Yamaha DX5 User manual

YAMAHA
^DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER
SYNTHETISEUR NUMERIQUE AALGORITHMES
PROGRAMMABLES
DIGITAL PROGRAMMIERBARER ALGORITHMUS
SYNTHESIZER
OWNERS MANUAL
MODE D^EMPLOI
BEDIENUNGSANLEITUNG

CONGRATULA TIONS!
You have acquired one of the world's finest digital synthesizersi Your DX5 incorporates
the Yamaha exclusive digital FM voice generation system which can be programmed
to produce the most vibrant, dynamic, natural-sounding voices of any synthesizer system
available- -1 28 pre-programmed voices are provided with your DX5, but you can program
any number of your own voices and store them on optional RAM data cartridges. Two
FM voice generator channels are provided which you can use individually, combined,
or in the split keyboard mode. The DX5 offers more than just spectacular voices, however,
it also has one of the most comprehensive performance effect systems available. In
addition to the common pitch and modulation wheels, you have keyboard initial touch
response, after touch response, foot controller and Yamaha's unique breath controller
(foot controller and breath controller are options). Each of these controllers can be
programmed to produce an extremely broad variety of effects, many of which are simply
not achievable with conventional synthesizer systems. What's more the DX5 has aspecial
performance memory which can store up to 64 combinations of voices and performance
effect parameters, so all you need to do is press abutton to call out avoice or voice
combination, each with its own unique set of performance parameters. The DX5 is also
equipped with aMIDI interface, permitting it to communicate and be used with other
MIDI compatible products to create astate-of-the art digital music system.
The Yamaha DX5 is asophisticated, fully professional performance or recording keyboard.
To get the most out of the many features it offers, we urge you to read this operation
manual thoroughly, then store it in asafe place for later reference.

%
CONTENTS
PRECAUTIONS 3
CHAPTER I: SETTING UP 4
1. Audio outputs 4
2. Foot controllers and footswitches 4
3. Headphones/breath controller 4
4. MIDI terminals 5
5. AC power 5
6. Music rack Installation 5
CHAPTER II: VOICE AND PERFORMANCE MEMORY
CONFIGURATION 7
1. Voice memory configuration 7
2. External cartridge voice memory 7
3. Performance memory configuration 9
4. The voice and performance edit buffers 9
CHAPTER III: PLAYING THE PREPROGRAMMED VOICES 10
1. Internal/Cartridge Voice Memory Selection 10
2. Key Assign Mode Selection 10
3. Voice Balancing 11
4. Voice Selection 11
5. The LCD Display 11
CHAPTER IV: PLAYING THE PERFORMANCE COMBINATIONS 13
1. Performance Memory Selection 13
2. Calling the Performance Name 14
3. Accessing aPerformance Cartridge 14
CHAPTER V: FUNCTION PROGRAMMING 15
1. Function "Job" Organization 15
2. The FUNCTION mode: Accessing the Function Jobs 15
3. Entering Function Data 16
4. The Performance Functions and Their Use 17
CHAPTER VI: PROGRAMMING VOICES 26
1. The Basics of FM Synthesis 26
2. The EDIT and COMPARE Modes 32
3. The Voice Parameters 32
4. Two Approaches to Creating Your Own Voices 41
CHAPTER VII: STORING VOICE AND PERFORMANCE DATA 42
CHAPTER Vlll: MEMORY MANAGEMENT 45
CHAPTER IX: MIDI FUNCTIONS 51
CHAPTER X: GENERAL SPECIFICATIONS 55

PRECAUTIONS
1. Location
2. Cleaning
3. Service and
Modifications
4, Relocation
5. Handling
Choose the installation location for the DX5 with caution. 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, as this may damage
the finish. Clean with asoft, dry cloth.
Do not open the cabinet 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 wilt also void the product warranty. Refer all servicing to aqualified
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 DX5 is ruggedly constructed using reliable solid-state circuitry,
nonetheless it is afine instrument that should be treated with care.
I
6. Electrical Storms
(Lightning)
7. Electromagnetic
Fields
Digital circuitry such as that used in the DX5 is sensitive to voltage spikes and surges.
Because of this, the DX5 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 DX5 should
be kept at least several feet from such sources in order to prevent possible random
malfunctions.
#

