Yamaha DX7s Manual de usuario

Yamaha
Marca
Yamaha
Modelo
DX7s
Categoría
Sintetizador
Tipo
Manual de usuario
YAMAHA
DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER
OWNER’S MANUAL
SUPPLEMENTAL MARKING INFORMATION
Yamaha Digital Musical Instrument Products will have either a label similar to the graphic shown below or a molded/stamped
facsimile of the graphic on its enclosure. The explanation of these graphics appears on this page. Please observe all cautions
indicated.
The Exclamation point within an equila-
teral triangle is intended to alert the user
to the presence of important operating
and maintenance (servicing) instructions
in the literature accompanying the pro-
duct.
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL
The lightning flash with arrowhead sym-
bol, within an equilateral triangle, is in-
tended to alert the user to the presence
of uninsulated “dangerous voltage”
within the product’s enclosure that may
be of sufficient magnitude to constitute
a risk of electric shock to persons.
SPECIAL MESSAGE SECTION
ELECTROMAGNETIC INTERFERENCE (RFI): Your Yamaha
Digital Musical Instrument Product has been type tested and
found to comply with all applicable regulations. However,
if it is installed in the immediate proximity of other electronic
devices, some form of interference may occur. For additional
RFI information see FCC information section located in this
manual.
IMPORTANT NOTICE: This product has been tested and
approved by independent safety testing laboratories in order
that you may be sure that when it is properly installed and
used in its normal and customary manner, all foreseeable
risks have been eliminated. DO NOT modify this unit or
commission others to do so unless specifically authorized
by Yamaha. Product performance and/or safety standards
may be diminished. Claims filed under the expressed war-
ranty may be denied if the unit is/has been modified. Implied
warranties may also be affected.
SPECIFICATIONS SUBJECT TO CHANGE: The information
contained in this manual is believed to be correct at the time
of printing. Yamaha reserves the right to change or modify
specifications at any time without notice or obligation to
update existing units.
NOTICE: Service charges incurred due to a lack of know-
ledge relating to how a function or effect works (when the
unit is operating as designed), are not covered by the
manufacturer’s warranty. Please study this manual carefully
before requesting service.
STATIC ELECTRICITY CAUTION: Some Yamaha Digital
Musical Instrument products have modules that plug into the
unit to perform various functions. The contents of a plug-in
module can be altered/damaged by static electricity dis-
charges. Static electricity build-ups are more likely to occur
during cold winter months (or in areas with very dry cli-
mates) when the natural humidity is low. To avoid possible
damage to the plug-in module, touch any metal object (a
metal desk lamp, a door knob, etc.) before handling the
module. If static electricity is a problem in your area, you
may want to have your carpet treated with a substance that
reduces static electricity build-up. See your local carpet
retailer for professional advice that relates to your specific
situation.
Model
Serial No.
Purchase Date
This information on safety is provided to comply with U.S.A. laws. but should be observed by users in all countries.
Welcome
Welcome to the DX7s, the newest member of the growing family of FM digital
synthesizers from Yamaha. Using the industry-standard DX7 as its starting point, the
DX7s offers a number of important new features, such as improved sound quality,
additional FM features, new performance options, and improved controls.
Since there is so much material available on the DX7 family of synthesizers (and on the
theory of FM digital synthesis), this manual will not be an FM tutorial. Instead, it has
been designed to be a “users manual” in the truest sense — its goal is to help you make
music with your new DX7s as quickly as possible.
If you are already familiar with the operation of the original DX7, this manual will help
you make the transition to the DX7s in short order. On the other hand, if this is your first
FM digital instrument, this manual will guide you into the operation of your new
synthesizer with easy-to-follow, step-by-step instructions and explanations.
After you are comfortable with the operation of your new synthesizer, you may want to
explore the fascinating world of FM digital voicing. If so, consult the extensive list of
reference works on FM synthesis listed in the bibliography at the back of this manual.
Tips
The DX7s has been designed for years of trouhle-free use. In order to ensure that it
remains a healthy member of your family
of
musical instruments, please keep the
following tips in mind:
Installation:
When setting up the DX7s in your home or studio, avoid exposure to direct sunlight or
other sources of heat. Environments with excessive dust, cold, dampness, or vibration can
also damage your instrument. Even though the DX7s is electronic, you should treat it with
the same kind of care you would lavish on any other musical instrument.
Also, since the DX7s is electronic, you should make sure not to set it too close to
equipment (such as a television set) that generates electromagnetic fields. Such proximity
could cause both malfunctions in the synthesizer’s digital circuitry and interference noise
in the other unit.
Handling:
The DX7s is sturdy, but it can do without rough handling. Don’t subject it to sudden jolts
(such as dropping it), as this can damage the internal circuitry. If you plan to travel with it,
be sure to use a road case. Also, make sure not to apply excessive force to any of the keys,
buttons, or other controls.
Cleaning:
To clean or dust your DX7s, use nothing more than a clean, slightly damp cloth. Using
chemical solvents will damage the finish, and using too much water may do considerable
damage to the internal circuitry.
AC Power & Other Equipment:
When you are using the DX7s with an amplifier or mixer that has unbalanced outputs,
connect both units to the same AC outlet to avoid hum.
If you use a number of electronic instruments in your setup, you may want to consult an
electrician, who can make sure that your system does not overtax the available power.
AC Power & Down Time:
Whenever the DX7s will not be used for an extended period of time, it is best to protect it
from potential disaster. Electrical storms and other natural or man-made disasters can give
rise to power surges, which may damage the digital circuitry of your DX7s — even if the
power is turned off. Either unplug your instrument when not in use, or invest in power
strips with surge protectors to safeguard all of your electronic equipment.
Service & Your Warranty:
The DX7s contains no user-serviceable parts. Opening it up or tampering with it in any
way will void the warranty, and may also lead you to experience some nasty electrical
shocks. If you have a problem with your instrument, please take it to an authorized
Yamaha service center.
Modifications & Your Warranty:
Unless you are assured to the contrary in writing, you should assume that any
modifications made to your DX7s will void the original product warranty. Therefore, you
should make sure that you receive a warranty (or some other kind of guarantee) from the
person or company that is responsible for the modification.
Contents
1
Section 1: Playing the DX7s
3
Getting Started
6
Setting the ROM Cartridge Banks
8
Exploring the DX7s Performance Library
12
Exploring the DX7s Voice Library
16
The Play Modes
17
Using Controllers with the DX7s
19
Section 2: Creating and Storing New Sounds
21
Creating New Sounds
26
Saving New Sounds
29
Section 3: Using the New Performance Features
31
Performance Edit Buttons
33 Basic Performance Parameters
36 Performance Controllers
38
Micro Tuning
41
Section 4: Using the New Voice Features
43
Voice Edit Buttons
52
Basic Voice Editing Functions
53
New Voice Parameters
55
Voice Controllers
57
Fractional Scaling
59
Section 5: Memory
Functions
61
Utility Buttons
64
Memory Layout
66 Memory Storage Types
68
Basic Utility Functions
69
Cartridge Memory Functions
71
Section 6: MIDI
Functions
73
MIDI Buttons
75
System Setup
77
MIDI System Exclusives
78
Immediate MIDI Program Change Out
79
Appendices
80
Appendix 1:
Supplemental
Information
81
Appendix 2: Bibliography
82
MIDI Implementation Chart
83
Blank Data Chart
Playing the DX7s
-1-
Contents
3
3
4
5
6
Setting the ROM Cartridge Banks
6
Inserting the ROM Cartridge
7
Selecting the ROM Banks
8
Exploring the DX7s Performance Library
8
Selecting the Internal Performance Memories
9
The Internal Performance Memories
10
Selecting the Cartridge Performance Memories
11
The Cartridge Performance Memories
12
Exploring the DX7s Voice Library
12
Selecting the Internal Voice Memories
13
The Internal Voice Memories
14
Selecting the Cartridge Voice Memories
15
The Cartridge Voice Memories
16
The Play Modes
16
Voice Mode and Performance Mode
16
Using the 1 ~ 32/33 ~ 64 Button
16
Using the Poly/Mono Button
16
Using the Key Shift Button
17
17
17
17
17
18
18
18
Getting Started
Making Audio Connections
Turning on the DX7s
Setting the Volume Slider
Using Controllers with the DX7s
Pitch Bend Wheel
Modulation Wheel
After Touch
Breath Controller
Foot Controllers 1 and 2
Footswitches 1 and 2
Continuous Sliders 1 and 2
-2-
Getting
Started
Connecting the DX7s
to a single input
amplifier.
Using stereo headphones
with the DX7s.
You can begin to enjoy your DX7s immediately, without poring through a lot of
complicated electronic theory. All you have to do is take the instrument out of the box and
proceed as follows:
Making Audio Connections
There are three different ways to connect the DX7s to sound reinforcement equipment.
The one you choose will depend on your situation:
1. If
you
have a monophonic (single input) amplifier such as a guitar amp, connect the
DX's output to the amp’s input (using a standard ¼” cable).
2. If you are using a multi-channel mixer, connect the DX’s back-panel audio output to
one of your mixer’s inputs (using a ¼” cable).
3. If you are using a set of standard stereo headphones, plug them into the DX’s Phones
output.
-3-
The DX’s “welcome” display.
The DX’s next
initial display.
Turning on the DX7s
After you have made the audio connection of your choice, turn the DX7s on by pressing
the power switch located on the right side of the back panel. This is the first display you
will see on the main panel:
After a few seconds, this display will be replaced by the last Play Mode display selected
before the DX7s was turned off:
The LED’s will now display the voice or
The LCD will now show the voice or
performance number that was displayed
when the DX was turned off.
performance name which corresponds to
the number in the LED.
-4-
Setting the Volume Slider
Since the volumes of the various voices differ, start with a setting in the middle of the
slider’s range; adjust later to suit your taste, depending on the voice or voices being
played.
Volume Slider
-5-
Setting the
ROM Cartridge
Banks
The ROM Cartridge supplied with your DX7s actually contains several sets of data —
called “banks.” These banks can be selected from the front panel. In order to hear all of
the Voice and Performance data, you will need to set the Voice/Performance bank to 2.
Also, certain voices in the DX7s are created using the new fractional scaling feature.
These scalings are stored in bank 3 of the ROM cartridge, so the Fractional Scaling Bank
will need to be set to bank 3. Look at the diagram on the next page and make the
necessary changes before you begin playing.
Inserting the ROM Cartridge
Before you begin to play your DX7s, insert the supplied ROM cartridge into the cartridge
slot:
-6-
Selecting the ROM Banks
This is the Set Bank LCD display
with Bank 2 of the ROM cartridge
selected for Voice & Performance data.
This is the Set Bank LCD display
with Bank 3 of the ROM cartridge
selected for Fractional Scaling data.
-7-
Exploring
the DX7s
Performance
Library
The Performance Mode is a completely new feature for the DX7s. It allows a number of
useful performance-oriented features to be stored and recalled instantly. These features
will be explained in detail in Sections 2 and
3
of this manual. For now, though, just follow
the steps below, and explore the richness of the Performance Mode by playing through all
of the new sounds available in the Internal and ROM Cartridge memories.
Selecting the Internal Performance Memories
The LCD display will show
the number and name of
memory.
the selected Performance
-8-
These are the
Performance Memories
loaded into the DX7s when it is
shipped from the factory.
Since these memories
can be adjusted,
your DX’s Internal Memory
may contain different data.
If so, reload the Internal Voice
& Performance
data from bank 4 of the
supplied ROM cartridge
(see page 70).
The Internal Performance Memories
Performance
Voice
Voice
Name
No.
