Yamaha DX1 User manual

^YAMAHA ^
DIGI1AL
PROGRAMMABLE
ALGORITHM
SYNTHESIZER
OWNER'S MANUAL

INTRODUCTION
Thank you for choosing the Yamaha DXl
Digital Programmable Algorithm Synthesizer,
The DXl is afully digital synthesizer
incorporating the state-of-the-art
tecnnology including Yamaha's superb FM tone
generator system. The DXl offers the
highest levels ot performance,
programmability and sound quality.
Please be sure to read this manual
thoroughly before you use your DXl to ensure
many hours of trouble-free use.
FEATURES
*Microcomputer-based operation offers a
tremendous range of functions in an
easy-to-use system. All functions are
selected via light-touch electronic buttons,
and data entry is carried out via buttons or
aslider control.
*Data is displayed on the LCD or LED
graphic displays, making all pertinent
parameters visioie during programming. The
LED graphic display in particular offers
simultaneous readout ot many parameters
making it easier to check overall program
status.
*64 (2 channels x32) voice memory. 256
pre-programmed voices are provided in
external ROM memory cartridges (64 of which
are the same as the voices pre-programmed in
the DXl internal memory). Voices from the
two voice channels can be used
independently, or combined as needed.
*The DXl is also equipped with a64 voice
performance memory which can store
combinations of voice and effect (modulation
wheel, foot controller, etc.) parameters ^
for easy one-touch selection. A^F
pre-programmed 64 voice ROM cartridge is
provided.
*Memory data can be stored in optional RAM
cartridges, permitting creation of an
original voice library.
*Full editing facilities permit alteration
of existing voice data.
*Totally new voices can be created using
the initialize memory function.
*The FM tone generator is arevolutionary
system which is totally programmable and
permits creating voices with anatural,
irregular harmonic structure. Two tone
generator channels—Aand B—are provided.
Each features a6-operator 32-algorithm
system. Each operator is fully programmable
permitting limitless voice creation.
*Anew 8-parameter envelope generator
system permits programming complex envelope
waveforms for unprecedented versatility. An
independent envelope generator is provided
for each operator, as well as aseparate
pitch envelope generator, ^^
*The DXl features programmable key velocit^^
sensitivity function which enables control
of volume and timbre via key pressure.
Further, the keyboard has been specially
designed to respond to the player's touch
just like ahigh quality acoustic piano.
*The keyboard scaling function enables
natural volume and timbre scaling, and
alteration of the EG response through the
keyboard range.
*The DXl provides arich variety of effects
such as pitch bend, portamento/glissando, EG
bias and LFO modulation. These can be
operated by means of four controllers: a
modulation wheel, foot controller, keyboard
after-touch response, and aunique breath
controller (optional),
*The DXl is equipped with aMIDI interface.
This permits control and transfer ot data
between the DXl and another MIDI compatible
keyboard, MIDI computer, sequencer, or other
MIDI equipment.

*Location
Avoid Placing the DXl in the following
locations:
*By windows or in direct sunlight.
*By heaters or places subject to
extremes ot heat or cold,
*Dusty places,
*P±aces subject to vibration.
*Power
*MaKe sure that your DXl is properly
adjusted to accept the AC mains
voltage and frequency in your area.
Do not under any circumstances connect
the DXl to any other type of power
source,
*Remove the AC plug from the socket
during thunderstorms.
*Connections
*Read the section in the manual on
terminals and connections carefully,
and be sure to connect the equipment
correctly,
*In order to avoid speaker damage make
sure that all power switches to
^related equipment are OFF before
^connecting.
*Operating and Transportation
*Do not apply unnecessary force to the
switcnes and knobs.
*In order to avoid broken cables and
shorts, unplug ail connection cables
from the socket whenever you move the
equipment. Always unplug connectors
by gripping the plug, not the cord.
Unplug the DXl if you are not planning
to use it for some time.
*Warranty Procedures
*Make sure you carry out the warranty
procedures at the shop where you
purchase your DXl. If the warranty
certificate is not filled out
properly, you will be required to pay
acnarge for servicing even though
your machine is still within the
warranty period,
^*Keep this manual and your warranty
Pcertificate in asafe place.
