Yamaha Dx27 User manual

JU

|“

UNT

en

У

DIGITAL

PROGRAMMIERBARER

ALGORITHMUS

SYNTHESIZER

VOICE

PROGRAMMING

GUIDE

DE

PROGRAMMATION

ANLEITUNG

ZUR

TRUMENTENSTIMMEN-

GRAMMIERUNG

ロラ

コス

INTRODUCTION

Once

you're

thoroughly

familiar

with

the

basic

operation

of

the

DX27/100,

you'll

want

to

begin

experimenting

with

the

creation

of

original

FM

voices.

This

is

not

at

all

difficult

once

you

"get

the

feel"

of

the

FM

tone

generator

system.

The

process,

however,

is

quite

different

from

programming

voices

on

a

conventional

analog

synthesizer.

So,

to

help

you

get

into

creating

your

own

voices

on

the

DX27/100

as

quickly

and

as

easily

as

possible,

this

guide

book

will

provide

you

with

some

useful

guidelines

as

well

as

help

you

program

five

new

voices:

1.

COMBO

ORGAN

2.

ELECTRIC

LUTE

3.

BACKING

BRASS

4.

FM

BELLS

5.

HARPSI-PIANO

By

following

the

outlined

programming

procedures

and

listening

to

the

way

each

voice

sounds

at

each

stage

of

the

programming

process,

you

will

develop

the

"FM

awareness"

required

to

program

your

own

voices.

Note

that

all

of

these

voices

will

be

programmed

from

scratch

(i.e.

we

will

start

by

ini-

tializing

a

voice

using

the

DX27/100

INIT

VOICE

function).

Once

you've

mastered

programming

voices

this

way,

it

will

be

an

easy

matter

to

edit

existing

voices

to

make

slight

modifications

or

create

completely

new

sounds.

Before

you

actually

start

working

your

way

through

this

guidebook,

we

recommend

that

you

review

the

VOICE

PROGRAMMING

chapter—The

Basics

of

FM

Synthesis—in

the

OWNER'S

MANUAL.

CONTENTS

INTRODUCTION

mEEImSm———

———————————

1

BASIC

VOICE

PROGRAMMING

PROCEDURE

..........................................................

2

REVIEW:

THE

INIT

VOICE

FUNCTION

.........................................

е

5

SAMPLE

VOICES

.................................................

наннан

nennen

trennen

7

VOICE

1:

COMBO

ORGAN..

7

VOICE

2:

ELECTRIC

LUTE.....

.

VOICE3:

BACKING

BRASS...

‚12

VOICE

4:

ЕМ

BELLS

.......

213

VOICE

5:

НАНРФІРІАНО.........

меен

нен

еененеемен

мн

анааан

14

VOICE/FUNCTION

БАТА...........................ишиш

ин

нии

ннн

15

DATA

МАМЕ

лан

дылды

dedi

оным

Banaue

angen!

17

()

BASIC

VOICE

PROGRAMMING

PROCEDURE

In

this

section,

we'll

examine

the

basic

steps

required

for

the

creation

of

any

voice..Once

you

get

used

to

programming

with

FM,

you

won't

need

to

think

about

the

procedure

involved.

In

the

beginning,

however,

the

following

discussion

will

be

useful

in

helping

you

understand

the

various

elements

involved.

1.

CHOOSING

AN

ALGORITHM

This

is

almost

always

the

first

step

in

programming

any

voice,

since

it

is

the

con-

figuration

of

operators

in

each

algorithm

which

determines

the

type

of

voices

that

can

be

produced.

The

“almost”

in

the

preceding

sentence

refers

to

the

fact

that

in

some

cases

you

might

end

up

choosing

a

different

algorithm

than

the

one

you

started

with

in

order

to

improve

the

voice.

In

any

case,

an

algorithm

must

be

selected

before

you

can

go

any

further

in

the

programming

process.

The

following

algorithm/voice

type

breakdown

may

serve

as

a

rough

guide

in

choosing

a

particular

algorithm

for

the

type

of

voice

you

have

in

mind.

This

guide,

however,

need

not

be

strictly

adhered

to.

Mainly

experience

will

help

you

find

the

best

algorithms

for

your

own

original

voices.

ALGORITHMS

1,

2,

3

and

4

These

are

all

single-carrier

algorithms,

providing

the

most

complex

FM

modulation.

They

are

best

for

plucked

strings

(guitar,

harp,

bass,

harpsichord,

etc.),

hammered

strings

(acoustic

piano,

etc.),

reed

wind

instruments

(clarinette,

oboe,

sax,

etc.),

woodwinds

(flute,

piccolo,

etc.),

and

conventional

synthesizer

type

voices.

