July 1986

Transcript

--......... ....... -- -- - -- --- -- ----- THE OFFICIAL PUBLICATION OF THE YAMAHA USERS GROUP i JULY 1986 8YAMAHA® .··. --- ---- -- Volume 2, Number 7 Issue #10 July 1986 Editor Operations Sibyl Darter Editorial Board Bob Frye Bill Hinely Mark Koenig Phil Moon Jim Smerdel Production Leslie Bartz Rick Eberly Pat Gates Paul Haggard Chris Ledgerwood Cheryl Matthews Joyce Phillips June Ramirez Joe Verri 4 - ~---~i=~§ -- Tom Darter -- - MEP4 Use the MEP4 to create diatonic counterpoint to a solo line. By John McEnary. 5 uBaroque G" A new MEP4 setup created by John McEnary. 6 FB-01 Disk An introduction to our third Evatone Data Disk, which con~ tains four musical performances featuring the FB..01 FM tone module. By Tom Darter. 7 uorgan B3" A new DX9 voice created by Gary Sharum. 8 uTwinkle Piano" A new DX9 voice created by Brian William Niles. 9 uz1st Century Organ" A new DX9 voice created by Brian William Niles. 10 FB-01 Introducing Yamaha's multi~timbral, multi~MIDI~channel FM tone module. By Michael A. Huisman. 15 uFlt&Blk" A new FB~O 1 voice created by Michael A. Huisman. A product of GPI Editorial Services Tom Darter, Director P.O. Box 2338, Northridge, CA 91323-2338 AFrERTOUCH 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. POSTMASTER: Send form 3579 to P.O. Box 2338, Northridge, CA 91323-2338. 2 15 udigilog" A new FB~01 voice created by Michael A. Huisman. 16 Final Touch Hot tips on using the QX1 as a teaching tool, adding ufeel" to RX11~composed songs, setting up a tuning bank on the QX 1 for use with the TX816, and using the MEP4 to convert Aftertouch data to Breath Controller data. 18 DX7 Tone Control Step~by~step instructions for setting up your Modulation Wheel (or Foot Controller) to act as an interactive tone con~ trol. By John McEnary. ~ 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.7 Frotn The Editor T HREE IN A ROW! This issue, we present the third (and final) installment in our initial series ofEvatone disks. You will find this month's offering bound between pages 6 and 7, complete with an introduction to the music it contains. This time out, we are featuring the FB-0 1 FM tone module, a new unit with complete 8-voice multi-timbral capability. To find out what the FB-0 1 can do, just give a listen to the four musical compositions on our Sound Disk; and to find out how it does what it does, check out Michael A. Huisman's introductory article beginning on page 10. So, our cover story and feature article focus on the new; but that doesn't mean we've forgotten our earlier X series products. Many of you have written in asking for voices and tips on using the DX9, Yamaha's first 4-operator FM digital synthesizer. A few of these letters have been pretty wistful, with an "!-know-youwon't-do-this-but-how-about ... "tone to them. Some of you assumed thatthe DX9 was simply buried under the weight of the DX7s out there, and that we had no desire to present information on the "forgotten" DX9. W-ell, I'm happy to say that you were wrong! This month we are offering three DX9 patches submitted by readers, and we also plan to answer some questions we have received from DX9 owners in the months to come. Remember, After Touch is a users newsletter. The proliferation ofDX7 patches in the issues so far have been a direct result of the mail we have received-and the DX9 patches in this issue are also a direct result of that mail. Your feedback is important, because it tells us what kinds of information you want. Speaking of feedback, we have also received a lot of requests for more coverage of 4operator synthesizers in general. Happy to oblige: Next issue will feature voices for the OX 100 (which will of course be compatible withtheDX21, DX27, andDX27S). We also have some articles on 6-operator to 4-operator conversion in the works, so that you OX 100 owners can translate some of our AfterTouch DX7 voices to your instruments. In closing, a few words (again) about your mail to us. 