CHAPTER I: SETTING UP
L_LJ
YAMAHA l=-^^^=^ !
mmLn 1III I IIII I IIIIII I I I G
IIII I I]I1 I I IIIIIIII I I
Mill!
r1II I IjlI3 CXXXD
7. Audio Outputs
2. Foot Controllers
and Footswitches
3. Headphones/
Breath Controller
The DX5 gives you achoice of audio outputs for compatibility with the widest
possible variety of sound reproduction systems. There are six audio outputs, three
of which are unbalanced 1/4" phone jacks, and three are balanced XLR type
connectors. The three phone jacks carry the same signals as the XLR outputs, the
only difference in their use is the type of sound system they will be connected to.
The phone jacks provide compatibility with most keyboard or instrument amplifiers
and small mixers, while the XLR outputs can be used to feed professional sound
reinforcement or recording equipment.
The three phone/XLR connector pairs are labelled A, Band P. Outputs Aand B
are the independent audio outputs from the DX5's corresponding Aand Bvoice
channels. P(for Program) delivers amonaural mix of both channels Aand B. If,
for example, you will be using the DX5 with asimple instrument amplifier which
only has one input, then use the combined Poutput. If amixing console is available,
however, the Aand Boutputs can be sent to different input channels on the mixer,
where they can be independently controlled and assigned to different channels
of astereo sound system, for example.
The remaining four phone jacks are for optional foot controllers and footswitches.
The VOLUME jack accepts aYamaha FC7 foot controller for volume or "swell"
control. The MODULATION jack also accepts aYamaha FC7 foot controller or
equivalent for modulation control (The DX5 permits awide variety of modulation
effects). The SUSTAIN jack accepts aYamaha FC4 or 5footswitch or equivalent
for sustain control—press for sustain, release to damp. And the PORTAMENTO jack
also accepts aYamaha FC4 or 5footswitch or equivalent permitting ON/OFF
switching of the programmed portamento effect.
For convenience, the DX5's headphones and breath controller jacks are located
just below the left side of the keyboard, facing the player. The stereo headphone
output also features alevel control which can be used to set the most comfortable
headphone monitoring level without affecting the level of the other audio outputs.
Any standard pair of 8-ohm stereo headphones can be used.

4. MIDI Terminals
5. AC Power
These terminals are used when connecting the DX5 to other MIDI (Musical In-
strument Digital Interface) compatible equipment such as digital sequence re-
corders, modular FM voice generators, drum machines, etc. The MIDI OUT terminal
transmits MIDI data from the DX5 to other MIDI equipment. The MIDI OUT terminal
will normally be connected to the MIDI IN terminal of the receiving equipment.
The MIDI IN terminal recieves MIDI data from externa! MIDI equipment such as
adigital sequence recorder, music computer or modular FM voice generator. The
DX5's MIDI IN terminal will normally be connected to the MIDI OUT terminal of
the transmitting equipment. The MIDl TH RU terminal re-transmits the data received
at the MIDI IN terminal. Thus, data received via the DX5 MIDI IN terminal can be
simultaneously sent to other MIDI equipment.
Plug the socket end of the supplied AC power cord into the receptacle provided
on the DX5 rear panel, then plug the plug end into an AC wall socket. Be sure that
your local line voltage matches that specified on the DX5 rear panel. The POWER
switch is located next to the AC cord receptacle on the rear panel.
NOTE:.
When setting up your system, be sure to turn the DX5 and any effects units
used on BEFORE turning the main amplifier system on. This will prevent the
initial power-on shock surge from possibly damaging your amplifier and
speaker system.
6. Music Rack
Installation
The music rack supplied with the DX5 fits into the two sockets on the rear panel
(see diagram).

Music Rack Installation Headphone
level control
Headphones Breath
controller
VOLUME MODULATION SUSTAIN PORTAMENTO
foot control foot control footswitch footswitch
Instrument
amplifier
^YAMAHA ^CH 6 ® ©©©6 ©
POWER switch
AC power
cord receptacle MIDI terminals
Sound reinforcement
or recording mixer
u—lu tij—fx.—h;^^ ^^ "
IJ UU«uu,,
: t :::": ^.
..«..« o.Q
iUiHii

CHAPTER II: VOICE AND PERFORMANCE MEMORY
CONFIGURATION
Before you actually begin playing the pre-programmed voices, it's agood idea to understand how the voice and
performance memories are arranged. So let's take alook at the DX5 memory configuration and then go on and
try out the voices as described in the following chapter.
1. Voice Memory
Configuration
2. Externai Cartridge
Voice Memory
The DX5 internal voice memory is arranged in four banks of 8voices per channel.
The channels- -A and B--correspond to independent voice generators, so any of
the 32 voices available in channel Aor B(4 banks x8voices =32 voices) can
be used independently, or simultaneously with any of the 32 voices available in
the other channel. All 64 internal voice memories contain factory programmed voices
which can be later edited or entirely re-programmed. These voices are also provided
in the ROM voice cartridges supplied.
The DX5 further permits selection of its internal voice memory or external cartridge
voice memory. Voice cartridges plugged into the CARTRIDGE Aand CARTRIDGE
Bslots on the DX5 panel supply an additional 32 voices per channel which are
selected in the same way as the internal voices. This gives the player atotal of 128
voices "on-line" (64 internal +64 external), which can be called simply by pressing
afew buttons.
The DX5 is supplied with two ROM voice cartridges, each containing two banks
of 32 voices {bank Ix32 voices +bank II x32 voices =64 voices per cartridge).
The cartridge voice bank to be used is selected by aswitch on the cartridge. The
voices in banks Iof the two cartridges are the same as those pre- programmed into
the DX5's internal memory.

