Yamaha Qx-3 User manual

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TM

THE OFFICIAL PUBLICATION

OF

THE YAMAHA USERS

GROUP

AUGUST

1987

G

YAMAHA®

Editor

Tom Darter

Operations

Sibyl Darter

Editorial Board

Bob Frye

Bill Hinely

Mark Koenig

Jim Smerdel

Cover

Photograph

Jim Hagopian

AFfERTOUCH

is

pub-

lished monthly. Third class

postage paid

at

Long

Prairie, MN and additional

points of entry.

SUBSCRIPTIONS:

Free.

Address subscription cor-

respondence to AFTER-

TOUCH,

P.O.

Box

7938,

Northridge,

CA

91327-

7938.

POSTMASTER:

Send form 3579 to P.O.

Box

7938, Northridge,

CA

91327-7938.

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August

1987

Volume 3, Number 8

Issue

#23

4 FUNK SYNTH PIANO

A

new

DX9 voice created

by

Brian William Niles.

5

FULL

LEAD

PIPES

A

new

DX9 voice created

by

Brian William Niles.

6 Harmallets

A new DXlOO voice created by Dave Anderson.

7

Great

88

A

new

DXlOO voice created by S.E. McMayon.

8

COSMOS

9

MSS1

10 QX3

12

MEP4

A new DXlOO voice created by Daniel

P.

Estabrooks.

Yamaha unveils its new MIDI SMPTE synchronizer.

An

introduction to Yamaha's newest digital sequence recorder.

By

Tom Darter.

Using

the

MEP4 MIDI event processor in live applications.

By

Scott

Plunkett.

14

StringsUp

A

new

MEP4 setup created by

Scott

Plunkett.

16 Hot Tips

Reader tips for

the

SPX90, CXSM,

FB~Ol,

and DX7

II.

18 Questions

Answers

to

questions from readers.

By

Torn Darter.

USA.

No

part

of

this publication may

be

reproduced, stored

in

a retrieval system, or rransmmed in any form or

by

any means,

electronically, mechanically, photocopying:, recording,

or

otherwise,

without

the

prior wrirren permiSSion

of

Yamaha

lnrernational

Corporation.

2 AFfERTOUCH/Vol. 3 No. 8

From

The

Editor

MANY

OF

YOU may have recognized

the

cover art from last

month's

"Return

of

the

Reader"

issue

as

being

part

of

an

AfterTouch poster

that

appeared earlier this

year. It was a special project,

put

together

by

photographer Wynn Miller. Unfortunately, we

didn't

give Wynn credit last

month.

Our

regular

cover photographer, Jim Hagopian, was listed

on

the

masthead, and

we

neglected

to

add a

notice with the proper credit for

the

"Reader"

cover.

Our

apologies to Wynn Miller for this

oversight, and our thanks to

him

for doing such

a great job

on

this AfterTouch poster

and

cover.

This

month's

issue

features

4-operator

patches from readers, covering two generations

of

instruments-the

DX9

and

the

DXlOO.

There

are also

Hot

Tips and Questions from readers,

plus the MEP4 applications article postponed

from an earlier issue.

You

will also find short

introductions to

the

two

new

products featured

on

the

cover: the QX3 digital sequence recorder

and the MSS1 MIDI

SMPTE

synchronizer.

we'll

continue

with

more 4-op-

erator patches from readers,

once

again cover-

ing two generations

of

instruments-the

DXlOO

and

the

TX81Z.

There

will be reader articles

too, plus more

Hot

Tips

and

Questions. Also,

there will be information

on

more

new

products

from Yamaha.

And,

before

the

end

of

the

year,

we

will finally publish

the

long-promised, long-

anticipated article

on

6-operator

to

4-operator

patch conversion.

So, keep your suggestions,

hot

tips, patches,

questions, and articles coming in. Keep letting

Receive AfterTouch Free Every Month!

us

know

what

you

want

and

need,

and

we'll do

our best to get it into AfterTouch for you.

Also, please notice

that

we have a new mail-

ing address, which became effective beginning

with last month's issue.

The

new address

is

as

follows:

AfterTouch,

P.O.

Box

7938,

Northridge,

CA

91327-7938.

In

closing, here

is

our monthly repeat

of

some information

we

get asked for every

month:

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

requests for AfterTouch subscriptions must

go

to

our

Mailing List

input

service.

After

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addresses are entered,

the

letters are normally

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keeping

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postal

regulations. To be absolutely sure

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you

receive any available back issues

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you want,

make back issue requests separately,

and

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"ATTN:

Back Issues"

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velope. Please do

not

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attached subscription postcard.

Product

Literature:

All

requests for lit-

erature

on

specific products must go directly to

Yamaha.

(The

address

is:

Yamaha Music

Cor-

poration

USA,

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 gen-

eral product information must be

sent

directly

to Yamaha.

-TD

Y

OU

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AFTER~

TOUCH

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To receive

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TOUCH

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Vol.

3 No.

8/

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DXlOO

Harmallets. A

NewDXlOO

Voice

By

Dave

Anderson.

Notes:

This

is

a

good

African

mallet

patch

with

a

twist.

Regular

playing

touch

wilt

produce

the

Mallet

sound,

while

touching

the

keys

lightly

and

quickly

wiU

produce

"harmonics."

If

the

patch

is

programmed

on

a

DX21,

add

the

Chorus

parameter.

6 AITERTOUCH/Vol. 3 No. 8

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DXlOO

IFEEOBACK ILEVEL

7

Great 88. A

NewDXlOO

Voice

By

S.E.

McMayon.

These

DXlOO

voices can also

be loaded into

the

DX21,

DX27, and

DX27S 4,oper,

ator

FM

digital

synthesizers,

and into the

newTX81Z

4,operator

FM

digital tone

generator.

Vol.

3 No.

8/

AFTERTOUCH 7

DXlOO

COSMOS.

A

NewDXlOO

Voice

By

Daniel

P.

Estabrooks.

Notes:

You

should

be

able

to "feel"

this

one!

Amplitude

of

lOOdb

@ 3

feet

with

arange of

80Hz w 20kHz

flat

should

about

do

it.

Play

the

lowest

and

highest

C

notes on

the

DXl00

for

7

sec-

onds,

then

release.

8 AFTERTOUCH!Vol. 3 No. 8

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ALGORITHM

115

T

HE

YAMAHA

MSS

1 is a

SMPTE-

compatible MIDI synchronizer designed

for use in home recording

as

well

as

motion pic-

ture, television,

and

professional recording

applications.

