Yamaha TX-81Z User manual

YAMAHA
®
AUTHORIZED
PRODUCT MANUAL
FM TONE GENERATOR

YAMAHA
FM TONE GENERATOR
OWNER’S MANUAL

INTRODUCTION
Thank you for purchasing the Yamaha TX81Z FM Tone Generator. The TX81Z
is an 8-note polyphonic FM tone generator that can act as up to 8 independent
instruments. It can be used in many ways, both simple and complex. First, you will
probably want to try out the preset voices. The simple instructions on the next page
tell you how. Then, to get an idea of the full range of possibilities, read “How Does
the TX81Z Work?”. Detailed explanations of each mode follow. The chapter en-
titled “Ideas and Suggestions” has some interesting ways to use the TX81Z. Various
supplementary reference materials are also included.
CONTENTS
INTRODUCTION
1
CONTENTS
1
FEATURES
2
SIMPLE PLAYING INSTRUCTIONS
3
CONNECTIONS 3
ADJUST VOLUME 3
SELECT VOICES 4
TX81Z PRESET VOICENAMES
4
HOW DOES THE TX81Z WORK? 5
FRONT/REAR PANEL
7
PLAY SINGLE
11
STORE VOICE
11
SINGLE EDIT 12
EDITING PROCEDURE 12
COMPARE 13
SINGLE UTILITY 24
PLAY PERFORMANCE 35
STORE PERFORMANCE 36
PERFORMANCE EDIT
37
EDIT PROCEDURE
37
THE PERFORMANCE EDIT BUFFER 37
PERFORMANCE UTILITY
42
OTHER FUNCTIONS 46
IDEAS AND SUGGESTIONS
47
DX21/DX27/DX100 COMPATIBILITY
48
MICRO TUNING DATA TABLE 49
WAVEFORM HARMONIC CONTENT
50
PERFORMANCE DATA
51
PERFORMANCE MEMO CHART
63
VOICE DATA LIST
64
MIDI RECEPTION/TRANSMISSION
65
SYSTEM EXCLUSIVE DATA FORMAT
67
PARAMETER CHANGE MESSAGES
67
BULK DATA MESSAGES
68
DUMP REQUEST MESSAGES
70
SPECIFICATIONS
78
MIDI IMPLEMENTION CHART
79
WHAT’S MIDI? 80
MIDI MESSAGES
82
WHAT’S FM?
83
INDEX
86

FEATURES
*Produces up to 8 different voices simultaneously, making it ideal for use with a MIDI sequence recorder.
*Voices and all memory parameters can be edited from the front panel. No separate programming device or
computer is necessary.
*New LSI tone generator chip can perform FM synthesis using a total of 8 different waveforms.
*“Pseudo-reverb” effect programmable for each voice.
*Either Fixed or Ratio frequencies are selectable for each operator.
*Two independent LFOs and a Vibrato Generator.
*While voice and function data is compatible with DX21/27/27S/100 voice data, the sound quality has been
upgraded, and the resolution of the EGs has been improved.
*128 ROM factory preset voices.
*32 user-programmable voice memories.
*24 user-programmable performance memories.
*13 Microtonal Scales (2 user-programmable and 11 preset).
*Pan, Single Note Chord, and Transposed Delay effects.
*Save and load TX81Z memory data to and from a cassette.
*Transmit and receive TX81Z memory data via MIDI.
*Program Change Table for re-directing program change messages.
*Alternate Voice Assign lets you play a different voice with each successive note.
–2–