DX5 PERFORMANCES &VOICES I
GROUP
BRASS
STRING
KEYBOARD &
PERCUSSIVE
COMPLEX
^SPLIT
PERFORMANCE ROM
No. NAME
DOUBLE HORN SECTION (DETUNED)
FANFARE TRUMPETS
FULL SYNTH BRASS (DETUNED)
TIGHT BRASS SECTION
SYNTH BRASS
1-6 SYNTH BRASS [F/C CHORUS]
CS80 BRASS [F/C VIBRATO]
STRINGS &BRASS ENSEMBLE
CELLO QUAHTET
2-2 VIOLIN ENSEMBLE
2-3 ENSEMBLE [L]/SOLO VIOLIN [fl]
2-4 STRING ORCHESTRA
HIGH STRINGS (ANALOG TYPE)
2-6 CELLOS &VIOLINS
2-7 STRING ENSEMBLE [F/C VIBRATO]
28 STRINGS &VELOCITY TRUMPETS
ACOUSTIC GRAND PIANO 1
ACOUSTIC GRAND PIANO 2
3-3 ELECTRIC GRAND PIANO
3-4 ELECTRIC PIANO [M/W TREMOLO]
3-5 ELECTRIC PIANO {BRIGHT TINE]
3-6 DIRTY ELECTRIC PIANO
CLAV. ENSEMBLE
GRAND HARPSICHORD
41PIPE ORGAN [F/C VIBRATO]
4-2 JAZZ ORGAN [FVC TREMOLO]
4-3 ROCK ORGAN WITH OLD TONE CAB
4-4 E. PIANO [L]/JAZZ GUITAR [R]
4-5 ELEC. BASS [L]/E. PIANO [R]
4-6 DOUBLE HARPS
AFRICAN MALLETS
VIBRAPHONE
5-1 ELECTRIC PIANO &BRASS [BC1]
5-2 ELECTRIC GRAND &BRASS [BC1]
5-3 ELECTRIC PIANO &SAX [BC1]
ELEC. PIANO &CLAV ENSEMBLE
ELECTRIC PIANO «STRINGS
HARPSICHORD &STRING ENSEMBLE
FULL ORCHESTRA
5-6 RIDE CYMBAL &FRETLESS BASS
6-1 KICK DRUM [L]/SNARE [R]
42 6-2 HI-HAT CLOSING: [Lj/CY MBA
L
[R]
6-3 HAND CLJVPS tL]/TOM TOMS JR]
6-4 LOG DRUMS [Ll/ROTO TOMS [R]
6-5 TAMBOURINE [L]/nMBALI [R]
6-6 COWBELL [L]/WOOD BLOCK [R]
6-7 FRETLESS BASS [LJ/SAX [BC1] [R]
6-8 ACOUSTIC PIANO [L]/FLUTE [R]
7-1 SYNTHESIZER UPRISING
7-2 SAMPLE &HOLD ;l1/LEAD LINE [R]
7-3 POLY SYNTH [Lj/LEAD SYNTH jR]
PERCUSSIVE SYNTH
TOY MUSIC BOX
FM ENSEMBLE
PLANET OF ICE
MALL SfEMALE CHOIR
"BIG BEN '[LJ/TUNED BELLS (R]
GLASS WIND CHIMfcS
JUNGLE NOISt (GROWL/BIRDS)
SIDE TOSIDF
FLOATING CLOUDS
COMBAT (EXPl OSION |L].' GUNS [R])
BOMBS AWAYM
VOICE ROM A
No. NAME VOICE ROM B
No, NAME
HORN SEC AHORN SEC. 8
AN. STRG B
E. ORGAN IB
E. ORGAN 2B
JAZZ GUITR
OBL HARP AOBL HARP B
A. MALLET A
E. GRDSDRA 1-2 E. GRD&BR B
1-3 SAX [BC1]
CLAV, 2B
HANDCLAPS
LOG DRUMS
TAMBOURINE
WOOD BLOCK
SAX(BC1]
SAMPLE aHLD
PERC SYN APEHC SYN B
MCLOUD A
fXPLOSION MACHINEGUN
liOWUDHOH /\ BOMB CROP B
New voices created on the DX5 can also be stored in optional RAM voice cartridges.
This process will be discussed in CHAPTER Vill: MEMORY MANAGEMENT.

3. Performance
Memory
Configuration
The performance memory is one of the special features of the DX5 that sets it apart
from other synthesizers. This memory is arranged in 8banks of 8performance
combinations .Each of these 64 performance combinations can be assigned asingle
voice number, or acombination of two voice numbers--one from channel Aand
one from channel B. In addition, each performance memory can be programmed
with an independent set of performance parameters (pitch wheel, modulation wheel,
foot controller, breath controller, keyboard initial and after touch, portamento, etc)
that apply to the corresponding voice or voice combination. Thus, when aper-
formance memory is selected the corresponding voice(s) and performance pa-
rameters are simultaneously called, ready for immediate use.
Initially, the DX5 performance memory is factory pre-programmed with 64 per-
formance combinations which can be used immediately. These can later be
re-programmed as required. The same data is also supplied on aperformance ROM
cartridge. New performance combinations that you create can also be stored on
optional RAM cartridges.
4. Ttie Voice and
Performance Edit
Buffers
The DX5 also has two more special memory locations that we have not seen yet:
the voice edit buffer and the performance edit buffer (actually, there are two voice
edit buffers, one for channel Aand one for channel B; there is only one performance
edit buffer). Any time an internal or external cartridge voice is selected, its data is
automatically loaded into the voice edit buffer. It is this data in the voice performance
buffer which the DX5 actually "plays" when you select avoice. The same applies
to the performance edit buffer: when you select aperformance memory its data is
called into the performance edit buffer where it can be "played". These edit buffers
are also where the voice or performance data resides while you edit it to create
new voices or performance combinations. After you have edited avoice or per-
formance combination, the new data must be stored in an appropriate internal or
external memory location. If this is not done, the data you have spent so much time
working on in the corresponding edit buffer will be erased and lost forever the next
time you select anew voice or performance memory (see CHAPTER VII: STORING
VOICE AND PERFORMANCE DATA).