Name
1
SolidStrg
INT
12
HallOrch
2
Strings
INT
13
NewOrchest
3
GrandOrch
INT
15
LiveStrg
4
Cello
INT
16
BowedBass
5
LittleStrg
INT
19
Violins
6
ReverbBras
INT
3
ReverbBras
7
BrightBras
INT
8
SilvaTrmpt
8
MildBrass
INT
10
FrenchHorn
9
W.Leed
INT
20
Bassoon
10
SoftFlute
INT
23
Flute
11
PanPipes
INT
26
PanFloot
12
BlowSax
INT
26
PanFloot
13
BluesHarp
INT
29
Harmonica
14 Harp
INT 30 Harp
15 PianoBrite
INT 32 PianoBrite
16 MildPiano
INT 34 Piano 2
17 Mellow EP
INT 36 RubbaRoad
18 Attack EP
INT 37 HardRoads
19 Crystal EP
INT 38 FullTines
20 DX Clavi 1
INT 39 ClaviStuff
21 DX Clavi 2
INT 40 Clavi
22 Clavicord
INT 41 Clavecin
23 Harpsicord
INT 45 HarpsiWire
24 WireString
INT 46 WireStrg A
25 GreatPipes
INT 57 APuffOrgan2
26 RotaryOrg
INT 50 TapOrgan
27 ConsoleOrg
INT 51 BriteOrgan
28 MagicOrgan
INT 52 MagicOrgan
29 SoftOrgan
INT 53 SoftOrgan
30 SchoolOrg
INT 58 Harmonium1
31 AngelVoice
INT 60 Whisper A
32 LadyVox
INT 62 LadyVox
-9-
Selecting the Cartridge Performance Memories
The LCD display will show
the number and name of
the selected Performance
memory.
-10-
Bank 4 of the supplied
ROM cartridge contains the
Voice & Performance Memory
loaded into the DXs Internal
Memory when it is shipped
from the factory.
Bank 2 contains an entirely
different set of Voice &
Performance data.
The Cartridge Performance Memories
Performance
Voice
Voice
Name
No.
Name
1 SuperBass
CRT 1 SuperBass
2 WoodBass
CRT 2 StringBass
3 TackBass
CRT 3 SkweekBass
4 FazzBass
CRT 6 OwlBass
5 PickGuitar
CRT 9 GuitarBox
6 FolkGuitar
CRT 10 PickGuitar
7 ClipGuitar
CRT 13 YesBunk
8 ChoGuitar
CRT 14 12 Strings
9 HitPad 1
CRT 17 Maribumba
10 HitPad 2
CRT 19 Nu Marimba
11 HitPad 3
CRT 20 StonePhone
12 AfroConga
CRT 25 CongaDrum
13 Woodblock
CRT 29 Claves
14 Vibraphone
CRT 21 VibraPhone
15 Celeste CRT 22 Celeste
16 GrandBells
CRT 30 Bells
17 MultiDrums
CRT 23 Swissnare
18 Tomtom
CRT 24 Tom C4
19 MalletBras
CRT 37 MalletHorn
20 ClaviBrass
CRT 42 ClaviBrass
21 Ensemble
CRT 36 Ensemble
22 WarmBrass
CRT 46 ElecBrass
23 Synclaria
CRT 40 ClariSolo
24 PianoBells
CRT 49 PianoBells
25 St.Elmo's
CRT 50 St.Elmo's
26 OctiLate
CRT 55 OctiLate
27 EthnicBass
CRT 52 Pluk
28 Wallop
CRT 60 Wallop
29 Explosion
CRT 61 Explosion
30 Thunderon
CRT 63 Thunderon
31 Laboratory
CRT 64 Science
32 Motorcycle
CRT 62 KoikeCycle
-11-
Exploring
the DX7s
Voice
Library
The voices in the DX7s were created using techniques like those used on the original
DX7. There are a number of new features available in Voice Mode (most
of
them
extensions
of the Function Mode in the original DX7). All of these features will he
discussed in detail in Sections 2 and 4
of this manual. For now, though, just follow the
steps below: and play through all of the voices available in the Internal and ROM
Cartridge memories.
Selecting the Internal Voice Memories
The LCD display will show
the number and name of
the selected Voice memory.
-12-
These are the Voice Memories
loaded into the DX7s when it is
shipped from the factory.
Since these memories
can be adjusted,
your DX’s Internal Memory
may contain different data.
If so, reload the Internal Voice
& Performance
data from bank 1 of the
supplied ROM cartridge
(see page 70).
The Internal Voice Memories
1 MellowHorn
33 Piano 1
2 SilvaBrass
34 Piano 2
3 ReverbBras35 KnockRoad
4 Tuba
36 RubbaRoad
5 Trombone
37 HardRoads
6 HardTrumps
38 FullTines
7 Trumpet A
39 ClaviStuff
8 SilvaTrmpt
40 Clavi
9 BC Trumpet
41 Clavecin
10 FrenchHorn
42 ClaviPluck
11 Strings
43 NasalClav
12 HallOrch
44 HarpsiBox
13 NewOrchest
45 HarpsiWire
14 Analog-Str
46 WireStrg A
15 LiveStrg
47 WireStrg B
16 BowedBass
48 TouchOrgan
17 EleCello A
49 ShOrgan
18 EleCello B
50 TapOrgan
19 Violins
51 BriteOrgan
20 Bassoon
52 MajicOrgan
21 Clarinet
53 SoftOrgan
22 Oboe
54 PipeOrgan
23 Flute
55 PuffOrgan1
24 SongFlute
56 PuffPipes
25 SpitFlute
57 PuffOrgan2
26 PanFloot
58 Harmonium1
27 Piccolo
59 Harmonium2
28 Sax
60 Whisper A
29 Harmonica
61 Choir
30 Harp
62 LadyVox
31 EbonyIvory
63 MaleChoir
32 PianoBrite
64 Whisper B
-13-
Selecting the Cartridge Voice Memories
As explained on page 6, the DX7s ROM cartridge contains several banks. To hear the
cartridge voices, make sure that the Voice/Performance bank is set to bank 2 of the ROM
cartridge (see page 7 for instructions on how to change the cartridge banks).
The LCD display will show
the number and name of
the selected Voice memory.
-14-
1
SuperBass
33
Analog-X
Bank 4 of the supplied
ROM cartridge contains the
Voice & Performance Memory
loaded into the DX’s Internal
Memory when it is shipped
from the factory.
Bank 2 contains an entirely
different set of Voice &
Performance data.
The Cartridge Voice Memories
2
StringBass
34
FMilters
3
SkweekBass 35
Phasers
4
SmoothBass
36
Ensemble
5BopBass
37
MalletHorn
6
OwlBass
38
FM-Growth
7JazzBass 39
ElectoComb
8HardBass
40
ClariSolo
9GuitarBox
41
PitchaPad
10
PickGuitar
42
ClaviBrass
11
FingaPicka
43WhapSynth
12
LeadaPicka
44
Whasers
13
YesBunk
45Fifths
14
12 Strings
46ElecBrass
15
Classipika
47
ElectroBak
16
Shami
48
HarmoSynth
17
Maribumba
49
PianoBells
18
DX Marimba
50
St. Elmo's
19
Nu Marimba
51
MilkyWays
20
StonePhone 52 Pluk
21
VibraPhone
53
TingVoice
22
Celeste
54
Plukatan
23
Swissnare
55
OctiLate
24Tom C4 56
LateDown
25
CongaDrum
57
Glastine A
26
Tub Bells
58
BellWahh
27
Gong
59
RubberGong
28
Timpani
60
Wallop
29
Claves
61
Explosion
30
Bells
62
KoikeCycle
31
StellCans
63
Thunderon
32
Handrum
64
Science
- 15 -
The Play Modes
Now that you have an idea of some
of
the sound possibilities
of
the DX7s, it is time to take
a closer look at how the various Play Modes operate. Read on:
Voice Mode and Performance Mode
The DX7s has two different play modes: Voice Mode and Performance Mode. As you
have just seen, the Voice Mode is where you recall the 64 Internal Voice memories and
the 64 Cartridge Voice memories. Press Voice and use the 1 ~ 32/33 ~ 64 button and the
program number buttons to select specific voices. There are 32 Performance memories
that you can access by pressing Performance and the program number buttons. When you
are in Performance Mode, the light over the Performance button will be lit. When you
choose a Performance, features such as Micro Tune and Key Shift are added to the voice.
Using the 1 ~ 32/33 ~ 64 Button
The light above the 1 ~ 32/33 ~ 64 button tells you which set of voices can be selected. If
the light is off, voices 1 ~ 32 can be selected using the number buttons; if the light is lit,
voices 33 ~ 64 can be selected using the number buttons.
Using the Poly/Mono Button
The light above the Poly/Mono tells you which Key Mode is currently active in Play
Mode. If the light is off, the Key Mode is polyphonic; if the light is lit, the Key Mode is
monophonic. Key Modes will be explained further in Section 4.
Using the Key Shift Button
The Key Shift button determines whether the key shift programmed in Performance Mode
will be applied when you recall the Performance. If the light above Key Shift is off, no
key shift will be applied; if the light is lit, the preprogrammed key shift is applied.
- 16 -
Using
Controllers
with the DX7s
- 17 -
The DX7s is designed to operate with many controllers, each of which can be set to
perform one of a number of different effects. The settings for these controllers can be
different for each Voice memory or Performance memory. To begin your exploration of
the expanded musical possibilities available with controllers on the DX7s, try the
examples listed below. Many of you may already be familiar with the operation of the
these controller’s; for those who are not, each section below begins with instructions on
how to locate or attach the controller in question.
Pitch Bend Wheel
The Pitch Bend Wheel is located to the far left of the keyboard. To get an idea of some of
the effects possible with the Pitch Bend Wheel, use it with Internal Performance #1 or
Internal Performance #31. Move the Wheel both quickly and slowly as you play.
Modulation Wheel
The Modulation Wheel is located to the near left of the keyboard (to the right of the Pitch
Bend Wheel). For a taste of the possibilities of the Modulation Wheel, try it with Internal
Performance #6 or Internal Performance #13.
After Touch
After Touch is a keyboard feature that gives you extra control over a voice. It is engaged
by pushing down on the keys after they have already been depressed. To try some of the
effects available with After Touch, call up Cartridge Performance #4 or Cartridge
Performance #5 (from bank 2 of the ROM). After you have played a group of keys, press
them down into the key bed and listen to the result.
Breath Controller
The Breath Controller plugs into the mini-jack to the left of the Phones plug on the front
of the DX7s. It allows you a great deal of expressive control over the shape of the sounds
you play on the keyboard. Try using the Breath Controller in conjunction with Internal
Voice #9. With this voice, you will notice that playing on the keyboard by itself produces
no sound. In order to hear the voices, you must hold down keys and blow into the Breath
Controller.
Foot Controllers 1 and 2
The Foot Controllers plug into the two Foot Controller plugs on the back panel of the
DX7s. They can give you continuous control over a number of aspects of the sounds. Try
using Foot Controller 1 with Cartridge Performance #25 or Internal Performance #12
(from bank 2 of the ROM). Foot Controller 2 is most often used as a volume pedal, but
other effects are possible.
Footswitches 1 and 2
The Footswitches plug into the two Footswitch plugs on the back panel of the DX7s.
Footswitch 1 acts much like a sustain pedal on a piano. Try it with Internal Performance
#19 or Cartridge Performance #5 to get an idea of the different effects that are possible.
Footswitch 2 can be used to engage a number of effects, including that of the soft pedal on
a piano. Try it in conjunction with Internal Performance #4 or Cartridge Performance #8
(from bank 2 of the ROM).
Continuous Sliders 1 and 2
The Continuous Sliders are located to the right of the Volume Slider on the left side of the
DX’s front panel. They can be programmed to give you control over many aspects of the
timbre of the sounds, and can even be used to alter parameters of a voice in real time. Try
using Continuous Slider 1 with Internal Performance #8 or Cartridge Performance #3.
