Yamaha DX27 User manual

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SYNTHETISEUR
NUMERIQUE
A
ALGORITHMES
PROGRAMMABLES
DIGITAL
PROGRAMMIERBARER
ALGORITHMUS
SYNTHESIZER
OWNER'S
MANUAL
MANUEL
D'UTILISATION
BEDIENUNGSANLEITUNG

CONGRATULATIONS!
Your Yamaha DX27/27S Digital Programmable Algorithm Synthesizer incorporates
state-of-the-art digital FM tone generation technology, providing extraordinarily vibrant,
rich voices and outstanding playability. The DX27/27S has a programmable 24-voice
INTERNAL memory (RAM) from which any voice can be selected at the touch of a button,
two 96-voice PRESET ROM memories (a total of 192 fine preset voices!), a 96-voice
BANK memory that permits storage of PRESET voices in any configuration for one-touch
selection, and a cassette interface that permits unlimited storage of FM voices. Of course,
the DX27/27S is fully programmable, allowing you to create your own FM voices or
sound effects. Broad MIDI compatibility is also provided so the DX27/27S can control
or be controlled via other MIDI-compatible music equipment.
Additionally, the DX27S features a built-in stereo amplifier and speaker system so you
can simply switch-on and play!
To ensure that you gain maximum benefit from all the performance and flexibility provided
by the DX27/27S, we urge you to read this owner's manual thoroughly while actually
trying out all of the available functions.
CONTENTS
CHAPTER
1:
SETTING
ህዞ...............................-...-.››-..›››››፣-›-
3
CHAPTER
IV:
VOICE
PROGRAMMING
.............................
25
1. Audio QUID UNS ጸዳች eves ን. ን. 3 1. The Basics of FM бупіһевіб..................:................ 25
2.
Speaker
Switch
(DX27S
оліу)..................................
3
.
2.
The
EDIT
and
COMPARE
Modes...............
lass
en
eio
30
3.
Optional
Foot
Switch
...........................2..............
3
3.
The
Voice
Parameters
............................................
31
4.
Optional
Foot
Controller
(DX27S
only)....................
3
4.
STORING
Voice
Data......................
ЕЛГЕ
ЕСЕ
39
5.
Optional
ВС-1
Breath
Controller.............................
3
5.
Two
Approaches
to
Creating
Your
Own
Voices......
40
6.
Headphones
.................
eene
3
:
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MIDETerminale.
5;
ከውን
.ና
ላን
ንን.
ትን
..
8
CHARTER
V:
VOICE
PROGRAMMING
EXAMPLE
е
ui
e
8;
OHBSOLIO
ес
EIN
KCN
лак
ን
Fade
амалдан
3
GENERAL
ЅРЕСІЕІСАТІОМ№Ѕ.............................................
45
9.
AC
Power
Adaptor
(DX27
опіу)...............................
4
|
10.
Music
Stand
їпвїа!!а1їїоп..............................
ከ
ሌክ
4
MIDI
DATA
FORMAT
fies
ደን
ከ.
ገ.
46.
11.
ID
Function
............
MN
ПЕТОКОТ
ንን
NEM
4
1.
Transmission
Conditions
...............................а.).
46
|
.
2.
Transmission
Пайа.................................................
47
CHAPTER
ІІ:
PLAYING
THE
0Х27/275..............................
6
3.
Reception
Сопайїоп................................
POTES
50
1. DX27/27S Voice Memory Configuration.................. 7 4. Reception Data............. ENS mac 51
2.
The
INTERNAL
PLAY
Моае.....................................
8
5.
System
Exclusive
Оаїа............................................
54
3.
The
BANK
PLAY Mode
..............
a
co
СС
8
i
x
The
SHIFT
Mode
..........................
cT
ወያን
8
VOICE/FUNCTION
ВАТА........ь....
Келеке
еке
кен
WEM
59
4.
The
192-Voice
PRESET
Метогу.............................
9
DATA
ክዘልሽ(ፎ................................
pru
In
59
PRESET БЕАНСН..:.......22;;.: 222222... vue аландан 10
CHAPTER Ill: THE FUNCTION МОРЕ................................ 11
1. Accessing the FUNCTION Mode ............................. 11
2. Entering Function Data ....................................... 11
3. The Performance Рагатеїегѕ................................. 11
4. Tuning FunctlÓDS еен elu ыратын» 17
5. Memory Management Functions ............................ 17
6. MIDI Functions በቁጣችን ናን ከ далы 23

PRECAUTIONS
1. Location
2. Cleaning
3. Service and
Modifications
%
4, Relocation
5. Handling
6. Electrical Storms
(Lightning)
7. Electromagnetic
Fields
Avoid
locations
exposed
to
direct
sunlight
or
other
sources
of
heat.
Also
avoid
locations
subject
to
vibration,
excessive
dust,
cold
or
moisture.
Do
not
attempt
to
clean
the
exterior
with
chemical
solvents,
this
may
damage
the
finish.
Clean
with
a
soft,
dry
cloth.
Do
not
open
the
0Х27/275
or
attempt
to
make
your
own
repairs
or
modifications
to
any
part
of
the
instrument.
Such
actions
may
not
only
result
in
electrical
shock
or
damage,
but
will
also
void
the
product
warranty.
Refer
all
servicing
to
a
qualified
Yamaha
service
center.
When
moving
the
instrument
be
sure
to
unplug
the
AC
mains
cord
as
well
as
all
other
connecting
cables.
Avoid applying excessive force to switches and slide controls, dropping or rough
handling.
The
0Х27/275
is
ruggedly
constructed
using
reliable
solid-state
circuitry,
but it is still a fine instrument and should be treated with care.
Digital
circuitry,
such
as
that
used
іп
the
DX27/27S,
is
sensitive
to
voltage
spikes
and
surges.
Because
of
this,
the
DX27/27S
should
be
turned
off
and
unplugged
from
the
AC
power
outlet
in
the
event
of
an
electrical
storm.
Digital
circuitry
is
also
sensitive
to
electromagnetic
fields
such
as
those
produced
by
television
sets,
radio
receivers,
transmitters,
transceivers,
etc.
The
DX27/27S
should
be
kept
several
feet
away
from
any
such
sources
in
order
to
prevent
possible
random
malfunctions.

