February 1986

Transcript

---- ----- ----- -- - THE OFFICIAL PUBLICATION OF THE YAMAHA USERS GROUP 'FEBRUARY 1986 ---- · ~TM Editor Tom Darter -- -- ----- Operations Sibyl Darter Editorial Board Bill Hinely Mark Koenig Phil Moon Jim Smerdel February 1986 Production Leslie Bartz Pat Gates Paul Haggard Chris Ledgerwood Cheryl Matthews Joyce Phillips 5 4 -Volume 2, Number 2 DX7 Programming How to use your DX7 to duplicate drawbar organ sounds. By Lance Armstrong. PORTA--B A new DX7 voice created by Lance Armstrong. 6 SPACEMUSIC A new DX7 voice created by Doug Cooper. 7 ELECGRAND A new DX7 voice created by Gregory Emler. 8 BASSTRVIBE A new DX7 voice created by Kevin M. Bevins. 9 FLUTEMRMBA A new DX7 voice created by Kevin M. Bevins. 10 TELEWORD The new TeleWord module turns your CXSM music compu, ter into a complete word,processing/phone,modem system. By David Lourik. 12 QX1 Using the QXl digital sequence recorder to manipulate MIDI control codes. By Gary Leuenberger. A product of GPI Editorial Services Tom Darter, Director P.O. Box 2338, Northridge, CA 91323-2338 AFfERTOUCH is published monthly. Third class postage paid at Long Prairie, MN and additional points of entry. SUBSCRIPTIONS: Free. Address subscription correspondence to AFrERTOUCH, P.O. Box 2338, Northridge, CA 913232338.F()S11MU\S11ER: Send form 3579 to P.O. Box 2338, Northridge, CA 91323-2338. 2 15 DX7 to CX5M Voice Conversion More factors to use when converting DX7 voices into patches for the CXSM's internal tone generator. By Ken Leivers. 16 Questions Two pages of questions from readers, with information on RAM,l cartridges, DX9 voices, and QXl software. 18 Final Touch Hot tips on using the KX88's MIDI Merge function, on con, trolling TX216 volume from a DX7, and on voicing the TX816. © 1986 Yamaha International Corporation. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronically, mechanically, photocopying, recording, or otherwise, without the prior written permission of Yamaha International Corporation. AFrERTOUCH/Vol. 2 No. 2 Frotn The Editor W ELCOME TO ISSUE #5 of After, Touch! As promised in my last column, this issue is being mailed just a few weeks after the previous issue, and the next issue will be mailed shortly after this one. Our information system is well,oiled, the mailing system is up and running, and AfterTouch is completely on track. Following the format started last month, this issue includes a number ofDX7 patches sent in by readers, plus a large selection of answers to reader questions. Also, Ken Lievers (who was the first reader to contribute a pub, lished article) returns with more information on DX7 to CXSM voice conversion. As you can see from the above, input from readers is one of the things that makes After, Touch possible, so please consider contribut, ing. Read the information on page 19 for details on how to contribute a story, hot tip, program, or patch to AfterTouch. We want t::> hear from you! From the mail that we have been receiving so far, though, it is obvious that I need to add more emphasis to one point of procedure, so here goes: If you want unused material returned to you, you must enclose a self-addressed, stamped envelope with your material! Due to the volume of mail we have been receiving and the administra, tive costs involved, we simply cannot return articles and other material unless a self, addressed, stamped envelope is included. Also, many of you who write in to request a subscription have also requested back issues or other information in the same letter. When multiple requests are sent in together, the