Yamaha DX9 User manual

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ИИ
Y
DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER
Operating Manual

CONGRATULATIONS
Thank you for choosing the Yamaha DX9 Digital Programmable Algorithm Synthesizer.
The DX9 employs unique and sophisticated FM digital tone generation technology
combined with microcomputer control to permit creation of voices that are more “live
than voices available with any other system available.
2»,
We urge you to read this owner's manual thoroughly to ensure proper operation and
maximum performance of the instrument.
Features
€ The ОХ9 has a 20-voice internal memory, while
external cassette tape can be used to store and
load other voices. The DX9 is provided with а
voice tape containing 120 pre-programmed voices.
Extensive microcomputer programming control
makes it possible to edit existing voices to change
their character, or produce entirely new voices.
New voices can also be created “from scratch.”
Edited or new voices can be stored either in the
instrument's internal memory, or on an external
cassette tape, so sounds you create can be saved
for future use.
PRECAUTIONS
LOCATION
Avoid placing your synthesizer in direct sunlight or close to
a source of heat. It is also important to avoid locations in
which the instrument is likely to be subjected to vibration,
excessive dust, cold or moisture.
HANDLING
Avoid applying excessive force to the instruments's knobs
and switches.
POWER CORD
Always grip the power plug directly when unplugaing.
Removing the power plug from the wall socket by pulling
on the power cord can result in damage to or shorting of
the power cord.
Be sure to unplug your synthesizer if you will not be using
it for an extended period of time.
RELOCATION
When moving the synthesizer once it has been set up, be sure
to disconnect al! cords that connect to other equipment.
This will help prevent accidental damage to or shorting of
interconnection cables.
CONTENTS
PRECAUTIONS 232 cb dr није or a пиво e Ra eei ertet 1
ЕЗ КӨЛДЕН: ЕН КЕТТІ b e UE ew 2
CONNECTIONS ъа оаа о Rec obs 4
PLAY MOD Eig ds pr x EE ENS CR POE E 5
FUNCTION MODES и дала Вита и rh ides 6
FM TONE GENERATION uid Sues a ye wee и зрна 9
EDIT MODES eie ео qus si ebd eee are 12
KEY TRANSPOSE а Иа чв аск н. 16
STORE SAVE T-BOAD:' ісе хе rte qe bare sos 17
ои оона рава 21
LET'S ACTUALLY CREATE А VOICE .......... 23
LFO BLOCK DIAGHAM салы a ola? Goats ns 26
SPECIFICATIONS ааа 27
VOICE DATA LIST са мара а вама be ee 28
CONNECTION
Carefully follow the “CONNECTION” instructions given
in this manual when setting up your synthesizer.
Connection errors can lead to serious damage to the instru-
ment, amplifier, and speakers.
CLEANING
Do not use solvents such as benzine or thinner to clean
your synthesizer as these may cause discoloration ог
staining of the instrument's exterior. Use a soft, dry cloth.
SAVE THIS MANUAL
After studying this manual thoroughly, it should be stored
in a safe place for future reference.
LIGHTNING
In the event of an electrical storm, the instrument's power
cord should be unplugged to eliminate the possibility of
serious damage.
OTHER APPLIANCES
Use your synthesizer where its digital circuitry cannot
be influenced by electromagnetic radiation from appliances
such as televisions, radios, etc.

DX9 OUTLINE
As
stated
in
the
feature
summary
on
page
1,
the
DX9
can
be
used
to
play
pre-programmed
voices,
pre-programmed
voices
can
be
edited
to
alter
their
character,
or
completely
new
voices
can
be
created
from
scratch.
Newly
created
voices
can
be
memorized
for
future
use.
To accomplish all this, the D X9 has four main operating modes:
• PLAY-MEMORY SELECT Mode
This is the normal performance mode, and the mode in which pre-programmed voices can be selected.
€ FUNCTION Mode
This
mode
permits
setting
parameters
pertaining
to
the
effect
of
the
controllers
(thumbwheel,
breath
controller)
and is also used for loading and saving data.
€ EDIT Mode
This mode permits setting parameters that determine the character of the voices, and is used for editing existing
voices or creating entirely new voices.
e STORE Mode
Edited or newly created voices can be programmed into the memory in this mode.
All functions of the DX9 are performed in one of the above modes. Proper understanding of the functions of each
mode is the key to successful operation of and performance with the D X9.
1. Voiume 2. DATA ENTRY section 5. Voice/Parameter Power switch
Connector jacks 3. Mode Select key section Select key section
4. Display pane!
7. Modulation wheel
6. Pitch bend wheel
Headphone, breath controller connector jacks 8. Keyboard
1 VOLUME DATA ENTRY
This controls the output level of the DX9 and at the same
MAX.
time controls the volume of the headphones.
These keys are for increasing or
decreasing the values by 1, for
2
DATA
ENTRY
turning
a
function
on
or
off,
This
combination
of
keys
and
linear
control
is
used
to
enter
and modify data.
HEEL EL I
NO YES
OFF ON
This control is used for coarse value adjustment.
This slide controller covers the entire range for
each parameter from minimum to maximum.
<2>