CHAPTER I: SETTING UP
1. Audio Outputs
2. Speaker Switch
(0Х275 only)
3. Optional Foot
Switch
4, Optional Foot
Controller
(0Х275 only)
5. Optional BC-1
Breath Controller
6. Headphones
7. MIDI Terminals
8. Cassette
The DX27 has a single monaural audio OUTPUT jack. The line-level signal from
. this jack can be fed to an instrument amplifier, sound reinforcement mixing console
or recording console.
The DX27S has dual audio outputs: OUTPUT I and OUTPUT II. Since the 0Х275
features
a
true
stereo
Chorus
effect,
these
outputs
should
be
connected
to
separate
channels of a stereo sound system to get the best chorus sound. OUTPUT I can
be used as a monaural output if desired. Of course, there's no need to use the audio
outputs
at
all
if
you
will
be
using
the
DX27S
internal
speaker
and
amplifier
system.
The
SPEAKER
switch
on
the
DX27S
rear
panel
turns
the
internal
speaker
system
on
or
off.
Although
this
switch
may
be
OFF
when
external
amplification
is
used,
make sure it is ON if you intend to use the internal amplifier and speaker system. 6-
Тһе
FOOT
SW
phone
jack
is
for
ап
optional
footswitch.
It
accepts
а
Yamaha
ҒС-4
or
FC-5
footswitch
or
equivalent
for
portamento/sustain
control;
press
for
sustain
or
portament
release
to
damp
or
turn
portamento
off.
An
optional
Yamaha
FC7
Foot
Controller
can
be
connected
to
the
DX27S
rear-panel
FOOT
VOL
jack
to
provide
foot
volume
control.
Yamaha’s
unique
BC-1
breath
controller
is
plugged
into
the
mini-jack
on
the
rear
panel.
The PHONES jack accepts any standard pair of stereo headphones. The audio signal
is
sent
to
the
headphones
іп
mono
(DX27)
or
in
stereo
(DX27S).
Headphone
volume
is
controlled
by
the
VOLUME
control
on
the
top
panel.
j
These
terminals
are
used
when
connecting
the
DX27/27S
to
other
MIDI
(Musical
Instrument
Digital
Interface)
compatible
equipment
such
as
digital
sequence
re-
corders,
modular
FM
voice
generators,
drum
machines,
etc.
The
MID!
OUT
terminal
transmits
MIDI
data
from
the
DX27/27S
to
other
MIDI
equipment.
The
MID!
OUT
terminal
will
normally
be
connected
to
the
MIDI
IN
terminal
of
the
receiving
equipment.
The
MIDI
IN
terminal
receives
MIDI
data
from
external
MIDI
equipment
such
as
a
digital
sequence
recorder,
music
computer
or
modular
FM
voice
generator.
The
0Х27/275%
MIDI
IN
terminal
will
normally
be
connected
to
the
MIDI
OUT
terminal
of
the
transmitting
equipment.
The
MIDI
THRU
terminal
re-transmits
the
data
received
at
the
MIDI
IN
terminal.
Thus,
data
received
via
the
DX27/27S
MIDI
IN
terminal
can
be
simultaneously
sent
to
other
MIDI
equipment.
The DIN connector end of the supplied cassette cable is plugged into the 0Х27/275
CASSETTE connector. The three plugs on the other end of the cable should be
connected
to
a
cassette
data
recorder
(the
kind
normally
used
with
personal