AL-

GORITHM

3

is

a

good

choice

for

programming

bowed

strings

(violin,

cello,

etc.),

as

well

as

some

horn

and

brass

voices.

ALGORITHM

5

This

dual-carrier

algorithm

has

two

separate

FM

modulation

"stacks."

This

lets

you

create

voices

with

two

distinct

voice

"elements,"

each

having

a

fairly

complex

harmonic

structure.

An

example

of

this

type

of

voice

is

the

electric

piano,

which

has

a

distinct

tine

sound

(a

high

"ping"

at

attack)

in

addition

to

the

actual

piano

sound.

This

algorithm

is

also

useful

when

creating

"thick"

voices

such

as

an

or-

chestra

and

heavy

synthesizer

voices.

It

is

also

good

for

complex

bell

voices

such

as

a

glockenspiel,

tubular

bells

and

a

celeste.

ALGORITHM

6

ALGORITHM

6

has

three

carriers,

all

modulated

at

the

same

time

by

a

single

modulator.

It

is

useful

for

brass,

horns,

etc.

ALGORITHMS

7

and

8

These

have

3

and

4

carriers,

respectively.

Both

of

these

algorithms

are

best

suited

for

creating

smooth,

gentle

voices.

ALGORITHM

7

does

have

one

FM

stack

which

permits

the

addition

of

bright,

sharp

elements

to

the

voice,

while

ALGORITHM

8

is

made

up

of

all

carriers,

ideal

for

organ

type

voices.

You

might

find

it

interesting

and

educational

to

go

through

the

preset

voices

and

(in

the

EDIT

mode)

look

at

which

algorithms

have

actually

been

used

for

the

various

voices.

2.

SETTING

THE

CARRIER

OUTPUT

LEVEL(S)

3.

INITIAL

MODULATOR

OUTPUT

LEVEL

SETTING

4.

CREATING

THE

“BASIC”

VOICE

5.

SETTING

THE

CARRIER

AND

1st

MODULATOR

FREQUENCY

RATIO

6.

INITIAL

CARRIER

EG

SETTING

7.

INITIAL

MODULATOR

EG

SETTING

8.

FINE

MODULATOR

OUTPUT

LEVEL

SETTING

The

initialized

output

level

setting

for

OP1

is

90.

This

is

sufficient

when

using

ALGORITHMS

1

through

4

since

OP1

is

their

only

carrier.

With

other

algorithms,

however,

it

is

best

to

start

by

setting

the

output

level

of

all

carriers

to

90.

You

will

find

that

for

most

voices,

the

modulator

output

levels

between

60

and

75

are

the

most

frequently

used.

It

is

best,

therefore,

to

begin

programming

by

setting

the

output

levels

of

all

modulators

somewhere

Wwithin

this

range.

It

is

best

to

concentrate

on

programming

just

one

"part"

of

a

voice

at

a

time.

For

example,

if

you're

working

with

ALGORITHM

1,

turn

OFF

the

2nd

and

3rd

mod-

ulators

(OP3

and

OP4),

and

concentrate

on

creating

the

basic

voice

using

just

the

carrier

and

1st

modulator.

If

you

choose

ALGORITHM

5,

start

with

either

of

the

stacks

(OP1

and

OP2,

or

OP3

and

OP4)

and

turn

OFF

the

other

two

operators.

The

other

operators

can

be

turned

back

ON

later

to

refine

and

finish

the

voice.

In

most

cases,

the

carrier

frequency

ratio

in

single-carrier

algorithms

(1

through

4)

will

be

set

to

1.00,

since

this

will

produce

standard

keyboard

pitch.

With

mul-

tiple-carrier

algorithms,

however,

the

carriers

may

be

set

at

different

frequency

ratios

to

create

organ-coupler

type

effects,

or

voices

with

two

or

more

distinct

frequency

components.

The

modulator

frequency

ratio

in

relation

to

the

carrier

frequency

determines

the

timbre

of

the

voice.

For

example,

a

carrier/modulator

ratio

of

1:1

(i.e.

carrier

=

1.00,

modulator

=

1.00)

produces

a

sawtooth-like

waveform,

and

a

carrier/modulator

ratio

of

1:2

(i.e.

carrier

=

1.00,

modulator

=

2.00)

produces

a

square

wave.

This

is

only

a

general

guideline,

and

the

actual

results

depend

on

the

amount

of

mod-

ulation

(modulator

output

level)

applied

to

the

carrier.

Fractional

ratios

(e.g.

1:1.73)

can

produce

extremely

complex

waveforms

that

frequently

have

a

"metallic"

sound.

You'll

have

to

experiment

to

find

the

frequency

ratio

that

produces

a

timbre

which

is

close

to

the

one

you

want.

