice and
MIDI channel, and can be played as an inde-
pendent instrument with 2-note polyphony. It is
also possible to link several tone generators
together to form an instrument with 4-note to
16-note polyphony.
A combination of settings for these eight
tone generators is called a Performance. There
are 64 Performance memories in the TX802,
and an additional 64 Performance memories
can be stored (for immediate access) on a
RAM4 cartridge. These settings are created-or
altered-in Performance Edit mode.
Performance Edit Mode
When you call up the Performance Edit
menu, you have access to these eight items:
1) Receive Channel, Alternate Assign,
Forced Damp
2) Volume
3) Output Assign
4) Low / High Note Limit
5) MIDI Note Shift
6) Micro Tune Scale Select and Key Select
7) Performance Detune
8) Performance Name
Each one of these parameters can be set in-
dependently for each one of the eight tone gen-
Vol. 3 No. 6/ AFTERTOUCH 11
 TX802 Continued

Tone Generators 1 I 2 I 3 I 4 I 5 J 6 j 7 I 8
Voice number Banks I, C, A, B 1-64
Channel 1-16, omni
Forced Damp on/ off
Volume 0-99
Output Assign off, I, II, I +II
Low Limit C-2- G8
High Limit C-2- G8
Note Shift -24- +24
Micro Tuning Scale P1-11, 11-2, C1-63
This chart shows the param- Micro Tuning Key C-B
eters that can be programmed Detune -7- +7
in the TX802's Performance
Edit mode. Performance Name 20 characters

erators in the TX802. (See the accompanying All of the settings created in System Setup
diagram.) Edit mode {with one exception) are saved as
System Setup Mode part of the System Setup memory. The excep-
tion is Micro Tuning-any user-created Micro
This is where you make various settings Tuning must be stored in Micro Tuning memo-
(MIDI and otherwise) for the TX802 itself. ries 1 or 2 (or on a RAM cartridge formatted for
When you call up the System Setup menu, you Micro Tunings), because the Micro Tuning Edit
have access to the following items: Buffer is not part of the System Setup memory.
1) MIDI Receive
2) MIDI Control Number Assign
Utility Mode
3) Performance Select (MIDI Program
Change) The Utility mode contains a number of
4) MIDI System Exclusive important MIDI, cartridge, and initializing
5) Cartridge Bank Select functions. When you call up the Utility menu,
6) Micro Tuning Edit you have access to the following items:
7) Master Tuning
1) MIDI Transmit
8) Internal Memory Protect
"MIDI Receive" allows you to specify how 2) Save to Cartridge
five types of incoming MIDI data will be 3) Load from Cartridge
received. 4) Format Cartridge
"MIDI Control Number Assign" allows you 5) Initialize Edit Buffer
to program the Control Number Table, and lets 6) Initialize Control Number Table
you re-assign incoming MIDI Controller mes- 7) Recall Edit Buffer
sages. Any incoming control number (0-31 and 8) Copy
64-12 7) can be assigned to any of the following If you call up MIDI Transmit (Utility menu
functions: item # 1), you have the choice of any of the fol-
lowing data, for transmission over MIDI to
• off
• either another TX802 or to a MIDI storage
Modulation Wheel
device such as the MDF 1 MIDI Data Filer:
• Breath Control
• Foot Control • Voice Edit Buffer
• Portamento Time • 1-32 Voice Data
• Volume • 33-64 Voice Data
• Sustain Switch • Performance Edit Buffer
• Portamento Switch • 1-64 Performance Data
"Performance Select" is where you deter- • System Setup Data
mine how Performance memories wil l be • Micro Tuning Edit Buffer
selected by incoming MIDI Program Change • Micro Tuning 1-2 Data
messages. • Micro Tuning Cartridge Data