Then listen to the effect that Continuous Slider 2 has on Internal Performance #3 or
Cartridge Performance #24.
- 18 -
Creating and Storing
New Sounds
- 19 -
Contents
21
21
22
23
23
23
24
26
26
26
26
27
27
Creating New Sounds
Editing and Edit Mode
Entering Edit Mode
Editing Performance and Voice Data
Using the Cursor Buttons and the Data Entry Buttons/Slider
Edit/Compare
Edit Button Quick Reference Guide
Saving New Sounds
Memory Protection
Turning Memory Protect Off
Voice and Performance Memory
Storing Performance Data to Internal or Cartridge Memory
Storing Voice Data to Internal or Cartridge Memory
- 20 -
Creating
New Sounds
The Voices and Performance setups in the DX7s are stored as digital information in a
computer-like memory. And, like computer memory, the memory
of
the DX7s can be
altered
for
different uses. In other words, voices do not exist as unchangeable presets (as
they do in electronic organs), but rather as streams
of
data. This data can be changed
(edited) to create new Voice and Performance setups. To find out how this works, read on.
Editing and Edit Mode
Editing is the process of changing various settings of a Voice or Performance memory. In
the DX7s, this is accomplished in Edit Mode. Usually, you will use Edit Mode to create a
new Voice or Performance setup, but you can also use it to find out the parameter values
for the factory preset Voices and Performance setups.
Most of the buttons on the DX’s front panel have multiple functions. You can see this by
looking at the way the buttons are labeled on the front panel. For example, the +1 button
also functions as YES and ON. In most cases, the buttons will have different functions in
different operating modes.
The 32 number buttons are no exception: In the Play Modes, they are used to call up
various Voice and Performance memories; but, in the Edit Modes, they are used to access
the various parameter values that make up a sound.
Normally, when you enter the voice play mode (by pressing the voice button), the
performance parameters will automatically be initialized. If you then go into the
performance play mode (by pressing the performance button) the LCD display will show
you this by displaying “INIT PERF”.
Notice that the number in the LED changes to show which memory number you began
editing. When you switch between a voice parameter and a performance parameter, the
LED will show the corresponding number.
- 21 -
In the Edit Mode, you can edit
both Voice and Performance
parameters.
Entering Edit Mode
In the above procedure, the Edit Mode is entered after the Edit button is pressed in step
#1. At that time, you can push any or all of the buttons indicated as many times as
necessary to make the desired edits.
There is a distinction between editing Performance parameters and editing Voice
parameters that you may want to be aware of. In certain cases, (such as using compare)
you may not retain all your edits. It is a good idea to edit Performance and Voice data
separately (more on this later).
- 22 -
The cursor buttons
and the data entry
slider/buttons.
The Edit/Compare
LED display.
Editing Performance and Voice Data
After entering one of the Edit Modes, use the number buttons to access the parameter
whose value you wish to change. Each number button calls up a variety of parameters,
often through the use of multiple LCD screen displays. A complete set of these screen
displays will be given at the beginning of Section 3 (for Performance parameters) and
Section 4 (for Voice parameters). In most cases, each LCD display gives you access to a
number of parameters.
Using the Cursor Buttons and the Data Entry Buttons/Slider
In some cases, you will need to use these buttons to position the LCD cursor
next to the parameter you wish to edit.
Once you have selected the parameter
to edit (using the cursor buttons),
use the data entry slider or the
+1/-1 buttons to change the value of the
selected parameter.
The new values will appear in the
bottom row of the LCD,
and you will hear the effect
of these new values when you
play the keyboard.
Edit/Compare
Once you have started to edit a voice, you can compare your new sound to the original by
pressing the Edit/Compare button:
You may use the compare feature for Voice data, Performance data, or Micro Tune data. It
is best not to use compare when you are simultaneously editing more than one type of
data. For example, if you are editing Voice data, and then start editing Performance data,
using compare may cause Voice data to revert to the original.
- 23 -
Voice parameters
are discussed in
more detail
in Section 4.
Voice parameters
are discussed in
more detail
in Section 4.
Edit Button Quick Reference Guide
-
24
-
Performance parameters
are discussed in
more detail
in Section 3.
Utility parameters
are discussed in
more detail
in Section 5.
MIDI parameters
are
discussed in
more detail
in Section 6.
-25 -
Storing Performance Data to Internal or Cartridge Memory
Storing Voice Data to Internal or Cartridge Memory
- 27
-
-
28
-
Using the New
Performance Features
-
29
-
Contents
31
Performance Edit Buttons
31
Button 27 LCD Displays
31
Button 28 LCD Displays
32
Button 29 LCD Displays
33
33
33
34
35
35
36
Performance Controllers
36
Sustain Footswitch (FS 1)
36
Footswitch 2 (FS 2)
37
Continuous Sliders
37
FM Parameters Assignable to CS1 and
CS2
38
38
38
38
Basic Performance Parameters
Total Volume
Key Shift
EG Forced Damp
Performance Name
Voice Number
Micro Tuning
Selecting a Micro Tuning
The Micro Tuning Presets
Micro Tuning Editing and Storage
- 30 -
Button 29 LCD Displays
-
32 -
Basic
Performance
Parameters
Accessed using buttons 28 and 29, these parameters determine the basic voice
relationships in Peformance Mode.
Total Volume
This parameter allows you to set an overall volume for each Performance memory. If you
desire, you can use this setting to balance the levels of your Performance memories, so
that constant Volume Slider or mixer adjustments are not necessary.
Key Shift
This parameter allows you to adjust the transposition of the Performance. The
Performance can be adjusted up or down as much as two octaves (in halfsteps). The
original transposition of the voice is retained as part of the Voice memory, and the Key
Shift value is added to or subtracted from that Voice setting when you are in Performance
Mode. The light over the Key Shift button must be lit in order to hear changes made to
this parameter.
-33 -
Under normal conditions,
the DX’s envelope
acts this way.
Using the EG Forced Damping
parameter, the envelope is
forced to retrigger itself for
each new note played.
EG Forced Damp
Even though the DX7s is a 16-voice synthesizer, these voices can be used up quickly
when you use a Sustain Footswitch pedal. When you do exceed the DX’s note capacity,
the first notes played will stop sounding to make way for the new notes being played.
Under normal operating conditions, the DX7s considers these new notes to be
continuations of the first notes; therefore, the initial portions of the attack envelope will
not be retriggered:
If you wish to avoid this effect, turn the Forced Damping function on. It will force the
envelope to retrigger for each new note played:
- 34 -
Since you have a total of
ten characters to define
your Peformance Memory,
make sure that your
Performance Name conveys
the basic approach of the
specific Performance Memory.
Performance Name
You can enter a Performance Name of up to ten characters. To do so, follow the
instructions below.
Using the left and right cursor buttons while holding the
Edit/Character button lets you place the cursor over a
specific character position. This allows you to easily
edit any character within a name.
Using the Data Entry buttons while NOT holding the
Edit/Character button lets you switch between Large
or small characters. The +1 button selects the Large
character mode, the -1 button selects the small character
mode.
In addition to letting you enter small alpha characters, the small character input
mode lets you enter the following symbols as well.
Large mode
1
2
3
4
5 6
7
8
9
0
-
.
small mode
!
@
#
$ % ^ & * ( ) + ,
Voice Number
Each time you select a Performance, one of the 64 Internal or 64 Cartridge Voices is also
selected. You determine which voice will be selected via this display.
-35 -
Performance
Controllers
The DX7s features a greatly expanded set of controller options. The settings for
Footswitches 1 and 2 and Continuous Sliders 1 and 2 are adjusted in Performance Edit
Mode, using button 27. (The other controller settings are accessed in voice parameters.)
Sustain Footswitch (FS 1)
Footswitch 1 is set to operate as a sustain pedal.
Footswitch 2 (FS 2)
Footswitch 2 is a multipurpose pedal with four selectable functions: Sustain, Portamento,
Key Hold, or Soft.
If Sustain is selected, FS 2 operates as a sustain pedal (just like FS 1).
If Portamento is selected, voice portamento effects will operate only when the pedal is
depressed.
If Key Hold is selected, only notes that are being held when the pedal is engaged will
sustain. This effect is similar to a piano’s sostenuto pedal.
If Soft is engaged, the pedal will soften the timbre and volume of the sound. You can edit
the range of the soft pedal by pressing button 27 again. The range is 1 ~ 7.
- 36 -
The Continuous Sliders provide
a new avenue for exploration
of real-time timbral control.
Continuous Sliders
The two Continuous Sliders give you access to real-time control of FM voice parameters.
There are a total of 103 different possibilities:
FM Parameters Assignable to CS 1 and CS2
DATA ENTRY slider
highest position
l
OP 6
OP 1
l
OP 6
OP 1
l
OP 6
OP 1
l
OP 6
OP 1
l
OP 6
OP 1
l
O P 6
OP 1
l
OP 6
OP 1
l
OP 6
OP 1
l
OP 6
OP 1
l
OP 6
OP 1
Total level
AMP. MOD. SENS
Key velocity
EG Level 4 (L4)
EG Level 3 (L3)
EG Level 2 (L2)
EG Level 1 (L1)
EG Rate 4 (R4)
EG Rate 3 (R3)
EG Rate 2 (R2)
l
OP 6
EG Rate 1 (R1)
OP 1
l
OP 6
OSC. detune
OP 1
l
OP 6
Frequency fine
OPl
l
OP 6
Frequency coarse
OP 1
l
Portamento time
l
Pitch EG Level 4
Level 1
l
Pitch EG Rate 4
Rate 1
l
LFO AMD
PMD
PMS
Delay
Speed
Wave
l
Feedback level
l
Algorithm
l
Total volume
l
No effect
lowest
position
- 37 -
Micro Tuning
The new DX7s contains eleven
preset Intonations, which
provides you with a good
introduction to alternate
intonation schemes.
Micro Tuning is another new feature for the DX7s. It offers the possibility of performing
music using tuning and intonation systems other than Equal Temperament (which is the
current standard tuning for both pianos and synthesizers). Micro Tuning data is accessed
using button 29. New Micro Tunings are created in Micro Tuning Edit Mode, which is
accessed using button 14 in conjunction with button 29.
Selecting a Micro Tuning
The DX7s is equipped with eleven preset Micro Tunings as part of its permanent memory.
The Micro Tuning Presets
1
Equal
Equal Temperament
2
Pure (major)
Pure (Major)
3
Pure (minor)
Pure (Minor)
4
Mean tone
Mean tone
5
Pythagorean
Pythagorean
6
Werckmeister
Werckmeister
7
Kirnberger
Kirnberger
8
Vallotti, yong
Vallotti & Young
9
1/4 Shift eql
1/4 Shifted equal
10
1/4 Tone
1/4 Tone
11
1/8 Tone 1/8 Tone
In presets 2 ~ 5, the tuning can be adjusted according to the key of the music being
played.
Micro Tuning Editing and Storage
If you are interested in alternate tunings and intonations, you may want to create your
own sets of Micro Tuning data. The DX7s provides two memory locations for this
purpose: User 1 and User 2. These two sets of data are stored as part of the Internal
Memory, and will be stored along with all other Internal data when the Internal Voice &
Performance Memory is saved to another storage medium (such as a RAM cartridge). In
addition, up to 63 Micro Tunings can be saved to a RAM cartridge that has been properly
formatted for that purpose.