3 MODE SELECT KEY
Selects four operating modes of the DX9 (PLAY, EDIT,
FUNCTION, STORE).
STORE FUNCTION
This key sets the
FUNCTION mode,
This key sets the
STORE mode,
EDIT/ MEMORY
COMPARE SELECT
This key sets the
PLAY mode.
This key sets the
EDIT mode.
4 DISPLAY PANEL
This Liquid Crystal Display panel displays the parameters
in each mode.
MEMORY SELECT
MASTER ТИНЕ НОЈ
Preset voice number display
Display the current state of the system.
5 VOICE/PARAMETER SELECT KEY
These keys select the voices in the instrument's internal
memory. The same keys are also used to select parameters
in the FUNCTION or EDIT modes. One key can have a
maximum of four different functions.
The function of these keys is determined by the Mode
Select key.
Voice Parameter
ALGORITHM LFO —
OPERATOR ON-OFF/EG COPY
1
2
/FEEDBACK
МАМЕ
MASTER POLY/MONO /PITCH BEND MODE TIME
TUNE ADJ RANGE PORTAMENTO
Voice
Number
Function
Parameter
(3?
6 PITCH BEND WHEEL
The pitch bend range is set in the FUNCTION mode. The
pitch bend wheel then permits upward and downward
pitch bend throughout the set range.
7 MODULATION WHEEL
The modulation depth range is set in the FUNCTION mode.
The modulation wheel then permits variation of modu-
lation depth throughout the set range.
8 KEYBOARD
The DX9 has a 61-key keyboard with 16-voice polyphonic
capability (a monophonic mode is also selectable).
€ CASSETTE INTERFACE
An inexpensive cassette recorder can be connected to the
cassette interface terminals, permitting saving and loading
voices to and from standard compact cassette tapes. The
DX9 is supplied with a voice cassette containing 120
voices in 6 groups of 20 voices each.

CONNECTIONS
€ Setting Up and Applying Power
The DX9 does not have an internal power amplifier, therefore either headphones or an
external amplifier/speaker system are required. A high-quality keyboard amplifier system
is recommended.
Hook up your DX9 as shown in the diagram below.
Connections
For details concerning the
CASSETTE connectors
refer to page 18.
For detaile concerning the
MIDI connectors refer to
page 21.
= [edo
AC wail outlet
(FC-4orFC-5) (РОЗА) у
Foot switch Footswitch Foot controller Mixer
(portamento) (sustain) (volume)
Speaker system with
built-in amplifier
Music stand
Headphones
| (8 - 150 ohms)
e
C
araheng
Attach
the
music
stand
(BC1)
as
shown
in
the
figure
€ Turn POWER ON
The DX9 power switch is located to the right of the rear
panel (viewed from keyboard side). Turn the POWER
switch ON only after all connections to other equipment
(and to the AC supply) have been properly made. The
display pane! will appear as in the illustration below im-
mediately after power is switched on.
After a few seconds, the same mode that was engaged
before power was turned off is re-engaged. For example, if
the PLAY mode was previously engaged, the PLAY mode
will be re-engaged and the previously selected voice will be
ready for performance. The same applies to the EDIT and
FUNCTION modes.
YAMAHA Оз ж
SYNTHESIZER ж
<4>

PLAY MODE
€ Playing the Internal Voices
The DX9 has 20 internal voices, any one of which can be
selected simply by pressing the key,
and then by pressing the appropriate Voice Select key.
Each Voice Select key has a large numeral that corresponds
to the voice number at its left edge.
Select and play each voice to get a feel for the kind of
sounds that are available.
EDIT/ MEMORY
COMPARE SELECT
| |] | Press the Memory Select key,
C_F t] set to the Play mode.
REL NEN
Select the
oreset Voice voice number
Display at the Play mode
MEMORY SELECT
MASTER ТИНЕ НОЈ
Display shows the last parameter
at the Function mode.
Fine adjustment of volume while playing can be
achieved using an optional FC-3A foot controller
plugged into the VOLUME jack on the DXO9 rear
panel. Remember that the DX9 and amplifier volume
controls should be set high enough that adequate
volume control range is available using the foot
controller.
Lm
=== = ОС
(FC-3A)
“С
65»
€ Set the desired VOLUME level
With power to the DX9 and your amplifier system ON,
gradually raise the volume control while playing a note on
the keyboard until the desired volume level is reached. Set
the volume contro! on your amplifier so the optimum
volume is attained with the DX9 volume control set at
about 48”
® Playing the External Voices
The voice data contained on the voice data cassette must be
loaded into the instrument before it can be played, Refer to
the "LOAD" section on page 19 for loading instructions.
When
data
entry
is
initiated
while
in
the
PLAY
mode,
the
parameter
selected
at
the
end
of
the
FUNCTION
mode
can
be
controlled.

FUNCTION MODE
ө FUNCTION Mode .... Applying Effects
The FUNCTION mode permits tuning, pitch bend, modu-
lation, and application of other effects while playing, as
well as voice data load/save operations.
Press the key to enter the FUNCTION mode.
Setting controller range parameters, etc., is carried out
using the DATA ENTRY controls.
€ Function parameters are memorized and maintained
even when power to the DX9 is cut off. Unlike voice
data, however, function parameters cannot be saved in
internal or external memory.
OPERATOR ON РЕШЕ. con ALGORI
/FEEDB:
СО p d B
MASTER | POLY/MONO i BEND MODE TIME .
TUNE A ANGE PORTAMENTO =
OSCILLATOR EG
OPERATOR FREQUENCY FREQUENCY DETUNE/
SELECT COARSE SYNC RATE
RANGE PITCH AMPLITUDE ЕС BIAS RANGE
MODULATION WHEEL BREATH
Function Parameter
® MASTER TUNE
NN
MASTER
TUNE ADJ
MASTER TUNE adjusts the overall tuning of the DX9 to
match its pitch with other instruments, Pitch is variable
over a 150 cent range. Press| MASTER TUNE] and then use
the linear DATA ENTRY control for tuning.
DATA ENTRY
Only the linear control in
the DATA ENTRY sec-
tion functions for
MASTER TUNE. F ine
adjustments using the +1,
—1 keys is not possible.
CN CNN
e POLY/MONO
AN
POLY/MONO
Determines whether the DX9 will function in the poly-
phonic or monophonic mode. Press the DATA ENTRY
key for polyphonic operation, and the key for
monophonic operation.
€ The range of the portamento effect is different in the
polyphonic and monophonic modes. Refer to the
PORTAMENTO section below.
«6»
e PITCH BEND RANGE
в
PITCH BEND
RANGE
The range of pitch bend can be set from O to 12. 0 range
is equivalent to no pitch bend. A setting of 12 permits
pitch bend over а +1200 cent (2 octave) range. If the range
is set at 7, then pitch bend will be possible over a +700
cent range (i.e. plus or minus one fifth).
Pitch bend wheel
Add pitch bend effects
• PORTAMENTO
4 b |
MODE TIME
PORTAMENTO
The portamento effect varies according to whether the D X9
is in the polyphonic or monophonic mode.
MONOPHONIC MODE:
In this mode press the DATA ENTRY key to activate
“FINGERED PORTA”. In this mode the legato effect is
applied only when a second note is played while a previ-
ously played note is still held.
Press the DATA ENTRY key to activate "FULL TIME
PORTA". In this mode portamento is always applied.
POLYPHONIC MODE:
In the polyphonic mode "FULL TIME PORTA" is always
activated.
TIME:
Adjusts the speed of the portamento effect from O to 99.
A O setting results in no effect, while a setting of 99 pro-
duces the longest (slowest) portamento.