—— ————
9, AC Power Adaptor
(DX27 only)
10. Music Stand
Installation
11. ID Function
computers, 610.) as follows:
RED - cassette deck microphone input.
WHITE — cassette deck earphone output.
BLACK - cassette deck remate input (where applicable),
Plug the PA-1210 AC Power Adaptor (supplied standard with the DX27) DC output
cord inte the DC IN jack on the DX27 rear panel, Then plug the power adaptors
AC
cord
into
an
AC
mains
outlet.
Be
sure
that
your
local
line
voltage
matches
that
specified on the РА- 1210.
MOTE дд н LET LJ.
When setting up your system, be sure to turn ON the DX27 (and any effects
unita used) BEFORE turning ON tha main amplifier system. This will prevent
the
initial
power-on
shock
surge
from
possibly
damaging
your
amplifier
and
speaker system, |
The music stand supplied with the 0Х27/275 fits inta the two sockets on the rear
рата! (see diagram).
It Із possible to change the "Welcome to DX!" (DX27), "&YAMAHA DX275*"
(DX275) massage which appears when the power is first switched ON to anything
you like—your name, for example. To change the ID, hold the KEY SHIFT button
while turning the power ОМ, The currant ID message will ba displayed with à cursor
over the first character
The
cursor
can
then
be
moved
to
any
character
position
on
the
display
by
suc-
cessively
pressing
the
KEY
SHIFT
button.
[Welcome to ІШ or [+ YAMAHA DX2TS W]
|
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оғ buttons, select the new character from the available character 861.
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Move
the
cursor
to
the
next
character
position
and
enter
the
next
character
as
described
above.
When
your
new
ID
message
is
complete,
simply
press
any
button:
other
than
the
KEY
SHIFT,
DATA
ENTRY,
STORE
or
FUNCTION
buttons
to
enter
the
normal
operation
mode.
The
new
ID
message
you
have
entered
will
now
be
displayed
every
time
you
turn
the
instrument
ON.
DX27/27S CONNECTIONS
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CHAPTER
II:
PLAYING
THE
DX27/27S
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1. DX27127S Voice
Memory
Configuration
The
DX27/27S
has
three
different
voice
memories
which
serve
different
purposes.
They
are:
The 24-voice INTERNAL memory.
This
voice
memory
is
used
for
quick
selection
of
voices
for
performance,
and
it
is
to
this
memory
that
original
voices
you
have
edited
or
programmed
are
initially
stored.
Cassette
LOAD
and
STORE
operations
are
also
carried
out
to
and
from
the
24-voice
INTERNAL
memory.
Voices
from
the
192-voice
PRESET
memory
may
also
be
stored
in
the
INTERNAL
memory.
The
96-voice
BANK
memory
(4
BANKS
x
24
voices
each).
The
BANK
memory
incorporates
four
24-voice
BANKS—A,
B,
C
and
D.
The
BANK
is
most
useful
for
storing
groups
of
voices
you
have
arranged
for
specific
purposes.
The
different
banks
may
be
programmed
with
different
voice
groups
you
need
for
different
"sets"
in
a
performance,
or
you
can
categorize
your
voices
into
BANKs
(i.e.
piano-type
voices
in
one
bank,
brass
in
another,
etc.),
or
any
combination
you
like.
The
BANK
can
be
loaded
with
voices
from
the
PRESET
memory
(described
below)
or
from
the
INTERNAL
memory
using
the
EDIT
BANK
function.
The 192-voice PRESET memory.
This
is
a
read-only
memory
which
contains
192
FM
voices.
These
are
organized
into
two
groups
of
96
voices
each.
The
first
group
is
accessible
in
the
NORMAL
mode,
while
the
second
group
is
accessed
in
the
SHIFT
mode
(these
modes
will
be
described
below).
These
voices
may
be
selected
and
stored
in
the
BANK
or
INTERNAL
memories
as
desired.
They
can
also
be
directly
accessed
and
played
using
the
PRESET
SEARCH
function.
The
chart
below
shows
the
overall
DX27/27S
voice
memory
configuration.
The
VOICE
EDIT
BUFFER
is
a
special
memory
into
which
a
voice
is
placed
when
se-
lected.
Whether
a
voice
is
selected
from
the
INTERNAL
memory,
the
BANK
memory,
or
the
PRESET
memory,
it
is
placed
in
the
VOICE
EDIT
BUFFER
where
it
can
be
played,
edited,
stored
in
another
memory
location
or
saved
on
cassette.
INITIAL VOICE BACKUP VOICE
PARAMETERS BUFFER
INIT VOICE EDIT RECALL
VOICE EDIT BUFFER
(FM TONE GENERATOR)
24-VOICE INTERNAL
MEMORY
1 ~ 24
PRESET SEARCH
96-VOICE BANK MEMORY
BANK A, BANK B,
BANK C, BANK D.
192-УОІСЕ PRESET MEMORY
NORMAL MODE GROUP
101 ~ 424
SHIFT MODE GROUP
101 ~ 424
б^
CASSETTE
RECORDER

2, The INTERNAL
PLAY Mode
3. The BANK PLAY
Mode
NOTE:
The voices in the PRESET memory are numbered as follows: each group of
96 voices—the NORMAL group and the SHIFT group—is further subdivided
into four groups of 24 voices each (101--124, 201--224, 301--324, and
401—424). Thus you have NORMAL group voices 101--424, and SHIFT group
voicas 101--424.
To access the 24-voice INTERNAL memory, enter the INTERNAL PLAY mode by
pressing the INTERNAL PLAY button. Next, select a voice from the INTERNAL
memory by pressing the corresponding voice selector button (1—24). At this point,
the LCD display will indicate the voice number and voice name. These are precedad
by a "Р," indicating that the INTERNAL PLAY mode has been selected.
In this moda, you can play any of the voices currently in the OX27/275's 24-volce
INTERNAL memory individually,
The BANK PLAY mode enables you to access the 96 BANK memory locations,
These initially contain the first group of 96 voices from the 192-voice PRESET
ROM, By using tha SHIFT mode, however, you can also access the second group
of presets while in tha BANK PLAY mode. Later, you can store any voices you like
in any order in any of the BANKS, |
While in the INTERNAL PLAY mode, press any of the BANK buttons; BANK
A—BANK D. This will select the appropriate BANK, and the 24 voices in that bank
сап be selected by pressing any of the DX27/275's 24 voice buttons.
The SHIFT Mode
By entering the OX27/275 SHIFT mode while in BANK PLAY, the correspondingly
numbered voice from the second (SHIFT) group of preset voices will be selected.
Note that in the BANK PLAY mode this only applies to voices which have been
stored in the BANK memory from the 192-voica PRESET memory. Voices stored
in the BANK from the 24-voice INTERNAL memory will not change when tha SHIFT
mode is selected,
To enter the SHIFT mode, hold dawn the INTERNAL PLAY button and prass the
+1 button. То return to the NORMAL mode hold down the INTERNAL PLAY button
and prasa the “1 button.