*Other Appliances
*Your DXl contains digital circuitry.
If it is used too close to radios, TVs
or related equipment interference may
result. Make sure that your DXl is
sufficiently separated from other
equipment.
CHAPTER 1DXl OUTLINE/THE FM VOICE
r-ENERATOR SYSTEM 4
1-1 DXl System Outline a
1-2 THE FM TONE GENERATOR A
CHAPTER 2DXl FEATURES AND FUNCTIONS ..6
2-1 The 4Modes of the DXl 6
2-2 Control Panel (fig. 8) 6
2-3 Connection Terminals 9
CHAPTER 3PLAY mode/PERFORJ^lANCE MEMORY. .11
3-1 PERF0PJ1ANCE MEMORY &VOICE MEMOPY H
3-2 Calling Memorv Data 12
3-3 STORE/MOVINC MEMORY 14
CHAPTER 4EDIT mode/VOICE PARAMETERS. .18
4-1 The EDIT Mode 18
4-2 The Voice Parameter Buttons
Below the LED Display 21
4-3 PERFORMANCE MEMORY/FUNCTION
SECTION VOICE PARAMETERS .... 27
CHAPTER 5FUNCTION MODE/EFFECTS AND
OTHER FUNCTIONS 31
5-1 The 3function of the
FUNCTION mode 31
5-2 The FUNCTION mode control orocess 31
5-3 PERFORMANCE MEMORY PARAMETERS. .35
5-4 MEMORY MANECEMENT A
2
5-5 MIDI INFO, CONTROL (fiq. 78) ." .* 47
CHAPTER 6STORE MODE/DATA MEMORY STOCK 52
6-1 3Varieties of the STORE Function 52
6-2 Aonlication of STORE ALL .... 53
6-3 STORE VOICE APPLICATIONS .... 54
6-4 STORE PERFORMANCE APPLICATION. .55
CHAPTER 7VOICE INITIALIZE/PROnRAMMINn
ANEW VOICE 57
7-1 Programming avoice from the
INITIALIZE MEMORY state .... 57
7-2 ENTERING VOICE PARAMETER DATA. .58
7-3 ENTERING THE PERFOR^IANCE
MEMORY PARAMETERS 59
CHAPTER 8USING THE MIDI TERMINALS ..61
8-1 ABOUT THE MIDI TERMINALS .... 61
8-2 MIDI SYSTEM CONNECTIONS
AND OPERATIONS 62
CHAPTER 9FM TONE GENERATOR THEORY ..67
9-1 Approaching the FM Tone Generator 67
9-2 FM Tone Generator Theory .... 69
CHAPTER 10 GENERAL SPECIFICATIONS ... 72
CHAPTER 11 BLOCK DIAGRAM 73

CHAPTER 1
DX1 OLTTLINEn-HE FM VOICE GENERATOR SYSTEM
1-1 DX1 System Outline
The block diagrem in figure 1roughly
outlines the DXl system. It consists of
four main sections:
(1) CONTROL PANEL
(2) FM TOIIE GmERATOR
(3) DIGITAL EG
(4) KEYBOARD
The simplicity of the systeir: nas oeen made
possible because it functions mostly on
digital principles. Based on the clock
diagram in figure 1, we'll roughly describe
each section.
(1) CONTROL PANEL
Almost all controls are logic control
switches. Other features on this remarkably
simple panel include agraphic LED display,
an alphanumeric LCD display, afew linear
controls and controller wheels.
(2) FM TONE GENERATOR
In addition to pitch, timbre and level
programming capability, these sophisticateo
tone generators are also capable of
generating noise components like those found
in natural sounds and acoustic instruments.
They offer unprecedented precision and
versatility in voice creation.
(3) DIGITAL EG
This system permits programming time-based
variations of pitch, timbre and level.
Because it is adigital system, the EG curve
can be precisely programmed in numeric form.