- 38 -
Entering the
Micro Tuning
Edit Mode
Editing
Micro Tuning
Data
Storing
Micro Tuning
Data
- 39 -
- 40 -
Using the New
Voice Features
- 41 -
Contents
43
Voice Edit Buttons
43
Button 7 LCD Display
44
Button 8 LCD Display
44
Button 9 LCD Display
45
Button 10 LCD Displays
46
Button 11 LCD Display
47
Button 12 LCD Display
48
Button 13 LCD Display
48
Button 23 LCD Displays
49
Button 24 LCD Displays
50
Button 25 LCD Displays
51
Button 26 LCD Displays
52
Basic Voice Editing Functions
52
Operator Select
52
Operator On/Off
52
EG Copy
53
New Voice Parameters
53
Pitch Envelope
53
LFO
54
Key Modes
55
Voice Controllers
55
Function Data and Voice Effect Data
55
Pitch Bend Modes
55
Foot Controller 1 and
2
56
Pitch Bias
57
Fractional Scaling
57
Fractional Scaling and Level Scaling
57
Fractional Scaling Editing and Storage
-42-
Button 8 LCD Display
Oscillator Mode
(ratio, fixed)
Frequency Coarse
(varies
Frequency Fine
(varies)
Oscillator Detune
(-7 ~ +7)
Button 9 LCD Display
Rate Scaling
(0 ~ 7)
Envelope Generator Rates 1 ~ 4
(0 ~ 99)
Envelope Generator Levels 1 ~ 4
(0 ~ 99)
- 44 -
Button 10 LCD Displays
- 45 -
Button 11 LCD Display
Key Velocity
(0 ~ 7)
Amplitude Modulation Sensitivity
(0 ~ 7)
Pitch Modulation Sensitivity
(0 ~ 7)
- 46 -
Button 12 LCD Display
LFO Wave
(triangle, saw down, saw up,
square, sine, s/hold)
LFO Speed
(0 ~ 99)
LFO Delay
(0 ~ 99)
LFO Mode
(single, multi)
LFO Pitch Modulation Depth
(0 ~ 99)
LFO Amplitude Modulation Depth
(0 ~ 99)
LFO Key Sync
(off, on)
- 47 -
Button 13 LCD Display
Pitch Envelope Octave Range
(1/2, 1,2,8)
Pitch Envelope Velocity
(off, on)
Pitch Envelope Rate Scaling
(0 ~ 7)
Pitch Envelope Rates 1 ~ 4
(0 ~ 99)
Pitch Envelope Levels 1 ~ 4
(0 ~ 99)
Button 23 LCD Displays
Key Mode Assign
(polyphonic, monophonic,
unison poly, unison mono)
Unison Detune
(0 ~ 7)
(appears only when Key Mode
= unison poly or unison mono)
-48-
Button 24 LCD Displays
Pitch Bend Mode
(normal, lowest, highest, key on)
Pitch Bend Range
(0 ~ 12)
Pitch Bend Step
(0 ~ 12)
Portamento Mode
(Poly: sus-key, p retain, sus-key p follow)
(Mono: fingered porta, full time porta)
Portamento Time
(0 ~99)
Portamento Step
(0 ~ 99)
Random pitch
(0 ~ 7)
-49-
Button 25 LCD Displays
Aftertouch
EG Bias
(0 ~ 99)
Aftertouch
Pitch Bias
(-50 ~ +50)
Modulation Wheel
Pitch Modulation Depth
(0 ~ 99)
Modulation Wheel
Amplitude Modulation Depth
(0 ~ 99)
Modulation Wheel
EG Bias
(0 ~ 99)
- 50 -
Button 26 LCD Displays
Foot Controller 2
EG Bias
(0 ~ 99)
Foot Controller 2
Volume
(0 ~ 99)
MIDI Controller
Pitch Modulation
Depth
(0 ~ 99)
MIDI Controller
Amplitude Modulation
Depth
(0 ~ 99)
MIDI Controller EG Bias
(0 ~ 99)
MIDI Controller Volume
(0 ~ 99)
- 51 -
Basic
Voice Editing
Functions
Voice editing is easier on the
DX7s, thanks to the direct
operator access provided
by buttons 1 ~ 6 and 17 ~ 22.
Operator Select
The parameters accessed using buttons 8 ~ 11 are adjustable for each of the six operators.
While editing Voice data, buttons 1 ~ 6 provide a quick way to move from one operator to
another. The number of the operator that has been chosen will appear in the upper right
corner of the LCD.
Operator On/Off
In order to adjust the settings for the six operators accurately, it is useful to focus on the
sound of certain operators by turning off the output of ones not being edited. While
editing Voice data, buttons 17 ~ 22 provide a quick way to turn the six operators on and
off. The on/off status of the six operators is shown in the center of the upper line of the
LCD. When all six operators are turned on, you will see 111111. When an operator is
turned off, a 0 will appear in the corresponding position of the display.
EG Copy
The EG Copy function from the original DX7 is retained in the DX7s, and is made easier
through the use of buttons 1 ~ 6. Once you have envelope data you want to copy
displayed in the LCD, simply press and hold the Store/EG Copy button. You can then
choose the copy destination using buttons 1 ~ 6.
- 52 -
New
Voice
Parameters
Maximum Pitch
Range
Change Range
1/2
6 semitones
1
1 octave
2
2 octaves
8
8 octaves
Representative Pitch Enselope
Generator shape.
The basic voice of the DX7s is almost exactly the same as that of the ori,ginal DX7,
assuring complete compatibility between the old and new instruments. To discoser the
additional voice parameters of the DX7s, read on.
Pitch Envelope
The Pitch Envelope operates as it did in the original DX7, but some new features have
been added. The potential depth of the Pitch Envelope effect can now be adjusted using
the Range parameter:
In addition, the Velocity parameter allows you to control the intensity of the Pitch
Envelope with keyboard touch. There is also a scaling parameter that lets you change the
speed of the pitch envelope as you move up the keyboard.
LFO
There was only one LFO in the original DX7, so all voices were affected in exactly the
same way by the LFO settings. In the DX7s, there are sixteen LFOs, one for each voice.
Even though all sixteen LFOs must have the same settings, they can now operate
independently of each other if the LFO Mode parameter is set to Multi. If Mode is set to
Single, the LFO will operate as it did in the original DX7.
-53 -
Key Modes
The DX7s offers two Unison Key Modes, which create “fatter” sounds. Since these new
Modes use more than one note of the DX’s sixteen-note capacity, they will affect the total
number of notes available at any one time:
- 54 -
Key
Number of
Mode
Notes
Polyphonic 16
Monophonic
1
Unison poly
4
Unison mono
1
Voice
Controllers
Pitch Bend Modes
on the DX7s.
The DX7s features an expanded set of controller options. The settings for Pitch Bend
Wheel, Modulation Wheel, Aftertouch, Breath Controller, and Foot Controllers 1 and 2
are adjusted in Voice Edit Mode, using buttons 24 ~ 26
(The other controller settings are
accessed in Performance Edit Mode.)
Function Data and Voice Effect Data
The original DX7 separated its operational parameters into two groups: Voice data and
Function data. Voice data encompassed all parameters used to create a Voice, and
Function data involved settings for the various performance Controllers. The DX7 only
had memory to store one set of Function settings, so all Controllers operated in the same
way for all Voices.
In the DX7s, Function data has been replaced by Voice Effect data (adjusted using buttons
23 ~ 26). This Voice Effect data can be adjusted as part of each Voice Memory — this
means that each Voice can have its own Controller settings.
Most of the Voice Effect parameters are exactly the same as the Function parameters of
the original DX7. The new parameters are outlined below.
Pitch Bend Modes
The Pitch Bend Wheel in the DX7s functions in one of four basic Modes, which operate
as follows:
Pitch Bend
Chord notes Applied to sound
Mode
affected
sustained by foot switch?
Normal
all notes
yes
Lowest
lowest note only yes
Highest
highest note only yes
Key-on
all notes
no
Foot Controller 1 and 2
The DX7s provides memory space to set the operation of two Foot Controllers. Foot
Controller 1 also has a new parameter possibility. It can be set to control the same Voice
parameter as that of Continuous Slider 1. (For more on the available settings for CS 1, see
Section 3 of this manual.) Since CS 1 operates in Performance Mode, this use of Foot
Controller 1 is also confined to Performance Mode.
-
55
-
Pitch Bias
With the new Pitch Bias feature you can use After Touch or the Breath Controller to
control the pitch of a voice. When Pitch Bias is set to 0, there is no pitch change. Positive
Pitch Bias settings result in an upward bend, while negative Pitch Bias settings cause the
pitch to bend down. The range is -50 ~ +50.
- 56 -
Fractional
Scaling
Fractional Scaling allows you
to adjust the output level
of each operator
for three-note groups.
Entering
Fractional Scaling
Edit Mode
One
of the most important aspects of DX7 voicing is Level Scaling, which allows
adjustment of each operator’s output over the range of the keyboard. The DX7s offers the
possibility of even more subtle control over operator outputs, through Fractional Scaling.
Fractional Scaling and Level Scaling
Although the DX7’s Level Scaling offers a great deal of interaction between timbre and
frequency, Fractional Scaling offers even greater precision. The level can be set
independently in groups of three notes, over the entire range of the keyboard. To provide
even more control, the resolution of the level settings has been expanded from 0 ~ 99 to
0 ~ 255:
Fractional Scaling Editing and Storage
-57 -
Editing
Fractional Scaling
Data
Storing
Fractional Scaling
Data
-
58
-
Memory Functions
-59 -
Contents
61
Utility Buttons
62
Button 14 LCD Displays
63
Button 15 LCD Displays
64
Memory Types
64
Voice & Performance Memory
65
System Setup Memory
65
Micro Tuning Memory
65
Fractional Scaling Memory
65
Initialized Memory
65
Current Play/Edit Memory
65
Compare/Recall Memory
66
Memory Storage Types
66
Internal Memory
66
Cartridge Memory
67
ROM Cartridge
68
Basic Utility Functions
68
Master Tune
68
Recall Edit
68
Initialize
69
Cartridge Memory Functions
69
Using Cartridge Data
70
Formatting a RAM Cartridge
70
Loading Voice & Performance Data from a RAM Cartridge
- 60 -
Utility Buttons
All of the memory functions (and related utility functions) are adjusted via the LCD
displays called up using buttons 14 and 15. Both of the these buttons call up multiple LCD
displays. The charts below show all of the displays called up by each button, and provide
a complete list of parameters and value ranges. In some cases, the first LCD display in a
chart may not be the first one you see. You may need to cycle through the displays (by
pressing the button repeatedly) until you reach the desired LCD display.
- 61 -
Button 14 LCD Displays
- 62 -
- 63 -
Memory Types
The chart below is a graphic representation of the way all the different DX7s memory
areas interact with one another. Since there are many facets to the memory layout of the
DX7s, it may look intimidating at first. Once you become more familiar with the
instrument, though, you will fjnd the memory layout is much simpler than it first appears.
To understand all of the memory types, study the diagram and read the explanation
below:
Voice & Performance Memory
This Memory block includes data for 64 Voice Memories and 32 Performance Memories,
plus one System Setup Memory and two User-defined Micro Tunings.
- 64 -
System Setup Memory
System Setup Memory contains most of the basic MIDI settings. System Setup is always
retained in Internal Memory, along with the Voice & Performance Memory and the two
User-defined Micro Tunings. For more information on System Setup Memory, see Section
6 of this manual.
Micro Tuning Memory
The DX7s contains eleven Micro Tunings as part of its permanent memory. In addition,
two User-defined Micro Tunings are stored as part of Voice & Performance Memory.
Using a RAM cartridge, it is also possible to store up to 63 Micro Tuning Memories.
Fractional Scaling Memory
Fractional Scaling data cannot be stored in the DX’s Internal Memory. In order to use
Fractional Scaling data with Internal Voice Memories, the data must reside in a RAM (or
ROM) cartridge installed in the DX’s cartridge port.