potential for delays or confusion is very great, because the different inquiries do not nee~ sarily involve the same group of people. For example, all requests for After Touch subscriptions must go to our Mailing List input service. After they are entered, the letters are normally kept on file, in keeping with various postal regulations. If a request for back issues is included with this subscription request, chances are it will not be fulfilled. To be absolutely sure that you receive any available back issues, make back issue requests separately, and include the indication "ATTN: Back Issues" on the envelope. In addition, all requests for specific product literature must go directly to Yamaha [Yamaha International Corp., P.O. Box 6600, Buena Park, CA 90622 ]. We at AfterTouch are happy to receive specific questions concerning the use of Yamaha professional music products, and we will answer as many of them as we can in the Questions column; however, requests for general information on products or product lines must be sent to Yamaha. We are very happy to offer AfterTouch as a free informational service. In order to make sure that we can serve your needs (and continue to offer these various services free), we must ask you to help us by sending different things in different envelopes. Thanks. -TD AFfER.. TOUCH is a monthly informational publication from Yamaha. Receive AFTERTOUCH Free Every Month! OU CAN RECEIVE AFfERTOUCH for an entire year, absolutely free, just by asking. Using the attached postcard, give us your name and address. Then sign the card (a postal regulation-it lets us know that you really want to receive AFfERTOUCH). After you have filled in the relevant information, put a stamp on the postcard and mail it to us. When we receive the card, we'll put you on our permanent mailing list, and you will receive twelve issues of AFfERTOUCH absolutely free! There is absolutely no obligation, and no other strings are attached. (By the way, if you received this issue in the mail, you are already on our permanent mailing list, so you don't need to send in another card.) Also, don't limit yourself to just sending in your address. Let us know what kind of articles you want to read. The more input we receive, the more we will be able to tailor the information in AFfERTOUCH to suit your musical needs. Y Vol. 2 No. 21AFTERTOUCH 3 H Use Your DX7To Duplicate Drawbar Organ Sounds. By Lance Armstrong. This first section of this chart shows the wltage outputs for thedr~nofthePmUVB organ, measured at each C of the keyboard. The second section of the chart translates these le.lels into the D-99 output range of the DX7's operators. HERE IS A WAY to make a DX7 sound exactly like your Hammond drawbar organ. The secret lies in understanding the different amplitude rolloff rates for each draw~ bar, which can be duplicated using the DX7's KEYBOARD LEVEL SCALING. All you need to discover these amplitude rolloff rates is an AC voltmeter (preferably a digital voltmeter). The output signal from a Hammond, with one draw bar pulled out and one key pressed, looks like a regular old sine wave, except that it's doing the boogie a little bit. This is probably caused by some vibrational modes of the tone wheel shaft, or by the vibrato scanner. The output amplitude will decrease as you play a chromatic scale up the keyboard. A plot of the output amplitude versus frequency, for one drawbar pulled out, reveals a certain rolloff rate. The keyboard level scaling on the DX7 is perfect for imitating the different rolloff rates for each draw bar, since each operator