:

Now

you're

ready

to

set

the

basic

volume

envelope

("shape")

of

the

voice.

Start

with

the

carrier

EG

parameters.

For

more

details

on

the

EG

parameters

refer

to

the

discussion

on

the

Envelope

Generators

in

the

"The

Basics

of

FM

Synthesis"

section

of

the

owner's manual.

In

many

cases,

it

is

sufficient

to

copy

the

carrier

EG

parameters

to

the

modulator

using

the

EG

COPY

function.

This

gives

a

fairly

constant

timbre

over

the

entire

length

of

the

note.

If

the

timbre

of

the

voice

is

to

vary

with

time,

the

modulator

envelope

can

then

be

further

modified.

The

most

common

form

of

timbre

variation

is

where

the

modulator

comes

in

strongly

with

the

attack

of

the

note

(producing

a

rich

harmonic

structure)

and

then

decays

to

a

lower

level

as

the

note

is

held.

This

type

of

timbre

variation

is

common

with

plucked

and

hammered

strings

as

well

as

with

brass

and

horns.

The

reverse

(i.e.

modulation

gradually

increases

as

the

note

is

held)

creates

more

electronic

synthesizer

type

sounds.

Once

the

basic

EG

parameters

have

been

set

up,

go

back

and

readjust

the

output

level

of

the

modulator

to

"fine

tune"

the

timbre

of

the

voice.

This

will

probably

have

to

be

done

at

several

stages

throughout

the

voice

programming

process.

Whenever

you

feel

the

timbre

is

not

quite

right,

try

readjusting

the

modulator

output

level.

(Ҙ

>

9.

ADDING

AND

ADJUSTING

THE

2nd

AND

SUBSEQUENT

MODULATORS

10.

SETTING

KEYBOARD

SCALING

FOR

THE

BEST

OVERALL

KEYBOARD

BALANCE

11.

REFINING

THE

TOTAL

SOUND,

ADDING

FEEDBACK

12.

ADDING

“LIFE”

TO

THE

VOICE

13.

SETTING

THE

PERFORMANCE

PARAMETERS

14.

STORE

THE

COMPLETED

VOICE

Once

you're

satisfied

with

the

basic

voice,

you

can

go

on

and

add

the

remaining

elements.

In

single-carrier

algorithms,

turn

ON

the

2nd

modulator

and

set

the

appropriate

frequency

ratio.

Then

go

back

and

repeat

steps

7

and

8

for

the

2nd

modulator.

Add

the

remaining

modulators

and

repeat.

Of

course,

you

don't

have

to

use

all

the

modulators

in

an

algorithm.

!f

you're

satisfied

with

the

way

things

sound

with

just

one

carrier

and

one

modulator,

then

turn

the

remaining

modulators

OFF

by

setting

their

output

levels

to

O.

With

multiple-carrier

algorithms

you

can

add

carriers

and

modulators

one

at

a

time,

adjusting

them

as

described

above.

Frequently

a

voice

will

sound

just

fine

on

the

lower

end

of

the

keyboard,

but

may

become

to

loud

or

bright

as

you

play

the

higher

keys.

If

the

voice

becomes

too

loud

in

the

higher

keyboard

range,

apply

KEYBOARD

LEVEL

SCALING

to

the

carrier(s).

If

the

sound

becomes

too

bright

or

sharp

in

the

upper

keyboard

range,

apply

KEYBOARD

LEVEL

SCALING

to

the

modulators.

Particularly

with

piano-type

voices,

the

higher

notes

may

sound

unnaturally

long

(the

high

strings

on

a

real

piano

decay

much

faster

than

the

low

strings).

To

shorten

the

envelope

of

the

higher

notes,

apply

KEYBOARD

RATE

SCALING

to

the

carrier(s).

With

all

operators

ON,

assess

the

total

voice

and

the

EG

settings,

and

adjust

if

necessary.

Feedback

may

be

added

at

this

point.

Increasing

feedback

to

a

1st

modulator

generally

adds

increasing

sharpness,

grittiness

or

bite

to

the

sound.

Maximum

feedback

often

results

in

noise,

and

can

be

useful

for

creating

some

sound

effects.

The

effects

of

feedback

on

the

2nd

or

3rd

modulators

is

more

subtle.

Your

voice

is

almost

completed.

To

enhance

it

further,

you

can

now

use

the

DETUNE

or

LFO

effects.

The

LFO

can

be

used

to

add

vibrato

to

a

voice

by

setting

the

PMD

(Pitch

Modulation

Depth)

parameter

to

a

value

greater

than

0.