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 product information must be sent to Yamaha [Yamaha International Corp., P .0. Box 6600, Buena Park, CA 90622 ]. More importantly, if you have a complaint or suggestion about the design of a particular Yamaha product or product line, that correspondence should also be sent to Yamaha. And, if have a comment about Yamaha's advertising, marketing, or corporate policies, those should go to Yamaha as well. The staff of AfterTouch works only on AfterTouch. We are happy to hear your thoughts on these subjects; but, if you want your thoughts to reach the decision makers, you should send them to Yamaha. -TD AFTER, TOUCH is a monthly informational publication from.Yamaha. Receive AFrERTOUCH Fr~ Every Month! OU CAN RECEIVE AFTERTOUCH for an entire year, absolutely free, just by asking. Using the attached postcard, give us your name and address. Then Y sign the card (a postal regulation-it lets us know that you really want to receive AFTERTOUCH). 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 AFTERTOUCH 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 AFTERTOUCH to suit your musical needs. To receive AFTER, TOUCH every month, abso, lutely free, just put your name and address on the enclosed card and mail it to us. Vol. 2 No. 7 I AFTERTOUCH 3 MEP4 Diatonic Harmony& Counterpoint With The MEP4.By John McEnary. T HROUGH THE MAGIC OF MIDI, it is possible to program the MEP4 so that it will generate a diatonic harmony line to a solo part in any key. The harmony part will always be inverted-that is, when the solo line goes up in pitch, the harmony part generated by the MEP4 goes down. It is also possible to create interesting quasi~Baroque counterpoint by further programming the MEP4 to delay the inverted harmony part. All you will need to try out this technique is a simple MIDI system that includes one MIDI keyboard synthesizer (such as the DX7), one MIDI tone generator (such as the TX7), and the MEP4 MIDI Event Processor. Connect the MIDI OUT of the keyboard synthesizer to the MIDI IN of the MEP4, and connect the MIDI OUT #1 of the MEP4 to the MIDI IN of the tone generator (see the accompanying diagram). To program an MEP4 setup that will create the harmony part, first enter the DATA MODIFIER and select MESSAGE as follows: O:MSG:9n.xx. yy This means that the Note On data will be modified. Next, Modify the data using REVERSE by setting Step 1 as follows: 1:REV:xx, FIX=40 This basic MIDI .rystem, using a DX7 and a TX7 with the MEP4, is all that's needed to take admntoge of the MEP4 techniques described in this article (and featured in the MEP4 setup on page 5). This means that note number "xx" will be modified, around the fixed note 40. Finally, set Step 2 to OFFSET; then set the OFFSET value for the key you will be playing in, according to this chart: c OFFSET Value -3 Db D Eb E -1 1 F -5 Gb G Ab A Bb B 3 5 '-3 -1 1 3 5 -5 So, for the key of C major, you would set Step 2 as follows: 2:0FS:xx, V= ~3 Relative minor keys, modes, and pentatonic scales also work well with this setup. For exam~ ple, using an OFFSET value of -3, you can harmonize your melodies in A minor, D dorian minor, and A and D pentatonic {minor form), as well as several keys related to Gb Major (F# Major). I feel the blues scale works best around the dorian minor OFFSET key. So, for- sim~ plicity, play the blues scale one step higher than the Major Key OFFSET setting you have chosen. It is often advantageous to add 12 or 24 to your OFFSET Value. This raises the harmony part one or two octaves. Another nice touch is to lower the dynamic level of the harmony part by adding an OFFSET Value of about -24 to the second data byte "yy" -which in this case is key velocity. For example, set Step 3 as follows: 3:0FS:yy, V= -24 thruout----- ;n-- II DX7 -th~u --out '---;n ~lilli]:!.