in the DX7 can have its own roll off rate. With the 6 operators of the DX7, 6 of the drawbars can be duplicated. With another DX7 or a TX7, al19 draw bars and percussion can be duplicated. PORTA-B OUTPUT LEVELS DRWBR 16 5.33 8 4 2 2.66 1.66 1.33 F1 53 C3 60 96 66 84 72 58 57 76 57 47 51 38 61 42 40 63 29 24 8 30 13.8 77 60 56 38 58 25 35 C4 72 F4 76 C5 84 F5 88 56 56 35 60 45 32 23 16.6 11.2 13.2 11.8 10.2 0 4.3 0 9.4 0 0 C6- KEY 96 -MIDI# 63 19 38 14 0 7 0 0 0 ' NORMALIZED TO 99 FOR THE DX7 16 5.33 8 4 2 2.66 1.66 1.33 4 99 68 79 62 58 39 60 26 36 87 60 78 48 63 43 65 25 31 AFfERTOUCH/Vol. 2 No.2 74 59 59 53 39 41 30 8 14 10 58 58 62 33 17 14 11 4 0 0 36 46 24 12 12 0 0 0 66 20 40 15 0 7 0 0 0 (DX7 software programs that graphically ~ play the keyboard level scaling curves are a perfect tool for programming these rolloffs.) To find out what the breakpoints, curves, and levels were, I hooked an AC digital volt~ meter up to the output of the preamp inside my Hammond. Then, with one drawbar pulled out at a time, I recorded the voltage for each C. On my Porta~B, the top three drawbars did not sound all the way up to highest C, so in those cases I recorded the output for each C and for the highest note. On my Hammond B3, Cz through B z repeats C2 through B2 with the lowest drawbar pulled out. It takes two oper~ a tors to imitate this effect, which reduces one DX7's capability to 5 drawbars. After I had gathered the voltage outputs, I generated a graph for each drawbar, using Apple~ plot, which revealed the rolloff curves. These curves proved to be a good visual tool for choosing the breakpoints and the curve type (linear or exponential). I wound up using Visi~ Calc on my Apple to scale all of the voltages so that the highest voltage level corresponded to the DX7's highest output level of99. See the accompanying charts for a complete listing of these various levels. To program all of this into the DX7, I hooked the AC voltmeter up to the DX7's output. Algorithm #32 was used, and the pitch of each operator was programmed to match the drawbar ratios. The keyboard level scaling and output level were adjusted for each operator until the voltages across the keyboard came close to those measured from the Hammond. Without using any DX7 programming soft~ ware, this process took about an hour. The PORTA~B voice on the page 5 repro~ duces the sound of a Hammond Porta~B with 6 of the drawbars pulled all the way out. To create other drawbar mixtures, you will need to change the relative output levels of the oper~ a tors; and, if you want to emulate a different grouping of 6 drawbars, you will need to pro~ gram in the relevant pitch, keyboard level seal~ ing, and output levels for the drawbars you are reproducing. Use the charts as a guide. For me, the final test of this patch was to pipe the DX7 through a Leslie, via the input on the Hammond preamp, play the Hammond and then the DX7, and try to notice any difference. My big brother, who is a Jimmy Smith fan, couldn'ttell the difference. He though the DX was the Hammond! Vt g ~ g N ~ N ~ ~ 1-o L C1 L 0 L R .,...3 -L I' -L I 95 C1 LS R ION 4 L C1 99 L3 ••99 I I I"" 0 0 4 R '!1.1 V!Locom I LT LA 0 1..99 om:'5 l... o OH5 R L R1 99 L1 99 I' -L +L 90 L2 99 R3 -o::.; NA Af'TPTOUCH I""i'e..., -L -L 199'" L1 L2 99 99 2.00 FREQUENCY ALGORITHM #32 7 0 0 .l ....oco R L LA99 0 99 1"'99 JRS 1-o NA NA IIIIEATM CONTROl. 1 I 84 cs L C1 ~9 ~-&·~ 0' 9 0 0 0 >r.