SIMPLE PLAYING INSTRUCTIONS
CONNECTIONS Connect the MIDI OUT of your keyboard to the TX MIDI IN, and connect
the audio output of the TX to an amp/speaker system as shown. Set the
transmission channel of your keyboard to channel 1 (see the owner’s manual
for your keyboard).
When you turn the TX81Z power on, it will flash each LED, display “*YAMAHA TX81Z* <Good morn-
ing!!>” for a few seconds (this greeting can be changed, see p.46), and then display whatever function was
selected when the power was turned off. Press SINGLE/PERFORMANCE to make the display read “PLAY
SINGLE”. (You may have to press it twice,)
Press once or twice
Playing the keyboard should produce sound. Adjust the TX81Z output volume
ADJUST VOLUME by pressing the MASTER VOLUME keys. The LCD will show a bar graph
indicating the volume. (To adjust volume, the CURSOR LED must be off.)
LED is off MASTER VOLUME
If no sound
*Perhaps the TX81Z MIDI Receive Channel does not match the Transmit Channel of your keyboard.
Press UTILITY to get the “UTILITY MODE” display. Use the PARAMETER keys to get the “Midi
Control?” display and press “YES” to get “Basic Rcv.Ch=xx”. Use the DATA ENTRY keys to set the
channel to match the MIDI output channel of your keyboard (or set it to “omni” so it will receive all
channels).
*It is possible that the voice is set so that its volume is regulated by a controller such as Foot Controller
or Breath Controller. If your keyboard has a volume control slider or a Foot Controller, try moving them
up to max position.
–3–

The TX81Z has 5 banks of 32 voices. Banks A-D contain factory preset voices.
SELECT VOICES (When the unit is shipped, bank “I” contains selected voices from bank A-D.)
Use the PARAMETER keys to select banks I, A, B, C, D. Use the DATA
ENTRY keys to select voices 1-32 in each bank.
TX81Z PRESET
VOICENAMES
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
BANK A
GrandPiano
Uprt Piano
Deep Grd
HonkeyTonk
Elec Grand
Fuzz Piano
SkoolPiano
Thump Pno
LoTine81Z
HiTine81Z
ElectroPno
NewElectro
DynomiteEP
DynoWurlie
Wood Piano
Reed Piano
PercOrgan
16842F
PumpOrgan
<6 Tease>
Farcheeza
Small Pipe
Big Church
AnalogOrgn
Thin Clav
EZ Clav
Fuzz Clavi
LiteHarpsi
Rich Harpsi
Celeste
BriteCelst
Squeezebox
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
BANK B
Trumpet81Z
Full Brass
FlugelHorn
ChorusBras
French Horn
AtackBrass
SpitBoneBC
Horns BC
MelloTenor
RaspAlto
Flute
Pan Floot
Basson
Oboe
Clarinet
Harmonica
DoubleBass
BowCello
BoxCello
SoloViolin
HiString 1
LowString
Pizzicato
Harp
ReverbStrg
SynString
Voices
HarmoPad
FanfarTpts
HiString 2
PercFlute
BreathOrgn
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
BANK C
NylonGuit
Guitar # 1
TwelveStrg
Funky Pick
AllThatJaz
HeavyMetal
Old Banjo
Zither
ElecBass 1
SqncrBass
SynFunkBas
ElecBass 2
AnalogBass
Jaco Bass
LatelyBass
Monoph Bass
StadiumSol
TrumptSoIo
BCSexyPhon
Lyrisyn
WarmSquare
Sync Lead
MellowSqar
Jazz Flute
Heavy Lead
Java Jive
Xylophone
GreatVibes
Sitar
Bell Pad
PlasticHit
DigiAnnie
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
BANK D
BaadBreath
VocalNuts
KrstlChoir
Metalimba
WaterGlass
BowedBell
> >WOW< <
Fuzzy Koto
Spc Midiot
Gurgle
Hole in 1
Birds
MalibuNite
Helicopter
Flight Sim
Brthbells
Storm Wind
Alarm Call
Racing Car
Whistling
Space Talk
Space Vibe
Timpani
FM Hi-Hats
Bass Drum
Tube Bells
Noise Shot
Snare 1
Snare 2
Hand Drum
Synballs
Efem Toms
–4–

HOW DOES THE TX81Z WORK?
The TX81Z has two main modes. Each main mode has three “sub-modes”.
Press twice, remains lit.
SINGLE
PLAY (Single)
Select and play any
voice using chords of
up to 8 notes (p.11).
EDIT (Single)
Create your own voices
or modify an existing
voice (p.12).
UTILITY (Single) UTILITY (Performance)
*Save and load data (p.28).
*Set microtone tables (p.31).
*Set program change table (p.26).
*Set pan, delay and chord
effects (p.29).
*And other useful functions.
Here are the main memory areas inside the TX81Z.
Voice Memory (p.11)
There are 5 voice memory banks, each with 32 voices.
Banks A-D are preset, and cannot be changed. Bank
I is for you to store your own voices in.
–5–
PERFORMANCE
PLAY (Performance)
The TX81Z acts as up to
8 independent instruments
as specified in the Performance
Memory that you select (p.35).
EDIT (Performance)
Change the settings of a
Performance Memory (p.37).
*Set a Performance to a
basic setting (p.42).
*And other useful functions.

