Yamaha TX-81Z User manual

YAMAHA
FM TONE GENERATOR
GENERATEUR DE SON FM
FM-TONGENERATOR
OWNER'S MANUAL
MANUEL DE L'ACHETEUR
BEDIENUNGSANLEITUNG

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 8independent
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.
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CONTENTS
INTRODUCTION 1
CONTENTS 1
FEATURES 2
SIMPLE PLAYING INSTRUCTIONS 3
CONNECTIONS .3
ADJUST VOLUME 3
SELECT VOICES 4
TX81 ZPRESET 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 FORMAT TABLE 81
MIDI MESSAGES 82
WHAT'S FM? 83
INDEX 86

FEATURES
^Produces up to 8different voices simultaneously, making it ideal for use with aMIDI 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 atotal of 8different waveforms.
*"Pseudo-reverb" effect programmable for each voice.
*Either Fixed or Ratio frequencies are selectable for each operator.
^*Two independent LFOs and aVibrato 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 acassette.
"Transmit and receive TX81Z memory data via MIDI.
^"Program Change Table for re-directing program change messages.
*Alternate Voice Assign lets you play adifferent 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).
MIDI IN TX81Z
oo
Amp/Speaker
KS 35 etc.
MIDI OUT
norr
I1'
iHiHiiiiHimmiiHiiii
When you turn the TX81Z power on, it will flash each LED, display "*YAMAHA TX81Z* <Good morn-
ing! !>" for afew 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
PLAY/
PERFORM
PLAY
AO 1
SINGLE
GrandPiano
Playing the keyboard should produce sound. Adjust the TX81Z output volume
ADJUST VOLUME by pressing the MASTER VOLUME keys. The LCD will show abar graph #
indicating the volume. (To adjust volume, the CURSOR LED must be off.)
LED is off
CURSOR
MASTER VOLUME
<0 Master Vol ume
I75
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 acontroller such as Foot Controller
or Breath Controller. If your keyboard has avolume control slider or aFoot Controller, try moving them
up to max position.
-3-

The TX81Z has 5banks of 32 voices. Banks A-D contain factory preset voices.
(When the unit is shipped, bank "I" contains selected voices from bank A-D.)
Use the PARAMETER keys to select banks I, AfB, C, D. Use the DATA
ENTRY keys to select voices 1-32 in each bank.
TX81Z PRESET
VOICENAMES
BANK ABANK BBANK CBANK D
1GrandPiano 1Trumpet81Z 1NylonGuit 1Baad Breath
2Uprt Piano 2Full Brass 2Guitar #1 2Vocal Nuts
3Deep Grd 3FlugelHorn 3TwelveStrg 3KrstlChoir
4HonkeyTonk 4ChorusBras 4Funky Pick 4Metal imba
5Elec Grand 5French Horn 5All ThatJaz 5WaterGlass
6Fuzz Piano 6AtackBrass 6HeavyMetal 6BowedBel I
7SkoolPiano 7SpitBoneBC 7Old Banjo 7>>WOW( (
8Thump Pno 8Horns BC 8Zither 8Fuzzy Koto
9LoTine81Z 9MelloTenor 9ElecBass 19Spc Midiot
10 HiTine812 10 RaspAlto 10 SqncrBass 10 Gurgle
11 ElectroPno 11 Flute 11 SynFunkBas 11 Hole in 1
12 NewElectro 12 Pan Floot 12 ElecBass 212 Birds
13 DynomiteEP 13 Basson 13 AnalogBass 13 MalibuNite
14 DynoWurlie 14 Oboe 14 Jaco Bass 14 Helicopter
15 Wood Piano 15 Clarinet 15 Lately Bass 15 Flight Sim
16 Reed Piano 16 Harmonica 16 MonophBass 16 Brthbells
17 PercOrgan 17 DoubleBass 17 StadiumSol 17 Storm Wind
18 16842 F18 BowCello 18 TrumptSolo 18 Alarm Call
19 PumpOrgan 19 BoxCello 19 BCSexyPhon 19 Racing Car
20 <6 Tease> 20 SoloViolin 20 Lyrisyn 20 Whistling
21 Farcheeza 21 HiString 121 WarmSquare 21 Space Talk
22 Small Pipe 22 LowString 22 Sync Lead 22 Space Vibe
23 Big Church 23 Pizzicato 23 MellowSqar 23 Timpani
24 AnalogOrgn 24 Harp 24 Jazz Flute 24 FM Hi-Hats
25 Thin Clav 25 ReverbStrg 25 Heavy Lead 25 Bass Drum
26 EZ Clav 26 SynString 26 Java Jive 26 Tube Bells
27 Fuzz Clavi 27 Voices 27 Xylophone 27 Noise Shot
28 LiteHarpsi 28 HarmoPad 28 GreatVibes 28 Snare 1
29 RichHarpsi 29 FanfarTpts 29 Sitar 29 Snare 2
30 Celeste 30 HiString 230 Bell Pad 30 Hand Drum
31 BriteCelst 31 Perc Flute 31 PlasticHit 31 Synballs
32 Squeezebox 32 BreathOrgn 32 DigiAnnie 32 Efem Toms