It

provides

an

easy,

cost-effective

way

to synchronize MIDI devices to SMPTE

time code.

The

MSSl

can

lock any clock-

driven MIDI device precisely

to

SMPTE time

code replayed from a multitrack tape recorder or

video tape unit.

The

MSSl

is

fully compatible with all four

SMPTE formats: 30-frame, 30-drop-frame, 25-

frame, and 24-frame. In addition, a precision

SMPTE time code generator

is

built into the

MSS

1,

so

that

you

can

generate

and

record your

own SMPTE time code tracks

on

virtually any

type ofaudio or video reproduction equipment.

The

MSS1

can

also be programmed to trans-

mit

MIDI

Program

Change

and

Control

Change messages

in

a precisely-timed sequence

timed to SMPTE time code from a master tape.

The

MSS

1's

memory

holds

up

to

7168

beats-obviously, it can record extremely long

compositions.

The

overall memory

is

divided

into

10

memory banks, which

can

be called up

in any order in

Chain

mode to create full-length

compositions from smaller parts.

Tempos

can

be entered into

the

MSS1 sim-

ply

by

tapping a

button

on

the front panel. This

does away with stiff, robotic performances, and

adds a new sense

of

human

feel to sequenced

music.

Front-Panel Displays

The

MSS1 provides a number

of

front-panel

displays to give you constant feedback

on

the

status

of

the

unit's operations, including a

16

x

1 backlit LCD, two rows

of

large, 10-position,

8-segment LED displays, a green LED indicator

light, and two red LED indicator lights. These

various

displays

give

you

the

following

information.

16

x 1

LCD

(Message/Data Display): shows

operating modes, program data,

and

user

prompts when necessary.

Upper

LED

(Time

Code

Display):

shows

SMPTE time code

in

hours, minutes, sec-

onds, and bits.

Lower LED

(MIDI

Data

Display): in

PLAY

and RECORD modes, shows bank, mea-

sure, beat,

and

tempo.

In

MIDI Event

MSSl

mode, shows command type, step number,

MIDI channel, and command data.

Green

LED

(SYNC/CLOCK

indicator):

lights when

the

MSS1

is

locked to received

SMPTE data.

Red

RUN

LED

indicator:

lights

when

the

MSSl

is

in RECORD

or

PLAY

mode.

Red

METRONOME

LED

indicator: blinks

as

a visual tempo display.

Front-Panel

Controls

The

MSSl

gives

the

user a

multitude

of

front-panel controls, including six MODE keys,

six

FUNCTION

keys, a 10-key numeric data-

entry pad (which, in addition to

the

10 num-

bered keys, has a

</NO

key,

a

YES/>

key,

and

an ENTER key),

and

START and

STOP

keys.

These give you control over

the

following:

MODE

Keys: These allow you to access the

MSS

1's six basic

modes

of

operation:

PLAY,

RECORD, EDIT,

CHAIN,

GEN-

ERATOR, and UTILITY.

FUNCTION

Keys: These allow you to access

the

MSS1's six basic function modes, JOB,

SONG

CUE,

TIME

CUE,

BANK,

CHASE, and METRONOME.

In

EDIT

mode,

the

last four function keys access

the

REPLACE, COPY, DELETE,

and

IN-

SERT functions.

10-Key

(+)Numeric

Pad: These keys are for

entering virtually all types

of

data.

The

NO

and

YES

keys allow selection

of

cer-

tain types ofdata (as well

as

allowing con-

trol over incrementing and decrementing

data).

The

function

of

the ENTER key

is

obvious.

START

and

STOP

Keys: These start and stop

most functions;

the

STOP

key

is

also used

to cancel or exit in

certain

situations.

With

its list price

of

$1195.00,

the

new

Yamaha MSS1 MIDI-SMPTE synchronizer

is

a

cost-effective time-code

controller-one

that

offers

both

great

flexibility

and

ease

of

operation.

Yamaha

Unveils Its

New MIDI

SMPTESyn

..

chronizer.

Vol.

3 No.

81

AITERTOUCH 9

QX3

An lntroduc

..

tion To

Yamaha's

Newest

Digital

Sequence

Recorder.

By

Tom Darter.

THE

NEW

QX3 digital sequence recorder

is

a 16-track MIDI sequencer with a built-in

3.5" disk drive. Each

of

the

16 tracks

can

con-

tain

unlimited simultaneous polyphony.

The

total capacity

of

the

QX3

is

48,000

notes with

velocity

(in

Chain

Play mode).

Up

to 24,000

notes

can

be recorded in

one

pass.

The

time

resolution

of

the

unit

is

96 clocks per quarter-

note.

The

QX3

is

designed to be a full-feature se-

quencer

like

the

QX1;

at

the

same

time,

though,

the

QX3 offers a number

of

significant

improvements over its older brother. Some

of

the

most obvious (

16

tracks instead

of

8 and a

disk drive

that

uses

the

smaller, denser, more

durable 3.5" disks) are mentioned above, but

there

are

many

more.

Unlike

the

QX1,

the

QX3 receives

and

records aftertouch data. It

generates

and

receives

MIDI

Song

Position

Pointer,

and

can

be synced to

an

external MIDI

clock

or

tape

clock

for

both

recording

or

playback.

The

QX3 features 512K of internal

RAM,

which

almost completely eliminates

the

long

"executing

now!"

delays found

on

the

QXl.

Finally,

the

QX3 offers a combined Play/

Record mode

and

greater accessibility to all

functions,

both

of

which make

the

QX3 signifi-

cantlyeasier

and

less time-consuming to operate

than

the

QXl.

The

unit's front panel includes a number

of

features designed for ease of operation. These

include a 40x2

LCD

with a variable contrast

control,

Note

Value

and

Note

Name

keys, a

numeric keypad for entering data, Track Select

keys,

an

Editing

Dial,

F1

and

F2

keys,

and

much

more.

The

Editing Dial

can

be used to set

tempo, move through measures

(in

Play/Record

mode), move through events in a track (in Edit

mode),

or

to

select a file

number

(when saving

to

or

loading from disk).

The

Function Key fea-

ture allows you

to

assign any procedure

up

to

128 keystrokes long to

the

F1

or

F2

keys.

Record/Play Mode

The

QX3 offers Real

Time,

Step

Time,

and

Punch-In recording.