~zo~ I I R ~~· 99"~1 .... I -L I -L L R I"" 6 . ~-Q 17 IM 99 LA 0 I I""T~ 0 luso -3.;;· 1 99 1""53 ..99 L1 LS 99 0 . R 99 ·1~ci' L 99 LA 0 99 ...99 R3 ~ 1-o OFF OFF NA NA !G .... ~· ;:s • (JQ > • qtDtD~H 8 ~><~ 'lt:Jj I 11 R -L 1""9&.....,.. l~"'"o' -L 99 L2 l""s99 ~ NA 52 fOOT CONT1IOL OFF ON NA NA AIIPU1\JDE it R I""" 2 1 " 99 L1 99 1.00 1 OICimiC ~ ON OFF PITCH 99 RANGE MODWHE!I. ~ ld=l kJ ~n~~ •• i 1 1 99 1"'99 1"'99 99 JRS LA 0 LS L1 L2 0 97 99 99 -"UU 50 99 1-~1 ~l:. I: iif i~l ~~~ ~ ;:s ~-l~ Iii'. ~ 56 0 R 7 ·1-o L 0 99 I"" 1-o PI'ICH I!IIVILOPI! LA l~l:!l.!.l.:o I~ 1~1 !-I "" .. ...GJ ,_ FUNCTION8 ,,,,,11111111 111111 1111 111 1111 ~~111~1 111111 <;!" 0 99 99 0 3 L I"'"" o .. 0 r- NE A-1 l""'~3 L 0 0 ..99 1""99 R L ~VELOCITY +2 3 46 0 A-1 .. 0 L4 99 I"" 16.00 •• LA 99 Jo"SoLEVEL JYELoc0 ···1~o1· 3 1..99 L3 L2 ,,.... +7 1_.._ 0 L3 99 NA I"" 1 0 ..99 ,..35 ,•• 0 99 NA 99 0 L2 NA L1 L R .. NA "'39 0 1-o· 69 +1 FOOT CONTROL 99 A-1 DEl~! BREATH CONT'ROL L1 0 0 99 1.00 1 99 L1 PITCH "'99 36 1"" LA I' IFREQUENCY NA 1100! PORTAMENTO NYROLLI!R 99 l-99 ~'1· 1-0 1..99 OICSYNC """ I 0 ...GJ ..........,.. I 99 LA 50 ON L1 ELEC GRAND. A NewDX7 Voice By Gregory Emler. . 0 0 L 0 R 0 l·~~ci" These DX7 voices can also be loaded into all the other Yamaha6, operator FM digital synthe, sizers and tone generators, including the DXl, DX5, TX7, TX216, TX816, and TFl. Vol. 2 No. 21AFTERTOUCH 7 BASSTRVIBE.ANew DX7Voice ByKevinM. Bevins. TR1 0 26 "' . . 99 99 L1 0 ..., ...,0 99 ,.. 99 j 50 I L3 L2 50 50 50 1.. - ON IYNC PITCH INVB.OPI! "'"4.00 'n 1"'76 L1 99 "'10 1..32 I"" L3 L2 0 L4 0 92 0 f----.=L'--+_+-=L'--1 82 i--=L-+----=-0-1 R -L R 0 PITCH ....._ITUDE I!G liAS MODWHI!IL NA OFF OFF OFF FOOT CONTROL NA OFF OFF OFF NA OFF OFF OFF NA OFF OFF OFF AFTI!RTOUCH ,""" 3 """1.Ci0 1 49 L1 . . I""' 74 98 98 L +L R I""" 2 L1 L 82 1 ""15 R 99 r··""2" 72 ••10 1"47 u L3 86 L +L R -L L4 86 L1 99 11.232 L R .... 6 1 62 lR285 80 L1 11.2 99 90 L 0 L I -L R l<>lflP.JT~1 99 R I +L 82 .... 11TY I""" 4 5 0 5 L 99 R ,.........,.,12 DET\JNE R1 •• L4 0 04 1.00 0 -50 L3 I -L I +L ........,.NCY I"" 0 ,- o ~~·uo· "'99 l~48 ••99 0 """.:.7 ,..... 0 99 1""1 0 ···-;4.00 0 98 I" ~. 51 •32 0 L4 -L .... 1 10 L3 L2 ... ~- .:6" .. 24 u JAMS +6 1..50 0 3 L4 0 04 r "9it 0 Tubbs. The patch is a split wice, with bass strings on the left and vibes with sustain on the Tight. 8 AFfERTOUCH/Vol. 2 No. 2 "'80 IR2a85 L1 L2 +7 24 u -L -E 04 99 L R I""' 5 99 I ALGORITHM #19 .._ 50 L4 96 99 L IVOLOC3m .. 90 L ~- IDOlUNE 99 R Notes: This patch and the one on page 9 were inspired by ]an Hammer's music for two episodes of Miami Vice featuring an old girlfriend of ....1.ci0' . .. 0 3 0 L 99 R 0 ,.... ""5" ---- ------- ---- - 7 FLUTEMRMBA.A NewDX7 Voice By KevinM. Bevins. - 33 23 .UO DILAY TR1 ..... 2 13 ...... LFO R1 R2 99 L1 u L2 50 I M 99 50 I - OFF 3 SYNC 1M 99 99 L4 50 50 ON I PITCH I!NVB.OPE OICIYNC ·-1.53' I'UNCT10NI POLY 0 0 ...... IWICII! PITCH liND POLYIIIONO RANCH CONTIIOLUR 82 L R I""" 5 0 11001! CII.IIIANDO POIIT-NTO PITCH AIIPUTUIII! IQ BIAS NA OFF OFF OFF fOOT CONTROL NA OFF OFF OFF BREATH CONTROL NA OFF OFF OFF AnWRTOUCH NA OFF OFF OFF 1..48 I -L I -L u LA 0 A-1 19t··· """S.oo' ""'uo• ·"'99 0 L1 0 L L1 ,_ 1100-L .....7.oo' luvuO ..... 0 ••90 1"'75 7 •0 1..82 I"" L1 "'99 0 NA L 0 R 0 ~·-siTY a2 R """a 1""64 1..48 I -L I -L ~- 0 u 0 LA 0 0 0#4 99 l ..ao L R I""" 4 -L -L 'as L1 99 0 -L 3 0 L1 A-1 72 89 L -L R """1 -L I L 0 0 r- o LA 0 98 A-1 L 0 R 43 I'"L""c)'' IAMB 0 75 I"" 0 0 04 L3 93 5 R 1..a1 ""o .. . L2 0 84-'-IYEL11TY Dn\JNE 1.00 r 0 IOu•M_,.. FREO~Y ••66 LA 52 u L2 -L •• u ""'0 1"'aa L 0 1"'98 1..61 I' .. ~ R """2 I -L A-1 L 0 R 0 I -L I""99 IYELle; L&VU L R I""" 3 46 r- 0 67 R L4 L3 99 0 "'99 l"'31 ..50 1""46 L1 L2 L 19r'uj"