Initialized Memory
For those who wish to create Voice Memories or Performance Memories from scratch, the
DX7s provides both Voice and Performance “blank page” data as part of its permanent
memory. If you want to start from ground zero (instead of working from an already-
existing Voice or Performance Memory), call up the DX’s Init Voice or Init Performance
data (using button 14 in Edit Mode).
Current Play/Edit Memory
Whenever you call up a Voice Memory or Performance Memory in Play Mode, you are
actually sending it to a special location in the DX7s — the current Play/Edit Memory. As
the name indicates, this is also the location where Voice or Performance data is edited. In
computer terminology, this memory location is often called the Edit Buffer.
Compare/Recall Memory
When you are editing a Voice or Performance and use the Edit/Compare feature, the
original Voice data is loaded into the Play/Edit Memory (so you can hear it). The edited
Voice data is moved temporarily into another memory location, the Compare/Recall
Memory. In computer terms, this memory location might be called the Compare Buffer.
When you engage the Recall Edit function for the various Internal Memory types, you are
actually recalling the last data moved to the Compare/Recall Memory.
- 65 -
Memory
Storage Types
The RAM4 cartridge
can be used to store one
of three possible kinds of data.
In addition to having a number
of distinct types of memory, the DX7s offers a number of
ways to store these various memories. To understand how the various memory storage
possibilities interact, read on.
Internal Memory
The DX’s Internal Memory holds a standard Voice & Performance Memory block, which
consists of the following: 64 Voice Memories, 32 Performance Memories, 1 System Setup
Memory, and 2 User-defined Micro Tuning Memories. Voice & Performance Memory can
also be stored in Cartridge Memory.
Cartridge Memory
A DX RAM4 cartridge can store three different types of data: Voice & Performance,
Fractional Scaling, and Micro Tuning.
The RAM4 Voice & Performance Memory is equivalent to the Internal Voice &
Performance Memory.
The RAM4 Fractional Scaling Memory holds up to 64 Fractional Scalings, which are tied
to the 64 Voices in the DX’s Internal Memory.
The RAM4 Micro Tuning Memory holds up to 63 Micro Tunings.
- 66 -
The supplied ROM cartridge
holds a number of different
kinds of DX memory.
ROM Cartridge
The supplied ROM cartridge contains 4 banks, which can be accessed using button 15 in
Edit Mode:
The first two banks are Cartridge Voice and Performance data. The third bank contains
Fractional Scaling data, and the fourth bank has the original Internal Voice and
Performance data. Banks 1 and 2 can be loaded to the Internal memory, but if you try to
choose a Performance, you will still need to have the cartridge inserted. This happens
because the Performance memories are calling Cartridge Voices. For instance, the first
Performance in ROM Cartridge bank 1, SolidStrg, calls up voice C12 (cartridge voice 12).
If you want to load the original Voice and Performance data into the Internal memory, you
will have to load from bank 4 of the ROM Cartridge. Banks 1 and 4 are identical, except
that the Performances in bank 1 call up Cartridge Voices, while the Performances in bank
4 call up Internal Voices.
- 67 -
Basic Utility
Functions
Most of the basic Internal Memory Utility functions are accessed using button 14 in Edit
Mode, as follows:
Master Tune
This sets the tuning of the DX7s relative to its internal A-440 reference.
Recall Edit
These functions can be used to recall Voice, Performance, or Micro Tuning data from the
DX’s Compare/Recall Memory. Edit Recall is particularly useful if you forget to save a
Voice, Performance, or Micro Tuning and don’t realize it until later. The data you edited
last will always be in the compare/recall buffer and can be recalled and stored using this
function.
Initialize
These functions can be used to call up the DX’s Initialized Voice or Performance
Memories, if you wish to create Voice or Performance data from scratch.
- 68 -
Cartridge
Memory
Functions
LCD display indicating that
required Fractional Scaling or
Micro Tuning data
is not available. When
the needed data is supplied
via a RAM cartridge,
these displays disappear.
RAM cartridges are useful storage centers for Voice & Performance data. To understand
the basic Cartridqe Utility functions, read on.
Using Cartridge Data
Except for the two User-defined Micro Tunings that are part of the DX’s Internal Voice &
Performance Memory, Cartridge Memory is the only location from which Micro Tuning
and Fractional Scaling data may be recalled for immediate use. If you create Voice or
Performance data that involves Cartridge Memory (for either Fractional Scaling or Micro
Tuning), the DX7s will remind you as follows:
This symbol signifies that the indicated Performance memory
was created to include Micro Tuning from a RAM cartridge,
but the RAM cartridge with the necessary Micro Tuning
data is not inserted in the instrument’s cartridge port.
This symbol signifies that the indicated Voice Memory
was created with Fractional Scaling, but the RAM cartridge
with the necessary Fractional Scaling data is not inserted
in the instrument’s cartridge port.
- 69 -
Formatting a RAM Cartridge
Loading Voice & Performance Data from a RAM Cartridge
- 70 -
MIDI Functions
- 71 -
MIDI Buttons
All of the MIDI functions and parameters are adjusted via the LCD displays called up
using buttons 31 and 32. Both of the these buttons call up multiple LCD displays. The
charts
below show
all of the displays called up by each button, and provide a complete
list of parameters and value ranges. In some cases, the first LCD display in a chart may
not be the first one you see. You may need to cycle through the displays (by pressing the
button repeatedly) until you reach the desired LCD display.
Button 31 LCD Displays
-
73
-
Button 32 LCD Displays
- 74 -
System Setup
Since the use of many basic MIDI functions might depend on the contents of a specific set
of Voice & Performance data, the DX7s provides a special memory location, System Setup
Memory, to store basic MIDI parameters and orher data in conjunction with a Voice &
Peformance Memory block. This System Setup Memory contains settings for the
following parameters:
Transmit Channel
This parameter allows you to set the DX’s MIDI transmit channel. If you turn this
parameter off, no MIDI data will be sent.
Receive Channel
You set the DX’s MIDI receive channel with this parameter. If you turn this parameter off,
all incoming MIDI data will be ignored.
Omni Mode
When Omni mode is on, the DX7s will receive MIDI data from all of the 16 MIDI
channels (the MIDI receive channel is disregarded).
Local On/Off
If Local is set to off, notes played on the DX7s keyboard will not engage the DX’s
internal sound mechanism. Turning Local off has no effect on the transmitted MIDI data.
MIDI IN Control Number
This parameter sets the MIDI controller number for the MIDI Controller (MC) functions
programmed with each voice. The function of this controller is set via button 26 (see page
51).
CS 1 and CS 2 Controller Numbers
The CS 1 and CS 2 Controller Number parameters have two functions:
1. To set the controller numbers that will be transmitted by
CS 1 and CS 2 via the MIDI out. This is useful for controlling external MIDI
instruments.
2. To set the controller numbers that will control the voice parameters assigned to CS
1 and CS 2 in the Performance data. This is useful for changing voice parameters
from an external MIDI device.
- 75 -
Note On/Off
This parameter works with MIDI receive only. It’s usually set to “all,” meaning that all
Note On information received at the DX’s MIDI In will play a note. If the Note On/Off
parameter is set to “even,” it will only play notes that have even MIDI note numbers.
Similarly, if this parameter is set to “odd,” the DX7s will only play notes that have odd
MIDI note numbers. This can be used in conjunction with other MIDI instruments to
produce a variety of interesting effects. Since the Note On/Off parameter works with
MIDI receive only, it won’t produce any noticeable effect when you play the DX7s
keyboard.
Program Change Transmission
If the DX7s is connected to another MIDI instrument, various levels of MIDI
communication are possible. The MIDI Program Change Mode determines how the DX7s
will relate to an external MIDI instrument.
Off
Normal
program changes on the DX7s will have no effect on an external unit
a program change on the DX7s will send the same Program number to the
external unit
Memory
the program changes sent will be be those programmed in the Program
Change Memory LCD
Program Change Memory
The Program Change Memory allows you to transmit a different MIDI program change
number for each of the DX7s number buttons. CS 1 selects 1 of the 64 program switches,
and CS 2 selects the program change number that will be sent. The Program Change
Memory only determines which program change number will be transmitted via MIDI
and has no effect on the selection of DX7s memories.
After Touch
You can disable MIDI transmission of After Touch data with this parameter. After Touch
will still affect the DX7s voices normally when this parameter is turned off. The After
Touch parameter is not saved with the System Setup data.
- 76 -
MIDI System
Exclusives
If you use the DX7s as part of a MIDI system, there are a number of advanced MIDI
functions available for your use:
MIDI Device Number
If the DX7s is connected to another Yamaha product, this parameter must be used to set a
Yamaha System Exclusive Device Number for MIDI System Exclusive data reception or
transmission. The MIDI Device Number is saved with the System Setup data.
Transmit and Receive Block
A block of DX7s Voice data has thirty-two voices. You can independently set the Memory
Transmit block and Memory Receive block to be either Internal Voices 1 ~ 32 or 33 ~ 64.
Both of these parameters are saved with the System Setup data.
MIDI Out
Using these LCD displays, you can transmit various kinds of MIDI System Exclusive data
from the DX’s Internal Memory to an external instrument. These functions are useful if
you are transmitting data to another instrument (such as another DX7s) that is capable of
understanding and using it.
- 77 -
Immediate
MIDI Program
Change Out
This function allows you
to send a program change
number to an external MIDI
tone generator without
changing the program number
on the DX7s.
If you wish to send a quick MIDI Program Change Message to an external MIDI unit, use
the following procedure:
In either of the Play Modes (Voice or
Performance), press and hold the
button of the current Play Mode. You
will see one of the following CD displays:
Now, while still holding the Play
Mode
button, type in the program change
number you desire (1~128) using the 1~10 number buttons (1 through 0
character buttons). All three positions in the LCD must be filled:
for example, to send program #1, type in 001.
Once you have typed in the third number, the program change you have
typed in will be sent over MIDI to the instrument connected to your DX7s.
- 78 -
Appendices
-79-
Appendix 1:
Supplemental
Information
As mentioned at the outset, this manual has not attempted to cover all of the functions of
the DX7s in exhaustive detail. To do so would have required a manual of large scale and
density, one in which it would have been very difficult to locate specific information
needed to
begin
using the DX7s.
For continuing information concerning the DX7s, consult AfterTouch, the official
publication of the Yamaha Users Group. Many advanced functions will be discussed in its
pages in the coming months. There will also be information concerning the availability of
other material concerning more advanced applications. Some areas that will be covered in
AfterTouch or in supplemental booklets include the following:
Quick Reference Guide
Memory Management
Fractional Scaling
Micro Tuning (Basic)
Micro Tuning (Advanced)
FM Voice Programming (Basic)
FM Voice Programming (Advanced)
Real-Time Parameter Changes
Advanced Controller Usage
Advanced MIDI Applications
MIDI Technical Data & Charts
To receive a free copy of AfterTouch every month, send your request to AfterTouch, P.O.
Box 2338, Northridge, CA 91323-2338. On your letter or postcard, be sure to indicate that
you are the owner of a DX7s.
-
80 -
Appendix 2:
Bibliography
Many of the basic functions of the DX7s are the same as those of the original DX7. Since
there is a wealth of material available on the operation of the original DX7, this manual
has focused on the new functions and features. For more information on the parameters
and features that the new DX shares with the original DX7, consult the following:
DX7 Owner’s Manual. (Available through your local authorized Yamaha dealer).
The Complete DX7, by Howard Massey; published by Amsco Publications; 1986.
FM Theory and Application, by Dr. John Chowning and David Bristow; published by
Yamaha Music Foundation; 1986.
How to Understand and Program the Yamaha DX7, by Lorenz M. Rychner; published by
Alexander Publishing; 1985.
The Secrets of Analog and Digital Synthesis, by Steve de Furia; published by Hal Leonard
Publishing; 1985.