Punch-In

recording may

be

performed

manually

or

automatically.

Punch-In

can

begin or

end

anywhere (even in

the

middle of a measure),

and

can

be used in

conjunction

with a fully-implemented

Auto-

Locate feature.

The

QX3 offers great range in defining time

signatures.

The

basic

beat

for a time signature

ranges from whole notes

(x/1)

to thirty-second

10 AITERTOUCH!Vol. 3

No.8

notes

(x/32),

and

the

number

of

beats ranges

from 1 to 64. As with the QX1, different time

signatures may be used in a single song, and

time signature changes are shared by all tracks.

However, unlike

the

QX1,

the

time signature of

a measure

cannot

be changed once

the

measure

has been recorded.

Each track

on

the

QX3 holds data for one

MIDI channel.

In

other

words,

channel

data

is

not

recorded.

The

MIDI

channel

of

outgoing

data

is

determined by the

Output

Channel

set-

ting for each track. Ifyou want to record incom-

ing data

that

involves a number

of

MIDI chan-

nels simultaneously, you

need

to record

on

two

or more tracks,

and

set each track

to

receive

on

a different MIDI

channel.

Receive

Channel

and

Output

Channel

settings may be different.

The

QX3 has two MIDI

OUT

ports, and

each track may be assigned

to

either or

both

of

these two

OUTs

for playback.

The

unit also has

an

Echo Back function

that

allows incoming

MIDI

data

to

be merged with outgoing MIDI

data

at

the

unit's MIDI

OUT

ports.

The

QX3 has 32 Job Commands available in

the Record/Play mode,

as

follows:

1) Click

2) Click Beat

3)

Count

In

4) Measure Locate

5)

Auto

Punch Point

6) Foot Switch

7)

Setup Save

8) Setup Load

9) Song Clear

10) Erase Track

11) Sync Clock

12) Echo Back

13)

Output

Channel

14)

Output

Port

15) Receive

Channel

16) Receive Event

17) Remote

In

18) Remote

Out

19) Song Select

In

20) MIDI Monitor

21) Memory Status

22) Disk Status

23) Disk Format

24) Disk Copy

25) Number ofFiles

26) File Rename

27) File Kill

28) E-Seq File Load

29) QX1 Data In

30) QX1 Data

Out

31) Rel Tempo Record

32) Time Display

Edit Mode

In the Edit mode,

the

QX3 offers

an

exten-

sive set of 29 Job Commands,

as

follows:

1)

Clock/Beat

2)

Gate

Time

Ratio

3) MIDI

Control

4)

Event Display

5) Measure Copy

6) Measure Erase

7) Measure Create

8) Measure Delete

9) Mix Track

10) Erase Track

11

) Transpose

12)

Note

Shift

13)

Gate

Time

Modify

14) Velocity Modify

15) Crescendo

16) Quantize

1

7)

Chord

Sort

18)

Chord

Separate

19) Clock Move

20) Rel Tempo Erase

21) Memory Status

22) File Include

23)

Note

Extract

24)

Ctrl

Extract

25) P.Bend Extract

26) Prog Extract

27) A.Touch Extract

28) Excl Extract

29) Spot Extract

Many

of

these Jobs access functions

that

are

self-evident, and still others will be familiar to

QX1 users. Here

is

a quick rundown

on

some of

the new Edit mode features:

Transpose allows you to shift all notes a fixed

amount over a specific area

of

a track.

Note

Shift allows you to convert any given note

to

another

note

over a specific area

of

a

track.

Chord

Sort

allows you

to

re

arrange chords

vertically.

Chord

Separate allows you

to

separate chords

by

a given clock interval to create "instant

arpeggios."

File

Include

allows you

to

combine 2 songs into

a new song; additional parts can

then

be

added to this new song.

Spot

Extract

allows you to remove all data in a

specific range.

The

QX3 combines

the

professional features

of

the

QX1 with

the

ease ofoperation and flexi-

bility

of

the

QX5

.

Moderately

priced

at

$1595.00, this newest addition to

the

QX series

offers

the

operating ease

and

reliability

that

only

a

dedicated

hardware

sequencer

can

provide.

QX3

digital

sequence

recorder.

Vol.

3 No. 8/AFTERTOUCH

11

MEP4

Using

The

MEP4

In

Live

Applications.

By

Scott

Plunkett.

W

ITH

ITS ABILITY to solve MIDI

sys-

tem

problems

and

create MIDI effects,

the

MEP4 MIDI event processor has proven it-

self to be a great tool

in

studio applications.

One

of

the

hidden

strengths

of

the

MEP4,

though,

is

its usefulness

in

live applications.

If you have never worked

with

the

MEP4,

you will

need

a brieftour before you

can

under-

stand

what

follows:

The

MEP4 MIDI event pro-

cessor has four microprocessors,

each

of

which

is

capable

of

manipulating

MIDI

data

that

appears

at

its

MIDI

IN

independently.

Each

microprocessor has six programmable sections,

as follows:

1) Data Presetter:

This

section allows you to

send

a

program

change,

a

pitch

bend

position,

and

any

two

controller

messages.

2)

Channel

Filter:

This

section allows you

to filter incoming

channel

messages so

that

only

certain

channels

are recog-

nized.

Any

combination

of

channels

may

be selected.

3) Message Filter:

This

section

can

be used

selectively-like

the

channel

filter-to

recognize only

certain

MIDI

messages

and

ignore others.

4)

Data

Modifier:

This

section allows you to

alter MIDI messages.

There

are a number

of

possible changes

that

can

be made to

any selected message.

5) Delay Processor:

This

section

can

be used

to

delay

the

MIDI

output

of

a processor

for up

to

three

seconds.

6)

Output

Assigner:

This

section allows you

to select

the

output

channel

and

OUT

port

(there are four MIDI

OUT

ports

on

the

MEP4).

Each processor

can

be programmed separately,

and

any

number

of

processors

can

be combined

to

create complex effects.

To show you

the

usefulness

of

the

MEP4

in

performance, I will describe a MIDI system I

recently used

in

a

number

of

live shows. While

preparing

the

system, I encountered familiar

problems-those

that

are

inherent

to all large

MIDI systems.

The

MEP4

helped

solve these

problems by offering alternatives

that

would

not

have

been

possible otherwise.

The

system consisted

of

two controller key-

boards-a

KX88

and

a DX7

Il-plus

a rack

of

·tone

generators, including a Yamaha TX816, a

sampler,

and

an

analog synthesizer.