| .-.>>»» SHIFT mode
наши шит HORAL тое
——
The
DX27/278
comes
with
192
different
pre-programmed
voices
іп
an
internal
4.
The
192-Voice
ROM
(Read
Only
Memory).
These
voices
can
be
loaded
individually
into
the
7
|
,
T
AL
momory,
or
into
any
location
in
the
PRESET
Memor
DX27/275's
selectable
24-voica
INTERN
y
DX27/2758
BANK
memory.
THE 192 PRESET ROM VOICES
NORMAL MODE VOICES
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The PRESET voice can also be accessed directly and played using the PRESET
SEARCH function.
Mig Pipe
PRESET SEARCH
This function allows you to directly access the voices in the PRESET memory in
the order they appear in the PRESET memory.
PRESET SEARCH is accessed in the FUNCTION mode. To enter the FUNCTION
mode, press the FUNCTION button. Then press any of the PRESET SEARCH
selectors to access the corresponding voices (these are the same as the BANK
A—D selectors used in the BANK PLAY made). іп the NORMAL (NON-SHIFT)
mode, the PRESET SEARCH salectors call PRESET voice groups 101—124,
201—224, 301—324, and 401—424 from tha NORMAL preset voice group. In the
SHIFT mode (described previously in "The BANK PLAY Mode"), the coro-
spondingly numbered voices fram tha SHIFT preset voice group are selected. The
24 volces in each group are selected by pressing the corresponding voice salactor.
After selecting PRESET SEARCH 101—124, for axample, the LCD will appear as
follow:
"F^ indicates that you are in tha FUNCTION mode PRESET SEARCH function,
This function lets you review the voices in the PRESET memory. It is also possible
| to store à voice selected in this mode into any of the 24-woice INTERNAL memory
locations by using the STORE function described later in this manual.
|
i

CHAPTER
III:
THE
FUNCTION
MODE
The
FUNCTION
mode
permits
access
to
four
groups
of
functions:
tuning
functions,
MIDI
functions,
memory
management
functions,
and
performance
functions.
In
this
chapter,
we'll
describe
each
of
these
functions;
what
they
do
and
how
they
are
programmed.
1. Accessing the
FUNCTION Mode
ኣ
2. Entering Function
Data
3. The Performance
Parameters
The
FUNCTION
mode
is
selected
by
pressing
the
FUNCTION
button.
Individual
parameters
to
be
programmed
are
then
called
by
pressing
the
appropriate
voice
button.
Note
that
when
the
FUNCTION
mode
is
active,
pressing
a
voice
button
calls
the
corresponding
FUNCTION
parameters,
not
the
corresponding
voice.
The
available
functions
are
printed
in
brown
below
each
voice
button.
Two
additional
functions,
the
MODE
SET
and
KEY SET
buttons
are
NOT
included
among
the
voice
buttons:
these
function
buttons
are
located
immediately
above
the
DATA
ENTRY
-1
and
+1
buttons.
When
the
FUNCTION
mode
is
selected,
the
LCD
should
look
something
like
this.
The
"F"
in
the
first
character
position
of
the
LCD
indicates
that
the
FUNCTION
mode
is
active.
Following
the
"F"
is
the
name
of
the
selected
function
and
its
current
data.
In
the
example
above,
the
MASTER
TUNE
function
is
selected
(press
the
1
button),
and
the
data
is
currently
set
at
O.
Once
the
desired
function
has
been
selected,
its
value
can
be
changed
by
using
either
the
linear
DATA
ENTRY
slider
located
to
the
left
of
the
panel,
or
the
adjacent
—1/+1
buttons.
=
» x
Ln E E
YES
LL EL
MN OFF ON
DATA ENTRY
Moving
the
DATA
ENTRY
slider
away
from
you
increases
the
value
of
the
selected
parameter,
and
moving
the
control
towards
you
decreases
the
data
value.
Pressing
the
—1
button
decreases
the
value
of
the
selected
parameter
by
one,
and
pressing
the
+1
button
increases
the
value
by
one.
While
the
DATA
ENTRY
slider;
is
valuable
for
quickly
approaching
the
desired
value
of
parameters
that
have
a
large
data
range,
the
+1
and
—1
buttons
permit
precise
step-wise
location
of
a
specific
value.
The
switches
are
also
easier
to
use
with
parameters
that
only
have
two
values
(i.e.
ON
or
OFF).
In
some
cases,
you
will
be
required
to
answer
YES
or
NO
to
prompts
that
appear
on
the
LCD
display.
The
—1/-1
buttons
are
used
for
this
purpose.
"Performance
parameters"
are
programmable
parameters
which
pertain
mainly
to
real-time
performance
effects,
such
as
how
the
Pitch
Bend
and
Modulation
Wheels
affect
the
sound.
After
a
function
is
selected
using
the
corresponding
button,
it
can
be
incremented
by
continuing
to
press
the
same
button.
11
ማሸ