AMD

(Amplitude

Modulation

Depth)

can

be

applied

to

individual

operators,

to

create

a

variety

of

effects.

AMD

applied

to

a

carrier

creates

a

tremolo

effect;

applied

to

a

modulator,

it

can

create

anything

from

a

wild

"wow"

sound

to

a

subtle

chorus

effect.

Set

the

desired

performance

controller

parameters

(Pitch

Bend

Wheel,

Modulation

Wheel,

Breath

Controller)

to

give

you

the

expressive

control

you

need

for

the

voice.

Use

the

STORE

function

(see

owner's

manual)

to

store

the

newly

created

voice

in

any

one

of

the

INTERNAL

voice

memory

locations.

REVIEW:

The

INIT

VOICE

Function

Since

the

voices

in

the

following

section

will

all

be

programmed

starting

with

the

initialized

voice

parameters,

let's

quickly

review

the

DX27/100

INIT

VOICE

function.

1.

Press

the

FUNCTION

button

to

enter

the

FUNCTION

mode.

2.

Press

the

INIT

VOICE

button.

The

LCD

will

respond

with

"Init

voice?".

С]

еф

(Е

Init

Voice

?

|

INIT

3.

Press

the

YES

button.

The

LCD

will

respond

with "Are

you

sure?".

YES

Суў

[Е

Аге

you

sure

7

ON

4.

Press

the

YES

button

again

and

the

initial

voice

parameters

(see

chart)

will

be

loaded

into

the

voice

edit

buffer.

The

EDIT

mode

will

automatically

be

entered

allowing

you

to

begin

programming

your

voice.

YES

и

ом

|

^

MODULATION

SENSITIVITY

|

VELOCITY

|

^—

MODULATION

SENSITIVITY

||

1.00

FREQ

RATIO}

DETUNE

OSCILLATOR

PORTAMENTO

FOOT

Sw

|

WHEEL

RANGE

|

ВАЕАТН

RANGE

______|

MODE

TIME

ASSIGN

ч

шы

PITCH

|AMPLITUDE

|

PITCH

BIAS|

EG

ser

Tercer

emer

8AST

EG

BS

]

Porta

Note

that

when

a

voice

is

initialized,

only

operator

number

1

(from

now

on

referred

to

as

OP1)

is

ON.

That

is,

the

OP1

output

level

is

set

to

90

while

all

other

operators

are

OFF

(set

to

0).

In

all

8

algorithms

on

the

DX27/100,

OP1

is

a carrier,

so

if

you

play

a

note,

all

you

will

hear

is

a

simple

sine

wave—the

output

from

OP1.

Note

also

that

the

envelope

generators

are

set

to

the

simplest

form

of

envelope.

When

playing

a

key,

the

sound

begins

immediately

at

maximum

level;

When

releasing

the

key,

the

sound

stops

immediately.

The

operator

frequency

ratios

are

all

set

to

their

basic

value:

1.00

(all

operators

produce

the

same

frequency).

It

is

important

to

understand

this

situation

since

it

is

from

this

most

basic

"voice"

(a

simple

sine

wave)

that

all

our

voices

will

be

created.

Now

that

we

have

executed

the

INIT

VOICE

function

and

have

the

initial

voice

parameters

all

loaded

into

the

DX27/100's

voice

edit

buffer,

let's

begin

by

pro-

gramming

a

very

simple

voice.

y

k

———"————

————————————

SAMPLE

VOICES

In

this

section,

we

provide

the

data

for

five

new

FM

voices

that

you

can

program

yourself.

After

having

done

this,

you

should

be

familiar

enough

with

the

workings

of

the

FM

system

to

3

go

on

programming

even

better

voices

that

are

ideal

for

your

own

musical

applications.

For

the

first

and

most

simple

voice—COMBO

ORGAN—we

will

provide

complete

step-by-step

programming

in-

structions.

For

the

remaining

four

voices,

however,

we'll

give

you

a

data

chart

with

a

few

pointers

and

let

you

do

the

actual

programming

on

your

own.

If

you

get

stuck,

refer

back

to

the

BASIC

VOICE

PROGRAMMING

PROCEDURE

section

for

help.

For

our

COMBO

ORGAN

voice

we

will

use

ALGORITHM

8.

As

you

can

see

by

VOICE

7:

looking

at

the

ALG8

diagram,

there

are

no

modulator-carrier

relationships,

so

no

COMBO

ORGAN

true

FM

modulation

can

take

place.

All

the

operators

act

as

carriers,

so

basically,

we

will

simply

be

adding

the

outputs

of

the

four

operators

together.