The

DX7

II

12 AITERTOUCH/Vol. 3

No.8

could

also

be

accessed

as a

tone

generator

through MIDI (as well

as

being controlled by its

own keyboard).

The

MIDI outputs

of

the

two

controllers were merged together, sent to the

MEP4,

and

distributed

to

the

tone generators

through

a

Yamaha

MJC8

MIDI

junction

controller.

The

biggest setup problem with a system like

this

is

deciding

how

the

controllers and tone

generators will be split up.

That

is,

how can

each

tone

generator be addressed

both

sepa-

rately

and

in

a group?

There

are basically two

solutions

to

this problem: 1) Separate

the

tone

generators by MIDI

channel;

or 2) Keep all of

the

tone

generators

on

the

same MIDI

channel

and use key limiting

or

zoning to separate them.

The

advantage

of

putting

the

instruments

on

different MIDI

channels

is

that

you

can

access the entire MIDI

note

range

of

any single

tone generator without affecting any

other

tone

generator.

The

disadvantage

is

that

you

can't

play multiple tone generators

on

different MIDI

channels unless your controller keyboard has

split and dual modes

that

will

output

more

than

one

channel

at

a time. Or, to

put

it a slightly

different

way,

the

number

of

tone modules you

can

address simultaneously will depend

on

the

number

of

channels your controller will output

at

the

same time.

The

advantage

of

key zoning

is

that

you

can

keep all

of

the

tone generators

on

the

same

MIDI

channel,

so

it's easy to address all

of

them

at

the

same time.

The

disadvantage

is

that

it

isn't

always easy

to

keep musical

parts

from

overlapping into adjacent zones.

You

must

con:-

stantly transpose all

of

your voices, depending

on

whether they appear

in

a zone

on

the

upper

or lower

part

of

the

keyboard.

And,

since all of

the

tone generators are

on

the

same channel,

they all respond to

the

same program change,

pitch

bend,

and

controller information.

In

my

case, I needed three

or

four separate

sounds

at

my disposal during some songs, but

only one

main

sound for others. So, I wanted a

system which would allow me to address

at

least

four sounds separately,

but

which would also

allow me to combine all

of

the

tone

generators

at times to create

one

of

those tasteless, larger-

than-life, MIDI monstrocity, sounds.

Using

The

MEP4

To

Channelize

The

solution to my problem was to divide

the system four ways (by MIDI

channel),

and

let the MEP4 change the controller channel

assignments.

The

MIDI channel assignments

were set

as

follows:

Controller

KX88

DX711

Tone

Generator

TX816 modules 1-4

Analog Synthesizer

TX816 modules 5-8

DX7

II

Sampler

Transmit

Channel(s)

1,2

3

Receive

Channel

1

2

3

4

With this setup in mind, let's

say

that

you

want the

KX88

to

control

the

first four modules

of the TX816, the analog synthesizer, and the

sampler. This means

that

when

the

KX88 out-

puts chan

nell,

its output needs to be converted

to

channel 1 and channel 4. Let's also say

that

you

want the

DX7

II

to play

the

second four

modules of the TX816,

so

you

want to convert

the

DX7

II's output from MIDI

channel

3 to

channel

2.

You

can

use

two of

the

MEP4 processors to

take care

of

the KX88. First, set the

Channel

Filters

so

that both processors only recognize

data coming in

on

MIDI channel

1.

This

guar-

antees

that

no data from

the

DX7

II

(which

is

transmitting on MIDI channel 3) will be mis-

takenly sent to the wrong tone generators.

You

can

then

set the

Output

Assigner on

the

first

processor

to

channel

1,

and

the

Output

Assigner

on

the second processor

to

channel4.

Similarly, you can

use

a single processor to

handle the output ofthe

DX7

II. This time, the

Channel Filter will

be

set to recognize data

on

MIDI channel 3, and you'll

use

the

Output

As-

signer to send

the

data out on MIDI channel

2.

The

advantage

of

this system

is

that,

by

using

the

Channel

Filters and

Output

Assigners

on

the MEP4, any of

the

tone modules can be

accessed in any combination

by

either

of

the

controllers. And, since

the

MEP4

can

make

program changes (via its 60 different programs),

the relationship between

the

controllers and

tone

modules

can

be

chan

ged as

often

as

necessary.

Program Changes

By

using

the

Data Presetters

on

the MEP4,

you

can

send

up

to

four

separate

program

change commands

at

once. This means that,

by

changing

a program

on

your

controller

key-

board, you

can

send

four different program

changes on four different MIDI channels.

For instance,

by

pressing program number 1

on

the

KX88, you could make the following

changes in

the

system described above:

Tone MIDI Program

Generators

Channel

Change

analog synth 1 3

TX816 1-4 1 3

TX816 5-8 2 5

DX7

II

3 2

Sampler 4 9

The

great thing about this arrangement

is

that

you

don't

have to set all

of

the patches for a

particular song to

the

same program number. If

you

were accessing all of these instruments on

the same MIDI channel, they would all jump to

the same program when you made a program

change from

the

KX88. Ifyou wanted to use the

same sound from a particular tone generator in

different MIDI configurations, you would be

forced to save

that

sound to at least two dif-

ferent

patch

memories.

The

MEP4 lets you

avoid this problem.

Another

advantage

of

this system

is

that

it

is

easy to set up and modify. Ifyou decide to mix a

group

of

brass sounds from different tone gener-

ators, you

can

easily change which sounds are

mixed

by

changing

the

programs

that

are called

from the Data Presetters.

Co

ntinued on

page

15

MEP4

MIDI

et~ent

proc

essor.

Vol.

3 No.

8/

AITERTOUCH 13

MEP4

StringsUp.

A

NewMEP4

Setup

By

Scott

Plunkett.

Notes:

This

is

an

MEP4

program

that

I

use

to

solve

a

problem

that

is

very

similar

to

the

one

described

in

the

accompanying

article.

The

KX88

keyboard

is

split,

and

a

high

string

sound

is

played

from

the

lower

half

of

the

keyboard.

A

slightly

busier

part

is

being

played

in

the

right

hand.

Here's

a bnef

descrip-

tion

of

what

each

processor

is

doing:

Processor

I

sends

a

program

change

(

15)

and

volume

com-

mand

(07,55) to

the

first

four

modules

of

the

TX816

and

the

analog

synthesizer.