12 AFTERTOUCH/Vol. 3 No. 6
 The Save to Cartridge function (Utility
menu item #2) saves the enti re contents of the
TX802's Internal memory to cartridge. The
Internal memory includes the following:
• Performance Memories 1-64
• new Voice parameters to be found in the
Voice Memories 1-64
• TX802's Voice Edit (I) menu :
System Setup Memory
• Micro Tuning Memories 1-2
The Load from Cartridge function (Utility
menu item #3) gives you the option of load ing
the Internal memory with or without the Sys-
tem Setup data on the cartridge.
The Copy function (Utility menu item #8)
gives you a number of possibilities for copy ing
voice data from one operator to another (in
Voice Edit mode), making Voice programming
much less time-consuming. You have the fol-
lowing Copy options:
• EG and Scaling:
- EG parameters
- Rate Scaling parameters
-Level Scaling parameters
• Oscillator
- Oscillator Mode
-Frequency
- Detune
• Operator
- Oscillator parameters
- Velocity Sensitivity
- Amplitude Modulation Sensitivity
(AMS)
New Voice Parameters
The original DX7 layout featured a two-
layered programming system: Voice data, which
was programmab le for each of the 32 voice
memory locations; and Function data, which
was programmable but global (in other words, it
operated the same way for each Voice memory).
Following the lead of later first-gene ration 6-op-
erator units like the TX7 and TX816, the new
generation includes what used to be called
"function data" as part of each Voice memory.
As a matter of fact, these parameters are no
longer called "function parameters" (as they
were in the TX7 and TX816); instead, they are
simply considered part of the expanded voice of
the new generation of DX7 instruments. On the
TX802, parameters that used to be ca ll ed
"Voice" data are accessed via the Voice Edit (I)
menu, while parameters that used to be called
"Function" data are accessed using the Voice
Edit (II) menu-on the DX7 II , these param-
eters are now called "Voice Effect" data.
To make comparison to the original DX7
easier, let's look at the new Voice parameters of
the second 6-operator generation. Here are the
• Fractional Sca ling
• LFO Mode
• Pitch EG Range
• Pitch EG Velocity
In addition, the range of Amplitude Modu-
lation Sensitivity (AMS) has been expanded
from 0-3 to 0-7.
The Vo ice Edit (II) menu of the TX802
(involving parameters that used to be called
Function data) includes the following new
parameters:
• Key Mode
• Random Pitch
• Pitch Bias
Because the TX802 is multi-timbral , it does
not have the following new Voice parameters
found on the DX7 II :
• Unison mode
• Pitch Bend mode
• Sostenuto Footswitch (control num-
ber 66)
• Soft Footswitch (control number 67)
• Foot Controller #2
• Real-Time Parameter C hange
Even so, Voices created on any of the DX7
II synthes izers are completely compatible with
the TX802 . Obviously, the Performance memo-
ries of the DX7 II will not transfer into the
TX802, since the two units have completely dif-
ferent approaches to the creation of Perfor-
mance settings.
Even though it offers significant advances
over the original DX7, the new TX802 is also
compatible with its predecessor. All of yo ur
existing DX7 voices can be transferred into the
TX802 with no difficulty-an d the new param-
eters offered by the TX802 can be added easily
to your ex isting voices.
Fractional Scaling
On the original DX7, Level Scaling allowed
a change in level or timbre across the range of
Continued on page 19
Vol. 3 No. 6/ AFTERTOUCH 13
 RXS
ANewRX5
Voice Edit By Voice Name: RXS Gated Snare Origin: lnt-SD 1
Vincent Bitetti.
JOB • PARAMETER RANGE NEW VALUE
02 P1tch -3600 ~ 2400 -0300 cent
0311 Attack Rate 1 ~ 99 99
Notes:
0312 Decay 1 Rate 1 ~ 99 48
This gated snare drum effect is
0313 Decay 1 Leve 1 1 ~ 60 60
just one example of the many
"gate" possibilities obtainable
0314 Decay 2 Rate 1 ~ 99 16
with the RX5.
0315 Release Rate 1 ~ 99 61
0316 Gate T1me 100 ~ 6500 0150 ms
0411 Bend Rate -60 ~ 60 00
0412 Bend Range 1 ~ 60 00
05 lnst Level 0 ~ 31 28
06 Sound Loop OFF I ON ON