We

will,

however,

take

advantage

of

the

feedback

loop

provided

on

OP4,

allowing

OP4

to

У

modulate

itself

to

produce

a

nice

gritty

sound

as

one

of

the

voice

“elements”

we

will

use

to

create

the

total

organ

sound.

Here

is

the

filled-in

DATA

MEMO

chart

for

the

COMBO

ORGAN

voice

(a

blank

chart

is

provided

in

the

back

of

this

manual

and

the

DX27/100

owner's

manual;

make

copies

of

it

and

use

it

to

record

your

own

voice

parameters).

DATA

МАМЕ:

/

の

/7

ぢ

の

ORGAN

DATE

:

NUMBER

:

PROGRAMMER

:

iii

RA

пе

кешелек

ЖӨЕ

|

вне

827288

|

mn

|

жа

|

sae

|

ros

lyuosl

en

sas

|

ш

MODULATION

SENSITIVITY

VELOCITY

сери

ee

TG

И

ЛЕ

pice

to

ШЕ

(ШЕ

|

ヶ

|

の

|

6

|

fe

|

o

|

2

|

|.

00

ЕП

|

な

|

о

|

ео

[o

|

2

|

63

11291

0

a

|

5

|o

ЕРГЕН

БЕ

0-1.

ЕНГЕ

se

ЕТИ

ЛЕНИН

Ны

ИС

RATE

TRANSPOSE

OSCILLATOR

ENVELOPE

GENERATOR

OPERATOR

|

KEYBOARD

SCALING

POLY/MONO|PITCH

BEND

PORTAMENTO

FOOT

SW

BREATH

RANGE

PANGE

ASSIGN

UN

РОБЕ

|

PiTcH

[AMPLITUDE|PITCH

BIAS]

ЕС

Bias

|

ТІМЕ

уа

о

[sul

2

|

о

|ојо

|

0]

If

you

feel

confident

in

your

programming

ability,

go

ahead

and

set

the

parameters

given.

If

you

need

a

little

more

coaching,

follow

the

step-by-step

programming

instructions

below.

STEP

1:

SELECT

THE

ALGORITHM

Press

the

ALGORITHM

button

and

then

use

the

DATA

ENTRY

slider

or

buttons

to

select

ALGORITHM

8.

|

АИ

ALGORITHM

=

но

YES

ЕСІГІ

~

=

GE

Gee)

[е1111

ALG=8

OFF

ON

DATA

ENTRY

STEP

2:

SET

THE

BASIC

VOLUME

ENVELOPE

In

this

case,

we'll

leave

the

EG

parameters

at

their

initial

values

since

the

COMBO

ORGAN

voice

requires

a

simple

ON/OFF

type

of

volume

envelope.

Here's

what

the

envelope

looks

like

in

graphic

form:

A A

KEY

ON

KEY

OFF

STEP

3:

ADD

THE

OPERATORS,

SET

THE

FREQUENCY

RATIOS

AND

SET

THE

BASIC

OUTPUT

LEVELS

a.

Press

the

OPERATOR

OUT

LEVEL

button

and

set

the

output

levels

of

OP2,

OP3

and

OP4

to

90.

OPERATOR

OUT

LEVEL

SELECT

NO

YES

(Go

Лаф)(

>

=>

CE)

[е1111

OUT=90

0Р2

OFF

ON

DATA

ENTRY

b.

Press

the

OSCILLATOR

FREQ

RATIO

button

and

set

the

frequency

ratio

of

OP1

to

0.50,

OP2

to

1.00

(initial

setting),

OP3

to

2.00,

and

OP4

to

6.00.

ШЕШІ

OSCILLATOR

OPERATOR

FREQ

RATIO

SELECT

=

NO

YES

9»

-

C3Ə3C

[е1111

F=0.50

ОРІ

OFF

ON

DATA

ENTRY

STEP

4:

ADD

FEEDBACK

Press

the

FEEDBACK

button

and

set

it

to

7.

ИНИНИ

FEEDBACK

Js

DATA

ENTRY

NO

YES

”

СЭ

Саф

[е1111

FBL=7

OFF

ON

Note

that

in

ALGORITHM

8,

the

feedback

is

applied

to

OP4.

If

you

play

a

note

at

this

point,

you'll

notice

that

the

voice

still

sounds

a

little

dull,

and

that

the

high

pitch

produced

by

OP4

with

feedback

is

a

bit

too

loud

in

the

high

keyboard

range.

We'll

eliminate

these

problems

in

the

steps.

STEP

5:

REFINE

THE

ENVELOPE

GENERATOR

SETTING

a.

Press

the

ENVELOPE

GENERATOR

D1R

button,

select

OP4,

and

set

it

to

13.