This

is

the

sound

that

is

being

played

by

the

right

hand

on

the

upper

half

of

the

KX88.

The

upper

half

of

the

KX88

is

transmit-

ting

on

MIDI

channel/,

so

the

Channel

Filter

is

set

to

accept

only

messages

that

appear

on

this

channel.

All of

the

messages

on

channel

I

are

recognized

(Message

Filter),

except

for

Polyphonic

Aftertouch,

since

the

KX88

doesn't

transmit

this

message.

The

Data

Modifier

is

used

to

transpose

the

voice

down

an

octave,

and

the

processor

is

set

to

output

on

MIDI channel/.

Continued

on

page

15

14

AITERTOUCH/Vol. 3 No. 8

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:IJ

~

0

-o n

::o

m

en

en en

m 0

::j

::0

~ ~ ~

~

::g

m

::0

m

.&>

::0

Setup

Notes,

Continued.

Processor

2

sends

a

program

change

(9)

and

volume

com-

mand

(07,

55)

to

the

last

four

modules

of

the

TXB I

6.

This

is

the

sound

that

is

being

played

by

the

left

hand

on

the

lower

half

of

the

KX88.

The

lower

half

of

the

KX88

is

transmitting

on

MIDI

channel

2,

so

the

Channel

Filter

is

set

to

accept

only

messages

that

appear

on

this

channel.

Again,

all

of

the

messages

on

channel

2

are

recognized

except

for

Polyphonic

Aftertouch.

The

Data

Modi-

fier

is

used

to

transpose

the

voice

up

three

octaves,

and

the

processor

is

set

to output

on

MIDI

channel2.

Processor

3

sends

a

program

change

(I

I)

and

volume

com-

mand

(07,46) to

the

DX7

II.

Notice

that

the

Channel

Filter

is

set

to

receive

messages

on

MIDI

channel2,

so

the

DX7

II

will

also

be

playing

parts

from

the

lower

halfof

the

KX88

keyboard.

This

is

a

good

example

of

how

the

MEP4

allows

you

to

use

more

than

one·

tone

generator

to

play

the

same

part.

The

Mes-

sage

Filter

of

processor

3

is

set

differently

than

that

of

the

first

two

processors.

In

addition

to

filtering

out

Polyphonic

Aftertouch,

the

processor

is

filtering

out

Control

Changes

(the

' ' ' '

means

that

all

Control

Changes

are

ig-

nored).

The

reason

for

this

is

that

processor

4

wiU

be

used

to

modify

Control

Change

mes-

sages

for

the

DX7

II.

The

Data

Modifier

moves

the

voice

up

three

octaves,

and

the

data

is

sent

out

on

MID

I

channel3.

Processor

4

is

normally

reserved

for

the

sampler

in

my

setup.

Since

the

sampler

isn't

being

used

here,

the

processor

is

being

put

to a

different

use.

Once

again,

the

Channel

Fil-

ter

is

set

to

receive

only

chan-

nel2.

The

Message

Filter

only

recognizes

Control

Channel

messages.

The

Data

Modifier

then

offsets

the

volume

mes-

sage

(Bn,

07)

by

-20,

and

the

processor

sends

data

out

on

MIDI

channel

3.

Basic-

ally,

this

setup

is

used

to

keep

the

DX7

II's

volume

mixed

down

in

relation

to

that

of

the

last

four

modules

of

the

TX8I6.

MEP4

Continued from page 13

Transposing Voices

In

live performance, you are

often

forced

to

play parts

on

the

lower

part

of

the

keyboard

that,

ideally, should be located

on

the

upper

part

of

the

keyboard. For instance, if there

is

a

fairly busy right

hand

part

that

has

to

be played

at

the

same time as a

high

string line,

the

string

line will

end

up being played by

the

left

hand

on

the

lower

part

of

the

keyboard. Unless you

want

that

high

string

part

to

sound like a 'cello part,

you will have

to

transpose

the

string voice.

In

addition, if you

want

to

use

the

same string

voice

with

four different transpositions during a

show, you would

need

to

store four different ver-

sions

of

the

same sound for

each

affected

tone

generator.

The

Data Modifiers

in

the

MEP4

can

take

care

of

this problem.

This

sort

of

change

is

very

simple,

but

requires some knowledge

of

MIDI

messages.

If

you normally go glassy-eyed

when

dealing

with

technical

things,

don't

panic.

You

can

save yourself a

lot

of

time

and

work by

learning just a few

of

the

most useful messages.

In order

to

transpose a voice, you

need

to

modify a MIDI

Note

On

message.

This

message

consists

of

three bytes (bytes, bits,

and

all

of

those

other

computer

terms

aren't

really impor-

tant

to

the

musical applications

we

are talking

about

here-

The

MEP4 owners manual explains

most

of

these terms if you would like

to

know

more

about

them).

The

Note

On

message looks

like this:

9n,xx,yy

The

first

byte-

"9n"

-is

called

the

status byte.

Very simply,

the

"9" says

that

"This

is

a

Note

On

message,"

while

the

"n"

represents

the

MIDI

channel

that

the

message

is

in.

The

first

data

byte-

"xx"

-corresponds

to

the

MIDI

note

number: It tells the

tone

generator

which

note

to play

(and

is

the

byte we will

want

to

change

to

transpose

the

voice).

The

second

data

byte-

"yy"-indicates

how

hard

the

note

is

played,

and

is

called

the

velocity byte.

With

the MEP4's Data Modifier, you

can

use

the

Offset feature

to

add

or

subtract a fixed

value

to

either

"xx"

or

"yy."

If

you Offset

the

"xx" byte

(the

MIDI

note

number)

of

a

Note

On

message, you will transpose

the

voice.

Now, here comes

the

payoff

of

this little

MIDI lesson.

In

the

case

of

our

string line exam-

ple, let's say we want

to

transpose

the

voice

up

three octaves. Since adding

12

to

a

note

num-

ber will move it up

an

octave, we

can

transpose

a voice up 3 octaves

by

setting

an

"xx"

Offset

of

+36. [NOTE:

Not

all keyboards use

the

same

system

of

sending

Note

Off

messages.

If

you run

into a problem

with

the

dreaded stuck-note syn-

drome, you may have

to

use

one

of

the

MEP4's

other

processors

to

offset

the

Note

Off

messages.]

You

can

also use the idea

outlined

above

to

offset volume.