Further, the digital EG has 8variable
parameters permitting exceptionally
versatile EG curve generation,
(4) KEYBOARD
This is a73-key, 32-note polyphonic
keyboard with three touch functions: key
velocity sensitivity (initial touch), after
touch, and key individual after touch. This
Fig. 1. DXl Digital Synthesizer Design
-5
CONTROL PANEL
FM TONE GENERATOR
Pitch, Timbre, Level
II
DIGITAL EG
Pitch, Timbre,
Level Variation
t
:>
C^ Audio Signal
^Control
Signal
KEYBOARD
offers greatly expanded expression
capability. Further, the keyboard offers a
precision weighted-return action for the
most natural overall keyboard response.
1-2 THE FM TONE GENERATOR
The Yamaha FH tone generator permits precise
control over voice pitch, timbre and level.
The following is abrief description of Fr:
tone generator principles. See Chapter 9
for amore technical explanation of Fii tone
generator theory.
What is Fii? "
FM stands for Frequency Modulation, just as
it does when used to describe an "FM"
station or radio broaacast.
The term "modulation" means, basically, to
superimpose one signal on top of another
signal. In other words, asignal of agiven
pitch may be used to "modulate" asignal of
another pitch. The vibrato effect is an
example of alov7-f requency signal (the
vibrato) modulating ahigh-frequency signal
{the note to which vibrato is applied).
In an FH radio broadcast, a"carrier" —an
extremely high-frequency radio signal which
can be transmitted via the atmosphere—is
used to "carry" the program material. The
program material "modulates" the
radio-frequency carrier.
In the FM tone generator, the carrier and
modulator function as follows:
CARRIER: determines the level and pitch
of the sound.
MODULATOR: determines the timbre of the^
sound, "
Of course, the carrier and modulator
frequencies are much closer together in the
FM tone generator than they are in an FM
broadcast, and they are both pure sine
waves.
The 2Main Merits of FM
In an FM broadcast, since the carrier
frequency is somewhere around 80 million
hertz (cycles) and the music signal which
moaulates it contains frequencies which are
much lower—20 Hz to 20,000 Hz, the music
signal is basically unchanged by the
carrier. If we bring the frequencies of the
carrier and modulator much closer together,
however, we begin to generate new signal
components—harmonics of the modulator
and/or carrier and noise components.
It is these modulator-carrier
characteristics that we take advantage of in
the FM tone generator. Its first big
benefit is that the FH generator is capable

of closely controlling the pitch, tin.bre and
level of the sound produced without the need
for conventional VCO (Voltage Controllea
Oscillator—pitch control) ,VCF (Voltage
Controlled Filter—Timbre) or VGA (Voltage
Controlled Amplifier—level) elements.
Further, while the conventional VCF controls
timore by removing certain harmonics from
the sound, the FM tone generator works by
adding harmonics as required—and where
required—for much more sound control
versatility. In fact, the harmonic spectrum
of avoice can programmed with total
freedom.
Another rrajor oenefit of the FM system is
that noise components that conventional VCOs
are simply incapable of producing can be
easily generated. Noise is avery important
part of the sound of any acoustic
instrument—not just the instrument's pure
tonal harn.onics. For example, in aviolin
there is bowing noise, breath noise in a
saxophone sound, or the purely percussive
portion of adrum sound. The FH tone
generator system permits producing total
^pound such as these, incorporating both
surely tonal and noise spectra.
Specifically, random harmonic structures and
noise can be produceo by setting the ratio
of modulator and carrier frequencies so one
is not amultiple of the other, and by
greatly increasing the modulation level. Of
course, it is then possible to use the DXl
EG to independently control different
portions of the sound.
The FM Tone Generator and Algorithms
The DXl has two FK tone generator
channels—Aand B. Each channel has 6
OPERATORS—atotal of 12—which are the
basic FM voice building blocks. An operator
is essentially asine wave oscillator that
can be used either as amodulator or as a
carrier. Furthermore, since the DXl is an
all-digital instrument, these sine wave
oscillators function by "reaoing" the sine
wave from adigital sine wave memory, rather
^han by using conventional analog oscillator
Jpircuitry, for exceptional precision and
Stability.
The six operators in each channel can be
combineo in many ways, with different
configurations and mooulator-to-carrier
relationships. Such operator "patterns" are
called ALGCRITHilS. The simplest form of
algorithm is acombination of two
operators—one acarrier and one a
modulator. This combination is shown in
fig. 2below.