э

ИИИ

ENVELOPE

GENERATOR

OPERATOR

DIR

SELECT

NO

YES

С)

Саф

OFF

ON

DATA

ENTRY

+

е1111

DIR=13

OP4

b.

Press

the

ENVELOPE

GENERATOR

D1L

button

and

set

it

to

12.

TEE

DIL

=

NO

YES

zc»

“ЕСІ

/

е1111

DIL=12

0Р4

|

э

~

We

have

just

modified

the

volume

envelope

of

OP4

so

that

it

looks

something

like

this:

A

KEY

ON

KEY

OFF

This

gives

a

slight

percussive

attack

to

the

voice.

STEP

6:

SET

THE

KEYBOARD

SCALING

Press

the

KEYBOARD

SCALING

LEVEL

button,

select

OP4

and

set

it

to

30.

KEYBOARD

SCALING

LEVEL

29

DATA

ENTRY

ІНІНЕН

NO

YES

`

2

25]

и

|

е1111

15-30

0Р4

OFF

ON

The

level

of

OP4

will

now

decrease

as

we

play

higher

notes

on

the

keyboard.

This

will

give

a

much

more

natural

voice

balance

over

the

entire

keyboard

range.

STEP

7:

SET

THE

LFO

PARAMETERS

a.

Press

the

LFO

WAVE

button

and

make

sure

that

“triangle”

is

selected.

e1111

LW=triangl

b.

Press

the

LFO

SPEED

button

and

set

it

to

30.

е1111

LFS=30

c.

Press

the

LFO

DELAY

button

and

set

it

to

32.

е1111

LFD=32

d.

Press

the

LFO

PMD

button

and

set

it

to

10.

е1111

PMD=10

Now

if

you

play

the

keyboard,

you

should

get

a

gentle

vibrato

effect

(pitch

mod-

ulation)

which

comes

in

gradually

after

a

note

is

played.

The

gradual

application

of

the

vibrato

effect

is

produced

by

the

setting

of

the

LFO

DELAY

parameter.

The

higher

the

setting,

the

longer

the

delay.

10

This

rather

fanciful

instrument

voice

takes

advantage

of

the

FM

tone

generator's

VOICE

2:

remarkabie

ability

to

accurately

simulate

plucked

string

sounds.

This

voice

makes

ELECTRIC

LUTE

full

use

of

FM

modulation,

by

using

ALGOTITHM

2,

which

provides

two

levels

of

modulation

as

well

as

the

additional

modulation

of

the

1st

modulator

(OP2)

by

2

more

modulators

(OP3

and

OP4).

DATA

NAME:

ELEC

LUTE

DATE

:

NUMBER

:

PROGRAMMER:

/ү

_

—

ITUDE

|хсовтнм|

ғєєрваск

|

comrrw|

ғеєовлск

ーー

AMPL

I

OOOLON

SENSI

|

e

E

EN

SERE

ла

оғ

“174270

141917771

2%17%12

152

|

2

22

|

0

[ar

|

vo

|

ve

|

2

|

&

|

%7|0

|

2

|

3

КІРУ

も

の

зу

|

уд

рас

ө

ар

БҰТ

ШЕ

НЕЕ

БАН

Ёё

e

a

Can

an

Ea

a

n

[an

joe

1ЧИ

low

1.

—

E

[vet

Ток

ENVELOPE

GENERATOR

WHEEL

SEU

PoLv/MONO

PIT

PITCH

BEND.

i

|]

МЕ

FOOT

SW

ASSIGN

PITCH

BAS]

EG

BiAS

|

y=

|]

2

[аео

о

[о

Io

fe

|

Note

that

in

this

voice,

the

EG

settings

are

the

same

for

each

operator.

In

this

case,

Start

by

setting

the

OP1

EG

parameters

to

their

respective

values,

and

then

use

the

EG

copy

function

to

copy

these

parameters

to

OP2,

OP3

and

OP4

(the

EG

COPY

function

also

copies

the

keyboard

rate

and

level

scaling

parameters).

This

saves

a

lot

of

programming

time

and

effort.

The

OP4

KEYBOARD

SCALING

LEVEL

setting

of

30

reduces

the

“bite”

of

the

voice

in

the

high

range,

producing

a

more

mellow

plucked-

string

type

sound

over

the

entire

range

of

the

keyboard.

Since

it

is

better

to

use

a

subtle

vibrato

effect

for

this

type

of

voice,

the

MODU-

LATION

SENSITIVITY,

PITCH

is

set

to

5

and

the

FUNCTION

mode

WHEEL

RANGE,

PITCH

parameter

is

set

to

50.

With

these

settings,

rotating

the

Modulation

Wheel

to

its

maximum

position

will

produce

just

the

right

amount

of

vibrato

to

enhance

the

voice.

ti

(2

This

is

a

relatively

“thick”

brass

voice

which

is

ideal

for

a

“horn

section”

background.