The

Data Presetter sends a one-

time-only volume

command

when

an

MEP4

program

is

selected, but ifyou move a MIDI vol-

ume pedal, all

of

the

tone

generators will jump

to

the same volume. Normally, you will want

one

tone

generator

to

have a lower volume

than

the

others.

The

tricky

part

is

keeping

the

proper

mix

as

you change the volume

with

a MIDI vol-

ume pedal.

By

applying a volume offset

with

the

MEP4, you

can

do this.

The

MIDI message for volume

is

as

follows:

Bn,07,yy

The

status

byte-"Bn"-says

that

"This

is

a

MIDI

Control

Change

message."

The

second

byte-"07"-indicates

that

this

message will

control MIDI volume.

The

final

byte-"yy"-is

the

data

byte,

and

its value will be determined

by the position

of

the

volume pedal.

The

possi-

ble values for "yy" are 0-127.

By

offsetting

the

value of "yy,"

the

MEP4

can

control the relative volumes between tone

generators.

If

you Offset "yy" by -20

on

one

of

the

processors, for

instance,

the

MEP4 will

always

subtract

20

from

the

current

volume

pedal position.

Whichever

tone

generator

is

affected

by

this will consistently be playing at a

lower volume relative

to

the

other

tone

gener-

ators.

Once

again, this saves you the effort

of

individually

modifying

the

volume

of

the

patches

within

the

tone

generators themselves.

Beating

MIDI

I like

to

think

of

the

MEP4

as

a sort

of

MIDI

"Swiss

Army

Knife."

The

above examples only

begin

to

suggest

the

possible uses

of

the

MEP4,

but

they

do

describe some

of

the

uses

that

I find

most valuable

in

live applications. As MIDI

sys-

tems grow, they have a

tendency

to

become un-

wieldy:

They

create

restrictions

that

make it dif-

ficult

to

do

all

of

the

things you expect to be

able

to

do.

The

MEP4

can

help

you overcome

these restrictions,

so

that

you

can

make

the

most efficient use

of

your system.

Vol.

3 No.

8/

AITERTOUCH 15

/

Hot

Tips

An

SPX90

Patch

For

Recording

Guitars

And

Basses

Direct

By

John

R.

Barnes

I have a very simple SPX90

patch

that

works

very well for guitars

and

basses recorded direct. I

am just

one

of

the

many people

with

small

4-

track studios

on

tight budgets where direct

is

the

only possible way

to

record. I have never really

liked

the

direct sound

of

a guitar

or

bass,

but

this patch makes

the

instrument sound

as

if it

were

being

played

and

recorded

through

a

miked

amplifier-with

better

fidelity!

Start

with

the

Early Reflection 1 preset,

#5,

and use these settings:

TYPE:

HALL

ROOM

SIZE:

1.

7

LIVENESS: 4

DELAY:

10.0 ms

LPF:

THRU

I use four different versions

of

this

patch

(de-

pending

on

the

mood

I'm in),

but

this

is

my

favorite.

Other

users

might

like

to

try

the

"Plate" and increase

the

room size.

The

balance

should be set from about

30%

to 40% effect.

Create

Sequences

With

16,Note

Polyphony

Using

The

CX5M

Music

Composer

Cartridge

By Boyd

Stamey

There

is

a way

to

use

the

FM

Music

Com-

poser

Cartridge

programs

(

YRM

101

and

YRM501)

to

create sequences up to 16 notes

wide.

You

can

play up

to

8 voices

with

the

CX5M's

internal

tone

module

(SFG01

or

SFG05)

and

8 more

independent

notes

on

a

MIDI synthesizer.

The

secret lies

in

the

way you

assign MIDI

channels

to

the

parts.

As explained

in

the

Music Composer man-

ual, you

can

simply double

the

parts played via

the FM Music Composer by assigning

them

to

a

16

AFfERTOUCH!Vol. 3

No.8

Reader Tips

For

The

SPX90,

CX5M,

ffi

..

Ol,

And More.

SPX90

digital

multi-effects

processor.

MIDI

channel

and

having a MIDI synthesizer

play

the

same part.

This

is

good,

but

I wanted to

be able to play

additional

parts via MIDI. Well,

there

is

a

way,

but

you have to understand how

the

FM Music Composer counts voices to take

advantage

of

it.

Here

is

the

scheme:

1)

The

FM Music Composer begins counting

voices

on

Part

1,

then

on

Part

2,

and so

on

to Part 8.

2)

After it counts 8

internal

(SFG)

voices-if

no

MIDI voices have

been

counted, it will

then

count

up to 8 MIDI voices.

3)

Once

it counts any MIDI voices, all voices

after

that

are

counted

as

MIDI voices.

4)

Once

it counts 8 MIDI voices, it won't play

any

more voices after

that.

In

other

words,

there

are as many

as

16 notes

that

can

be assigned to

the

Music Composer's 8

Parts, if you keep

the

above scheme

in

mind.

This

is

how

you

can

make this scheme work

for you:

1)

Assign parts

to

be played only by the CX5M

to

Part 1,

then

Part

2,

and

so

on.

2) If any

of

these parts are to be doubled by the

MIDI synthesizer, assign

them

to

the

3) Assign

the

parts to be played only

by

the

MIDI

synthesizer

to

the

remaining

Part

numbers as needed.

Here

is

an

example using

the

CX5M's

8

internal voices

and

a completely independent

set

of

8

other

voices being played by a MIDI

synthesizer:

PART

1:

BASS

(poly=

1)

PART

2:

BRASS (poly=3)

PART

3:

PIANO (poly=3)

PART

4:

FLUTE (poly=

1)

PART

5:

STRINGS (poly= 3)

MOON=

1;

VOL=0

PART

6:

SYNTH (poly= 3)

MOON=

2;

VOL=0

PART

7:

GUITAR (poly=2)

MOON=3;

VOL=O

Parts 1 through 4 will be played only by

the

CX5M voices (for a total

of

8 voices), and Parts

5 through 7 will be played only by

the

external

MIDI synthesizer-an FB-01 would be ideal for

this

application-for

an

additional 8 voices.

Now

let's

say

that

we

want

to

double the

MIDI synthesizer

SYNTH

part with

the

CX5M

BRASS part.

We

need

to change

the

order of

the parts, or

we

will lose some

of

the

voices

on

the highest tracks.

If,

for example,

we

simply

assign a MIDI channel to Part 2

and

delete Part

6,

we

will have the following:

By

the time

we

get to Part 5, the

FM

Music Composer will have

counted seven MIDI voices, leaving only

one

voice-and

we

need

four.