CHAPTER III: PLAYING THE PRE-PROGRAMMED
VOICES
1. Internal/Cartridge
Voice Memory
Selection
The two violet switches in the rightmost block of switches on the DX5
pane!--labelled CARTRIDGE Aand CARTRIDGE B--determine whether the internal
voice memory or external cartridge voice memory is available for selection using
the voice selector switches located in the middle of the panel, belowthe LCD display.
Note that the CARTRIDGE switches are also labelled EDIT Aand EDIT Bin violet.
These labels refer to other functions accessible via these switches, which will be
discussed later.
KEY ASSIGN MODE CARTRinnC
SINGLE DUAL SPLIT g)
(SPACE) EDIT [A]
EDIT gl
IT
EDIT/ FUNCTION [STORE] CARTRIDGE
COMPARE [g]
When either of the CARTRIDG Eswitch LEDs are ON the respective external cartridge
voice memories are selected. When OFF, the corresponding internal voice memory
channel is selected. These switches make it possible to simultaneously select one
internal and one external voice memory if desired. Or, naturally, both internal or
external memories can be selected.
NOTE:
Acartridge memory can only be selected when an appropriate memory car-
tridge is properly plugged into the selected cartridge slot- -A or B. Cartridge
slots Aand Bcorrespond to voice generator channels Aand B.
2. Key Assign Mode
Selection
Now notice that in the same block of switches we have three KEY ASSIGN MODE
selections—SINGLE, DUAL and SPLIT. These three keyboard modes function as
follows:
SINGLE "In this mode only asingle voice may be selected at atime (the two-line
LCD display will display only one voice on the top line). The selected voice will
be playable over the entire keyboard.
DUAL -- In this mode one voice from channel Aand one voice from channel B
may be selected simultaneously. Both voices will be played over the entire length
of the keyboard (i.e. they will sound together).
SPLIT -- In this mode the channel Aand Bvoices may be assigned to different
areas of the keyboard for split keyboard effects. The channel Avoice is assigned
to the left side of the keyboard while the channel Bvoice is assigned to the right
side of the keyboard. This means that you can, for example, assign abass voice
to the left side of the keyboard and apiano voice to the right side of the keyboard,
and and play each part separately with the left and right hands.
10

NOTE:
Initially the split point is set at C3 (middle C) so when the SPLIT mode is
selected the channel Avoice is playable on all keys to the left of C3, while
the channel Bvoice is playable on C3 and all higher keys. The split point can
be changed, however, using the SPLIT POINT performance memory function
job (function job P3-J1 ), which will be described in CHAPTER V: FUNCTION
PROGRAMMING.
3. Voice Balance In the DUAL and SPLIT keyboard modes it is important to be able to balance the
levels of the channel Aand channel Bvoices used to achieve the most ideal "mix".
This is accomplished using the linear BALANCE A/B control located to the left
of the DX5 panel. The control has acenter click-stop position which indicates "dead
center". This position will not always produce equal output from both channels,
however, since each voice can have adifferent overall output level.
Individual voices are selected using the two groups of violet switches located
4. Voice Selection beneath the DX5's LCD display panel.
VOige MEMORY
ALGORITHM FEEDBACK OPERATOR EG SELECT
LEVEL OUTPUT LEVEL EGyPITCH EG
<"
VOICE
1234 5 6
ENVELOPE GENERATOR 78
R1 R2 R3 R4 LI L2 L3 L4
fLUljlLIJUlj'lJlj'lJ
#
.1, -.1,
MODE COARSE FINE DETUNE
12 34
fQQQ
LEFT
DEPTH LEFT CURVE BREAK RIGHT RIGHT RATE KEY AMPL.
POINT CURVE DEPTH SCALING VELOCITY MODULATION
SCALING SENSITIVITY
34 6 678
Note that the voice selectors are arranged in two rows of two groups. The upper
row of switches selects the 32 voices available in voice generator channel A, and
the lower row of switches selects the channel Bvoices. The leftmost groups of four
switches select the desired voice bank, while the groups of eight switches to the
right select the desired voice from within the selected bank.
For example, to select voice 1in channel A(A1 -1 ), press the channel ABANK 1c^
selector and then the VOICE 1selector. To select the 23rd voice in channel B(B3-7),
press the BANK 3selector (offering selection of voices 17 through 24) and then
the VOICE 7selector.
t
5. The LCD Display This 2-line 40-character liquid crystal display panel will give you aconsiderable
amount of information about the voices you have selected. It also displays function
and voice data when the corresponding programming operations are performed-
-these will be discussed in the appropriate sections of this manual.
In the SINGLE key assign mode, the selected voice and pertinent data are displayed
on the top line of the display. If you select voice A1 -2, for example (VOICE 2of
BANK 1in channel A), the display might read: "INT.A1-2 TRUMPET APOLY
SRC=0". In order from left to right, "INT" indicates that an internal voice is selected,
"A1 -2" indicates the selected channel and voice number, "TRUMPET A" is the
voice name, "POLY" indicates that the voice is polyphonic, and "SRC-0" that the
current control source for that channel is MIDI channel 0. The last two parameters-
-
"POLY" and "SRC"--will be discussed in CHAPTER V: FUNCTION PROGRAM-
MING.
11