RXS
ANewRX5
Voice Edit By Voice Name: SonarRefl ect1on Origin: Crt-Cstnt
Vincent Bitetti.
JOB • PARAMETER RANGE NEW VALUE
02 P1tch -3600 ~ 2400 -2400 cent
0311 Attack Rate 1 ~ 99 74
Notes:
0312 Decay 1 Rate 1 ~ 99 57
If you have ever seen "Voyage
0313 Decay 1 Leve 1 1 ~ 60 60
to the Bottom of the Sea, "
you will recognize this sound.
0314 Decay 2 Rate 1 ~ 99 62
0315 Re 1ease Rate 1 ~ 99 51
0316 Gate T1me 100 ~ 6500 11 oo ms
0411 Bend Rate -60 ~ 60 00
0412 Bend Range 1 ~ 60 00
05 lnst Level 0 ~ 31 31
06 Sound Loop OFF I ON ON
14 AITERTOUCH/Vol. 3 No.6
 RXS
ANewRX5
Vo1ce Name: Meteor1te Or1g1n: lnt-Ch1na Voice Edit By
JOB • PARAMETER RANGE Vincent Bitetti.
NEW VALUE
02 P1tch -3600 ~ 2400 1000 cent
+
0311 Attack Rate 1 - 99 32
0312 Decay 1 Rate 1 ~ 99 34 Notes:
0313 Decay 1 Leve 1 1 - 60 21 This is an interesting sound
0314 Decay 2 Rate 1 ~ 99 47 effect; in fact , it sounds a lot
like a new DX7 II FD / D
0315 Re 1ease Rate 1 - 99 01 voice.

0316 Gate T1me 100- 6500 6500 ms

0411 Bend Rate -60- 60 02
0412 Bend Range 1 ~ 60 -29
05 lnst Level 0- 31 27
06 Sound Loop OFF I ON ON

RXS
ANewRX5
Vo1ce Name: Tra1nThruTunnel Origin: Crt-FMprc 1 Voice Edit By
JOB • PARAMETER Vincent Bitetti.
RANGE NEW VALUE
02 P1tch -3600 ~ 2400 -3500 cent
0311 Attack Rate 1 - 99 37
0312 Decay 1 Rate 1 - 99 26 Notes:
0313 Decay 1 Leve 1 1 - 60 60 This voice edit utilizes extreme
0314 Decay 2 Rate 1 - 99 59 looping and pitch effects.

0315 Re 1ease Rate 1 - 99 32

0316 Gate T1me 100 ~ 6500 6500 ms
0411 Bend Rate -60- 60 38
0412 Bend Range 1-60 -11
05 lnst Level 0-31 28
06 Sound Loop OFF I ON ON
Vol. 3 No. 6/ AFfERTOUCH 15
 Micro Tuning Continued from page 5