€ [he portamento effect can also be turned ОМ or OFF
using an optional FC-4 ог FC-5 foot pedal once the
portamento function has been turned on in the "FULL
TIME PORTA" mode. Pressing the foot pedal turns the
effect ON. The effect is OFF when the foot pedal is
released.
The portamento effect cannot be turned ON or OFF
in the “FINGERED PORTA” mode.
€ An FC-4 or FC-5 foot pedal can also be connected for
sustain pedal control. In the monophonic mode, a key
pressed while another key is held will take priority, and
the sustain effect will apply to the new key.
Releasing the pedal turns the sustain effect OFF.
• CASSETTE
EM M M |
SAVE /VERIFY LOAD LOAD SINGLE REMOTE
CASSETTE
These keys permit saving all 20 internal memory voices to
an external cassette tape, or loading 20 voices or a specified
single voice from an external cassette tape.
SAVE/VERIFY, LOAD, LOAD SINGLE, and REMOTE
keys are provided. Refer to the STORE/SAVE/LOAD
instructions on page 17.
SAVE/VERIF Y:
The SAVE function saves all 20 voices in the internal
memory to an external cassette tape, while the VERIFY
function checks to make sure that all the voices were prop-
erly saved.
Pressing the key repeatedly alternates
between the "SAVE TO TAPE?” and "VERIFY TAPE?”
displays.
LOAD:
This key permits loading 20 voices at a time from an
external cassette tape into the internal memory.
LOAD SINGLE:
This key permits loading a specified single voice from a
group of voices previously saved on a cassette tape. The
number of the voice in the group from which the desired
voice will be loaded must be specified (1 — 20).
REMOTE:
This key permits remote control of cassette recorders that
have a REMOTE terminal. Normally when the cassette
recorder's remote terminal is connected to the D X9, the
tape will not run until! either the LOAD or SAVE function
is initiated even if the Play or Record controls are engaged.
The REMOTE function makes it possible to start or stop
the tape to facilitate locating the beginning of voice groupes,
etc,
ө MODULATION WHEEL / BREATH CONTROLLER
m je Ре je |
RANGE PITCH AMPLITUDE EG BIAS
MODULATION WHEEL
е |е |” |е |
RANGE PITCH AMPLITUDE EG BIAS
BREATH CONTROL
The modulation wheel or breath controller can be used to
control LFO modulation depth applied to pitch, amplitude
or envelope producing controllable tremolo or vibrato
effects while playing. Setting the RANGE, PITCH, AM-
PLITUDE and ENVELOPE GENERATOR BIAS para-
meters for each controller is basica!ly the same process, so
we'll concentrate mainly on the MODULATION wheel.
Since LFO modulation is the effect in question, the voice
used must have non-zero set for PITCH and/or AMPLI-
TUDE MODULATION SENSITIVITY parameters in the
EDIT mode.
Hefer to the MODULATION SENSITIVITY section on
page 13 for details.
1. MODULATION WHEEL
To add modulation effects Ag
0 . “оу
RANGE:
Range can be set from 0 to 99. No effect is produced with
a O setting, and a setting of 99 produces maximum effect.
PITCH:
Determines whether LFO modulation is applied to pitch.
Pitch is modulated if ON, and not modulated if OFF.
AMPLITUDE:
Determines whether LFO modulation is applied to ampli-
tude. Amplitude is modulated if ON, and not modulated
if OFF.
<7>