Fig. 2. FM Sound Source Basic Algorithm
Hodulatoc
Carrier
JJ
4. Modulation Signal
^Audio Signal
Vv'ithout any modulation, an operator produces
apure sine wave with absolutely no harmonic
content other than the fundamental
frequency. V/hen modulation is applied,
however, arather complex waveform with a
complex harmonic structure is produced (fig.
3). There are three main ways of
controlling the resultant waveform. They
are:
The frequency ratio between modulator and
carrier.
Modulator output level.
Feedback.
The DXl uses all three of these control
elements to create an unbelievably broaa
spectrum of natural voices.
Fig. 3. FM Waveform Variation
Waveform before modulation
by carrier. {Sine Wave) Waveform after modulation
by carrier. (Complex wave)
The actual algorithms used in the DXl are a
little more complex than the one shown
above. Carriers may be arranged "side by
side" as shown in fig. 4, or n.any
modulators may be piled on top of one
another to create a"chain" of modulation.
Figures 5—7are examples of actual DXl
algorithms, 32 different algorithm patterns
are provided, and can be used independently
in channels Aand B. The two channels can
then be mixed in any way desired to create a
range of voices unprecedented in any
electronic music synthesizer system.
Fig, 4, Parallel Carrier
Algorithm Fig. 5. DXl Algorithml Fig. 6. DXl AlgorithralS Fig. 7. DXl Algorithm30
Carrier
1
Carrier
2
Audio Signal
The two voices are
mixed and output.
iIModulator
carrier
fFeedback TT
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CHAPTER 2
DX1 FEATURES AND FUNCTIONS
Despite of the fact that the DXl has avast
number of functions, its control panel is
remarkably simple. This has been made
possible by the use of many multi-function
switches that change their function
according to the number of times they are
pressed. This system of providing many
functions with the smallest number of
switches is similar to that of using an
alphanumeric keyboard for inputting commands
on alarge computer. In this section we
will briefly introduce the features and
functions of the DXl control panel.
2-1 TTie 4modes of the DX1
The DXl has four main modes. These are
selected using the MODE selectors. Each
mode has its own set of parameters,
PLAY MODE
In this mode, voice and effect data called
can be used directly in performance.
Although there is no specific switch for
this mode, it is the basic mode selected
when the three modes described below are all
turned OFF, In the play mode, the
PERFORMANCE MEMORY/FUNCTIOH and VOICE MEMORY
buttons become the play mode voice
selectors.
EDIT MODE
In this mode voice data can be programmed.
Data already contained in the voice memory
can be edited and changed, or completely new
voices can be created simply by inputting
the appropriate data. The edit mode takes
priority over the play mode,
FUNCTION MODE
In this mode the many effects used during
performance can be set. Commands related to
memory control and the MIDI terminal are
also included in this mode. This mode takes
priority over both the play and edit modes. ^
STORE MODE ^
In this mode data can be stored in the voice
and performance memories. Voice parameters
in the EDIT mode can be memorized in the
VOICE MEMORY, and function parameters and
VOICE MEMORY numbers can be combined and
recorded in the PERFORMANCE MEMORY. The
store mode takes priority over the play,
edit and function modes.
2-2 Control Panel (fig. 8)
The DX-1 control panel has the following
Fig. 8. DXl Control Panel
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control/function groups: FUNCTION
1. MODE SELECTOR
2. VOICE MEMORY
3. CARTRIDGE SVJ
4. CARTRIDGE SLOT
5. PERFORMANCE MEMORY/FUNCTION
6. KEY ASSIGN MODE SW
7. LCD DISPLAY
8. VOICE PARAMETER SW
9. LED DISPLAY
10. DATA ENTRY
11. WHEEL CONTROLLER/ SLIDER
(1) MODE SELECTORS These selectors are used
to call the desired mode. When amode
selector is pressed its indicator lights.
*If more than one mode selector is
pressed at one time, the indicators of
all the pressed buttons will light.
However, more than one mode cannot be
selected at the same time.
*The priority of the modes is given
below.
1^ (1 STORE/2 FUNCTION/3 EDIT/4 PLAY)
EDIT/COMPARE
This button calls the edit mode. The
compare function incorporated in this
selector permits comparison of the sound of
avoice being edited with that of the
original voice. -*/»27
*The voice parameter switches arranged
beneath the LED display and the
PERFORMANCE MEMORY/FUNCTION switches
are used to select the voice parameters
to be edited, and data is entered using
the DATA ENTRY section.