Performance Memory (p.35)
Each performance memory can set the TX81Z to act
as up to 8 independent instruments, each controlled
on a different channel.
Effect Memory (p.29)
Each performance can use one of the three effects.
Program Change Table (p.26)
Incoming program change messages can select any-
thing you want; voices or performance memories.
Program Change Table
Incoming
Selected
1B19
2PF24
3I07
127 A32
128 C14
Microtune Tables (p.31)
You can use non-standard scales. 11 scales are preset.
The Octave and Full Settings are user programmable.
–6–

FRONT/REAR PANEL
FRONT PANEL
LCD
A two-row 16-character Liquid Crystal Display, back-lit for high visibility.
OPERATION GUIDE
A pull-out card lists the main operations of the TX81Z.
STORE/EG COPY
In PLAY/PERFORM mode, this is used to store voices or performances.
In SINGLE EDIT mode, it copies an Envelope setting from one operator to another.
UTILITY
This enters UTILITY mode, where you can save and load data, set up effects and microtonal scales, and
perform various other useful functions.
EDIT/COMPARE
In SINGLE mode, this enters SINGLE EDIT mode, and selects the edited voice or the original voice. The
blinking EDIT/COMPARE LED indicates that the original voice is selected. In PERFORMANCE mode, this
enters PERFORMANCE EDIT mode.
PLAY/PERFORM
When already in PLAY mode, this selects SINGLE or PERFORMANCE mode. If you have been in UTILITY
or EDIT, this will returns you to PLAY mode. The LED blinks to indicate an incoming note.
REAR PANEL
CASSETTE
Use the included cassette cable to connect this to a data cassette recorder for saving and loading TX81Z data.
MIDI THRU
All messages received at MIDI IN are re-transmitted unchanged from this terminal.
MIDI OUT
TX81Z bulk data can be sent from this terminal.
–7–

PARAMETER
In PLAY SINGLE mode, these select voice memory banks I, A, B, C, D.
In EDIT and UTILITY modes, they step through the parameters or jobs.
DATA ENTRY
In PLAY SINGLE mode, these select voices 1-32.
In PLAY PERFORMANCE mode, these select performances 1-24.
In EDIT and UTILITY modes, they are used to change settings or answer “No/Yes”.
MASTER VOLUME/CURSOR
When the CURSOR LED is off, these keys control the master volume of the entire unit. When the CURSOR
LED is on, these keys move the blinking cursor.
CURSOR
This selects the function of the MASTER VOLUME/CURSOR keys.
PHONES
A jack for standard stereo headphones. (The volume is controlled by MASTER VOLUME. See above.) Using
this jack will not affect the rear panel outputs. If output II is not plugged in, the phones will have a mono sig-
nal of both outputs mixed.
MIDI IN
MIDI messages coming into this terminal will make the TX81Z produce sound, and TX81Z bulk data can also
be received here.
OUTPUT I, II
Sound produced by the TX81Z is sent from here to an external mixer or amp. If only output I is used, it
will transmit the combined signal from both outputs.
–8–

SINGLE MODE
In this mode, the TX81Z will act as a single, 8-note
polyphonic instrument. Single mode also allows you
to create or edit voices.