*:H::-,.•• --••-••-••-••--..\ TX7 4 Major Key AFI'ERTOUCH/Vol. 2 No. 7 Now, to add a quasi~Baroque counterpoint to your melodies, simply set the DELAY PRO~ CESSOR to a relatively long time setting such as 600 milliseconds. If you are using several MIDI tone generators, you may wish to set some of them up for unison or octave doubling of the melody, and others for the inverted harmony part. Experiment with different delay settings on different tone generators. As long as you play in the key( s) you have chosen in your MEP4 setup, all of your harmony and counterpoint lines will be diatonic. I . \11 @ ~ g ~ ~ N ~ r- 2 10 OFF OFF OFF OFF 4 12 5 13 6 14 16 8 OFF OFF OFF OFF OFF OFF 3 OUT-CH ASSIGN OUT-CH OFFSET OUTPORT ASSIGN OUTPUT ASSIGNER DELAY TIME 4 1 0 1 xx, V= -1 yy,V= -24 OFS OFS 2 DELAY PROCESSOR 1 xx, FIX=40 1 4 12 5 13 6 14 I 600 OUT-CH ASSIGN OUT-CH OFFSET OUTPORT ASSIGN OUTPUT ASSIGNER DELAY TIME 0 1 MSG 4 12 6 14 ON ON ON ALL ON ON ON ON ON DATA MODIFIER OUTPUT ASSIGNER I a~~: lr~ ~- ~~il ~s-~'T.I::-:~ogll ;:f r;;·~ ~ iil § ;;· 1'1 OUT-CH ASSIGN OUT-CH OFFSET OUTPORT ASSIGN ;3. 5 13 MESSAGE FILTER 3 11 ll R l?. s· [? B' ;! z i ~ s· ~ ~ a. ~ j ~- ~ ·~(4~.5";7"~~-& . tlll~~~~~ ... !i OFF) OFF) OFF) OFF) DELAY PROCESSOR DELAY TIME 4 4 2 3 DELAY PROCESSOR YY,V= -24 1 xx,V= -12 OFS OFS 2 10 NOTE OFF NOTE ON POLY A. TOUCH CONTROL NO PROGRAM CHANGE CH A. TOUCH PITCH BEND CH MODE MES. SYSTEM MES. 9 1 I I I I CHANNEL FILTER (ON (ON (ON (ON DATA PRESETTER PROCESSOR 3 OMNI: ON/OFF 0 OFF OFF OFF OFF OFF OFF 16 8 9n.xx.yy 1 15 7 MSG DATA MODIFIER ON ON MESSAGE FILTER 3 11 PROGRAM PITCH CONTROL1 CONTROL 2 3 2 0 0 2 10 OFF OFF OFF OFF CHANNEL FILTER NOTE OFF NOTE ON POLY A. TOUCH CONTROL NO. PROGRAM CHANGE CH A. TOUCH PITCH BEND CH MODE MES. SYSTEM MES 9 1 OMNI: ON 9n.xx.yy 600 15 7 PROGRAM PITCH CONTROL1 CONTROL 2 MSG· REV DATA MODIFIER ON ON MESSAGE FILTER 3 11 CHANNEL FILTER NOTE OFF NOTE ON POLY A. TOUCH CONTROL NO. PROGRAM CHANGE CH A. TOUCH PITCH BEND CH MODE MES. SYSTEMMES 9 1 OMNI: ON PROGRAM PITCH CONTROL 1 CONTROL 2 PROCESSOR 2 DATA PRESETTER PROCESSOR 1 DATA PRESETTER I I I I I I I I I 15 7 OFF OFF OFF OFF OFF 2 10 MSG 4 12 5 13 6 14 DATA MODIFIER ON ON ON ALL ON ON ON ON ON OUT-CH ASSIGN OUT-CH OFFSET OUTPORT ASSIGN 8 OFF OFF OFF OFF OFF OFF OFF OFF 16 ~ ~ i ~2,. ~ tT1 ~ ~ = ~ -< ~~ o::J~ ~r~~j I I I I I I I I I 7 15 ~~W>r;S OUTPUT ASSIGNER I DELAY PROCESSOR DELAY TIME 4 3 2 1 0 OFF) OFF) OFF) OFF) MESSAGE FILTER 3 11 NOTE OFF NOTE ON POLY A. TOUCH CONTROL NO. PROGRAM CHANGE CH A. TOUCH PITCH BEND CH MODE MES. SYSTEM MES. 16 OFF OFF OFF 1 9 8 I I I I CHANNEL FILTER (ON (ON (ON (ON OMNI: ON/OFF PROGRAM PITCH CONTROL1 CONTROL 2 PROCESSOR 4 DATA PRESETTER FB--0 1 Sound Disk An Introduction To Our Third Evatone Disk. By Tom Darter. T HIS MONTH'S FREE DISK, the third one in our After Touch series, showcases the FB..() 1 FM tone module. In order to give you an idea of what this new unit can do, we have devoted the entire disk to musical performances this time around. Side 1 Both pieces on side one were composed by Michael A. Huisman. Each piece was composed and performed with a single FB..