VOICE

3:

ALGORITHM

3

is

used,

but

OP3

is

left

turned

OFF

(its

output

level

is

set

to

0).

BACKING

BRASS

Thus

we

use

the

carrier,

OP1,

modulated

by

2

modulators

(OP2

and

OP4).

The

feedback

loop

on

OP4

gives

us

the

characteristic

“edge”

of

the

brass

sound.

To

see

what

we

mean,

try

setting

the

FEEDBACK

to

0

and

playing

the

voice.

We

think

you'll

agree

that

the

maximum

feedback

setting

of

7

produces

the

most

brass-like

sound.

DATA

NAME

:

BACK

BRASS

DATE

:

NUMBER

:

PROGRAMMER:

и

2088

_

02-08804

vae

|

speeo

|

pe

swe_]

ДЕ

==

MODULATION

SENSITIVITY

VELOCITY

2

fno]

o

|n

|a

ЕГЕН

БЕЛЕ

pg

qm

に

の

|o]

[22

ІШ

ЛЕВ

ЕГІ

БЕН

ЕТІН

ve.

фу

we

US

БЕ?

pw

2505

|2|7.

20

|

の

|n

|u

|

o

|o

|e

|

v

|

o

|

の

|

arse

x

far

te

o

|e

11L2

|

—

Рао

пато

өте

а

log

—

[ut

рш

laR

our

uever

[Rave

[Vet

нанео

|

OSCILLATOR

__

|

ENVELOPE

GENERATOR

KEYBOARD

SCALING

ој

ЕТСЕ:

BEND]

a

E

FOOT

Sw

|

_

WHEEL

RANGE

—

|

NUI

M

BREATH

RANGE

ae

ASSIGN

|

тон

[AMPLITUDE|

тон

[AMPLITUDE]

PITCH

BIAS]

EG

ВАЗ

|

Рут

Ба]

о

[sel

2

|

о

о о

[2

|

2

Note

that

in

this

case,

the

TRANSPOSE

parameter

is

set

to

C2.

This

effectively

lowers

the

overall

pitch

of

the

keyboard

by

one

octave.

This

is

done

to

provide

a

more

useful

brass

range—from

low

tuba-like

tones

up

to

a

realistic

trumpet

range—without

having

any

unnatural

“squeaky”

tones

at

the

top

end

of

the

key-

board.

Vibrato

is

virtually

essential

to

the

production

of

a

realistic

brass

sound.

In

this

case,

the

MODULATION

SENSITIVITY,

PITCH

parameter

is

set

to

5

and

the

FUNCTION

mode

WHEEL

RANGE,

PITCH

is

set

to

50.

This

will

allow

a

fairly

deep

vibrato

to

be

achieved

with

the

Modulation

Wheel.

You

might

like

to

experiment

by

adding

a

subtle

automatic

delay

vibrato

using

the

LFO

PMD

and

DELAY

parameters.

The

PITCH

BEND

RANGE

is

set

to

7,

giving

you

a

pitch

bend

range

of

a

fifth,

up

or

down.

Since

the

D2R

EG

parameter

is

set

to

O

for

all

operators,

pressing

the

sustain

footswitch

will

hold

all

notes

played

until

the

pedal

is

released.

This

is

great

for

effects

such

as

adding

one

brass

note

at

a

time

to

form

a

complete

chord.

12

This

rather

metallic

voice

effectively

demonstrates

how

fractional

modulator-to-

VOICE

4:

carrier

frequency

ratios

can

create

interesting

bell-like

sounds.

We'll

use

ALGO-

FM

BELLS

RITHM

6,

in

which

OP4

simultaneously

modulates

the

carriers

OP1,

OP2

and

OP3.

DATA

NAME:

2/7

BELLS

DATE

:

NUMBER

:

PROGRAMMER

:

ЈАМЕ

|

0]

の |

|хвоятим|

Feeosac

|

|чвоялм|

гееоваск

AE

|

Amo

|

SYNC

|

Pitch

|АМРШТИСЕ|

EG

BIAS

|қ

|

MODULATION

SENSITIVITY

|

VELOCITY

|

е

~

|” 12

|2

|

#1]

#12

то

lsl2ge|1

0

[s

|»

|

о

|

o

|

BE BE

БЕТ

TDI

е

жен

7

pice

ota

tte

te

E

ЭЯ

И

БЕН

ЖЕ

ーー

meo

пят

ЕЕ

[aR

Join

Jou

—

oz

lmm

louruveulaAre

[Ей

|

OSGL2TOR

|

ENVELOPE

GENERATOR

Se

KEYBOARD

SCALING

POLY

MONO|PITCH

BEND

PORTAMENTO

FOOT

SW

=

RANGE

à

Ef

ASSIGN

|

PITCH

[AMPLITUDE]

PITCH

[AMPLITUDE|PITCH

ВІАЅТ

EG

BIAS

|

oly

Т

РА

The

basis

of

this

voice

is

the

addition

of

the

outputs

from

the

three

carriers.