б
ЕС (ENVELOPE GENERATOR) BIAS:
When EG BIAS is ON, volume or brilliance (wow) variation
effects can be added with the controllers by varying the
level of each operator's envelope generator. MOD. SENSI-
TIVITY (AMPLITUDE) is used to set the sensitivity
(refer to page 13.)
Applying EG BIAS to a modulator results in brilliance
effects, while applied to a carrier it results in volume
variation effects. іп some cases, if the carrier sensitivity
is maximum and the controller is set to its minimum, no
sound will be produced.
As for “modulator” and "'carrier"", refer to the FM TONE
GENERATION section on page 9.
2. BREATH CONTROL
The LFO modulation effect programmed can be controlled
using an optional BC1 breath controller. The effect is
controlled by blowing into the ВС1 mouthpiece. The
effect will not be audible unless breath is applied to the
controller.
Controls the effects according force Е
of breath applied to mouthpiece ~
Breath controller
(BC1)
e EDIT RECALL / VOICE INIT
Pressing this key alternately switches to EDIT RECALL
and VOICE INIT.
EDIT RECALL
/ МОСЕ INIT
EDIT RECALL:
This function makes it possible to recall a voice that was
previously being edited or created.
If, for example, the PLAY mode is accidentally or pur-
posely entered while editing, the voice that was being
edited can be recalled with this function.
If the key is pressed, the display shows
"EDIT RECALL?'. Pressing the DATA ENTRY
key then causes the "АНЕ YOU SURE?” display. Verify
by pressing the key again, and the voice previously
being edited will be restored.
«8»
VOICE INIT (Voice Initialize):
This function sets up the basic voice data for creating new
voices. Press the[VOICE INIT]key and the display panel
will read “VOICE INIT?" Press the key and the
ОХ9 will respond with "ARE YOU SURE?" Verify by
pressing the key second time. This sets up the basic
voice data and activates the DX9 EDIT mode.
e BATTERY CHECK
A backup battery power supply is built into the DX9 so
that voice data will be maintained even when power to
the instrument is off. The state of the backup system can
be checked by pressing the
key. The operational battery voltage range is from 2.2 volts
to 3.3 volts. If the backup battery voltage drops below 2.2
volts, replacement of the backup system is necessary. The
backup system consists of special batteries which can be
replaced only by a Yamaha dealer. Contact your nearest
Yamaha dealer when replacement becomes necessary.
@ MEMORY PROTECT
MEMORY
PROTECT
The 0Х9% internal MEMORY PROTECTION function will
prevent any accidental erasure of the internal voice data.
You will first have to turn the MEMORY PROTECT OFF
in order to STORE or LOAD the voice data. Also, do not
forget to turn the MEMORY PROTECT function back ON
after storing or loading operation.
(Please refer to page 17)

FM ТОМЕ GENERATION
FM Tone Generation. . . . Understanding the Basics
The DX9 is an entirely new type of synthesizer employing
an entirely new FM digital tone generation system. This
unique Yamaha system permits finer control over subtle
musical nuances and vastly expanded voice creation poten-
tial compared to conventional synthesizers.
1. The Meaning of FM
FM stands for Frequency Modulation. FM radio broadcasts
use the same principle. One signal—the modulator—modu-
lates a second signal—the carrier.
In FM radio the carrier is an extremely high “ratio” fre-
quency and the modulator is the music signal to be braod-
cast. In effect, the carrier "carries" the modulator signal
through the atmosphere to your receiving antenna.
FM broadcasting
Carrier wave
(signal to be modulated).
Sound signa!
(modulator signal)
Extremely high carrier/
FM
signal
(modulated
signal)
modulator
frequency
ratio. The "density" of
the transmitted carrier
waveform varies accord-
ing to the modulating
signal.
Sue rp
Loose wave Dense wave
The FM tone generator system is similar in principle, but in
this case both the carrier and modulator are audible signals,
and their frequencies can be almost equal.
FM tone generation
(sound to be modulated)
Modulator
(modulator signal)
FM sound (modulated sound)
Close carrier/modulator
frequency ratio resuits
in FM sound.
«9»
2. FM Tone Generation In the DX9
In the DX9, the carrier signal determines the pitch of the
note produced and modulator determines the shape of the
waveform produced and therefore its tirnbre. This explana-
tion may make it look like the carrier and modulator are
two entirely separate things. іп fact, they are one and the
same. A special oscillator unit called an “operator” can be
used as either a carrier or modulator in the DX9.
Operator
Pitch
frequency data
Output
Modulation data
The frequency data and
modulation data аге
combined here
Envelope data
1} Pitch Frequency Data
Pitch
frequency
data
from
the
DX9's
microcomputer
sys-
tem
determines
the
operator's
oscillation
frequency.
When
the
operator
is
used
as
a
carrier,
this
frequency
is
equivalent
to
the
pitch
of
the
note
produced.
When
the
operator
is
being
used
as
a
modulator,
the
ratio
of
its
frequency
to
that
of
the
carrier
determines
the
timbre
of
the
note
produced.
2) Modulation Data
This is the modulation data received from the previous
operator's (modulator) output.
3) Envelope Data
When the operator is used as a carrier the envelope data de-
termines the volume envelope of the note produced. When
the operator is used as a modulator the envelope data de-
termines the timbre envelope of the note produced.
For example, the pitch frequency data applied to an oper-
ator used as a carrier determines the frequency of the sine
wave
output
from
the
operator.
inputting
envelope
data
results in an output waveform similar to that shown in the
figure.
TUN ЛАЛА, Sine wave
Numerical
value
/ \ Envelope data

• Basic Operator Functions
1) Relationship of Carrier to Modulator
An operator can be used as either a carrier or modulator.
These two basic operator functions are the basis for the FM
tone generation system. Two operators can be combined in
two different ways.
1. Modulator and carrier combinations
Carrier
PITCH
L
Modulator
PITCH — OP 1 OP2
MOD.
2. Carrier and carrier combinations
PITCH ——
Carrier
Output
PITCH ——> OP2
Carrier
3) Modulator and Carrier
In the modulator/carrier configuration using two operators,
shown in the figure, the operator on the left is the modu-
lator and the operator on the right is the carrier. In the FM
system, the last operator in a chain of two or more oper-
€ Modulator and carrier combinations
Operator 1
Output
2) Carrier and Carrier
This configuration results in a pure sine wave output from
both operators. The combination of these waveforms can
sound much like a conventional organ.
• Carrier and carrier combinations
Operator 1
Output
Operator 2
ators is the carrier. By varying the ratio of the modulator
and carrier frequencies, and by varying the envelope of the
modulator, an extremely broad range of highly complex
waveforms (complex harmonic structure) can be created.
PITCH Operator 2
Carrier
«10»