Note Coarse Fine cal values which take into consideration the
Tuning 6ET Interval Size
Name Tune Tune Units Cents fact that even though the musical interval of a
TU Cents
>>> c 3 <<< c 3 +9 5043) +10.55 semi tone (half step) is considered to be the
65 76.17 same no matter where on the keyboard we play,
>>> C#3 <<< C# 3 -12 5108) -14.06 the actual difference in frequency gets larger as
100 117.19 we move up the keyboard and smaller as we
>>> D 3 <<< D 3 +3 5208) +3.52 move down.
100 117.19 Consider the problem of where to put frets
>>> D#3 <<< D# 3 +18 5308) +21.09 on a guitar fingerboard. First, measure the
65 76.17 entire length of the string and divide it by
>>> E 3 <<< E 3 -3 5373) -3.52 twelve (since there are twelve semitones in an
100 117.19 octave). Then place the first fret V12th of the
>>> F 3 <<< F 3 +12 5473) + 14.06
distance from the end of the string. Now take
64 75.00
>>> F#3 <<< F# 3 -9 5537) -10.55 the remaining length of string (the origina l
100 117.19 length less V12th) and divide it by twelve. Place
>>> G 3 <<< G 3 +5 5637) +5.86 the second fret V1zth the distance from the first
65 76.17 fret. Now take the remaining length of string
>>> G#3 <<< G# 3 -15 5702) -17.58 (the original length less 1/1zth, less V1zth the
100 117.19 remaining length) and divide it by twelve. Place
>>>A 3 <<< A 3 +0 5802) +0.00 the third fret V1zth the distance from the sec-
100 117.19 ond fret. And so on. What occurs is a gradually
>>> A#3 <<< A# 3 +14 5902) + 16.41 decreasing distance between frets, all of which
65 76.17 are equal to the interval of a semi tone.
>>> B 3 <<< B 3 -6 5967) -7.03
A far simpler way of the managing the num-
100 117.19
>>> c 4 <<< c 4 +9 bers is to decide that the musical interval of a
6067) + 10.55
semitone (half-step) is equal to 1/Jzth of an oc-
Micro Tuning daw for Preset #4: Mean Tone - key of C major. tave, and that an octave is made up of 1200
M1cro Tuning data for Preset #5: Pythagorean- key of C major. equal parts called "cents." Therefore, an
equally tempered semitone is equal to 100
Note Coarse Fine Tuning 6ET Interval Size cents. This is the method that music theorists
Name Tunc Tune Units Cents TU Cents have been using for years to study intonation
>>> c 3 <<< c 3 -5 5029) -5.86 systems.
96 112.50 In equal tempered tuning, only the octave is
>>> C#3 <<< C# 3 +5 5125) +5.86 acoustically correct-or "pure." All other inter-
78 91.41 vals are out of tune with respect to the har-
>>> D 3 <<< D 3 -2 5203) -2.34
monic series. Our ears have simply adjusted to
77 90.23
>>> D#3 <<< D# 3 -10 this system which, although imperfect, spreads
5280) -11.72
the inevitable tuning inaccuracies to all inter-
97 113 .67
>>> E 3 <<< E 3 +1 5377) +I.l7 vals and through every key.
77 90.23 On the other hand, deriving a scale from
>>> F 3 <<< F 3 -7 5454) -8.20 the ratios of the harmonic series yields pure
97 113.67 intervals-but in one key only. To illustrate this
>>> F#3 <<< F# 3 +5 5551 ) +5.86 point, call up the Pure (Major) preset in the
77 90.23 Key of C. Now, play a number of major triads.
>>> G 3 <<< G 3 -4 5628) -4.69 Those that are closely related to C major (such
97 113.67 as C, F, and G) will sound perfectly in tune,
>>> G#3 <<< G#3 +8 5725) +9.38 while others {such as 0, E, and A) will seem
77 90.23
>>>A 3 <<< badly out of tune.
A 3 +0 5802) +0.00
77 90.23 Understandi ng The DX7 II Micro-Tunin g
>>> A#3 <<< A# 3 -9 5879) -10.55 Values
97 113.67
>>> B 3 <<< B 3 +3 5976) +3.52 Examining the preset Micro Tunings in the
77 90.23 DX7 II may be a little confusing at first. That's
>>> c 4 <<< c 4 -5 6053) -5.86 because the designers of the DX7 II found it