Note

3

that

each

of

the

three

carriers

is

set

to

a

different

frequency:

OP1

to

2.00,

OP2

to

1.00,

and

OP3

to

0.50.

Thus,

the

carriers

are

all

set

one

octave

apart:

OP3

is

the

lowest,

OP2

is

one

octave

higher

than

OP3,

and

OP1

is

one

octave

higher

than

OP2.

OP

4

is

set

to

the

fractional

frequency

ratio

of

5.65

so

as

to

produce

a

bell-like

waveform

with

each

operator,

although

at

a

different

frequency

ratio

with

each.

The

result

is

an

extremely

complex

waveform

which

is

characteristic

of

metallic

bells.

You

can

have

some

fun

with

this

voice

by

trying

out

different

fractional

values

for

the

OP4

frequency

ratio—each

will

produce

a

completely

different

sound.

No

vibrato

or

other

effects

settings

have

been

provided

for

FM

BELLS

because

they

don't

seem

to

sound

"right"

with

this

type

of

voice.

You're

free

to

experiment,

of

Course,

so

have

fun!

13

This

voice

is

called

HARPSI-

PIANO

simply

because

the

lower

range

sounds

much

VOICE

5:

like

an

acoustic

piano

while

the

upper

range

has

a

more

harpsichord-like

timbre.

HARPSI-PIANO

ALGORITHM

1

is

used

with

carrier

OP1

and

all

three

modulators

contributing

to

the

total

voice.

DATA

NAME

:

HAKPS/—

РМО

DATE

:

NUMBER

:

PROGRAMMER

:

PITCH

STARA

MODULATION

SENSITIVITY

о

|

оог.

0

[ai

|

га

|

o

|

EL

ато

ш.

|31/4-00

DIE

3/

|

uk

|

69

|

2

|

2

|

ie

ЕТЕ

[ә

|s|

o

rug

に

2

|

ne

БЕ

ЖАК

ТШЕ

tS

Ж

МАНУ

m

meo

RATIO

Geruw

[am

[т

oz

[ч

、

]ouruEveulRere

[Ей

[ерда

OSCILLATOR

ENVELOPE

GENERATOR

H

PORTAMENTO

FOOT

SW

WHEEL

RANGE

BREATH

RANGE

piron

i

BEND

|

WHEEL

RANGE

|

BREATHRANGE

—

|

FOLVMONO

ад

ASSIGN

[PITCH

[AMPLITUDE

PITCH

BIAS]

EG

BIAS

|

Full

T.

my

«Мо

|зеј

2

|

о

|

о

[о

но

Note

the

rather

extreme

frequency

ratio

settings

of

ОР

3

and

OP4.

These

are

critical

to

the

voice.

Try

changing

the

frequency

ratio

of

OP3,

in

particular,

and

see

how

much

it

changes

the

timbre

of

the

voice.

By

modifying

the

frequency

ratios

of

OP3

and

OP4

it

is

possible

to

create

a

broad

range

of

interesting

and

very

useful

voices.

Also

note

that

the

heavy

KEYBOARD

SCALINGLEVEL

is

required

on

OP2,

OP3

and

OP4

to

maintain

the

quality

of

the

voice

across

the

entire

keyboard

range.

If

you

reduce

these

level

scaling

values,

the

notes

at

the

top

of

the

keyboard

range

will

become

unbearably

sharp

and

tinny.

The

TRANSPOSE

parameter

is

set

to

C2—an

octave

lower

than

usual—to

take

advantage

of

the

fat,

rich

string

effect

in

the

lower

keyboard

range.

14

<=

7/00

VoIcE/FUNCTION

DATA

YAMAHA

DATA

NAME

:

DATE

:

NUMBER

:

PROGRAMMER

:

MODULATION

SENSITIVITY

VELOCITY

сд

RR

OUT

LEVEL

РАЕС

пато)

DETUNE

[aR

—

|

OSCILLATOR

POLY/MONO|PITCH

BEND

E

мо

FOOT

SW.

=

точ

амро

mmc

[мешти

[АТОН

визг

24545

|

~)

15

DATA

NAME

:

DATE

:

NUMBER

:

PROGRAMMER:

|

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Yamaha DX27 User manual

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