Examples of output waveforms
e Modulator and carrier combinations
Frequency ratio of modulator to carrier equals 1:1
e Carrier and carrier combinations
Frequency ratio
+1
Carrier 1
| 1
ix Output
к” wave form
1
Carrier 2
Frequency of modulator to carrier equals 2:1
*1 \
Carrier 1
i о
7 - save Tor
2
Carrier 2
Frequency of modulator to carrier equals 3:1
+1 Carrier 1
1
Output
wave form
+
3
Carrier 2
3. Algorithms .... Combining Several Operators
The DXO9 has a total of four operators. The way in which
these operators are combined is known as an “algorithm.”
The DX9 has 8 different pre-programmed algorithms. The
8 algorithms are displayed graphically on the control panel.
Takina algorithm number 5 as an example, the lowest two
operators—1 and 3— are carriers. The two operators above
the carriers will function as modulators. The output of
operator 4 is fed back (feedback) to its input.
Algorithm 5
Divided in two sections
. . . . . . Г
The above is а brief decription of the internal workings of Modulates !
the FM tone generator system. By varying the pitch fre- € бден nd
В . ee A SS === а
quency, modulation and envelope data it is possible to | |
edit pre-programmed voices or to create entirely new dex Mae : Carrier
voices.
<I I>

EDIT MODE
e EDIT MODE .... Creating Voices
[he EDIT mode can be used to edit pre-programmed
voices or to create entirely new voices. Press the [EDIT/
COMPARE] function key to enter the EDIT mode.
Edit Mode Parameter
WAVE SPEED DELAY
MODE SAVE /VERIFY LOAD
PORTAMENTO CASSETTE
EG KEYBOARD SCALING
o d
w |" о LEVEL
EG BIAS RANGE PITCH E EG BIAS
BREATH CONTROL
Setting and modifying parameters is carried out using the
DATA ENTRY controls just as in the FUNCTION mode.
A small dot will appear next to the voice number in the
display if any data is modified. The original voice can be
recalled at any time while editing by pressing the
key again. The voice number will
flash indicating that you are hearing the original voice.
To continue editing press the button
again.
Now for an explanation of the DXQ’s functions and opera-
tion.
ө The indicators display for EDIT mode
The number of the al-
gorithm which is being
used for that particular
preset voice
Display the current
state of the operators
from OP1 through OP4
begining at the left
Voice
number
The dot will appear
when any data has
been modified.
The operator selected
will be displayed only
for the parameters that
can modified
Displays each
parameter
e OPERATOR ON-OFF/EG COPY
OPERATOR ON-OFF/EG COPY
1 2
3 4
In the EDIT mode these keys permit turning any of the
operators on or off, and copying the EG data of any
operator to any other operator (EG COPY).
OPERATOR ON-OFF:
Pressing keys through [4] will result in the
corresponding operator being turned OFF, indicated by a
"O' in the appropriate location on the display panel (the
group of four 1's and/or 0% corresponds to operators 1
through 4). Press the key again to turn the operator back
on-indicated by а "1" on the display.
1: Signifies that the operator is activated
0: Signifies that the
x operator is disabled
—^——
ALG 4 1108 ОР2
RATE SCALING = ü
* No sound will be produced
if the carrier operators
have all been disabled.
EG COPY:
This function copys the EG data from one operator to
another. While holding the selector key, press
the number of the operator from which you want to
copy EG data.
The display pane! when the
Store key has been pressed.
While pressing
STORE
XN key, | `
1 4
с press the key for the operator
1 ~ |4 M Сх number that you wish to copy.
KA
Eo.
This signifies that the
EG COPY EG data of OP2 are
from ОР? to СІРІ being copied to OP1.
* ALGORITHM / FEEDBACK
Pressing this key alternately switches to ALGORITHM
and FEEDBACK.
ALGORITHM
/FEEDBACK
ALGORITHM:
This key permits selection of one of the 8 algorithms.
Press the DATA ENTRY key to increment (advance)
the number of the selected algorithm, and the key
to decrement the algorithm number. The slide control
can be used for lager variations.
This value wil! change,
ГА
HLG 1 1188
ALGORITHM SELECT