16 AFTERTOUCH/Yol. 3 No. 6
 more convenient to divide the octave into I 024
parts instead of 1200. This came to pass, no Note Coarse Fine Tuning ~ET Interval Size
doubt, because 1024 is one of those magic Name Tunc Tunc Units Cents TU Cents
(power of 2) computer numbers, whi le 1200 is >>> c 3 <<< c 3 +10 5044) +11.72
obviously not. 76 89.06
>>> C#3 <<< C# 3 +0 5120) +0.00
Let's take a close look at the result. Both
1200 cents and 1024 DX7 II increments are 88 103.13
>>> D 3 <<< D 3 +3 5208) +3.52
equal to one octave. By dividing 1200 by 1024,
87 101.95
we discover that 1 DX7 II increment (or Tuning >>> D#3 <<< D# 3 +5 5295) +5 .86
Unit) is equal to 1.171875 cents. 100 cents (an 82 96.09
equal tempered semitone) are equa l to 85.3333 >>> E 3 <<< E 3 +1 5377) +1.17
DX7 II increments (Tuning Units). Therefore, 92 107.8 1
the DX7 II's Fine tuning increment is equa l to >>> F 3 <<< F 3 +8 5469) +9 .38
1. 17185 cents. The DX7 II's Coarse increment 77 90.23
is equal to approximately 85 Tuning Units, >>> F#3 <<< F# 3 +0 5546) +0.00
which equals approximately 100 cents (or 1 92 107.8 1
>>> G 3 <<< G 3 +6 5638) +7.03
semi tone).
This can be confirmed by examin ing the 82 96.09
>>> G#3 <<< G#3 +3 5720) +3 .52
Equal Temperament Preset. From Single Voice
82 96.09
Mode, press the Edit/Compare button; then >>>A 3 <<< A 3 +0 5802) +0 .00
press the Micro Tune button (29) until you see 92 107.81
the Micro Tune display. With the cursor on Ta- >>> A#3 <<< A# 3 +6 5894) +7.03
ble Select use the + 1 /YES and - 1 / NO data 82 96.09
entry buttons to ca ll up Preset #1 (Equal Tern- >>> B 3 <<< B 3 +3 5976) +3 .52
perament) in the display. Now press the Utility 92 107.81
(Tune) button (#14) until you see the Micro >>> c 4 <<< c 4 +10 6068) +11.72
Tuning display. Micro Tuning data for Preset #6: Werckmeister.
This display is designed to show you the
Micro Ttming data for Preset # 7: Kirnberger.
Micro Tuning values of three notes at a time;
however, only the note that is between the mul- Note Coarse Fine Tuning ~ET Interval Size
tiple arrows is ava il able for ed iting/ tuning. Name Tunc Tune Units Cents TU Cents
With the cursor in the Coarse position, use >>> c 3 <<< c 3 +9 5043) +10.55
the Micro Tune Key Set Keys (Internal & Car- 77 90.23
tridge) to call up A3 between the arrows. You >>> C#3 <<< C# 3 +0 5120) +0.00
will see this display beneath A3 : 88 103. 13
>>> D 3 <<< D 3 +3 5208) +3 .52
A3 + 0(5802)
86 100.78
Move the cursor to Fine and press the + 1 / YES >>> D#3 <<< D# 3 +4 5294) +4 .69
data entry button once. Now the display under- 79 92.58
>>> E 3 <<< E 3 -3 5373) -3.52
neath A3 will read as follows:
95 111.33
A3 + 1(5803) >>> F 3 <<< F 3 +7 5468) +8.20
79 92.58
This means that we have just adjusted the pitch >>> F#3 <<< F# 3 +1 5547) +1.17
of A3 up one Fine increment (1.17185 cents) 90 105.47
above the equal tempered pitch of A3. Notice >>> G 3 <<< G 3 +5 5637) +5 .86
that the four digit number also advan ced by 82 96.09
one. That number tells us how many Tuning >>> G#3 <<< G# 3 +2 5719) +2.34
Units we are above zero, which is the lowest key 83 97.27
in the MIDI system, C # - 2. >>>A 3 <<< A 3 +0 5802) +0 .00
Use the data entry slider to advance the in - 91 106.64
>>> A#3 <<< A# 3 +5 5893) +5 .86
crements until the display underneath A3 reads
as follows: 79 92.58
>>> B 3 <<< B 3 -1 5972) -1.17
A3 +42(5844) 95 111.33
Continued on page 18 >>> c 4 <<< c 4 +9 6067) +10.55