Yamaha Easy DX7; published by Yamaha Music Foundation and Hal Leonard Publishing;
1986.
- 81 -
(Digital Programmable Algorithm Synthesizer)
Model DX7s MIDI Implementation Chart
Version : 1.0
Function
...
Transmitted
Recognized
Remarks
Basic Default 1–16 1–16
memorized
Channel Changed 1–16 1–16
Default
3
1, 2, 3, 4
memorized
Mode
Messages
X
POLY, MONO (M=1)
Altered
x 2
Note
36-96 0–127
2
Number : True voice
1–127
Velocity
Note ON
o 9nH,v=1–127
o v = 1 – 127
Note OFF x 9nH,v=0 2
After
Key’s
x
x
Touch Ch’s o l o
2
Pitch Bender
0 l o 0–12 semi 2
7 bit resolution
1
o l o 2
Modulation wheel
2
o 1 o 2 Breach control
4
o 1 o 2 Foot Controller
Control 5 x 1 o 2
Portamento time
7
o l o 2
Volume
Change 64 o 1 o 2
Sustain foot switch
65
o 1 o 2 Portamento f switch
66
o l o 2
Sostenuto
67
o l o 2 soft
96
o l x Data entry + 1
97
o l x Dara entry – 1
5 – 31
o l o (11–31)
2
Continuous slider
11 – 31
x o 2 MIDI IN control
Prog o o 0–127
2
Change : True #
0 -127
64–127 : Cartridge
System Exclusive
3 o
3
Voice parameters
System :
Song Pos
x
x
:
:
Song Se1
x
x
Common : Tune
x
x
System
: Cloek
x
x
Real Time
: Commands
x
x
Aux
: Local ON/OFF
x
x
: All Notes OFF x o (126,127)
Mes— : Active Sense o o
sages
: Reset
x
x
Notes :
1 =transmit if trasmit channel is not off.
2 =receive if receive channel is not off.
3 =transmit/receive if Exclusive is not off.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF. PLOY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
o
:
Yes
x
:
No
MIDI DATA FORMAT
1. Transmission Requirements
Add-1
2. Transmission Data
2-1. Channel information
Transmission is possible only when 1 ~ 16 is specified as
the transmission channel.
1)
Channel voice message
Key ON/OFF
Status 1 0 0 1 n n n n ($9n) n=channel No.
Note No.
0 k k k k k k k k=36(C1)~96(C6)
Velocity 0vvvvvvv (v ≠ 0) Key ON
00000000 (v ≠ 0) Key OFF
Control change
Status 1 0 1 1 n n n n ($Bn) n=channel No.
Control No. 0ccccccc
Control Value 0 v v v v v v v
Control No.
c=1 Modulation wheel v=0~127
c=2 Breath control
v=0~127
c=4
Foot control 1 v=0~127
c=7
Foot control 2 v=0~127
c=5~31 Continuous slider 1,2
c=64
Sustain SW
v=0: OFF, 127: ON
c=65
Portamento SW
v=0: OFF, 127: ON
c=66
Sostenuto
v=0: OFF, 127: ON
c=67 soft v=0: OFF, 127: ON
c=96 Data entry +1
v=0: OFF, 127: ON
c-97 Data entry -1
v=0: OFF, 127: ON
Program change
v=0~127
No. of
Parameter
g
h p
data
byte
0
0
0~127
1
Voice
0
1
0~30
1
Additional voice Note 3)
6
0
0~73
1
Performance
6
1
0~52
1
Status 1 1 0 0 n n n n ($Cn) n=channel No.
Program No.
0PPPPPPP
p=0~127
After touch
Status
1 1 0 1 n n n n ($Dn) n=channel No.
Value
0vvvvvvv v=0~127
Pitch bender
Status
1 1 1 0 n n n n ($En) n=channel No.
Value (LSB) 0uuuuuuu
Value (MSB)
0vvvvvvv
Resolution 7bit
The transmission data are as follows:
2-2. System
information
1) System real time message
Active sensing
Status 1 1 1 1 1 1 1 0
($FE)
2)
System exclusive message
Transmission is possible only when the device No. is not
set to OFF.
Parameter change
Status 1 1 1 1 n n n n
($F0)
ID No.
0 1 0 0 0 0 1 1
($43)
Substatus 0 0 0 1 n n n n ($1n) n=device No.
Group No.
0ggggghh
g=group No.
h =sub group No.
Parameter No. 0 p p p p p p p
Data
0 d d d d d d d Single or multiple
0 d d d d d d d bytes
EOX
1 1 1 1 0 1 1 1
($F7)
There are seven parameter group Nos. and parameter Nos.
Master tuning
1 0
64
1
3
Micro tuning
6
0
126
Note 1)
4
Fractional scaling
6
0
127
Note 2)
MSB
LSB
Note 1) Data bytes
0 k k k k k k k
key number 0-127 binary
0 h h h h h h h data (high)
0-84 binary
total of
0 1 1 1 1 1 1 1 data (low)
0-127 binary
3 bytes
Note 2) Data bytes
0 0 0 0 0 p p p operator number 0-5 binary
0 0 k k k k k k key group number 0-127 binary
total of
0 h h h h h h h data (high)
0-1 binary 4 byte
0 1 1 1 1 1 1 1 data (low)
0-127 binary
Note 3) Under the Supplement parameter change, DX7
function parameter change will be transmitted
along with the above.
0000
0000
($00)
0000
0000
($00)
Min.
0100
0000
($40)
0000
0000
($00)
Mid.
0111 1111
($7F)
0111
1110
($7E)
Max.
Add-2
Note 4)
Fractional Scaling Parameter Change Data
Operator number
P
operator
0
OP6
1
OP5
2
OP4
3
OP3
4
OP2
5
OP1
key group
data
offset –128~+127
C—2 ~C—1
+0~+255
C#—1~D#—1
+0~+255
E—1
~F#—1
+0~+255
G—1
~A—1
+0~+255
A#—1~C0
+0~+255
C#0
~D#0
+0~+255
E0
~F#0
+0~+255
G0 ~A0
+0~+255
A#0
~C1
+0~+255
C#1
~D#1 +0~+255
E1 ~F#1
+0~+255
G1
~A1
+0~+255
A#1~C2
+0~+255
C#2~D#2
+0~+255
E2
~F#2
+0~+255
G2
~A2
+0~+255
A#2
~G3
+0~+255
C#3~D#3 +0~+255
E3
~F#3
+0~+255
G3
~A3
+0~+255
A#3
~C4
+0~+255
C#4
~D#4
+0~+255
E4
~F#4
+0~+255
G4
~A4
+0~+255
A#4
~C5
+0~+255
C#5
~D#5 +0~+255
E5
~F#5
+0~+255
G5
~A5
+0~+255
A#5~C6
+0~+255
C#6
~D#6
+0~+255
E6
~F#6
+0~+255
G6
~A6
+0~+255
A#6
~C7
+0~+255
C~7
~D#7
+0~+255
E7
~F#7 +0~+255
G7
~A7
+0~+255
A#7~C8
+0~+255
C#8~D#8
+0~+255
E8
~F#8 +0~+255
Add-3
Note 5)
Fractional Scaling Parameter Change Data
K
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
G8
+0~+255
Bulk dump
l
When using universal Bulk Dump
Voice edit buffer
Performance edit buffer
Additional voice edit buffer
For
Packed 32 performance
Packed 32 additional voice
System setup
Packed 32 voice
For
Micro tuning edit buffer
Status
1111nnnn
($F0)
Micro tuning wiht memory number
ID No.
01000011
($43)
Micro tuning in cartridge
Substatus 0000nnnn
Fractional scaling edit buffer
($0n) n=device No.
Group
No.
0fffffff
f=format No.
Fractional scaling in cartridge
Byte count (MSB)
0bbbbbbb
Status
1111nnnn
($F0)
Byte count (LSB)
0bbbbbbb
ID No.
01000011
($43)
Data
0ddddddd
Substatus
0000nnnn ($0n) n=device No.
Group No.
01111110
($7E)
0ddddddd
Byte count (MSB)
0bbbbbbb
Checksum
0eeeeeee
Byte count (LSB)
0bbbbbbb
EOX
11110111
($F7)
Classification 0aaaaaaa
There are 4 format numbers as follows.
name
0aaaaaaa
0aaaaaaa
0aaaaaaa
Data
Format
Byte
Repeat loop
No.
count
Data format
0mmmmmmm
name
Voice edit buffer
0
155
0mmmmmmm
Additional voice edit buffer
5
49
Data
0ddddddd
Packed 32 voice
9
4096
0ddddddd
Packed 32 additional voice
6
1120
Checksum
0eeeeeee
EOX
11110111
($F7)
There 8 types of format as follows:
Data
Byte
Classification
count
name
Performance edit buffer
61
LM__
Packed 32 performance
1642
LM__
System setup
95
LM__
Micro tuning edit buffer
266
LM__
Micro tuning with memory #x
266
LM__
Micro tuning in cartridge
266
LM__
Fractional scaling edit buffer
502
LM__
Fractional scaling in cartridge
502
LM__
Note 1) The x of MCRYMx is a memory No. expressed in binary form, 0 or 1.
Data format
name
8973PE
8973PM
8973S _
MCRYE _
MCRYMx
MCRYC _
FKSYE _
FKSYC _
No. of
repeats
1
1
1
1
1
63
1
32
Note 2) When the number of repeats is 64, the data group from byte count to checksum will be transmitted 64 times.
Note 3) Fractional scaling data is converted into P-byte ASCII codes by adding parameter $30, after assigning data from 0 to 255
to the upper 4 bits and to the lower 4 bits.
Add-4
3. Reception Requirements
Add-5
4. Reception Data
4-1. Channel information
1) Channel voice message
Key OFF
Status
1 0 0 0 n n n n
($8n)
n=channel No.
Note No.
0kkkkkkk
k=0 (C-2) ~ 127 (G8)
Velocity
0vvvvvvv
ignore v
Key ON/OFF
Status
1 0 0 1 n n n n ($9n) n=channel No.
Note No:
0kkkkkkk
k=0(C-2)~127(G8)
Velocity
0 v v v v v v v (v=0) Key ON
0 0 0 0 0 0 0 0 (v=0) Key OFF
Control change
MSB
0000
0000
($00)
Min.
0100
0000
($40)
Mid.
0111
1111
($7F)
Max.
Status
1 0 1 1 n n n n ($Bn) n=channel No.
Control No. 0ccccccc
Control Value
0 v v v v v v v
Control No.
c=1 Modulation wheel v=0~127
c=2
Breath control
v=0~127
c=4
Foot control 1
v=0~127
c=5 Portamento time v=0~127
c=7 Volume v=0~127
c=11-31 Continuous slider 1,2 v=0~127
c=11-31
MIDI IN control
v=0~127
c=64
Sustain SW
v=0: OFF, 127: ON
c=65
Portamento SW
v=0: OFF, 127: ON
c=66
Sostenuto v=0: OFF, 127: ON
c=67
soft
v=0: OFF, 127: ON
Note 1)
The continuous sliders can be assigned to certain
internal effects.
Note 2)
MIDI IN control can be assigned in the same way
as foot control 2.
Program change
Status
1 1 0 0 n n n n ($Cn) n=channel No.
Program No.
0PPPPPPP
p=0~127
0~31 select internal PERFORMANCE combinations in
PERFORMANCE mode.
32~63 select cartridge PERFORMANCE combinations.
Values over 64 repeat this order of selection (INT 1~32
CRT 1~32).
In voice mode, 0~63 select INT voices, 64-127 CRT voices.
After touch
Status
1 1 0 1 n n n n ($Dn) n=channel No.