(Remember,

once

.the

program counts one MIDI voice, all subsequent

voices are counted

as

MIDI voices.)

Creating Subtle

Harps

Voices

With

The

FB-

01

By Don

F.

Hill

I

use

an

FB-01

FM

tone

module with

my

Yamaha

ME-

50 organ.

The

FB

module has three

harp voices:

3-28

Harp,

7125

Harp2,

and

7126

Harp3. I

was

dissatisfied with these. They didn't

sound the

way

harps ought to sound, especially

in a glissando-where a harpist runs his or her

hands over a series

of

strings, leaving

them

vibrating.

On

a keyboard instrument,

one

can

try to produce a glissando effect, but the "pluck-

ing" and "snapping"

of

the

strings doesn't sound ,

right.

Without other means

of

voicing, it occurred

to

me

to try to create

better

harp sounds using

voices already at

hand

in

the

FB-01.

This

could

be

done

by

stacking in

the

Configuration mode.

I

started

with

the

3/28

Harp

voice

on

Instrument # 1, channel

1,

with 4 notes

as-

signed

as

the

maximum level

of

127. I like the

harp set down

one

octave

(-

1)

on

my

upper

organ keyboard manual, since

the

lower harp

strings are the usual ones

we

hear. To modify

this basic sound, I tried

to

increase

the

plucked

effect, and found

that

if I set instrument

#2

on

channel 1 also and gave it 3 notes, I was left

with 1 note for Instrument

#3

(on

channel

l)

for

another voice.

It

turned out

that

both

were

needed.

On

Instrument

#2,

I experimented until I

located 7I

18

PluckGt.

At

a level

of

116, with

octave at 0 and detune

at

+10, this addition

gave a bit more pluck to the harp string sound.

On

Instrument

#3,

the voice added was

the

7I

22

Lute, also at level 116 and octave 0.

This

combined

harp

sound

seems

much

more harp-like

to

me,

and

one

can

run a finger

over an octave

of

keys, holding

the

last

by

aim-

ing at it

as

one's finger glides-this causes a glis-

FB-0

1

FM

digiwl tone

module.

sando effect

with

more

plucking

sounds

of

strings,

the

way

a harpist catches them along

the

way

up

or

down a glissando.

For

the

sound

of

a softer harp, the same

Configuration

can

be used; but instead

of

7122

Lute

on

Instrument

#3,

use the

7124

SftHarp.

The

above two Configurations are much

alike,

both

recreating

the

sound

of

the harp's

lower strings. For

the

higher harp strings, a

third Configuration

is

needed,

as

follows: For

Instrument #

1,

keep

the

3/28

Harp set at vol-

ume

12

7 and octave - 1

as

before. Add 7I27

SftKoto

on

Instrument

#2,

with a level of 110,

octave ofO, and detune

of+

10.

On

Instrument

#3,

add

7124

SftHarp

at

level 116. Somehow,

this combination produces a higher sound, even

though

the

Instrument # 1 harp voice hasn't

changed.

Evidently,

the

SftKoto creates

the

effect.

These settings will give

you

three additional

harp voices

on

your FB-0

1.

They

can all be

stored

as

Configurations; or, you can store just

the

first

one

as

a Configuration, and make the

slight changes

that

create the

other

two setups

manually.

Setting

Up

An

AlB

Balance

Control

For

The

DX7

II

In

Voice Mode

By

Eugene

Beer

After playing with

my

new DX7

II

for a cou-

ple

of

weeks, I began to wish

that

it had

an

AlB

balance control to set

the

patch balance for

tone

generators

A

and

B in Dual

and

Split

modes.

This

capability

is

provided for in Perfor-

mance mode, but

that

requires

one

to decide in

advance what pairs of patches are to be stored

together

in

Performance memory. I have 64

Single patches, and,

on

the spur

of

the mo-

ment, I want to be able

to

hear any one ofthem

paired with any

other

with adjustable balance.

Continued on

page

20

Vol.

3 No.

8/

AITERTOUCH

17

Questions

Answers To

Questions From

Readers.

By

Tom Darter.

I

own

a

TX81Z,

which

I use primarily

with

my

QXl.

Is

there

any

way

of

accessing

the

Perfor-

mance patches via

MIDI

Program

Changes?

It

seems

that

Program

Changes

only call

up

the

Internal

and

ROM

Voice patches.

The

TX8IZ's

MIDI Program

Change

param-

eter has three basic settings-Off, Common,

and

Individual-which

determine how

the

unit

will respond to Program

Change

messages:

Off:

The

TX81Z

ignores

MIDI

Program

Change

messages.

Common:

The

TX8IZ

looks up

the

correspond-

ing Voice

Number

or Performance Number

in its Program

Change

memory,

and

reacts

accordingly.

Individual:

The

TX8IZ's

"instruments" receive

Program Changes separately (over

the

as-

signed MIDI channels),

and

each looks up

its Voice

Number

from the Program

Change

Table.

If

the

Table entry

is

a Performance

Number, it

is

ignored.

The

TX81Z's internal memory contains 4

banks of 32 permanent (ROM) Voice memo-

ries, I bank of 32 programmable

(RAM)

Voice

memories,

and

I

bank

of

24 programmable

(RAM) Performance memories.

In

the Program

Change Table, these memory locations appear

as

follows:

Memory

Bank

RAM: Voice Bank I (1-32)

ROM: Voice Bank A (1-32)

ROM: Voice Bank B (1-32)

ROM: Voice Bank C (1-32)

ROM: Voice Bank D (1-32)

RAM: Performances (1-24)

Abbreviation

I01-I32

A01-A32

B01-B32

COI-C32

D01-D32

PF01-PF24

When

shipped

from

the

factory,

the

TX8IZ's Program

Change

parameter

is

set

to

"Common,"

and the factory defined Program

Change

Table assigns

the

available Program

Change numbers (1-128)

as

follows:

Program

Change

Number

1-32

33-64

65-96

97-128

TX81

Z

Program

Number

I01-I32

A01-A32

BOI-B32

C01-C32

In order to call

up

Performance memories

using MIDI Program

Change

messages, you

18

AITERTOUCH/Vol. 3

No.8

need to program the TX81Z's Program

Change

Table accordingly.

The

most straightforward

approach

involves

setting

the

TX81Z

to

respond to MIDI Program

Change

numbers

1-

24 by calling

up

Performances 1-24. To do so,

follow these steps:

1)

Press the Utility button.