In the DUAL key assign mode the channel Avoice data will be displayed on the
upper line of the LCD display, and the channel Bvoice data will be shown on the
lower line.
In the SPLIT key assign mode the display is basically the same as for the DUAL
mode, above, except that the currently selected split point will be displayed following
the channel Bvoice data on the lower line of the display--e.g. "SP=C3".
I
ThiT j:::''-:i..„ TF:!jrii~'E:i" ni-iji....s-^ spr^^d
12

CHAPTER IV: PLAYING THE PERFORMANCE
COMBINATIONS
NOTE:
Since the factory- programmed performance combinations also use cartridge
voices, be sure to plug voice cartridges Aand Binto the corresponding slots
before trying out the performance memories. Since banks 1of the voice car-
tridges contain the same voices as the internal voice memory, switch both
cartridges to bank II before inserting.
c^
1. Performance
Memory Selection
The DX5's 64 performance memories are selected using the two rows of light-green
switches to the right of the voice selectors. The top row of eight switches selects
performance memory BANK 1through 8, while the lower row of eight switches
selects PERFORMANCE &VOICE data 1through 8within each BANK.
C;i
PERFQWIANCE MEMORY^ FUNCTION
m] EH ID IP] m[B7]
WAVE SPEED DELAY PM DEPTH PM SENS AM DEPTH KEY SYNC. KEY SYNC,
-TUNE-J 'PERFORMANCE MEMORY PARAMETER -
-PERFMEMORY PARAMETERn, MEMORY MANAGEMENT
PERFORMANCE
«VOICE
TRANSPOSE VOICE NAME
[O EH B(£3 ES Ezl
To select the first performance memory in the second bank, for example, press switch
B2 in the upper row and then switch PI in the lower row. If the factory-programmed
data is still intact (if not, you can reload the factory data from the provided per-
formance ROM cartridge- -see CHAPTER VIM: MEMORY MANAGEMENT, function
job P6-J2: LOAD FROM CARTRIDGE) you'll end up with acombination of the
CELLOS 1A and CELLOS 2voices forming acello quartet voice, complete with
appropriate pitch bend, modulation wheel vibrato, touch response, aftertouch vi-
brato, and other performance parameters. Note that the current key assign mode
13

%
2. Calling the
Performance Name
is DUAL and that the selected voices are internal. Now, still in BANK 2, press the
P3 switch. With the factory performance data this will give you acombination of
STRING ENSEMBLE and SOLO VIOLIN voices. Note, however, that the key assign
mode has now automatically switched to SPLIT and the split point- -shown on the
LCD- -is set at F3. Now press the BANK 5{B5) switch so you call the third per-
formance memory in the fifth bank: this will be acombination of ELECTRIC PIANO
5A and BREATH CONTROL SAXOPHONE (the fact that the sax voice requires
breath control is indicated by "[BC1]" immediately following the voice name).
The key assign mode will revert to DUAL, but the CARTRIDGE Aand CARTRIDGE
Bswitches will light, indicating that these voices are being called from the external
cartridge voice memories.
Voice numbers, performance parameters, key assign mode and internal/cartridge
memory selection can all be programmed as desired to create your own performance
combinations. The programming of performance parameters will be discussed in
CHAPTER V; FUNCTION PROGRAMMING, while the storing of programmed
performance parameters, voice numbers, key assign mode, etc., in the performance
memory will be discussed in CHAPTER VII: STORING VOICE AND PERFORMANCE
DATA.
Like the individual voices, each performance combination can be given an identi-
fying name. The performance name can be called by pressing the currently selected
BANK switch asecond time. Press the same switch again to return to the normal
dual voice display.
C'F_PP'"'kTiU!-.s; !i"l:
.
3. Accessing a
Performance
Cartridge
Data in aperformance memory cartridge- -either the supplied ROM performance
cartridge or optional user- programmed RAMI performance cartridges- -can be
accessed and called into the performance edit buffer for use with the internal voices.
This is accomplished by inserting the appropriate performance cartridge into the
CARTRIDGE Aslot, then pressing the CARTRIDGE Aswitch while holding down
any performance memory selector. Any performance memory now selected will
be accesed from the cartridge, rather than the internal performance memory. This
can be confirmed by calling the performance name: a<<CARTRIDGE>> identifier
will appear beside the performance name.
Performance cartridge access can be turned OFF simply by turning off the CAR-
TRIDGE Aswitch.
To call the entire performance cartridge contents into the internal performance
memory, use the LOAD CARTRIDGE function described in CHAPTER VIII: ME-
MORY MANAGEMENT.
14