Value
0vvvvvvv v=0~127
Pitch bender
Status
1 1 1 0 n n n n ($En) n=channel No.
Value (LSB) 0uuuuuuu
Value (MSB) 0vvvvvvv
Operates with only the MSB data.
2) Channel mode message
POLY/All note off
Status
1 0 1 1 n n n n ($Bn) n=channel No.
Control No.
0 1 1 1 1 1 1 0 ($7E)
Control value
0 0 0 0 0 0 0 0
MONO/All note off
Status
1 0 1 1 n n n n ($Bn) n=channel No.
Control No.
0 1 1 1 1 1 1 1
($7F)
Control value
0 m m m m mm
Set to the Mono mode with
only m=1.
recognized.
Ignore when m=1.
4-2. System information
1) System real time messages
Active sensing
Status
1 1 1 1 1 1 1 0 ($FE)
Upon reception of the code, sensing will start. When there
is no status byte or data for 300 msec, the MIDI reception
buffer is cleared and the on-going sound turned OFF.
As far as AFTER TOUCH/MIDI IN CONTROL=0, BREATH
CONTROL/FOOT CONTROL/MODULATION WHEEL is
concerned, its element value is assigned.
Reception is enabled regardless of the Device Number. All
the switches on the panel can be controlled. The numbers
are assigned to the switches as follows:
Add-6
2) System exclusive messages
Parameter change (Switch remote)
Status
1 1 1 1 n n n n
($F0)
ID No.
0 1 0 0 0 0 1 1 ($43)
Substatus
0 0 0 1 n n n n ($1n) n=device No.
Group
No.
0 0 0 1 1 0 1 1
($1B)
Parameter No.
0PPPPPPP
p=switch number
(0~45)
Data
0ddddddd
d=0: OFF
d=127: ON
EOX
1 1 1 1 0 1 1 1
($F7)
All the panel switches are controlled.
The switch numbers are follows:
Parameter change
Status
ID No.
Substatus
Group No.
1 1 1 1 n n n n ($F0)
0 1 0 0 0 0 1 1
($43)
0 0 0 1 n n n n ($1n) n=device No.
0ggggghh
g=group No.
h=sub group No.
Parameter No.
0PPPPPPP
Data
0ddddddd
single or multiple
0ddddddd
bytes
EOX
1 1 1 1 0 1 1 1
($F7)
Upon reception, the EDIT MODE will be forced to activated.
The parameter group number and parameter number for the
6 parameters are as follows:
Parameter change system reset
Status
1 1 1 1 n n n n ($F0)
ID No.
0 1 0 0 0 0 1 1 ($43)
Substatus
0 0 0 1 n n n n ($1n) n=device No.
Group No.
0 0 0 1 1 0 1 1 ($1B)
Parameter No.
0 0 1 0 1 1 1 0 ($2E)
Data
0ddddddd
Ignore d value
EOX 1 1 1 1 0 1 1 1 ($F7)
Reception is enabled regardless of the Device Number.
Upon reception of this code, operation will be carried out
as if the power is just turned on.
Parameter change system setup
Status
1 1 1 1 n n n n ($F0)
ID No.
0 1 0 0 0 0 1 1 ($43)
Substatus
0 0 0 1 n n n n ($1n) n=device No.
Group No.
0 0 0 1 1 0 0 1 ($19)
Parameter No.
0PPPPPPP
p=parameter No.
(64-84)
Data
0ddddddd
d=0: OFF
d=127: ON
EOX
1 1 1 1 0 1 1 1 ($F7)
Upon reception of this code, the corresponding parameter
is changed. However, the change is not in effect if the
parameter stays displayed in the LCD.
Parameter
No. of
g h
P
data
byte
Voice
0
0
0~127
1
0
1
0~30
1
Additional voice
6
0
0~73
1
Performance
6
1
0~52
1
Master tuning
1
0
64
1
Micro tuning
6
0
126
3
Fractional scaling
6
0
127
4
Bulk dump
Same as in transmission.
Universal bulk dump
Same as in transmission.
Dump request
Voice edit buffer
(f=0)
For
Additional voice edit buffer (f=5)
Packed 32 voice
(f=9)
Packed 32 additional voice (f=6)
Status
1 1 1 1 n n n n
($F0)
ID No.
0 1 0 0 0 0 1 1
($43)
Substatus
0 0 1 0 n n n n ($2n) n=device No.
Group No.
0fffffff
f=format No.
(0, 5, 6, 9)
EOX 1 1 1 1 0 1 1 1
($F7)
Universal bulk dump request
Status
ID No.
Substatus
Group No.
Clasification
name
Data format
name
EOX
1111nnnn
($F0)
01000011
($43)
0010nnnn
($2n) n=device No.
01111110
($7E)
0aaaaaaa
ASCII 'L
0aaaaaaa
ASCII ‘M
0aaaaaaa
ASCII ’—
0aaaaaaa
ASCII ’—
0 m m m m m m
ASCII
0 m m m m mm
11110111
($F7)
Add-7
The 8 types of format are as follows:The 8 types of format are as follows:
Data
Classification name
Data format name
Performance edit buffer
LM_ _
8973PE
Packed 32 performance
LM_ _
8973PM
System setup
LM_ _
8973S_
Micro tuning edit buffer
LM__
MCRYE
Micro ro tuning in cartridge LM_ _ MRCYC_
Fractional scaling edit buffer
LM_ _
FFKSYE_
Micro tuning with memory
LM_ _
MCRYMx
Fractional scaling in cartridge
LM_ _
FKSYC_
Add-8
5. PARAMETER
CHART
5-1. VOlCE PARAMETER (Voice edit buffer)
g h
PARAMETER NUMBER
DATA
OPERATOR 6 5 4
3 2
1
(INIT)
PARAMETER
0 0 0 21 42
63 84 105 0-99
(99)
EG RATE1
1 22 43
64 85 106 0-99
(99)
EG RATE2
2 23 44
65 86 107 0-99
(99)
EG RATE3
3 24 45
66 87 108 0-99
(99)
EG RATE4
4 25 46
67 88 109 0-99
(99)
EG LEVEL1
5 26 47
68 89 110 0-99
(99)
EG LEVEL2
6 27 48
69 90 111 0-99
(99)
EG LEVEL3
7 28 49
70 91 112 0-99
(0)
EG LEVEL4
8 29 50
71 92 113 0-99
(C3)
BREAK POINT
9 30 51
72 93 114 0-99
(0)
LEFT DEPTH
10 31 52
73 94 115 0-99
(0)
RIGHT DEPTH
11 32 53
74 95 116 0-3
(-LIN) LEFT CURVE
12 33 54
75 96 117 0-3
(-LIN) RIGHT CURVE
13 34 55
76 97 118 0-7
(0)
RATE SCALING
14 35 56
77 98 119 0-3
(0)
MODULATION SENSITIVITY
15 36 57
78 99 120 0-7
(0)
TOUCH SENSITIVITY
16 37 58
79 100 121 0-99
(0, OP1:99)
TOTALLEVEL
17 38 59
80 101 122 0-1
(RATIO) FREQUENCY MODE
18 39 60
81 102 123 0-31
(1)
FREQUENCY COARSE
19 40 61
82 103 124 0-99
(0)
FREQUENCY FINE
20 41 62
83 104 125 0-14
(7)
DETUNE
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . .
.
. . . . . . . . . . . . . . . . .
.
. . . . . . . . . . . . . . . . . . . . . .. .
. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
126
0-99
(99)
PEG RATE1
127
0-99
(99)
PEG RATE2
0 1 0
0-99
(99)
PEG RATE3
1
0-99
(99)
PEG RATE4
2
0-99
(50)
PEG LEVEL1
3
0-99
(50)
PEG LEVEL2
4
0-99
(50)
PEG LEVEL3
5
0-99
(50)
PEG LEVEL4
6
0-31
(ALG1) ALGORITHM SELECTOR
7
0-7
(0)
FEED BACK LEVEL
8
0-1
(ON)
OSC. SYNC
9
0-99
(35)
LFO SPEED
10
0-99
(0)
LFO DELAY TIME
11
0-99
(0)
PITCH MODULATION DEPTH
12
0-99
(0)
AMPLITUDE MODULATION DEPTH
13
0-1
(ON)
LFO KEY SYNC
14
0-5
(TRI)
LFO WAVE
15
0-7
(3)
LFO PITCH MODULATION SENSE
16
0-48
(C3)
TRANSPOSE
17
ASCII
(1)
VOICE NAME
18
ASCII
(N)
VOICE NAME
19
ASCII
(I)
VOICE NAME
20
ASCII
(T)
VOICE NAME
21
ASCII VOICE NAME
22
ASCII
(V)
VOICE NAME
23
ASCII
(O)
VOICE NAME
24
ASCII
(I)
VOICE NAME
25
ASCII
(C)
VOICE NAME
26
ASCII
(E)
VOICE NAME
27
0-63
(ALL ON) OPERATOR ENABLE B5:OP1, B0:OP6
--,
28
0-5
OPERATOR SELECT 0:OP6, 5:OP1
--,
()
Add-9
5-2. ADDlTlONAL VOICE PARAMETER (ADDITIONAL VOlCE EDIT BUFFER)
g h
P.NO
DATA (INIT)
PARAMETER
6 0 0
0- 1 (norm)
OP6 scaling mode normal/fractional
1
0- 1 (norm)
OP5 scaling mode normal/fractional
2
0- 1 (norm) OP4 scaling mode normal/fractional
3
0- 1 (norm)
OP3 scaling mode normal/fractional
4
0- 1 (norm)
OP2 scaling mode normal/fractional
5
0-
1 (norm)
OP1 scaling mode normal/fractional
6
0-
7 (0)
OP6 amplitude modulation sensitivity
7
0-
7 (0)
OP5 amplitude modulation sensitivity
8
0-
7 (0)
OP4 amplitude modulation sensitivity
9
0-
7 (0)
OP3 amplitude modulation sensitivity
10
0-
7 (0)
OP2 amplitude modulation sensitivity
11
0-
7 (0)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............. . . .
OP1 amplitude modulation sensitivity
. . . . . . . . . . . . .
.....................................
12
0- 3 (8oct) pitch EG range 8oct, 4oct, 1oct, 1/2oct
13
0- 1 (singl) LFO key trigger (delay) single/multi
14
0-
1 (off
pitch EG by velocity switch off/on: 0/1
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. . . . . . . . . . . . . . . . . . . . . . . .. . . . .. .. . ..
15
0-
3 (poly)
bit0; poly/mono, bit1; unison off/on
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .
16
0-
12 (2)
pitch bend range
17
0-
12 (0)
step
18
0- 3 (norm) mode normal/low/high/key on
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...... . . . ..
19
0-
7 (0)
random pitch depth off/+ -3.5c to + -45.4c at C3
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . .. . . .
20
0-
1 (rtn)
portamento mode retain/follow fingerd/fulltime
21
0-
12 (0)
step
22
0-
99 (0)
time
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . 
23 0-
99 (0)
24
0-
modulation wheel pitch modulation range
99 (0)
amplitude modulation range
25
0-
99 (0)
EG bias range
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
26
0-
99 (0)
foot control 1
pitch modulation range
27
0-
99 (0)
amplitude modulation range
28
0-
99 (0)
EG bias range
29
0-
99 (0)
volume range
. . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .
30
0-
99 (0)
breath control
pitch modulation range
31
0-
99 (0)
amplitude modulation range
32
0-
99 (0)
EG bias range
33
0- 100 (50)
pitch bias range
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
0-
99 (0)
after touch
pitch modulation range
35
0-
99 (0)
amplitude modulation range
36
0-
99 (0)
EG bias range
37
0- 100 (50)
pitch bias range
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . .
38
0-
7 (0)
pitch EG rate scaling depth
. . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39-63
reserved
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . ..