FEEDBACK:
One operator in each of the 8 algorithms has its output fed
back to its input. This is the feedback operator. The
amount of feedback applied can be adjusted over a range
of 0 to 7. By increasing the FEEDBACK level the harmon-
ics are increased, resulting in the generation of noise-like
sounds.
RLG 1 1111
FEEDBRCK
This value wiil change
Set the feedback level
from ga t di to uy d
e LFO
LFO
WAVE SPEED DELAY PMD/ AMD
в № |
The Low Frequency Oscillator produces low-frequency
sine, saw-tooth or square waves, or a SAMPLE/HOLD
waveform. The LFO waveform can be used то арр!у vibrato,
tremolo ог "мом" effects to the voices. The amount of
LFO modulation applied can be controlled using the
modulation wheel, or breath controller once appropriate
WAVE,SPEED and DELAY parameters are set. (Refer to
page 26)
WAVE:
This selects the waveform output by the LFO. Any of the
six waveforms shown below can be selected.
ALG 4 1111
СЕО WAVE=TRIANGL
This display will change
TRIANGL : Ж (Triangular wave)
SAW DWN : УМ. (Number 1 sawtooth waveform)
SAW UP : Я (Number 2 sawtooth waveform)
SQUARE : ГИ Square wave
SINE А ‘NU Sine wave
S/HOLD Sample and hold
HLG 1 1111 HLG 1 1111
LFO DELAY = 99
This value will change
LFO SFEED
SPEED:
The speed (frequency) of the LFO can be set from O to
99, O is the slowest L FO speed while 99 is the fastest.
DELAY:
This creates a delay between initial key closure and ap-
plication of LFO modulation. A setting of O results in no
delay — LFO modulation begins the instant a key is pressed
— and a setting of 99 creates the longest delay.
PMD/AMD:
Pressing this key alternately switches to PMD and AMD.
HLG 1 1111 HL3 4 1111
LFO PM DEPTH- 39||LFO AM DEPTH- 9
Шы See value will a2
PMD (Pitch Modulation Depth):
Varies, over a O to 99 range, the depth of LFO modulation
applied to pitch. A O setting produces no pitch modulation,
and a setting of 99 produces maximum modulation.
The PMD function is separate from the effect of the con-
trollers, and can be used to apply vibrato effects that are
entirely independent of the controller settings.
AMD (Amplitude Modulation Depth):
Varies, over a O to 99 range, the depth of LFO modula-
tion applied to amplitude. A O setting produces no ampli-
tude modulation, and a setting of 99 produces maximum
modulation.
The AMD function is separate from the effect of the con-
trollers, and can be used to apply tremolo effects that are
entirely independent of the controller settings.
* MODULATION SENSITIVITY
MOD SENS.
PITCH/ AMP
This adjusts the sensitivity (depth) of pitch and amplitude
modulation. This parameter must be greater than O before
any amplitude or pitch modulation can be applied.
Be sure to check this parameter before using the modula-
tion wheel or other controllers.
ALG 1 1111
P MOD SENS. = 1j||R MOD SENS. = ё
= This value wiil change "E
ALG 1 1111 ОР!
PITCH:
Sensitivity to pitch modulation is variable from O to 7.
This value sets the modulation sensitivity for all oper-
ators. Applying pitch modulation results in vibrato type
effects.

AMPLITUDE:
sensitivity to amplitude modulation is variable from O to 3.
Amplitude modulation sensitivity is set independently for
each operator. Applying amplitude modulation to a mod-
ulator creates "мом" effects, while applied to a carrier it
results in tremolo effects.
Operators are selected using the {OPERATOR SE-
LECT] key. Pressing the (OPERATOR SELECT] key
successively selects the operators in order from 1 to
4. The number of the selected operator is displayed
in the upper right hand corner of the display panel.
Operators that are turned OFF wil! be "skipped"
and the number of the next active operator will be
displayed.
OPERATOR
SELECT
Depress to select m |
Disabled operator the operator
cannot be selected
e OSCILLATOR
OSCILLATOR
Capes БИБЕМЕМӘК БӨКЕ
= s је |
These keys set the pitch data for each operator.
HLG 1
1111 ОРІ Аб |
Е СОНЕЗЕ= 1,88
1111
!
L— This value will change j
FREQUENCY COARSE/FREQUENCY FINE:
The oscillation frequency of each oscillator is set using the
FREQUENCY COARSE | and [FREQUENCY FINE] keys.
With a value of 1.00 as standard (8 feet), the FREQUENCY
COARSE control can be used to set the frequency between
0.5 and 32 times. The FREQUENCY FINE control then
permits fine frequency adjustment between 1 and 1.99
times.
DETUNE / SYNC:
Pressing this key alternately switches to DETUNE and
SYNC.
ALG 1
OSC ПЕТИНЕ
This value will change |
1111. ОР |8Ш3 1 1111
РОС КЕ УНС ТЕР
This display will change
DETUNE:
The operator frequencies as determined by the FRE-
QUENCY COARSE and FREQUENCY FINE controls can
be detuned over a —7 to +7 range.
47
Positive pitch detune
О +—\ Frequency set with the
frequency coarse and fine
controls
Negative pitch detune
—7
SYNC (Synchronize):
When the SYNC function is ON, all operators begin oscilla-
tion from the same phase angle (0 degrees). With SYNC
OFF the phase angle at which an operator begins oscilla-
tion is carried over smoothly from the preceding note. In
the polyphonic mode, for example, maximum simultaneous
output is 16 notes. If a 17th key is pressed the first note
makes a smooth transition to the 17th note.
16 notes at once |
| |
First note ——— —— —— — First note fades away
|
Second note Se
|
|
|
Sixteenth To t ———————M—————————————— MÀ
|
Seventeen note |
---
|
When on, oscillation
will
always
begin
KEY
ON
from
О
phase
V
|
|
|,
|
|
| When off, а smooth
| transition occurs to
| the next note
-4—— Previous note ——»/«——— Next note ——
І
€ EG (Envelope Generator)
EG
RATE LEVEL
5 |“ |
The envelope generator determines how the amplitude
(volume) or timbre (tone) of a note will vary over time.
Envelope modulation of a modulator results in time-based
timbre variations, while envelope modulation of a carrier
produces amplitude variations.
<14>