CHAPTER V: FUNCTION PROGRAMMING
The "functions" discussed in this section are all programmable parameters which are not directly concerned with
voice programming. Although the performance memory parameters do affect the voices-modulation, portamento,
etc. -none of them are used to actually change the character of a voice. Voice programming is aseparate subject
which will be discussed in CHAPTER VI: PROGRAMMING VOICES.
FUNCTION JOB TABLE
BANK TUNE PERFORMANCE MEMORY PARAMETER
J0B1 MASTER
TUNE POLY/MONO PITCH BEND
RANGE PORTAMENTO/
GLISSANDO SUSTAIN PEDAL OUTPUT LEVEL ASSIGN ATTENUATE MOD. WHEEL
SENSITIVITY FOOT CONT SENSITIVITY
JOB 2DUAL MODE
DETUNE SOURCE
SELECT PITCH BEND
STEP PORTAMENTO PORTAMENTO PROG. OUT
MODE PEDAL ASSIGN ASSIGN MOD. WHEEL
ASSIGN FOOT CONT
ASSIGN
JOB 3PORTAMENTO
TIME
PERF.
JOB1
JOB 2
JOB 3
BRTH CONT
SENSITIVITY AFTER TOUCH
SENSITIVITY SPLIT POINT COPY
OP DATA INITIALIZE
MEMORY SAVE TO
CARTRIDGE PROTECT MIDI ON/OFF
MEMORY WRITE REMOTE SEQ.
BRTH CONT
ASSIGN AFTER TOUCH
ASSIGN KEY SHIFT SAVE TEMP
OPERATOR RECALL
EDIT BUFF. LOAD FROM
CARTRIDGE CLEAR
ALL MEMORY SET STATUS
PERFORMANCE
NAME CHANGE
CART FORMAT CHECK
BATTERY TRANSMIT
DATA
t. Function "Job'
Organization
The FUNCTION JOB TABLE shown above is the same as the one printed on the
DX5 panel. It shows the various "jobs" which can be accessed using the performance
memory switches 81 through B8 and PI through P8. Note that each switch accesses
up to three different functions, in addition to their use as performance memory
selectors. This design approach has been taken to minimize the number of panel
switches required, thereby generally simplifying the panel layout as well as oper-
ation. Also note that the job groups are further divided into four groups: TUNE {B1 ),
PERF. MEMORY PARAMETERS (B2 through P3), MEMORY MANAGEMENT (P4
through P7), and MIDI (P8). The TUNE jobs deal with overall DX5 tuning, the
PERF. MEMORY PARAMETERS are all functions which can be programmed into
the performance memory and deal with performance effects, the MEMORY
MANAGEMENT jobs deal with memory-related operations, and the MIDI jobs
permit setting MIDI parameters for communication with other MIDI compatible
equipment.
In this chapter we will cover only the TUNE and PERF. MEMORY PARAMETER
groups (B1 through P3).The MEMORY MANAGEMENTand MIDI function groups
will be covered in chapters VIII and IX, respectively.
^^^^^^!'!^!!=^^^^^^^^^!^^=^^ These functions are accessed by first activating the cream colored FU NCTION switch
2. T/ie FUNCTION in the bottom row of the rightmost group of panel switches. When activated, the
l\/lode: Accessing the function switch led win light.
Function Jobs -^ -EP'II
Ep^-<FUNCTION ISTOREl CARTRIDGE
4^^f
15