*The VOICE and PERFORMANCE MEMORY
selectors are locked during the edit
mode, and cannot be changed.
This calls the function mode.
*The function is determined using the
PERFORMANCE MEMORY/FUNCTION switches
then data is entered using the DATA
ENTRY section,
*If the EDIT/COMPARE switch is either
off or flashing during the function
mode, different voice memory buttons
can be selected.
*Since the performance memory and
function mode buttons are integrated,
the performance memory cannot be
changed while in the function mode,
STORE
This is the mode which permits storage of
data in the various memory locations, ^p.S2
*The VOICE MEMORY and/or PERFORMANCE
MEMORY/FUNCTION positions are selected and
operation is performed via the DATA ENTRY
section.
*The FUNCTION switch, EDIT switch, and
VOICE MEMORY and PERFORMANCE MEMORY are
locked during the store mode, and will not
function until the store mode is disengaged.
C2) VOICE MEMORY
These are the VOICE MEMORY position
selectors. Two channels are provided, one
each for tone generators Aand B, Each
channel has 32 memory positions. The bank
selectors determine which voice bank is
selected, and the voice switches determined
which voice within that bank is selected.
*When the CARTRIDGE switch is ON the
selectors select the cartridge memory.
Positions cannot be re-selected in the
edit or store modes. ~^p.i3
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(3) CARTRIDGE Sli? ITCHES
These switches select cartridge voices.
When pressed the VOICE MEMORY selectors
select the corresponding voices within the
cartridge,
(4) CARTRIDGE SLOTS
Cartridges are inserted here. ROM
cartridges and RAM cartridges are both
inserted into the same slots,
*vJhen VOICE ROM CARTRIDGES are inserted,
cartridge Aand Bvoices go to the
corresponding voice memory channels A
and B,
*PERFORMANCE ROM CARTRIDGES should be
plugged into the Aslot.
*Two DXl VOICE ROM CARTRIDGES, Two DX7
VOICE ROM CARTRIDGES and one
PERFORMANCE MEMORY CARTRIDGE are
provided with the DXl.
*VOICE ROM CARTRIDGES incorporate 2
banks of voices which can be selected
with aswitch in the cartridge.
Select the required bank before
inserting the cartridge in the slot,
*The DXl VOICE ROM CARTRIDGES have the
sair.e voices as the main unit on side
I, and side II contains completely
different data. The DX7 VOICE ROM
CARTRIDGES contain data not contained
in the DXl internal memory on both
banks.
*RAM CARTRIDGE features amemory protect
switch which prevents accidental
erasure of the data in the RAM
CARTRIDGE, Be sure to turn memory
protect off before attempting to write
to aRAM CARTRIDGE.
(5) perfori:amce memory/function
*In the PLAY mode, these are the
performance memory position selectors
which select amemorized voice number
and effect combination, 64 PERFORMANCE
MEMORY positions are provided. The
upper row selects the bank and the
lower row selects the memory position.
The performance name and voice name are
displayed on the LCD display, ^p,i2
*In the FUNCTIOM rr.ode these are the
function parameter selectors. The
parameter name and data are displayed
on the LCD display. -a5J
*In the EDIT mode the upper row 1—
8
buttons and lower row 1and 2buttons
become the edit parameter selectors.
The parameter names and data are
displayed on the LCD display in this
case also, ^p^
*In the STORE mode these selectors
select the performance memory to which
the store operation is targeted, ~*P.S2
(6) KEY ASSIGN MODE BUTTONS
These select which tone generator channel
will be playable via the keyboard, ^p.42
SINGLE
Only the Aor Echannel may be selected at a
time. In the polyphonic mode the maximum
number of notes that can be played
simultaneously is 32. In this case outputs
Aand Bboth output amonaural signal
corresponding to the channel in use,
DUAL
Both channels Aand Ecan be used
simultaneously. In the polyphonic mode the
maximum number of notes that can be played
simultaneously is 16.