SINGLE: Play
PLAY SINGLE
Use the PARAMETER keys to select voice banks I, A, B, C, D, and use the DATA ENTRY keys to select
voices 1-32.
Bank I, A-D Voice number and name
The 128 factory preset voices are listed on p.4. If the Program Change Conversion table (p.26) is initialized,
incoming MIDI Program Changes 1-32 will select bank I 1-32 (internal user memories), 33-64 will select from
bank A, and so on.
When the TX81Z is shipped, the internal user memories I01-132 contain selected voices from banks A-D.
STORE VOICE
You can store the currently selected voice (edited or not) in the Internal user memory (Bank I). While in
PLAY SINGLE mode, press and hold the STORE key. The LCD will ask
so continue holding STORE and use the DATA ENTRY keys to select the store destination (I01-I32).
Select destination
When the LCD shows the destination you want, release STORE and press YES. The voice will be stored into
the selected memory. (You can quit without storing by pressing NO.)
–11–

SINGLE: Edit
SINGLE EDIT
This is where you create your own voices, or edit the preset voices. In this section we assume you already
know something about FM synthesis. If you are new to FM, please turn to p.83 and read “What’s FM?”
before continuing.
In SINGLE mode, press EDIT/COMPARE. The EDIT LED will light, and the
EDITING
LCD will show the previously edited parameter. Use the PARAMETER keys to
PROCEDURE
move through the parameters, Use the DATA ENTRY keys to change the data
value. When the LCD shows several parameters at once, use the CURSOR keys
to move the blinking cursor to the parameter you want to set. (The CURSOR
LED will automatically come on when you enter EDIT mode.) Some parame-
ters are in groups, and when the LCD shows “xxxxxx ?” you can press YES
to edit the parameters inside the group.
–12–

SINGLE: Edit
COMPARE When you first enter SINGLE EDIT mode, the LCD will show an “E” in the
upper left corner, indicating “Edit”. As soon as you modify the data, this
will change to “e”.
Original data unchanged
Modifications have been made
While editing a voice, you can compare it with the original voice. Press EDIT/
COMPARE. The LED will begin blinking, and the LCD will show a “c” in the
upper left corner, indicating “Compare”. Use the PARAMETER keys to look
through the parameters. When the Compare LED is flashing, you will not be
able to modify the data. To return to edit mode, press EDIT/COMPARE
once more.
Compare original voice
Algorithm
This is where you select the Algorithm, or “arrangement” of operators.
Operator 1-4 on/off
In addition to the algorithm number, the LCD shows a graphic representation
of the actual algorithm structure. The arrows indicate the modulator carrier
connection. (See also the pull-out reference card under the LCD.)
By moving the cursor to the “1111” area and pressing DEC/INC, you can turn
each operator on (1) or off (0). When editing, it is often useful to hear only a
certain combination of operators at once. Obviously, if all carriers are turned
off, there will be no sound.
Feedback
In any algorithm, operator 4 can be set to modulate itself on a scale of 0
(no feedback) to 7.
–13–

SINGLE: Edit
Edit LFO? The LFO is a Low Frequency Oscillator that sends a continuously changing
control signal. Its effect depends on the Sensitivity (p.16) and Voice Function
(p.21) settings, and can affect the output level of the operators or the overall
pitch of the voice. As you can see from the diagram below, the Voice Function
settings determine how the MIDI Controllers (Modulation Wheel, Foot Con-
troller, Breath Controller) will regulate the LFO signal going to the operators,
and the Sensitivity settings determine how the operators will react to the LFO
signal.
As you can see, the modulation you set in the LFO does NOT go DIRECTLY
to the operators. The final effect will depend on the LFO Settings, the Voice
Function settings, the Sensitivity settings, AND the position of the MIDI
controllers (Modulation Wheel, Foot Controller, Breath Controller) on your
keyboard.
This “modulation matrix” may seem complex, but it gives you total expres-
sive control over your instrument. Answer YES to this display and use the
PARAMETER keys to select the six LFO parameters.
–14–