HOW DOES THE 7X81ZWORK?
The TX81Z has two main modes. Each main mode has three "sub-modes'
Press twice, remains lit.
PLAY/
PERFORM
SINGLE <-
PLAY (Single)
Select and play any
voice using chords of
up to 8notes (p.1 1).
PLAY/
PERFORM PERFORMANCE
PLAY (Performance)
PLAY/
PERFORM
The TX81Z acts as up to
8independent instruments
as specified in the Performance
Memory that you select (p.35).
EDIT/
COMPARE
EDIT (Single)
Create your own voices
or modify an existing
voice (p. 12).
EDIT/
COMPARE
EDIT (Performance)
Change the settings of a
Performance Memory (p.37).
UTILITY
UTILITY (Single)
*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.
UTILITY
UTILITY (Performance)
*Set aPerformance to a
basic setting (p.42).
*And other useful functions.
Here are the main memory areas inside the TX81Z.
Voice Memory (p.11)
There are 5voice memory banks, each with 32 voices.
Banks A-D are preset, and cannot be changed. Bank
Iis for you to store your own voices in.
-5-

Performance Memory (p. 35)
Each performance memory can set the TX81Z to act
as up to 8independent instruments, each controlled
on adifferent channel.
Effect Memory (p.29)
Each performance can use one of the three effects.
AmgnMode
11Z1>14|9I.I7|.
MkNou (0-8)
Vok* No. (101 D32I
HttitvsCh. (MS.omni)
Limit /L (C-2-GBI
Limit /H (C-2-G8I
.tune (-7- +7)
Note Shift (-24 -+24)
Voluirw (0-99)
Out ftw«n (off. I. a, 1Q)
LFO Select (off, 1,2,/ibi o«AmMicro Turn <»tect> |
Effict S»l«t
P*rformtnce nunc
ofWon
AO-chw
P.rWC
off/on
Effect 1{Delay)
Delay Time
Pitch Shift
Feedback
Effect Level
Effect 2(Pan)
Direction
Pan Speed
Effect 3(Chord)
Key on note Cc# DD# EFF# G G# AA#S
Chord note
Program Change Table (p.26)
Incoming program change messages can select any-
thing you want; voices or performance memories.
Microtune Tables (p. 31)
You can use non-standard scales. 11 scales are preset.
The Octave and Full Settings are user programmable.
1/8 Tone
Program Change Table
Incoming Selected
1B19
2PF24
3107
127 A32
!128 C14
1/4 Tone
User Full
C-2
:c#-2
G8
Vallotti &Young
Pure(major)
User Octave
C3
D
D#
E
F
F#
G
G#
A
A#
B3
-6-

FRONTIREAR PANEL
FRONT PANEL
o
o
POWER
jwON/mOFF
MODE SELECT
STORE/
EG COPY UTILITY EDIT/
COMPARE PLA( PERFO
LCD
Atwo-row 16-character Liquid Crystal Display, back-lit for high visibility.
OPERATION GUIDE #'
Apull-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.
PLA Y/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.
O
o
CASSETTE OUT
MIDI
REAR PANEL
CASSETTE
Use the included cassette cable to connect this to adata 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 DATA ENTRY MASTER VOLUME PHONES
oDEC INC oo CURSOR
-1+1
NO/OFF YES/ON CURSOR-
PARAMETER
In PLAY SINGLE mode, these select voice memory banks I, A, B, C, D.
(
ln 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
Ajack 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 amono 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.
OUTPUT1,11
Sound produced by the TX81Z is sent from here to an external mixer or amp. If only output Iis used, it
will transmit the combined signal from both outputs.