Vol. 3 No. 6/ AFTERTOUCH 17

 Micro Tuning Continued from page 1 7

Now press the - 1/YES data entry button once,

Micro Tuning data for Preset
#10: '1. Tone. and observe that the note name in the display
changes.
Note Coarse Fine Tuning 6ET Interval Size A#3 - 43(5845).
Name Tune Tune Units Cents TU Cents It is at this midway point that the pitch changes
>>> c 2 <<< c 3 +0 5034) to the next note sharp or flat. Notice also that
+0.00
43 the range from + 42 and -43 equals 85, which
50.39
>>> C#2 <<< C# 3 -43 5077) -50.39 is the rounded off value equal to 100 cents.
43 50.39 Meanwhile, the number in parentheses also
>>> D 2 <<< C# 3 +0 5120) +0.00 changes by one increment. I've found it easier
42 49.22 to follow this number (the total number of
>>> D#2 <<< C# 3 +42 5162) +49.22 Tuning Units above zero) rather than try to
43 50.39 remember if I was tuning something to be so
>>> E 2 <<< D 3 +0 5205) +0.00 many increments sharp of one pitch or flat of
43 50.39 the next.
>>> F 2 <<< D# 3 -42 5248) -49.22
Now, return the display underneath A3 to
42 49.22
>>> F#2 <<< D# 3 its original value:
+0 5290) +0.00
43 50.39 A3 + 0(5802)
>>> 0 2 <<< E 3 -43 5333) -50.39
43 50.39 Move the cursor to Coarse and press the
>>> 0#2 <<< E 3 +0 5376) +0.00 + 1 /YES data entry button once. You will now
42 49.22 see this display beneath A3:
>>>A 2 <<< E 3 +42 5418) +49 .22
A#3 +0(5888)
43 50.39
>>> A#2 <<< F 3 +0 5461 ) +0.00 The note has just changed from A3 to A#3,
43 50.39 and the Tuning Unit number has changed from
>>> B 2 <<< F# 3 -42 5504) -49.22 5802 to 5888-which is a difference of 86 incre-
42 49.22 ments instead of 85. That's because the actual
>>> c 3 <<< F# 3 +0 5546) +0.00
value of 1 semitone is equal to 85.3333 Tuning
>>> c 3 <<< F# 3 Units: Since the increments are limited to in-
+0 5546) +0.00
teger values only, the DX7 II rounds off the
43 50.39
>>> C#3 <<< 0 3 -43 5589) -50.39 .3333 by giving every third semitone a value of
43 50.39 86 instead of 85. This happens four times in
>>> D 3 <<< 0 3 +0 5632) +0.00 each octave of the Equal Temperamen t preset.
42 49.22 See, it only seems confus ing. just remember
>>> D#3 <<< 0 3 +42 5674) +49 .22 that each semitone of 100 cents is equal to 85
43 50.39 (or 86) Fine increments (Tuning Units) or 1
>>> E 3 <<< 0# 3 +0 5717) +0.00 Coarse increment. Each note can be tuned to
43 50.39 any pitch in the MIDI range. You should also
>>> F 3 <<< A 3 -42 5760) -49.22
know that the DX7 II derives all of its tunings
42 49.22
>>> F#3 <<< A 3 based around the pitch of A3 being equal to
+0 5802) +0.00
440Hz; this is true even for the open tunings-
43 50.39
>>> 0 3 <<< A# 3 -43 5845) -50.39 Pure (Major), Pure (Minor), Mean tone,
43 50.39 Pythagorean -in all keys.
>>> 0#3 <<< A# 3 +0 5888) +0.00 If you would like further information on the
42 49.22 Micro Tuning system in the DX7 II, you might
>>>A 3 <<< A# 3 +42 5930) +49.22 want to read the two Supplementa l Booklets
43 50.39 Yamaha has published for the DX7 II FD/ 0.
>>> A#3 <<< B 3 +0 5973) +0.00 They are called "Exploring the Preset
43 50.39 Microtuning s" and "The Mathematic s &
>>> B 3 <<< c 4 -42 6016) -49.22 History of Microtuning. " Ask for them at your
42 49.22
>>> c 4 <<< c 4 nearest Yamaha dealer.
+0 6058) +0.00

18 AITERTOUCH/Vol. 3 No. 6
TX802 Continued from page 13

the keyboard. It offered a choice of level-scaling
curves, plus variable depth.
The new 6-operator generation (including
the TX802) provides an enhanced version of
this parameter-Fractional Scaling. Using Frac-
tional Scaling, the output level of each individ-
ual operator can be varied in 3-key groups for
each operator, so that you can create virtually
any level or timbre curve.
key on the keyboard individually. The tuning
range can be within a few cents of the original
pitch, or it can operate over a range of octaves.
You can play Bach in the tuning of his era; or
you can tune the entire keyboard in reverse.
(For more information about Micro Tuning, see
the article beginning on page 4 of this issue of
AfterTouch.)

Micro Tuning
Recently, there has been a lot of discussion
about alternate tuning capabilities, often called
Micro Tuning. This unique feature is available
on the TX802 (and on all of the other second-
generation 6-operator instruments).
Basically, Micro Tuning lets you tune each
The new TX802 represents another signifi-
cant advancement in musical capability for the
new generation of FM digital 6-operator syn-
thesizers and tone generators. At a list price of
$1895.00, it offers an attractive combination of
multi-timbral Performances with the enhanced
sound and features of the DX7 II.

TET US HEAR FROM YOU! We want AfterTouch to be an information network Write To:
Lfor all users of Yamaha professional musical products, so please join in. We're AFTER-
looking for many different kinds of material. TOUCH,
Have you created an incredible patch for the DX7 II, the OXlOO, or any of the
other members of the Yamaha FM digital synthesizer family? How about a program
P. 0. Box 2338,
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Northridge, CA
your patches, programs, and patterns. If we use your material, we'll give you full 91323-2338.
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Yamaha AfterTouch products? Send it in to our "FinalTouch" column. If we use
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Have you developed a new approach to one of the Yamaha AfterTouch instru-
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By the way, we cannot assume liability for the safe return of unused ideas,
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users groups.
AfterTouch is your publication. Let us hear from you!
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