SINGLE: Edit
Wave (saw up, square, triangle, S/Hold)
saw up
(saw tooth wave)
Speed (0-99)
Delay (0-99)
Pitch Modulation Depth
(0-99)
Amplitude Modulation
Depth (0-99)
Sync (on/off)
square
(square wave)
triangle
(triangle wave)
S/Hold
(sample & hold)
The first three waveshapes are probably familiar to you. S/Hold stands for
Sample And Hold. At periodic intervals determined by the LFO Speed, a
random number is sampled, and the LFO is held at that random value until the
next sample. This is especially useful in creating sound effects.
At a setting of 1, the LFO will take about 150 seconds to complete one cycle
(0.007Hz), and at a setting of 99 the LFO will make about 50 cycles every
second (50Hz).
In many acoustic instruments, the vibrato begins a short time after the note
begins sounding. This can be simulated using the LFO Delay, which is adjust-
able from 0 (no delay) to 99 (about 15 seconds delay).
This controls the amount of Pitch Modulation that will be present regardless of
the Function Settings. When this value is above 0, the LFO will always produce
some Pitch Modulation, regardless of the position of the Foot Controller, Mod
Wheel or Breath Controller, provided that P. Mod Sens is not zero.
This controls the amount of Amplitude Modulation that will be present regard-
less of the Function settings. When this value is above 0, the LFO will always
send some Amplitude Modulation to the operators, regardless of the position of
the Foot Controller, Modulation Wheel or Breath Controller, provided that at
least one operators has an AMS value greater than zero.
When Sync is on, each note will reset the LFO wave to its beginning. For
example, the Saw Up wave would begin again from the lowest position at the
beginning of the note. When sync is off, the LFO wave will keep repeating
regularly, regardless of notes being played.
–15–

Sensitivity?
P Mod Sens. (0-7)
AMS (0-3, on/off for
each operator)
EBS (0-7 for each operator)
KVS (0-7 for each operator)
SINGLE: Edit
This is where you set the sensitivity of the voice to LFO Pitch Modulation, and
set the sensitivity of each operator to incoming LFO and other control signals.
Answer YES and use the PARAMETER keys to select the four Sensitivity
parameters.
This determines the Pitch Modulation Sensitivity of the entire voice. If it is 0,
there will be no pitch modulation.
The overall Amplitude Modulation Sensitivity of the operators is adjustable
from 0-3, and each operator can be set to react to LFO Amplitude Modulation
(on) or not (off). For example, if the carrier operators were sensitive to LFO
amplitude modulation, the LFO would affect the volume of the voice (tremolo).
If the modulator operators were sensitive to LFO amplitude modulation, the
LFO would affect the tone of the voice (wah-wah).
This sets the EG (envelope generator) Bias Sensitivity of each operator. EG Bias
is a control signal that directly affects the output level of an operator. (It has
nothing to do with the LFO.) There is a Voice Function parameter (p.22) that
lets a Breath Controller control EG Bias.
If a carrier has EBS, the EG Bias signal will affect the volume of the voice. If a
modulator has EBS, the EG Bias signal will affect the tone of the voice. When
programming wind instruments, it is effective to set the carriers to an EBS of 7,
so that the volume will depend totally on how hard you blow into the Breath
Controller. Set the modulators to a lower value of sensitivity, so that the tone
will become somewhat sharper as you blow harder.
This sets the Key Velocity Sensitivity of each operator. Each MIDI Note On
message has a Velocity byte that tells how hard the keyboard was struck. If an
operator has KVS, it will adjust its output level according to the velocity of the
note. If a carrier has KVS, strongly played notes will be louder. If a modulator
has KVS, strongly played notes will have a sharper tone. Extremely high KVS
settings will make the voice difficult to control, and you will need to play quite
strongly to get any sound at all.
–16–