f

SINGLE MODE
In this mode, the TX81Z will act as asingle, 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.
PLAY SINGLE
A01 GrandPiano
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 I1-32 (internal user memories), 33-64 will select from
bank A, and so on.
When the TX81Z is shipped, the internal user memories 101-132 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
STORE/
EG COPY
PLAY SINGLE
Mem Str A01—
so continue holding STORE and use the DATA ENTRY keys to select the store destination (101-132).
STORE DEC/ INC PLAY SINGLE
Mem Str AO 1~ 13 2?
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.
EDITING
PROCEDURE
In SINGLE mode, press EDIT/COMPARE. The EDIT LED will light, and the
LCD will show the previously edited parameter. Use the PARAMETER keys to
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.
1Alg <OP on/off )\
EditLFO? |^T|-^~~ Wave -triengl ~"| *|Speed '35 ||Deley '|ft- |PMod Depth -Jk> IAMod Dfjpth "|
ISync:ofl |
jSeniitivity? |-^~^~[~H PMod Sens. -0 |[AMS of of of of ]|EBS 0000 ]IKVS 00 |
Edit Frequency? H^JlIt1CRSlflATtO) -1.00] |FINtRATIOI =1.00 |
FixRanae -255Hz |fe> [CRS<F IX> 64Hz |h> |FINMFlXt- 64H?
|PET Q-3 +2 -2 j
EG? |^pr]-^|AR 3131179 j|D1R 216 720 |ft> [D1L 15151515 ]»|D2R 15 151515 ]IHR 415 13 14
|SHIFT of 48 12 24
[
|QUT-94-87-64-60 |
|-ScajinflrRS33 20 |»fLS 99 99 87~1
pFunction? |^j"T"|-»|FolyMode ||PBend range -12||Fall Time Porta |jPorta Tims *99 ||FC Volume -99 |
fBC Pitch -99 |*|MW Ampiiude \99 |A|MW Pitch -99 |4|FC Amplitude -99 |«|FC Pitch -99 |
|BC Amplitude *99 |t> [BC Pitch Bias *|*\BC EG Biag -99 | ] Middle C-C3 |]Reverb Rate *off 1
|Name: New Piano 4|
-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
El. Ill ALG8
Feedback (OP4)
e111ALG8
Feedback (OP4)
While editing avoice, 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
r^— 1
c1111ALG8
Feedback (OP 4) =3
This is where you select the Algorithm, or "arrangement" of operators.
Algorithm
Operator 1-4 on/off
ellOl 4-3-
ALG= 52-1-
1-8
In addition to the algorithm number, the LCD shows agraphic 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.
In any algorithm, operator 4can be set to modulate itself on ascale of
Feedback (no feedback) to 7.
e11 1 1ALG5
Feedback (OP4) =
0-7
-13-

SINGLE: Edit
The LFO is aLow Frequency Oscillator that sends acontinuously 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.
e1111ALG5
Edit LFO?
e1111LFO EDIT
Speed=35
+1
YES/ON

SINGLE: Edit
Wave (saw up, square, triangle, S/Hold)
saw up
(saw tooth wave)
square
(square wave)
i
,
triangle
(triangle wave)
S/Hold
(sample &hold)
riPnjjjlAn^
Speed (0-99)
Delay (0-99)
Pitch Modulation Depth
(0-99)
Amplitude Modulation
Depth (0-99)
Sync (on/off)
The first three waveshapes are probably familiar to you. S/Hold stands for
Sample And Hold. At periodic intervals determined by the LFO Speed, af
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 asetting of 1the LFO will take about 150 seconds to complete one cycle
(0.007Hz), and at asetting of 99 the LFO will make about 50 cycles every
second (50Hz).
In many acoustic instruments, the vibrato begins ashort time after the note
begins sounding. This can be simulated using the LFO Delay, which is adjust-
able from (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 regards-
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, Mi dulation 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.
always starts at same position continues regardless of key on
(changes continuously,)
-15-