SPLIT
This permits splitting the keyboard at any
point and having channels Aand Bapplied to
the keyboard sections above and below the
set split point. In the polyphonic mode the
maximum number of output notes is 16 for
each channel,
(7) LCD (Liquid Crystal Display)
** In the PLAY mode this display display^^
the voice name and its memory position^^
(number), or the performance memory ^^
name and its memory position,
** In the EDIT mode the parameter name
and data are displayed,
** In the FUMCTIOIJ mode the parameter
name, the control prompts and data are
displayed.
** In the STORE mode the memory position
and control prompts are displayed.
(8) VOICE PARAMETER SV7 ITCHES
When the EDIT mode is called voice data is
displayed on the LCD display and these
switches permit editing of the data.
*Pressing avoice parameter switch
selects the corresponding parameter,
and data is entered using the DATA
ENTRY section,
*Data can also be changed by
continuously pressing avoice
parameter switch. The data value
increases in 1-step increases, and ^^
when the maximum value is exceeded the^^
display begins from the lowest value
again,
(9) LED DISPLAY
This graphically displays parameter data in
the EDIT mode, Abar-graph type display
shows level information,
*In the EDIT mode, parameters and data
being worked on are shown by flashing
sections on the display.
(10) DATA ENTRY
In the EDIT, FUNCTION and STORE modes, data
entry is performed at this section.
*Data can be input either by using the
slider control or +/- button. The
slider control permits broad-range data
variation, while the +/- button permits
fine data control in 1-step increments.
The +/- switch also functions to turn
certain parameters ON or OFF,
*It also serves to answer YES or NO to

control prompts which appear on the LCD
display.
(11) WHEEL CONTKOLLER/ SLIDER
VOLUME
This is the DXi masiter volume control
BALANCE
This adjusts the volume balance between
channels Aand 3.
PORTAMENTO
This adjusts the portamento tirr.e.
*When the FUMCTION mode PORTAMENTO PEDAL
UKNOD ASSIGN is OFF, portamento will
not function. ^P.36
PITCH
This is the pitch bend wheel,
*This will not function when the
kFUNCTION moae PITCH BEaiD RANGE parameter
Pis set to 0. ^P.36
MODULATION
This controls LFO modulation. That is, the
depth of vibrato, tremolo and wow effects.
*When the FUNCTIOI] mode MOD IJHEEL ASSIGN
is set to EBC (EG BIAS CONTROL) this
functions as avolume or brilliance
control, -"p.as
*Modulation will not function when the
EDIT mode AMPLITUDE MODULATION SENS,
parameter is set to 0, and the PITCH
MODULATION SENS, parameter is set to ,^p.27
*This v/ill not function when the
FUNCTION mode MOD V7HEEL SENSITIVITY
parameter is set to or when the MOD
WHEEL ASSIGNS are all OFF, ^P.38
2-3 Connection Terminals
The following types of connection terminals
^re provided:
1. AUDIO OUTPUT
2. CONTROL CONNECTOR
3. MIDI CONNECTOR
Please connect the power cord, amplifier,
peripheral equipment and accessories
correctly, as shown in the illustration.
The connector terminals are provided in two
locations: on the rear* panel (fig, 9a), and
to the lower left of the keyboard (fig. 9b).
(1) AUDIO OUTPUT
OUTPUT (fig. 25a)
Audio outputs A, Band Pare provided. Both
unbalanced phone jack and balanced XLR type
connectors are provided for each output, for
atotal of 6audio output connectors.
This is the output for tone generator
output channel A(memory A) .However,
when the KEY ASSIGN rX)DE is set to
single, either channel Aor B,
whichever is in use, will be
simultaneously output from this jack.
This is the output for tone generator
output channel B(memory B) .However,
when the KEY ASSIGN 1X3 DE is set to
single, either channel Aor B,
whichever is in use, will be
simultaneously output from this ^ack.
P(PR0GRAr4)
This output provides amonaural rr:ix of
channels Aand B. It is normally ON,
The FUNCTION mode PROGR/iH OUTPUT ASSIGN
function can be used to independently
turn channels Aand Bon or off as
required for this output. -/>.J7
*The unbalanced phone jack outputs are
for connection to reproduction
ecjuipment with unbalanced type inputs.