()1, using factory supplied preset voices. Both pieces were sequenced using a Macin~ tosh Plus computer (with an Opcode Mac+ MID I interface) and the Performer software by Mark Of The Unicorn . Some digital effects are heard on both pieces: stereo digital chorusing and stereo digital reverb, accomplished using two Yamaha SPX90 digital multi~effects processors. There were no overdubs made during the actual recording of the pieces. Volume changes were accomplished by MIDI Volume Control (MIDI controller #7)-the controller data changes were recorded into the actual sequence data. Track 1: ttL.A. Tin" This piece showcases the Stereo Panning capabilities of the FB~Ol. Stereo Pan has recently been adopted into the MIDI standard as a controller (In the MIDI spec, Stereo Pan is referred to as "Balance"). The main rhythmic element in the arrange~ ment of "L.A. Tin" is a sixteen~note marimba patch which was affected using this new con~ troller. To enhance the spatial content of the arrangement, the velocities of each Note On event of the marimba track were converted using a Yamaha MEP4 (MIDI Event Processor) into Balance controller data (MIDI controller# 10). The Balance controller data was then recorded on a separate track of the sequencer. When the sequence is played, the controller data causes the notes played with more velocity to focus to the right side of the program mate~ rial, while those notes played with less velocity focus to the left side of the program material. Notes with medium velocity appear in the middle of the program material. A similar approach was taken for the steel 6 AFrERTOUCH/Vol. 2 No. 7 drum voice in this piece to take advantage of the FB~01 's stereo capabilities. The top two notes of chords were panned to the right side of the program material, while the lower two notes were panned to the left side of the program material. Factory preset (ROM) voices that were used in "L.A. Tin" Include the following: Marimba, SynBas3, SteelDr, PanFlt, LoString, HuffSyn, HandDr, and Sax2. Track 2: nLet's Play Outside" This piece begins with a single voice across the range of the keyboard, changing occasion~ ally to show several of the FB..()1 's factory preset voices. Starting at the bridge, the FB..() 1 is used with 3 different voices playing different parts. These parts were distributed as follows: • 1 note on MIDI channel1 is assigned to a bass voice • 3 notes on MIDI channel2 are assigned to a "comping" voice • 4 notes on MIDI channel3 are assigned to melody voices Factory preset (ROM) voices used on "Let's Play Outside" include the following: LPiano2, EGrand, COrgan 1, }Organ 1, Synbas3, PercPf, EPiano3, Clav, Windbel, Pfbell, Zither2, EPBrass, and NewEP. Side 2 The pieces on side two were composed by Austin Kelly. Both pieces were sequenced using a CXSM music computer equipped with the MIDI Recorder Program cartridge (YRM301). A second CXSM was used in conjunction with the RX Editor Program cartridge (YRM302) to drive an RX11 drum machine. The two CX5Ms were synced, and the CXSM/MIDI Recorder unit was used to drive the FB..()1 modules. There were NO overdubs made during the actual recording process. All of the tone genera~ tion modules (the FB..o1s and the RX11) were driven in real time by the two CX5Ms and their related software. Digital reverb was used in the recording of both pieces, generated by the SPX90. The SPX90's Pitch Bend setting was also used to create a chorus effect. Continued on page 20 1 -.:1 ~ I -..J ~ N t-r- :!' 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(ij .... ~ ~ .. Q~ ~ d ..0. "' d ; • ·~ ~; ~·s·c== ~·s:z:>~~z -- U.J...J -'z <(0 Zf= Cl:<( xo ::;; f-::J z 0 99 99 99 ON OFF AMP OFF OFF EG BIAS OFF ON BREATH CONTROL MODULATION WHEEL 0 AMD 0 PITCH 0 PMD C4 LFO 45 DELAY FULL TIME KEY MODE 1.00 TRANS FREQ 0 3 4 0 1 2 0 0 R4 36 0 LS 4 RS OP# 0 AMP MOD SENS. +6 DETUNE R3 26 L4 0 ENVELOPE R2 16 L3 0 Rl .99 L2 0 OUTPUT LEVEL 99 l Ll 99 3 OP # -- ALGORITHM #8 PORTAMENTO RS 4 0 LS PITCH RANGE 0 SPEED TRI WAVE 12 RANGE BEND PITCH p POLY MONO -3 DETUNE R2o R4 R~6 35 L4 0 74 OUTPUT LEVEL I L3 0 -- L2 0 ENVELOPE 1.00 2 OP. # L1 Rl 99 FREQ ::i (/) ...J 0 u._ (/) U.J >= 0 0 U.JO - ~.; ~~ <='' \C) .... ... rr""'·='~~o 7 ~=~n~'a~ = . . !:!. 9. =' .., ,.... .... a -