ቾ Note that performance parameters 13 through 24 can be set differently for each
individual voice. Once you have changed any of these function parameters for a
particular voice, you can save your new settings with the INTERNAL voice by using
the STORE function. (see CHAPTER IV: VOICE PROGRAMMING, 4. Storing
Voice Data).
13: POLYIMONO
POLY /MONO
This function selects either the POLY or MONO output mode. Voices programmed
with the POLY mode will let you play up to 8 notes. In the MONO mode, the
DX27/27S acts as monophonic keyboard.
Once the POLY/MONO function is selected, subsequent presses of button #13
will alternate between the POLY and MONO modes. The DATA ENTRY buttons
can also be used; the —1 button selects POLY and the +1 button selects MONO.
14: PITCH BEND RANGE
PITCH BEND
RANGE .
This function sets the pitch range of the Pitch Bend Wheel located at the upper
left of the DX27/27S panel. The Pitch Bend Wheel automatically centers at normal
pitch. Moving the Wheel upward (away from thé player) will raise the pitch, and
moving it downward (toward the player) will lower the pitch. These pitch bend
directions can also be reversed by holding down the PITCH B MODE button while
switching the DX27/27S power ON. This provides the same depth of effect but
in the opposite direction of wheel movement. This can be useful in performance
situations.
The data range is from O to 12. At O, the Pitch Bend Wheel is off and will have
no effect. Each increment between 1 and 12 represents a semitone (i.e. the pitch
variation between any white key and a black key immediately next to it). Thus, if
this function is set to 12, maximum travel of the Pitch Bend Wheel either above
or below it's center position will produce a one-octave pitch variation.
Тһе DATA ENTRY slider and —1/+1 buttons can be used to enter the data. Once
the PITCH BEND RANGE function is called, subsequent presses of button 414
will increment (increase) the data value.
P B MODE: MODE SET
MODE SET
This function button, located immediately above the DATA ENTRY --1 button, offers
a choice of three Pitch Bend Wheel modes: Low, High and Kon. In the Low mode,
the Pitch Bend Wheel affects only the lowest note played on the keyboard. In other
words, if a chord is played, the Pitch Bend Wheel will affect only the pitch of the
lowest note in the chord—this makes it possible to produce some interesting effects.
The High mode is just the opposite, only the highest note played will be affected
by the Pitch Bend Wheel. in the Kon (Key on) mode, all notes played are affected
by the Pitch Bend Wheel.
The DATA ENTRY slider, the –1/+1 buttons and the PB MODE button can be
used to select the desired mode.
12

NOTE:
|
The
PB
MODE
parameter
is
NOT
individually
programmable
for
each
voice.
|
15: PORTAMENTO MODE
MODE
PORTAMENTO
Two
different
portamento
modes
are
available:
Full
Time
Portamento
and
Fingered
Portamento.
When
the
POLY/MONO
function
(button
#13)
is
set
to
POLY,
only
the
Full
Time
Portamento
mode
is
accessible.
In
the
MONO
mode,
however,
you
have
a
choice
between
the
Full
Time
and
Fingered
portamento
modes.
(1)
“Full
T.
Porta”
(MONO
and
POLY
modes):
A
conventional
portamento
effect
in
which
portamento
occurs
whenever
a
new
note
is
played.
(2)
“Fingered
Porta”
(MONO
mode):
Portamento
only
occurs
if
the
previously
played
note
is
held
while
the
next
note
is
played.
This
mode
is
useful
in
re-
creating
the
effect
of
guitar
string
bending
techniques,
acoustic
bass
or
bass
guitar
slide
effects,
etc.
If
you
lift
your
hand
off
the
DX27/27S
keyboard
be-
tween
notes,
there
will
be
no
portamento
effect.
Once
the
PORTAMENTO
MODE
function
is
called,
subsequent
presses
of
button
#15
will
alternate
between
the
two
available
portamento
modes
(provided
that
the
MONO
mode
is
selected).
The
DATA
ENTRY
slider
and
—1/+1
buttons
can
also
be
used
to
select
the
desired
portamento
mode.
16: PORTAMENTO TIME
TIME
This
function
sets
the
speed
of
the
portamento
effect.
The
data
range
is
from
0
to
99.
At
0,
the
portamento
is
off.
A
setting
of
99
will
produce
the
longest
portamento
effect.
Data
can
be
entered
using
the
DATA
ENTRY
slider
and
—1
/+1
buttons.
Once
the
PORTAMENTO
TIME
function
has
been
called,
subsequent
presses
of
button
#16(PORTAMENTO
TIME)
will
increment
the
data
value.
17:
FOOT
SWITCH
ASSIGN
(DX27)
FOOT SW
ASSIGN
Note
that
the
operation
of
button
#17
differs
slightly
on
the
DX27
and
DX27S.
On
the
DX27
it
determines
whether
the
Yamaha
FC4
or
FC5
footswitch
plugged
into
the
rear
pane!
FOOT
SW
jack
will
function
as
a
SUSTAIN
or
PORTAMENTO
pedal.
The
desired
mode
is
selected
using
the
+1/—1
buttons.
When
PORTAMENTO
is
selected,
the
footswitch
can
be
used
to
turn
the
"РОВТАМЕМТО
effect
ON
or
OFF:
press
ON,
release
OFF.
The
PORTAMENTO
effect
parameters
must
be
set
using
the
PORTAMENTO
MODE
and
PORTAMENTO
TIME
buttons
(#15
and
#16).
in
the
SUSTAIN
mode,
the
footswitch
will
sustain
notes
to
the
limit
set
by
the
envelope
generator's
D2R
parameter
(see
CHAPTER
IV:
ENVELOPE
GENERA-
TOR,
18:
D2R)
when
it
is
set
to
a
rate
other
than
O,
even
after
the
keys
have
been
released.
If
the
EG
D2R
parameter
is
set
to
0,
then
the
D1L
level
will
be
held
until
the
footswitch
is
released.
13