2) Press

the

left

and

right Parameter keys until

the LCD reads

as

follows:

UTILITY MODE

Midi

Control?

3)

Press

the

+ I /YES

button

to

access

the

MIDI parameters.

4) Press the

~ight

Parameter key (12 times) un-

til the LCD reads:

UT

MIDI

CONTROL

Edit

P.Cng

Tbl?

5) Press

the

+1/YES button.

The

LCD will

now read:

UT

MIDI

CONTROL

PGM

1

I01

6) Press and hold

the

+1I

INC

button

until the

LCD reads

as

follows:

UT

MIDI

CONTROL

PGM

1 =

PF01

7)

Press the right parameter button.

The

LCD

will now read:

UT

MIDI

CONTROL

PGM

2

I01

8) Press and hold the +

1/INC

button

until the

LCD reads

as

follows:

UT

MIDI

CONTROL

PGM

2 =

PF02

Continue

the above process until you have

assigned PF01-PF24 (the TX8IZ's Performance

memories) to Program

Change

numbers I-24 in

the unit's Program

Change

Table. These Table

settings are stored

as

part

of

the

TX81Z's System

Setup memory,

and

will be retained in the unit

even when

the

power

is

turned

off.

Continued on

page

19

My

basic setup consists

of

a

DX7

and

a Korg

DW-8000.

When

I

MIDI

the

two

together,

the

DX7

is

the

master

keyboard,

and

both

units

are set

to

MIDI

channel!.

When

I need

to

disconnect

the

two

(so

that

they

play in-

dependently),

I simply

change

the

Korg

to

MIDI

channel

2.

When

I do this,

though,

the

last notes

or

chords

continue

to

ring

out

of

the

Korg.

The

only way to

stop

this is to

hit

the

"Write"

button

on

the

Korg

(which

resets its

circuitry).

What

gives?

The

basic MIDI messages for a

note

played

on

a keyboard consist

of

two parts: A

Note

On

(transmitted

when

you press down a key)

and

a

Note

Off

(transmitted

when

you let go

of

a

key).

If

you

hold

down a

chord

on

your DX7 when

the

Korg

is

set to receive

on

MIDI

channel

1,

it

receives

the

Note

On

messages for

the

notes in

the

chord

from

the

DX7;

however,

if

you

change

the

Korg

to

MIDI

channel

2 while you

are still

holding

the

chord

on

the

DX7, the Korg

will

not

receive

the

Note

Off

messages

when

you let go

of

the

chord

on

the

OX's keyboard.

The

Note

Off

messages are still being sent

on

MIDI

channel

1 by

the

OX,

but

the

Korg

is

now

set to MIDI

channel

2.

The

solution

is

simple: Always make sure

that

you are not holding

down

any keys

on

the

DX7

when

you

change

the

Korg from MIDI

channel

1

to

MIDI

channel

2. Let go

of

the

chord first {which will cause

the

DX7 to send

Note

Off

messages

to

the

Korg),

and

then

change

the

Korg's MIDI

channel

setting.

This

is

not

an

isolated situation caused by

your particular

combination

of

instruments-it

is

universal

to

all MIDI keyboards.

The

MIDI

slave

unit

must receive

Note

Off

commands

before you

change

its

MIDI

channel

assign-

ment; otherwise, you will be left

with

the

in-

famous "stuck

note"

syndrome.

TET

US

HEAR

FROM

YOU!

We

want

AfterTouch

to

be

an

information

network

Lfor

all

users

of

Yamaha professional musical products, so please

join

in. We're

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material.

Have

you created

an

incredible

patch

for

the

DX7 II,

the

DXlOO,

or

any

of

the

other

members

of

the

Yamaha FM digital synthesizer family? How about a program

for

the

CX5M

II music

computer

or

a great

pattern

or

voice for

the

RX5?

Send

in

your patches, programs,

and

patterns. If we use your material, we'll give you full

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plus

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item used.

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the

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the

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products?

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Tips" column. If we use your

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tip, you'll receive full

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to

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After

Touch

instru-

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or

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use? Put it

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Don't

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the

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to

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we

will use all

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your questions to guide

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Finally, if you just

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After

Touch product users, send in

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AfterTouch

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Write

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Vol.

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AFTERTOUCH

19

AFTERTOUCH

P.O.

Box

7938

Northridge, CA

91327~

7938

Hot

Tips Continued from page

17

This

would require 4096 Performance memories

to

set

the

pairs

of

patches

up

in

advance, assign-

ing balance

to

CS

1.

Fortunately, there

is

a way

to

achieve

A/B

balance

control

while

not

in

Performance

mode. It requires editing MIDI IN

Control

Vol-

ume

in

each

of

the

voices for

which

Dual mode

operation

is

desired.

Once

this

parameter

is

changed,

it

is

important

to

note

that

these

voices will

not

sound

at

all

in

Single

or

Dual

modes unless a MIDI cable

is

used as described

below. Follow these steps:

1)

Connect

the

MIDI

OUT

of

the

DX7

II

to

its

own

MIDI

IN.

(If

the

OX

is

controlling

another

tone

generator,

connect

the

MIDI

OUT

of

the

OX

to

the

MIDI IN

of

the

tone

generator,

and

connect

the

MIDI

THRU

of

the

tone

generator

to

the

MIDI IN

of

the

OX.)

2) Press

the

Edit

button,

and

then

press

the

20 AITERTOUCH!Vol. 3 No. 8

MIDI

1

button

(31)

until

you access

the

MIDI

IN

display;

set

the

MIDI

Control

Number

of

CS1

to 11,

and

set

the

MIDI

Control

Number

of

CS2

to 12.

(Note

that

this

and

the

involve

global

changes.)

3) Using

the

MIDI 1

button

(31), access the

display

that

includes

the

"Local" parameter,

and

set Local

to

OFF (or you will only get 4-

note

polyphony

from

the

OX

in

Dual mode).

4) Edit all

of

the

Voice memories

that

you

think

you

might

want

in

Dual

or

Split

combina-

tions as follows: Using Voice Edit

button

26,

set

the

MIDI

IN

Control

parameter

to

a

value

of

99.

Now,

when

you call up any

of

these voices in

the

Dual

or

Split Voice modes, CS1 will control

the

volume

of

Voice A, while

CS2

will control

the

volume

of

Voice

B.

Yamaha QX-3 User manual

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