3. Entering Function
Data
Then, the desired job group is called by pressing the corresponding light-green
switch (B1 --B8, PI --P8). The first job in the selected job group is initially called,
and subsequent presses on the same switch call the following jobs in the group
in the order in which they are listed on the table. The first job is returned to following
the last job, thus you can cycle through each job group to locate the desired job.
The selected job group appears on the top line of the LCD display, the currently
selected job being indicated by the flashing block cursor. For function job groups
B1 through P3 the currently set values for each job appear immediately below each
job descriptor, on the lower line of the display. For example, if you select job group
81 (selecting by pressing FUNCTION and then the B1 switch) the LCD display
will look something like this:
Func Ei 4. !/i
"Func B1 "indicates that function job group B1 is selected, "M Tune" is the master
tune job, and "Detune" is the detune job. Below each job descriptor there will
be avalue—in this case "+0" for master tune, and "1 "for detune. The flashing cursor
is initially over the "M" in "M Tune", indicating that the master tune job is selected.
If the B1 switch is pressed asecond time the cursor will skip over to the first letter
of "Detune" indicating that the detune job is selected. Pressing the 81 switch again
will cause the cursor to return to the master tune job. All other job groups are
accessed in the same way. In some cases, however, the display will show job
descriptors accessed by more than one switch, but only the jobs specified by the
selected switch can be accessed. This has been done to allow you to see the values
set for other jobs which may interact with the currently selected jobs.
In the MEMORY MANAGEMENT job groups P4 through P7 the bottom LCD line
will display prompts allowing you to choose between specified memory operations
and select "subjobs". The same subjob format is employed in the MIDI job
group--each job may contain several subjobs which are selected using the DATA
ENTRY -1 switch.
This FUNCTION mode is exited by pressing the FUNCTION switch again.
Once the desired job has been selected, its value can be altered using either the
linear DATA ENTRY control located to the left of the panel, or the adjacent cream
colored -1 /NO/OFF and +1 /YES/ON switches.
DATA ENTRY
NO
OFF YES
ON
Moving the DATA ENTRY control away from you increases the value of the selected
parameter, and moving the control towards you decreases the data value. Pressing
the -1 switch decreases the value of the selected parameter by one (decrements),
and pressing the +1 switch increases the value by one (increments). While the
DATA entry control is valuable for quickly approaching the desired value with
16

4. The Performance
Functions and Their
Use
parameters that have alarge data range, the +1 and -1 switches permit precise
step-wise location of aspecific value. The switches are also easier to use with
parameters that only have two values- -e.g. ON (1 )or OFF (0). In some cases you
will be required to answer YES or NO to prompts which will appear on the LCD
display. The ~1 /NO/OFF and +1 /YES/ON switches are used for this.
in the following we'll take adetailed look at each function contained in the TUNE
and PERF. MEMORY PARAMETER groups (B1 through P3), how it is programmed,
and what it does. The MEMORY MANAGEMENT and MIDI job groups will be
described in chapters VllI and IX, respectively. For simplicity, each job will be
specified by its switch and job numbers as follows: B3-J2, for example, specifies
the second job {J2) called by the B3 switch--PlTCH BEND STEP. If you're not
sure how to access and enter data into the various function jobs, go back and read
1, 2and 3, above.
Please note that when you program any of the PERF. MEMORY PARAMETERS
described below, the programmed changes reside in aspecial performance edit
buffer memory which is separate from the 64 selectable performance memories.
Data In the performance edit buffer affects the currently selected voices. When a,<r, ^
performance memory is selected, for example, the performance data it contains is ^^
sent to the performance edit buffer where it affects the corresponding voices. Edited
performance memory parameters must therefore be stored in the appropriate per-
formance memory location as they will be erased from the performance edit buffer
the next time aperformance memory is selected. Storing edited performance pa-
rameters is discussed in CHAPTER VII: STORING VOICE AND PERFORMANCE
DATA.
B1'J1: l\^ASTER TUNE
fi nr. Bl Mtune Deiune
+u1
This is the DX5 MASTER TUNE function. All voices in both channels Aand Bare
affected simultaneoulsy, and MASTER TUNE data cannot be stored in the per-
formance memory.
The programmable data range is from -63 to +63. When set to +0 the pitch of
A3 is the standard 440 Hz. At the lowest setting of -64 the overall pitch of the ^^^^
keyboard is 75 cents (3/4 semitone) lower than standard pitch, and at the highest 'W
setting of +63 the overall pitch of the keyboard is 75 cents higher than standard
pitch.
The MASTER TUNE function does not affect operators which are set to the FIXED
FREQUENCY mode {see CHAPTER VI: PROGRAMMING VOICES).
B1-J2: DUAL MODE DETUNE
This function makes it possible to detune the pitches of channels Aand Bto create
chorus-type effects. DUAL MODE DETUNE only functions when the key assign
mode is set to DUAL.
The data range is from to 15. At no detune effect is produced. The greatest
(deepest) detune effect--a pitch difference between channels Aand Bof ap-
proximately 1/4 semitone--is achieved with asetting of 15. The detune effect is
produced by simultaneously increasing the pitch of channel Awhile decreasing
the pitch of channel B.
This function will not affect operators which are set to the FIXED FREQUENCY
mode, and can be set independently of the OSCILLATOR DETUNE function (see
CHAPTER VI: PROGRAMMING VOICES).
17