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17: FOOT SWIFOOT VOL (DX27S)
FOOT SW/
FOOT VOL
This function sets the operation of an FC4 or FC5 footswitch connected to the
rear-panel FOOT SW jack, and an FC7 foot controller connected to the rear-panel
FOOT VOL jack. Successive presses on the #17 button alternate between FOOT
SW or FOOT VÓL programming. |
In the FOOT SW mode you can select either SUSTAIN ог PORTAMENTO, setting
the footswitch to turn the selected effect ON and OFF. The PORTAMENTO function
parameters can be adjusted using the PORTAMENTO MODE and PORTAMENTO
TIME buttons (#15 and #16, repectively). When SUSTAIN is selected the footswitch
will sustain notes played to the limit set by the ENVELOPE GENERATOR’s D2R
parameter (see CHAPTER IV: ENVELOPE GENERATOR, 18: D2R) when it is set
to a rate other than 0. If the D2R parameter is set to 0, then the D1L level will be
maintained until the footswitch is released.
іп the FOOT VOL mode the data entry controls сап be used to select a value from
0 to 99. The value selected sets the minimum volume level produced with the FC7
foot controller connected to the FOOT VOL jack in the minimum position. If set
10 0, the foot controller will produce no change in volume (volume will always
be maximum). At 99, maximum volume variation will be produced—from no output
at the minimum foot controller position to maximum volume.
18: MODULATION WHEEL RANGE, PITCH..
PITCH
WHEEL RANGE
As you move the DX27/27S Modulation Wheel away from you, an increasing
amount of LFO (Low Frequency Oscillator) modulation is applied to the selected
voice. The LFO modulation can be made to modulate the pitch of the voice, pro-
ducing a range of vibrato type effects. The WHEEL RANGE, PITCH function is used
to set the maximum depth of pitch modulation which can be applied using the
Modulation Wheel. The actual effect produced depends on the settings of the LFO
parameters (these will be discussed in CHAPTER IV: VOICE PROGRAMMING).
Note, however, that the appropriate voice PITCH MODULATION SENSITIVITY
parameter must be set to a value higher than O for pitch modulation to be effective.
(The voice PITCH MODULATION SENSITIVITY parameter will also be discussed
in CHAPTER IV.) The data range is from O to 99. At O, pitch modulation is OFF,
and moving the Modulation Wheel will cause no pitch modulation to be applied
to the voice. A setting of 99 will produce the greatest possible pitch modulation
depth.
Data is entered using the DATA ENTRY slider or buttons. Once this function is
called, subsequent presses of button #18 will increment the data value.
NOTE:
Modulation Wheel control direction is reversed along with the Pitch Bend
Wheel when the PITCH B MODE SET button is pressed while turning on the
power to the DX27/27S.
14

19: MODULATION WHEEL RANGE, AMPLITUDE
AMPLITUDE
The
LFO
modulation
can
also
be
made
to
modulate
the
amplitude
(level)
of
specified
voice
elements
(operators),
producing
a
range
of
tremolo
or
timbre
modulation
(wah-wah)
type
effects.
The
WHEEL
RANGE;
AMPLITUDE
function
is
used
to
set
the
maximum
depth
of
amplitude
modulation
that
can
be
applied
by
using
the
Modulation
Wheel.
The
actual
effect
produced
depends
on
the
settings
of
the
LFO
parameters
(discussed
in
CHAPTER
IV:
VOICE
PROGRAMMING).
The
appro-
priate
voice
AMPLITUDE
MODULATION
SENSITIVITY
parameter
must
be
set
to
a
value
higher
than
0
for
amplitude
modulation
to
be
effective.
(The
voice
AM-
PLITUDE
MODULATION
SENSITIVITY
parameter
will
also
be
discussed
in
CHAPTER
IV.)
The
data
range
is
from
0
to
99.
At
0,
amplitude
modulation
is
OFF,
and
moving
the
Modulation
Wheel
will
cause
no
amplitude
modulation
to
be
applied
to
the
voice.
A
setting
of
99
produces
the
greatest
possible
amplitude
modulation
depth.
Data
is
entered
using
the
DATA
ENTRY
slider
or
buttons.
Once
this
function
is
"Я
called,
subsequent
presses
of
button
#19
will
increment
the
data
value.
The Yamaha Breath Controller
The optional Yamaha BC-1 Breath Controller is a unique way of adding musical
expression as you play the DX27/27S keyboard. The BC-1 is held in the mouth
just like the mouthpiece of a wind instrument. Blowing harder or softer into the
BC-1 mouthpiece produces a corresponding effect. The Breath Controller can be
used
to
apply
varying
amounts
of
pitch
or
amplitude
LFO
modulation,
just
like
the
Modulation Wheel. іп addition, it can be set up to directly affect the pitch, amplitude
or timbre in response to breath pressure. When used to directly affect amplitude
(EG
BIAS),
for
example,
the
Breath
Controller
can
be
used
to
add
realistic
tonguing
effects to brass and other wind instrument sounds.
The four BREATH parameters listed below determine just how the Breath Controller
will affect the DX27/27S's sound. These parameters may be set individually, or
combined for more complex effects.
20:
BREATH
RANGE,
PITCH
ሜ
ወን
PITCH
BREATH RANGE
This
function
is
used
to
set
the
maximum
depth
of
the
LFO
pitch
modulation
that
can
be
applied
by
using
the
Breath
Controller.
The
actual
effect
produced
depends
on
the
settings
of
the
LFO
parameters
(discussed
in
CHAPTER
IV:
VOICE
PRO-
GRAMMING).
Note,
however,
that
the
appropriate
voice
PITCH
MODULATION
SENSITIVITY
parameter
must
be
set
to
a
value
higher
than
0
for
pitch
modulation
to
be
effective.
(The
voice
PITCH
MODULATION
SENSITIVITY
parameter
will
be
discussed
in
CHAPTER
IV:
VOICE
PROGRAMMING.)
The
data
range
is
from
0
to
99.
At
0,
the
pitch
modulation
is
OFF,
and
applying
breath
pressure
to
the
Breath
Controller
will
have
no
effect.
A
setting
of
99
will
produce
the
greatest
possible
pitch
modulation
depth.
Data
is
entered
using
the
DATA
ENTRY
slider
and
—1/+1
buttons.
Once
this
function
is
called,
subsequent
presses
of
button
#20
will
increment
the
data
value.
15