SINGLE: Edit
Edit Frequency? This is where you set the frequency of each operator. Each operator can be set
to Ratio or Fixed mode. In Ratio mode, the frequency will depend on the key
you play. In Fixed mode, the frequency will be the same no matter which key
you play. This can be useful for special effects, or for creating “formants”
(fixed characteristics of spectral emphasis found in human voices and some
instruments).
Answer YES to this display, and use the PARAMETER keys to select the
coarse (CRS) and fine (FIN) frequency adjustment for each operator 1-4.
By moving the cursor to (xxx), you can set the oscillator mode to RATIO
or FIX.
If Fixed Mode is selected, you can set the Fixed Frequency Range (see below).
Ratio (0.50-27.57)
The “standard” ratio is 1.00. le. when a operator is set to 1.00 frequency ratio,
it will produce a 440Hz tone for an A3 note (standard pitch). A ratio of 2.00
would be an octave higher, and 4.00 would be two octaves higher.
Fix Frequency
(8Hz-32,640Hz)
The fixed frequency is variable over a wide range. (However, due to hardware
limitations, the very highest frequencies will not actually be output.) Fixed
Select (Hz)
255
510
1K
2K
4K
8K
16K
32K
Frequency is divided into the ranges shown below.
Fix Range (Hz)
8-255
16-510
32-1020
64-2040
128-4080
256-8160
512-16320
1024-32640
One Fine Step (Hz)
1
2
4
8
16
32
64
128
–17–

SINGLE: Edit
Oscillator Wave
The TX81Z is the first Yamaha synthesizer to offer FM synthesis with 7 new
waveforms in addition to sine waves.
Each operator can be independently set to one of the following 8 waveforms.
The selected waveform will be graphically indicated in the LCD.
These new waveforms can be used as both carriers and modulators. Sine waves
are pure tones. The seven additional waveforms have additional harmonics
already in them. This allows for complex waveforms to be created from fewer
operators. For ideas on how to use the new waveforms, examine the preset
voices. The harmonic content of each waveform is described on p.50.
Detune
The frequency of each operator can be moved slightly higher or lower. By
detuning two carriers in opposite directions, you can create a detune-chorus
effect. By detuning a modulator and carrier, you can create slightly irregular,
“natural-sounding” harmonic structures. The exact amount of detune will
differ by the note number. At C3 the range is ± 2.6 cents.
Edit EG?
Answer YES to this display and use the PARAMETER keys to select the six
EG parameters. Each display shows the settings for operators 1-4.
The Envelope Generator (EG) determines how the operator output level
changes over time. TX81Z EGs have 4 rate (speed) parameters and 1 level
parameter. In addition, you can “shift” the range of the entire envelope by a
specified amount, so that there will be some operator output even when a note
is not being pressed.
–18–

SINGLE: Edit
AR (0-31) Attack Rate determines how quickly the level will rise up to maximum level.
When AR is 0, the rate is slowest and when AR is 31, the attack is fastest,
D1R (0-31) 1st Decay Rate determines how quickly the level will decay from maximum to
the 1st Decay Level. Obviously, if the 1st Decay Level is 15 (max), the 1st
Decay Rate will have no effect.
D1L (0-15)
1st Decay Level is the point where the 2nd Decay Rate begins.
D2R (Q-31)
2nd Decay Rate determines how quickly the level will decay from the 1st
Decay Level down to 0. If the 2nd Decay Rate is set to 0, the sound will
continue as long as the note is held.
RR (1-15) Release Rate determines how quickly the level will decay from the level at the
time the note is released down to 0.
SHFT (off, 48, 24, 12) EG Shift sets the range of the envelope. When “off” is selected, the EG will
change the operator output level over a range of 0 to -96dB (the full range).
However, when 12, 24 or 48 is selected, the EG range is “compressed” to the
specified range. For example if EG Shift is 24, the EG will change the operator
output level over a range of 0 to -24dB, and the operator output level will be
at -24dB even before the note is pressed. (EG shift of operator 1 is fixed at “off".)
This can be used to limit the EG range of a modulator for very subtle changes
in tone, or to create an instantaneous attack. You can use it on a carrier for ef-
fects that will sound even when a key is not being pressed. The EGS setting will
not affect the time the envelope takes, even though the “distance” of the level
change may be different (ie. “rates” are automatically compensated).
EG Copy
When trying to imitate an acoustic instrument sound, it is usually a good idea
to first program the carrier envelope (volume envelope) and copy it to the
modulating operators. (Of course you will need to make fine adjustments later
by ear.) Usually, as the volume of a sound increases (or decreases), the tone
also gets brighter (or softer).
Copying envelopes is easily done. Anytime you are in SINGLE EDIT mode,
press and hold STORE/EG COPY. The LCD will ask which operator you want
to copy the envelope from.
–19–