B2'J1: POLY/MONO
Func B2B Ply/Mon Source PR rnq PB stp
Poiy 5
This function selects either the POLY or MONO note output mode.
There are two possible settings: POLY and MONO. In the POLY mode the note
output configuration depends on the KEY ASSIGN MODE setting. When KEY
ASSIGN MODE is set to SINGLE up to 32 notes can be played simultaneously.
When set to SPLIT up to 16 notes may be simultaneously played on each side of
the split point {16 +16). When set to DUAL up to 16 notes may be played si-
multaneously. In the MONO mode the DX5 acts as alast-note-priority monophonic
keyboard.
This function can be set independently for voice generator channels Aand B. The
channel in which this function is to be progammed can be selected by pressing
any violet BANK or VOICE selector in the corresponding channel. The selected
channel will be indicated immediately following the function switch number at the
left of the top line of the LCD display--e.g. "Func B2A" or "Func B2B".
The POLY/MONO status of each voice is displayed on the LCD during normal play
operations.
B2-J2: SOURCE SELECT
This function selects the control source for the DX5's two voice generators. Nor-
mally, this is the DX5 keyboard. In cases where the DX5 voice generators are to
be controlled via an external sequencer or music computer, for example, the
SOURCE SELECT function must be set to match the device (source) which will
transmit the control data to the DX5. The data range is from to 16. Asetting
selects the DX5 keyboard as the control source, while asetting between 1and
16 selects the corresponding MIDI channel number. Control data is recieved via
the DX5's MIDI IN terminal, via the selected MIDI channel.
When the DX5 OMNI mode is OFF, the keyboard will not function when SOURCE
SELECT is set between 1and 16 (see CHAPTER IX: MIDI FUNCTIONS, function
job P8-J2: SET STATUS).
The SOURCE SELECT status of each channel is displayed on the LCD during the
normal play mode (SRC=0).
This function can be set independently for voice generator channels Aand B. The
channel in which this function is to be progammed can be selected by pressing
any violet BANK or VOICE selector in the corresponding channel. The selected
channel will be indicated immediately following the function switch number at the
left of the top line of the LCD display- -e.g. "Func B2A" or "Func B2B".
B3~J1: PITCH BEND RANGE
Func B3B Ply/Mon Sourco PB rnq PB stp
Poly 5
This function sets the pitch range of the pitch bend wheel located to the left of
the DX5 keyboard. The pitch bend wheel automatically centers at normal pitch. It
then may be moved upward to raise the pitch, or moved downward (toward the
player) to lower the pitch by the specified amount.
The data range is from to 12. At the pitch bend wheel is off. Each increment
between 1and 12represents asemitone. Thus if this function is set to 12, maximum
travel of the pitch bend wheel produces aone-octave pitch variation, both above
and below center position--i.e. plus or minus one octave.
PITCH BEND RANGE will have no effect if PITCH BEND STEP, described below,
is set to avalue between 1and 12.
18

This function can be set independently for voice generator channels Aand B. The
channel in which this function is to be progammed can be selected by pressing
any violet BANK or VOICE selector in the corresponding channel. The selected
channel will be indicated immediately following the function switch number at the
left of the top line of the LCD display--e.g. "Func B3A" or "Func B3B".
B3'J2: PITCH BEND STEP
This function creates astepped pitch bend effect, rather than the continuous pitch
bend produced by PITCH BEND RANGE, above.
The data range is from to 12. At the normal pitch bend function may be used.
When set between 1and 12, however, the stepped pitch bend effect is activated
and the range is fixed at plus or minus one octave. At 1aseries of 12 semitone
steps are produced when the pitch bend whee! is rotated (plus or minus 12steps).
Each increment increases the size of the steps by 100 cents (one semitone), while
simultaneously decreasing the number of steps produced. When set at 12 asingle
one octave step (plus or minus) is produced.
This function can be set independently for voice generator channels Aand B. The
channel in which this function is to be progammed can be selected by pressing
any violet BANK or VOICE selector in the corresponding channel. The selected ^^^^
channel will be indicated immediately following the function switch number at the
left of the top line of the LCD display--e.g. "Func B3A" or "Func B3B".
B4-J1: PORTAMENTOIGUSSANDO
This function selects between asmooth, continuous portamento slide effect or a
stepped (semitone steps) glissando slide effect.
Two settings are possible: PORT or GLIS. Both portamento and glissando time
are determined either by the linear PORTAMENTO control to the left of the DX5
panel or the PORTAMENTO TIME job described below. Both the PORTAMENTO
control and the PORTAMENTO TIME function can be used to turn the portamento
or glissando effect OFF or ON.
This function can be set independently for voice generator channels Aand B. The
channel in which this function is to be progammed can be selected by pressing
any violet BANK or VOICE selector in the corresponding channel. The selected
channel will be indicated immediately following the function switch number at the
left of the top line of the LCD display-e.g. "Func B4A" or "Func B4B".
B4-J2: PORTAMENTO MODE
In all, four different portamento modes are available- -two in the POLY mode and
two in the MONO mode (see POLY/MONO select job B2-J1).
In the POLY mode the selectable portamento modes are RETAIN and FOLLOW.
In the MONO mode the selectable portamento modes are FINGERED and FULL
TIME. These modes function as follows:
(a) RETAIN (POLY mode): This mode permits sustained notes to be held (re-
tained) while asubsequent note is played with the portamento effect.
(b) FOLLOW (POLY mode): In this mode ail notes played immediately portamento
to asubsequently played note.
(c) FINGERED (MONO mode): Portamento only occurs if the previously played
note is held while the next note is played. This mode is useful in recreating
the effect of guitar string bending techniques, wood bass slide effects, etc.
(d) FULL TIME (MONO mode): Aconventional monophonic portamento effect
in which portamento occurs whenever anew note is played.
This function can be set independently for voice generator channels Aand B. The
19