21: BREATH RANGE, AMPLITUDE
AMPLITUDE
This function is used to set the maximum depth of the LFO amplitude modulation
that can be applied by using the Breath Controller. It works exactly like the previous
instructions for setting the LFO pitch modulation (20: BREATH RANGE, PITCH)
except that this function affects amplitude.
22: BREATH RANGE, PITCH BIAS
ES
PITCH BIAS
This function uses the breath pressure applied to the BC-1 Breath Controller to
directly control the pitch of the voice. In other words, the LFO has no effect. Only
your breath pressure directly affects the pitch of the voice.
The data range is from O to 99. At 50, pitch bias is OFF. A setting of 99 will allow
the Breath Controller to raise the pitch 4-octaves, and a setting of O will allow it
to lower the pitch 4-octaves.
Data is entered using the DATA ENTRY slider and —1/+1 buttons. Once this function
is called, subsequent presses of button #22 will increment the data value.
23: BREATH RANGE, EG BIAS
EG BIAS
This function uses the breath pressure applied to the BC-1 Breath Controller to
directly control the amplitude or timbre of the voice, according to settings of the
corresponding voice parameters which will be covered in CHAPTER IV. The LFO
has no effect—only your breath pressure directly affects the amplitude or timbre
of the voice. | ‚
The data range is from 0 to 99. At 0, EG bias is OFF. A setting of 99 allows the
greatest amplitude or timbre variation to be produced by the Breath Controller.
Data is entered by using the DATA ENTRY slider and —1/+1 buttons. Once this
function is called, subsequent presses of button #23 will increment the data value.
24: VOICE NAME
[651
VOICE NAME
CURSORP
This function moves the LCD cursor from left to right, allowing you to name any
new voice or sound you have created before storing it. When button #24 is pressed,
the cursor flashes over the first letter in the name of the voice presently occupying
а space in the INTERNAL memory. The DATA ENTRY slider or -1/-1 buttons
are used to move through the selectable characters (A to Z) and symbols, while
subsequent presses of the the VOICE NAME CURSOR button will move the LCD
cursor to the immediate right.
VOICE NAME CHARACTERS
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4. Tuning Functions
5. Memory
Management
Functions
KEY SET
KEY
SHIFT
KEY SET
During
either
of
the
normal
DX27/27S
play
modes,
pressing
the
KEY
SHIFT
button
instantly
transposes
the
pitch
of
the
entire
0Х27/275
keyboard
up
or
down
to
the
key
that
was
programmed
using
this
function.
When
KEY
SHIFT
is
engaged,
the
letter
“К”
will
appear
as
the
first
character
in
the
LCD
display
until
the
KEY
SHIFT
button
is
pressed
again,
returning
the
keyboard
to
normal
pitch.
To
set
or
program
the
key
that
the
0Х27/275
will
transpose
to
when
the
KEY
SHIFT
button
is
pressed
in
either
play
mode,
enter
the
FUNCTION
mode
and
press
KEY
SET.
The
transpose
range
for
the
KEY
SHIFT
function
is
up
or
down
two
octaves.
The
data
range
is
from
-24
to
+24,
with
0
corresponding
to
standard
keyboard
pitch.
Each
increment
corresponds
to
a
shift
in
pitch
of
one
semitone—a
setting
of
2
would
raise
the
pitch
of
the
entire
keyboard
up
a
whole
step.
Immediately
after
calling
the
KEY
SET
function,
data
can
be
entered
simply
by
pressing
any
key
on
the
keyboard.
The
pressed
key
then
assumes
the
pitch
of
C3,
and
all
other
keys
are
adjusted
accordingly.
Pressing
the
A2
key,
for
example,
will
produce
a
setting
of
—3.
Pressing
the
C5
key,
will
result
іп
a
setting
of
+24.
|
Subsequent
changes
can
be
made
using
the
DATA
ENTRY
slider
or
—1/+1
buttons,
or
you
can
continue
to
select
new
keys
from
the
keyboard
provided
that
you
press
the
KEY SET
button
first
each
time.
.> “
МОТЕ:
|
The
KEY
SET
function
is
not
individually
programmable
for
each
voice.
|
1: MASTER TUNE ADJ
MASTER
ነ
TUNE
ADJ
This
is
the
DX27/27S
MASTER
TUNE
function.
All
voices
are
affected
simul-
taneously.
The
programmable
data
range
is
from
—64
to
+63.
When
set
at
0,
the
pitch
of
the
АЗ
key
is
the
standard
440
Hz.
At
the
lowest
setting
(-64),
the
overall
pitch
of
the
keyboard
is
100
cents
(1
semitone)
lower
than
standard
pitch.
At
the
highest
setting
(+63),
the
overall
pitch
of
the
keyboard
is
100
cents
higher
than
standard
'
pitch.
Use
the
DATA
ENTRY
slider
or
—-1/+1
buttons
to
enter
the
data
for
this
parameter.
Once
the
MASTER
TUNE
function
is
called,
subsequent
presses
of
button
#1
will
increment
the
data
value.
The
Memory
Management
functions
include
rnein
for
loading
voices
from
the
DX27/27S's
192-voice
PRESET
memory,
for
storing
and
loading
the
24
INTERNAL
memory
voices
to
and
from
cassette
tape,
initializing
the
voice
memory,
recalling
voice
data
from
a
special
“safety”
buffer
memory,
and
turning
the
DX27
/27S
memory
write/protect
function
ON
and
OFF.
6: RECALL EDIT
HECALL
EDIT
In
addition
to
the
voice
edit
buffer,
the
DX27/27S
has
a
special
edit
recall
buffer
memory
which
maintains
the
last
edited
voice
data.
If
after
editing
or
creating
a
17