The parameters which determine the “shape” of the enve-
lope are RATE 1 through RATE 4 and LEVEL 1 through
LEVEL 4. The RATE parameters determine how long it
takes the envelope to reach one LEVEL from another.
The envelope applied to each operator can be set individual-
ly, permitting an essentially infinite range of envelope
combinations.
LEVEL 1
RATE 1 LEVEL 2
LEVEL 3 RATE 4
(LEVEL 4) LEVEL 4
|
|
1
i
KEY ОМ KEY оғғ|
Tone will change
EG
Carrier
OUT
Volume will change
ALG 1 1111 БРИН i 1111 ОРІ
ЕЗ FATE із ЗЕБ LEUEL |= 93
E This value will "OPES,
RATE:
Pressing the key successively selects RATE para-
meters 1 through 4. Each RATE parameters can be set
from 0 to 99, А O setting produces the longest (slowest)
RATE, and a 99 setting produces the fastest RATE.
LEVEL:
Pressing the key successively selects LEVEL
parameters 1 through 4. Each LEVEL parameter can be
set from O to 99. O is no output, while 99 is maximum
level.
€ Normally LEVEL 4 will be set at “0”. In this case
LEVEL 1 should be greater than “50” to ensure proper
EG operation.
e KEYBOARD SCALING
KEYBOARD SCALING
RATE LEVEL
The EG RATE and LEVEL parameters can be varied as
the frequency of the notes increases.
1111 ПРИТАСб 1
RATE SCALIHG= Ш SCAL
PS value will change
ALG 1
<15>
RATE:
The EG RATE of each operator can be set to get shorter
as the frequency of the notes increases -- similar to a piano.
RATE can be set from O to 7.
LEVEL:
The EG LEVEL of each operator can be set to decrease as
the frequency of the notes increases.
LEVEL can be set from O to 99.
€ OPERATOR
amer
ALG
1
1111
LEVEL
Permits setting the output level of each operator.
OUTPUT LEVEL:
Controls overall EG level, like the EG DEPTH controls in
conventional synthesizers. OUTPUT LEVEL can be set
between O and 99.
For example, if a specific operator is found to be unneces-
sary once a voice has been created, its output level can be
set to 0.
€ Since the OPERATOR ON-OFF function operates
only in the EDIT mode and OPERATOR ON-OFF
data is not stored in memory, the OUTPUT LEVEL of
all unnecessary operators should be set to 0.
This value will change ME.
In order to maintain constant overall output level even
when changing algorithms, the output level of al! the
carrier operators have been preset to a suitable value.
• KEY TRANSPOSE
KEY
TRANSPOSE
Transposes pitch over a +1 octave range in semitone steps
with C3 as standard. Press the , and
then the keyboard key corresponding to the desired
amount of transposition according to the illustration on
page 16. To transpose up one octave, for example, press
{пе | KEY TRANSPOSE | key and then press C4 on the key-
board.
This value will change B

KEY TRANSPOSE
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«16?

STORE/SAVE/LOAD
STORE/SAVE/LOAD
The DX9 used the following functions to move voice data
from one location to another:
1. STORE
Stores a voice being edited in the "edit buffer” into one
of the preset memory locations.
2. SAVE
Saves all 20 voices from the internal memory onto an
external cassette tape.
3. LOAD
Loads a entire block of 20 voices or a single voice from
external cassette tape into the internal memory.
€ SAVE/LOAD Cautions
Note the following points when loading voices from the
supplied voice tape or when saving or verifying newly
created voices onto a tape:
1) The supplied voice data cassette tape (master tape) con-
tains the same data on both sides A and B. However, the
method in which the recordings were made differs be-
tween sides A and B to provide compatibility with all
types of cassette tape recorders. 1? an error occurs during
a LOAD operation, and if adjusting the level (volume)
fails to correct the error, reverse the cassette tape and
LOAD the data from side B. This should correct the
probiem.
During a SAVE or LOAD operation, don't pick the tape
recorder up and move it, and don't subject it to a shock
of any kind. Be careful not to touch the connections
either, since doing so may cause an error,
3) Always use the same cassette recorder when handling
DXO9 data. Using a different tape recorder may make
LOAD operations difficult to execute.
it's a good idea to make a backup copy of the master
voice data cassette tape, and always use your backup
copies for day to day operations. That way, if your
tape is damaged in any way, you can always make
another new backup copy from the master. Refer to
the section on loading data. When making a backup
copy, LOAD the data from the master tape into the
DX9 memory, group by group. Then, put a fresh tape
in the cassette recorder and read the data back onto
the new tape with the SAVE command.
Before you SAVE voice data onto a cassette tape, index
the tape by making a microphone recording of the
information you need prior to the start of voice data
recording on the tape.
Its not possible to copy voice data from one tape to
another by dubbing the tape between cassette recorders.
Always LOAD the data into the DX9 memory first,
then SAVE it on a fresh cassette tape.
«17»?
1. MEMORY PROTECT
When voices are loaded from external cassette tape or
edited voices are stored in memory, the previous voice is
erased. Turning the MEMORY PROTECT function ON
makes it impossible to accidentally erase voice data. MEM-
ORY PROTECT must be turned OFF in order to carry
out any LOAD or STORE operation. MEMORY PROTECT
is automatically turned ON whenever the instrument's
power switch is turned ON. Always be sure to turn the
MEMORY PROTECT function back ON after loading or
storing voices,
FUNCTION
Set to Function
mode, and press the
РЫНСТІОН CONTROL
MEM. РЕОТЕСТ: ОРЕ
\
Data Entry controls
NO YES
Set the display to с
st ғғ oe ff E n MURS
ON” or “OFF”, \
OFF ON \ A
~ >
\.
2. STORE
Voices that have been edited or entirely new voices аге
not automatically programmed into one of the internal
memory locations. Voices are edited and created in a
buffer, and must be STORED in one of the memory
locations for use.
1) Turn MEMORY PROTECT OFF.
2) Press MEMORY SELECT, then hold the key
and press the preset key to which you want to program
the new voice.
FUNCTION
NO
|
|
Set
to
20
|
34
Function
mode,
| |
|
MEMO
OFF
PROTEC
MEMORY
and
set
the
Memory
Protect
SELECT
to
"O
FF”.
[
№
|]
Press
the
Memory
Select
Key.
STORE
|
|
|
с
|
|
^
|
1
хх“
X
oN
20
E
While
pressing
“
У
h.
А
the
Store
key,
“-
ve
press the key for the voice
number to be stored.
When a voice is STORED in this manner, the voice data
that was previously in that memory location is erased, so
be sure that you either have a copy of the voice on tape
or don't need the voice before erasing it with a STORE
operation. Be sure to turn MEMORY PROTECT back on
after the STORE OPERATION.