SINGLE: Edit
This is where you set the sensitivity of the voice to LFO Pitch Modulation, and
Sensitivity? 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.
PMod Sens. (0-7)
AMS (0-3, on/off for
each operator)
EBS (0-7 for each operator)
e1111
Sens ALG5
tivity?INC. e1111SENS EDIT
PMod Sens. =7
+1
YES/ON
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 acontrol signal that directly affects the output level of an operator. (It has
nothing to do with the LFO.) There is aVoice Function parameter (p.22) that
lets aBreath Controller control EG Bias.
•
If acarrier 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 alower value of sensitivity, so that the tone
will become somewhat sharper as you blow harder.
KVS (0-7 for each operator) This sets the Key Velocity Sensitivity of each operator. Each MIDI Note On
message has aVelocity 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 acarrier ha,s KVS, strongly played notes will be louder. If amodulator
has KVS, strongly played notes will have asharper 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
This is where you set the frequency of each operator. Each operator can be set
Edit Frequency? 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).
e111 1 ALG5
Edit Frequency? ellll FREQ. OP 1
CRS (RATIO) =1.00
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.
e111 1 FREQ.
CRS (RATIO) -
OP 1
1..
ellll FREQ. OPl
FIN (RATI O) =1.00 OP2... OP3 ... 0P4
If Fixed Mode is selected, you can set the Fixed Frequency Range (see below).
ellll FREQ. OP 1
Fix Range =255Hz
ellll FREQ. OPl
CRS (FIX) =192H2 ellll FREQ. OPl etc FIN (F IX) -192Hz
Ratio (0.50-27.57) The "standard" ratio is 1.00. le. when aoperator is set to 1.00 frequency ratio,
it will produce a440Hz tone for an A3 note (standard pitch). Aratio of 2.00
would be an octave higher, and 4.00 would be two octaves higher.
Fix Frequency The fixed frequency is variable over awide range, (However, due to hardware
(8Hz-32,640Hz) limitations, the very highest frequencies will not actually be output.) Fixed
Frequency is divided into the ranges shown below.
Select (Hz) Fix Range (Hz) One Fine Step (Hz)
255 8-255 1
510 16-510 2
1K 32-1020 4
2K 64-2040 8
4K 128-4080 16
8K 256-8160 32
16K 512-16320 64
32K 1024-32640 128
-17-

SINGLE: Edit
Oscillator Wave The TX81Z is the first Yamaha synthesizer to offer FM synthesis with 7new
waveforms in addition to sine waves.
Each operator can be independently set to one of the following 8waveforms.
The selected waveform will be graphically indicated in the LCD.
ellllV -V V- °^
OSW W5 W2 W6 W7 W1: W5: C\j—
i
W2: W6: t^y—
'
W3: ^—•W7: —
i
W4: *^—•W8: —
Detune
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.
ellll 1
DET +3 4
+1
Zt=f"
-3- +3
The frequency of each operator can be moved slightly higher or lower. By
detuning two carriers in opposite directions, you can create adetune-chorus
effect. By detuning amodulator 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.
ellll ALG5
Edit EG? INC ellll 1234
AR 31157
+1
YES/ON
The Envelope Generator (EG) determines how the operator output level
changes over time. TX81Z EGs have 4rate (speed) parameters and 1level
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 anote
is not being pressed.
{LEVEL)
MAX
Key On Key Off (TIME)
-18-

SINGLE: Edit
AR (0-31)
D1R (0-31)
D1L (0-15)
D2R (0-31)
RR(1-15)
SHFT (off, 48, 24, 12)
Attack Rate determines how quickly the level will rise up to maximum level.
When AR is 0, the rate is slowest and when ARis 31, the attack is fastest.
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.
1st Decay Level is the point where the 2nd Decay Rate begins.
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.
Release Rate determines how quickly the level will decay from the level at the
time the note is released down to 0.
EG Shift sets the range of the envelope. When "off" is selected, the EG will
change the operator output level over arange of to -96dB (the full range), g
However, when 12, 24 or 48 is selected, the EG range is "compressed" to the t
specified range. For example if EG Shift is 24, the EG will change the operator
output level over arange of to -24dB, and the operator output level will be
at -24dB even before the note is pressed. (EG shift of operator 1is fixed at "off")
(min) Key 0n Key off Key On Key Off Key On Key Off
This can be used to limit the EG range of amodulator for very subtle changes
in tone, or to create an instantaneous attack. You can use it on acarrier for ef-
fects that will sound even when akey 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 agood 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 asound 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.
I—
1
STORE/
EG COPY
e1111
EG Copy OPl^OP ?
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