^
new
volce,
you
inadvertently
call
new
data
into
the
voice
edit
buffer
(by
pressing
one
of
the
voice
selector
buttons)
before
storing
the
edited
voice
data,
the
voice
in
the
edit
buffer
that
you
had
spent
so
much
time
editing
will
be
replaced
with
the
new
data.
If
you
only
make
the
mistake
once,
you
can
recover
the
adited
data
from
the
backup
voice
butler
and
put
it
back
inta
the
voice
edit
buffer
by
using
this
function,
To
do
this,
first
press
the
FUNCTION
button,
and
than
tha
RECALL
EDIT
button.
The
LCD
will
read
"Recall
Edit
?"
Confirm
your
intention
to
recall
the
data
into
tha
voice
edit
buffer
by
pressing
the
+1
button.
The
DX27/275
will
again
respond,
this
time
with
“Are
you
sure
?"
Press
the
+1
button
again
to
actually
execute
tha
recall
edit
function.
The
EDIT
made
will
than
be
entered,
and
the
voice
edit
buffer
will
contain
tha
data
called
from
the
backup
voice
buffer.
Pressing
another
function
button,
the
PLAY
mode
button,
or
the
EDIT
mode
button
during
the
above
process
will
abort tha
RECALL
EDIT
function,
7: INIT VOICE
Тт
IET
This
function
sets
all
voice
parameters
in
the
voice
edit
buffer
to
their
“initialized”
values,
permitting
voice
programming
from
an
effectively
neutral
set
of
values—a
“clean
slate."
Cy = DX278 only
18

When
this
funetion
Is
called,
the
LCD
will
read
"Init
Voice
7”
Confirm
your
intention
to
initialize
the
voice
edit
buffer
by
pressing
the
+1
button. The
DX27/275
will
then
ask
you
to
reconfirm
your
intention
to
initialize
the
volce
with
"Are
you
sure
7"
Press
the
+1
button
again
to
actually
execute
the
initialize
operation.
Once
executed,
the
DX27/275
will
automatically
enter
the
EDIT
mode,
ready
for
voice
programming.
Pressing
another
function
button, tha
PLAY
mode
button, or
the
EDIT
mode
button
prior
to
the
final
step
in
the
above
process will
abort
the
voice
initialize
function,
8: EDIT BANK
፻ርዘ፣
Пйча,
The
EDIT
BANK
function
allows
you
to
put
the
PRESET
voices
(normal
or
shift
mode)
and
the
24
INTERNAL
memory
voices
into
any
of
the
96
BANK
memory
locations,
in
any
order
you
desire.
In
PRESET
memory,
the
voices
are
immovable.
If,
for
example,
you
want
to
have
10
specific
voices
all
in
consecutive
memory
locations
(for
convenience
and
for
ease
of
selection
during
a
performance)
you
could
use
the
EDIT
BANK
function
to
place
your
10
voices
in
locations
1—10
in
BANK
ል.
Tha DX27/278 has 4 banks of 24 voices in the BANK memory. This means that
you
can
have
4
personally-arranged
24-voice
groups
to
choose
from
(1.в.,
a
separate
BANK for васһ set in a performance).
To
enter
the
EDIT
BANK
function,
press
the
FUNCTION
button
followed
by
the
EDIT
BANK
button.
The
LCD
will
respond
with
"Edit
BANK?"
Reaffirm
your
in-
tention
to
complete
the
process
by
pressing
the
+1
button.
Tha
LCD
will
again
respond,
this
time
with
"BANK?
(A-D).*
Select
a
BANK
for
editing,
and
than
the
button
comesponding
to
the
volca
you
want
to
change.
Now,
select
à
now
voice
for
that
position
by
using
the
DATA
ENTRY
slider
or
the
-1/41
buttons.
You
can
^
change
as
many
of
the
voices
as
you
like.
When
you're
finished,
pross
the
INTERNAL
PLAY
button
to
exit
the
EDIT
BANK
function.
The
following
diagram
shows
approximately
where
in
the
DATA
ENTRY
control
range
the
INTERNAL
and
PRESET
voices
are
located,