® Connecting a Cassette Recorder
Connect the cassette recorder to the DXO9 using the
supplied connection cable as follows:
Connections
Handytype
Cassette tape
recorder
to the EARPHONE jack
— ——c—diT Imm
М б White cord
to the MIC jac
7ш Red cord
to the REMOTE jack
cu] 1 УП
Black cord
1) Connect the DX9 “IN” terminal and the cassette
recorder’s “EARPHONE” or “HEADPHONE”
jack with the white cord.
2) Connect the DX9 "OUT" terminal and the cas-
sette recorder's “MIC” jack with the red cord.
3) Connect the DX9 “REMOTE” terminal and the
cassette recorder's “REMOTE” terminal with the
black cord. (No connection required for cassette
recorders that do not have a REMOTE terminal)
«18»
3. SAVE
The SAVE functions saves all 20 voices in the internal
memory to an external cassette tape.
1) Make sure the cassette recorder is connected properly
and load the cassette tape to which you wish to SAVE
the DX9's internal voices.
2) Enter the FUNCTION mode and set the display to read
"SAVE TO TAPE? " using the key.
3) Press the key and the display will read “from
MEM to ТАРЕ all ready? ”. Press the [YES] key again
and the “ready” portion of the display will disappear
and the SAVE operation will begin.
Press the
7
РМНСТТОН
CONTROL
NIE
SAUE
ТО
TAPE
^
Press
the
Е
from
MEM
ta
TAPE
EAS
Key
all
read
Press
the
ES from MEM to TAPE
ái TT again al ]
The "ready" portion will disappear
and Save operation will begin.
4) After a brief pause a number "1" wil! appear in place of
“ready” indicating that the first voice is being saved.
Each voice is indicated as it is saved (1—20).
When the SAVE operation is completed, the display will
read "VERIFY TAPE ready? ''.
4. VERIFY
The VERIFY funcion checks to make sure that all the
voices were properly saved on external cassette tape by a
SAVE operation. It is advisable to always use the VERIFY
function after saving a group of voices to prevent accidental
loss of voices due to improper connections or other faults
during the SAVE process. Also, be sure to VERIFY the
same group of voices that were saved or an ERROR mes-
sage will result.
1) Set the cassette tape to the beginning of the voice
group to be verified.
2) Make sure that the cassette recorder headphone jack
is properly connected to the DX9.
3) Press the cassette recorder PLAY button, then press
the DX9 key. The tape will begin to play and a
pitot tone will be heard.

4) Adjust the cassette recorder volume control so that
the pilot tone is at a comfortable listening level.
>
Yi
5) When the data signal begins (a discontinuous tone)
the bottom right hand corner of the display should
read "1" through “20” as each voice is verified. When
verification is complete the display will read "OK"
followed by “VERIFY COMPLETED”.
ТАРЕ
1 ~ Display will read
"1" through 207
VERIFY
МЕРІРУ
ПК!
Display shows indicats “ОҚ!”
The VERIFY operation can be carried out directly
(not necessarily immediately following a SAVE opera-
tion) by using the key to set the
display to “VERIFY TAPE?” in the FUNCTION
mode.
е REMOTE
Normally when the cassette recorder’s remote termi-
nal is connected to the DX9 with the FUNCTION
CONTROL TAPE REMOTE OFF, the tape will not
run until either the LOAD or SAVE function is initi-
ated even if the Play or Record controls are engaged.
The REMOTE function makes it possible to start or
stop the tape to facilitate locating the beginning of
voice groups, etc.
1) Press the [REMOTE | key.
FUNCTION COHTROL
TAPE REMOTE = OFF
2} Press пе [ОМ] Кеу.
FUHCTIOH CONTROL
TAPE REMOTE % ОН
CS
REMO
This turns remote control ON so the tape recorder
can be run as required.
«19?»
5. LOAD
Two types of LOAD functions are provided: LOAD, with
which an entire group of 20 voices is loaded, and LOAD
SINGLE, with which any desired single voice can be loaded.
1) LOADing an entire 20-voice group.
(1) Make sure the cassette recorder is properly con-
nected to the DXO9, insert the cassette containing the
desired voice group, and set the tape to the beginning of
that voice group (disengage the remote control function
to do this). Stop the cassette recorder.
(2) Turn MEMORY PROTECT OFF.
FUNCTION CONTROL] 2“ US |
MEM. PROTECT: OFF
(3) Press the key and then the[ YES] key and
the display will read "from ТАРЕ to MEM all ready? ”
(the remote control function is re-engaged).
(4) Make sure the cassette recorder's headphone jack
is connected to the DX9 and press the cassette recorder
PLAY button.
(5) Press the[ YES] key and the “ready?” portion of the
display will disappear, the tape will begin to run, and the
pilot tone will be heard.
(6) Adjust the cassette recorder volume control to set
the pilot tone at a comfortable listening level.
(7) When the data signal begins the bottom right hand
corner of the display will read 417 through “20” as the
corresponding voicesare loaded into the internal memory.
from TAPE to МЕМ
all 114-
(8) When the LOAD operation is completed the DX9
PLAY mode will be engaged and the cassette recorder
will stop.
Display will read
4% through "20"
€ Using a Cassette Recorder with Мо ВЕМОТЕ Terminal
The SAVE and LOAD procedures are basically same for
cassette recorders with or without a REMOTE terminal.
When there is no REMOTE terminal, the cassette recorder
must manually be set to the record or play mode after the
SAVE | ог | LOAD | and keys have been pressed
("ready?'' display).