In order to appreciate the extremely
broad dynamic range of the DXI we
recommend the use of ahigh-performance
keyboard amplifier or integrated PA
amplifier/speaker system.
*The balanced XLR type connectors are
intended mainly for use in professional
applications where noise must be kept
to an absolute minimum. These
teririnals should be used in sound
reinforcement and recording situations.
*The output level at outputs A, B and P
is controlled by the FUNCTION mode
OUTPUT Lt:VEL ATTENUATE parameter. If
the OUTPUT LEVEL ATTENUATE parameter is
set to 0, no sound will be output,
PHONES (fig. 9b)
This jack accepts virtually any standard
pair of headphones. It outputs amono mix
of the channel Aand Bsignals.
PHONE VOLUME (fig. 9b)
This controls the level of the headphones.
The PHONES volume control controls headphone
volume independently from the main volume
slider control.
(2) CONTROL CONNECTORS
VOLUME (fig. 9a)
This connector permits foot control of
volume level. An FC-3A foot controller can
be connected here.
*In this case the volume slider control
should be set to its maximum setting,
MODULATION (fig. 9a)
This connector perir.its foot control of the
depth of LFO modulation (vibrato, tremolo,
wow) and EG bias (volume, brilliance). An
FC-3A foot controller can be connected here.
*The foot controller will not function

if the EDIT mode AMPL. HODULATIOi; and
PITCH uODULATIOi: SHIMS. pararrieteri: are
set to 0. -P.27
*The foot controller will not functicn
if the FUIJCTIOM mode FOOT QQUT
SEIiSITIVITY parar.ieter is set to and
the FOOT CONT ASSIGiis are all OFF. ^P.38
SUSTAIN (ficj. 9a)
This perrr.its OU/CFF control of the sustain
function by connecting an FC-4 or FC-5
footswitch,
*The footswitch will not functicn if the
FUMCTIO:: ir.ooe SUSTAIIJ PEDAL ASSIGN is
off. -P.S7
PORTAIlEirro (fig. 9a)
This connector permits connection of an FC-4
or FC-5 footswitch to turn the portamento
effect OU or OFF,
*The footswitch will not functicn if the
FUI^CTION mode PORTAMEriTO TIME parameter
is set to 0, or the PEDAL ASSIGi:
parameter is turned OFF, -P.37
BREATH COtlTROLLER {fig. 9b)
ABC-1 breath controller can be connecteo
here for breath control of LFO modulation or
EG bias,
*The breath controller v;ill not function
if the EDIT mode AMPLITUDE MODULATION
and PITCH riODULATIOlI SEuS. pararaeters
are set to 0. ~*p.27
*The breath controller will not function
if the FUIJCTIOU mode BRTII C0::T.
SEMSITIVITY oarameter is set to and
the BRTII COIjT, AGSIG:;s are all OFF. -AJJ
(3) niDI CONNECTOR (fig. 9a)
MIDI stanos for Musical Instrument Digital
Interface. This interface permits
transmission and reception of digital data
for control purposes. The illEI terminal can
be connected to the YAMAHA KXl REMOTE
KEYBOARD, any other key boa re with aMIDI
terminal, or apersonal computer system. A
MIDI cable must be used, --p.si/p.72
lU
This is an input terminal which receives
data from another instrument or computer.
The KXl REMOTE KEYBOARD is also connected
here.
OUT
This is the output for the DXl digital
control signals. The DXl can be used to ^^
control other instruments, or DXl voice or ^P
performance data can be read into an
external computer.
THRU
This outputs the same data as received ct
the IM terminals, permitting chaining of
more than two instruments, computers,
sequencers or other MIDI equipment.
Fig, 9. Connection Terminals
a. Rear Panel ^oot Controller
FC-3A Footswitch FC-4, FC-5
Audio
Regeneration Unit VOLUME MODULATION
(unbalanced
input
)
SUSTAIN PORTAMENTO
»••••*¥ 1
af
oooo YAMAHA ^S<^
PA Recording MIDI Connector
Unit
(balanced input)
Power Cable Power Switch
b. Control Panel
Phones
©M.r.. .o,uMt ^:^;:?^ ®
€^
®®
Phones Volume
Breath Controller
6C1
10