64
0-
99 (0)
foot control 2
pitch modulation range
65
0-
99 (0)
amp modulation range
66
0-
99 (0)
EG bias range
67
0-
99 (0)
volume range
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . .. . . . . .
68
0-
99 (0)
MIDI IN control
pitch modulation range
69
0-
99 (0)
amp modulation range
70
0-
99 (0)
EG bias range
71
0-
99 (0)
volume range
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . .. . . . . . .
72
0-
7 (0)
unison detune depth
. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . .
73
0-
1 (0)
foot control 1 use as CS1 switch off/on: 0/1
Add-10
5-3. PERFORMACNCE PARAMETER
(PERFORMANCE EDIT BUFFER /1 PERFORMANCE MEMORY)
g h
P.NO
DATA (INIT)
PARAMETER
61
0
0
SINGLE
1
0-
127
(0)
A-CH VOICE NUMBER
2
0-
127
(0)
B-CH VOICE NUMBER
3
0-
74 (EQUAL)
MICRO TUNING TABLE SELECT
4
0-
11
({C})
MICRO TUNING KEY
5
1
MICRO TUNING SWITCH BIT0: A, BIT1: B0/l: OFF/ON
6
0-
7
(0)
DUAL DETUNE DEPTH
7
0-
127
(C3)
SPLIT POINT
8
0-
1 (OFF)
EG FORCED DAMP SWITCH O/l: OFF/ON
9
1
SUSTAIN FOOT SWITCH BIT0: A, BIT1:B, 0/1: OFF/ON
10
0-
3
(PORT)
FOOT SWITCH ASSIGN 0: SUS, 1: PORT, 2: SOSTENUTO,
3:
SOFT
11
1
FOOT SWITCH BIT0: A, BIT1: B0/1: OFF/ON
12
0-
7
(0)
SOFT PEDAL RANGE
13
0-
48 (0)
NOTE SHIFT RANGE FOR SINGLE, DUAL, SPLIT (A)
14
0-
48(0)
NOTE SHIFT RANGE FOR SPLIT (B)
15
0-
100
(CENTER) VOLUME BALANCE (–50 ~ + 50)
16
0-
99(99)
TOTAL VOLUME
17
0-
105
(NO EFC) CONTINUOUS SLIDER 1
18
0-
105
(NO EFC) CONTINUOUS SLIDER 2 b2: CS2A, b3: CS2B
19 5
CONTINUOUS SLIDER, ASSIGN SWITCH b0: CS1A, b1: CS1B, A: ON CS1/2
20
0-
3
(ON-ON)
PAN MODE 0: MIX, 1: ON-ON, 2: ON-OFF, 3: OFF-ON
21
0-
99(0)
PAN CONTROLL RANGE
22 0-
2 (LFO)
PAN CONTROLL ASSIGN 0/1/2: LFO/VELOCITY/KEY No.
23
0-
99(99)
PAN EG RATE 1
24
0-
99(99)
PAN EG RATE 2
25
0-
99(99)
PAN EG RATE 3
26
0-
99(99)
PAN EG RATE 4
27
0-
99(50)
PAN EG LEVEL 1
28
0-
99(50)
PAN EG LEVEL 2
29
0-
99(50)
PAN EG LEVEL 3
30
0-
99(50)
PAN EG LEVEL 4
31
ASCII (I)
PERFORMANCE NAME
32
(N)
33
(I)
34
(T)
35
()
36
(P)
37
(E)
38
(R)
39
(F)
50
()
Add-11
5-4. VOICE MEMORY FORMAT
NO
BIT6 BIT5
BIT4
BIT3
BIT2
BIT1
BIT0
OP6 OP5 OP4 OP3 OP2 OP1
PARAMETER
0
17
34
51
68 85
EG RATE1
1
18
35 52
69 86
EG RATE2
2 19
36
53
70 87
EG RATE3
3
20
37
54
71
88
EG RATE4
4
21
38 55
72
89
EG LEVEL1
5
22
39
56
73
90
EG LEVEL2
6
23 40
57
74
91
EG LEVEL3
7
24
41
58
75 92
EG LEVEL4
8
25 42
59
76
93
BREAK POINT
9
26
43
60
77 94
LEFT DEPTH
10
27 44
61
78 95
RIGHT DEPTH
11
28 45 62
79 96
RIGHT CURVE
LEFT CURVE
12
29 46
63
80
97
DETUNE
RATE SCALING
13
30
47 64
81
98
TOUCH SENSITIVITY
A.MOD SENS.
14
31
48 65
82
99
TOTAL LEVEL
15
32 49
66
83
100
FREQ. COARSE
F.MODE
16
33
50 67
84
101
. . . . . . .. .. . . . .. .. .
. . . . . . .
. .
. . . . . .
. .. .. . . . . .. .. . . . . . . . .. .
. . . . .. . . . . .
.
. .. .
.
. .. .
. .. .. .
. . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
102
PEG RATE1
103
PEG RATE2
104
PEG RATE3
105
PEG RATE4
106
PEG LEVEL1
107
PEG LEVEL2
108
PEG LEVEL3
109
PEG LEVEL4
110
ALGORITHM SELECT
11
OSC.SNC FEED BACK LEVEL
12
LFO SPEED
13
LFO DELAY TIME
14
LFO MODE
15
LFO A.MOD DEPTH
16
LFO P.MOD SENS.
LFO WAVE
KEY SNC
17
TRANSPOSE
18
VOICE NAME1
19
VOICE NAME2
20
VOICE NAME3
21
VOICE NAME4
22
VOICE NAME5
23
VOICE NAME6
24
VOICE NAME7
25
VOICE NAME8
26
VOICE NAME9
27
VOICE NAME10
FREQ. FINE
Add-12
5-5. ADDITIONAL VOICE MEMORY
NO
BIT6
BIT5
BIT4 BIT3 BIT2 BIT1
BIT0
0
OP1
OP2
OP3
OP4
OP5 OP6
SCALINGMODE
1
OP5
OP6
A.MOD SENSE.
2
OP3
OP4
A.MOD SENSE.
3
OP1
OP2
A.MOD SENSE.
4
RANDOM PITCH DEPTH
PEG SW LFO TRG
PEG RANGE
5
PB RANGE
P MOD SENS.
6
PB MODE
PB STEP
7
PORT. STEP
PRT.MODE
8
PORT. TIME
9
MW PMOD
10
MW AMOD
11
MW EG BIAS
12
FC1 PMOD
13
FC1 AMOD
14
FC1 EG BIAS
15
FC1 VOLUME
16
BC PMOD
17
BC AMOD
18
BC EG BIAS
19
BC PITCH BIAS
20
AT PMOD
21
AT AMOD
22
AT EC BIAS
23
AT PITCH BIAS
24
| PEG RATE SCALING
25
RESERVED
26
FC2 PMOD
27
FC2 AMOD
28
FC2 EG BIAS
29
FC2 VOLUME
30
MIDI IN CONTROL PMOD
31
MIDI IN CONTROL AMOD
32
MIDI IN CONTROL EG BIAS
33
MIDI IN CONTROL VOLUME
34
FCCS1SW | UNISON DETUNE
|
Add-13
5-6.
SYSTEM SETUP PARAMETER
g h
P.NO DATA (INIT) PARAMETER
6 1
64
0- 15 (0)
MIDI TX channel
65
0- 1 (0N)
MIDI channel voice message TRANS switch
66
0- 16 (0)
MIDI RX channel 16: off
67
0- 16 (0)
MIDI RX channel 16: off
68
0- 1 (ON)
MIDI OMNI MODE SWITCH O/l: OFF/ON
69
9- 31 (11)
MIDI CONTROLER NUMBER
70
9- 31 (12)
MIDI CONTROLER NUMBER
71
5- 31 (13)
CONTINUOUS SLIDER 1 CONTROLL NUMBER
72
5- 31 (14)
CONTINUOUS SLIDER 2 CONTROLL NUMBER
73
0- 2 (NORMAL)
MIDI key on/off normal/odd/even: 0/1/2 flag
74
0- 2 (NORMAL)
PROGRAM CHANGE TRANS MODE FLAG 0/1/2: of/nor/prg
75
0- 1 (ON)
LOCAL SWITCH 0/1: OFF/ON
76
0- 1 (1-32)
MIDI transmit block flag
77
0- 1 (1-32)
MIDI receive block flag
78
0- 15 (0)
MIDI system common message RX channel (device No.)
79
0- 1 (ON)
MIDI system common message switch
80
0- 15 (0)
cartridge appoint bank number for voice&performance
81
0- 15 (2)
cartridge appoint bank number for fractional scaling
82 0- 15 (3)
cartridge appoint bank number for micro tuning
memory protect b0: int, bl; crt
...................... . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . .. . . . .. . .. . .. . . . . . . . . . . . . . .. . .
1 0
64
0-127 (CENTER)
master tune
-*2
0-127 (SW. NO.)
programmable program change trans set buffer (64 bytes)
83*1
0- 3 (ON/ON)
*1
be not included in bulk data (only parameter change)
In bulk format, this parameter area is reserved. (dummy byte)
*2
be included in bulk data only (does not have parameter change code)
Add-14
5-7. MICRO TUNlNG PARAMETER
BYTE KEYNAME
DATA
NOTES
0
C-2
48
CO
96 C2
144
C4
192
C6 240C8
0-84
MSB
1
C-2
49 97 145
193
241
0-127 0-10794 LSB
2
50 98 146 194
242
MSB
3
C#-2
51
99 147 195 243
0-127 0-10794
LSB
4
D-2
52 100 148 196
244
0-84
MSB
5
D-2
53
101
149 197
245
0-127 0-10794
LSB
6
54 102 150 198
246
MSB
7 55 103
151
199 247
0-127
0-10794
LSB
8
E-2
56 104 152
200 248
0-84
MSB
9
E-2
57 105 153 201
249 0-127
0-10794
LSB
10
F-2
58 106 154
202 250
0-84
MSB
11
F-2
59 107 155 203 251
0-127
0-10794
LSB
12
60 108 156
204 252
MSB
13
61
109 157 205 253
0-127 0-10794 LSB
14
G-2
62 110 158
206 254
0-84
MSB
15
G-2
63
111
159
207 255
0-127 0-10794
LSB
16
G#-2
64 112 160 208
0-84
MSB
17
G#-2
65 113
161
209
0-127 0-10794
LSB
18
A-2
66 114 162
210
MSB
19
67 115 163 211
0-127 0-10794
LSB
20 68 116 164
212
0-84
MSB
21
A#-2
69 117 165 213
0-127
0-10794
LSB
22
B-2
70 118 166
214
0-84
MSB
23
B-2
71
119 167
215
0-127 0-10794
LSB
24
C-l
72C1
120 C3
168
C5 216C7
25 73
121
169
217
26
74
122 170
218
27 75 123
171
219
28 76 124 172
220
29 77 125 173 221
30 78 126 174
222
31
79 127 175
223
32 80 128 176
224
33
81
129 177
225
34 82 130 178
226
35 83
131
179
227
36
84
132 180
228
37 85 133
181
229
38 86 134 182
230
39 87 135 183 231
40
88 136 184
232
41
89 137 185 233
42
90 138 186
234
43
91
139 187
235
44
92 140
188
236
45 93
141
189
237
46 94
142 190
238
47 95 143
191
239
Add-15
5-8. FRACTIONAL KEY LEVEL SCALING PARAMETER
OP6
OP5
OP4
OP3
OP2
OP1
DATA
OFS
0
41 82
123 164
205
-127~+127
C-2
- C-1
1
42
83
124 165
206
0
~
255
C#-1
-
D#-1
2
43 84
125 166
207
0
~ 255
E-l -
F#-1
3
44
85
126 167
208
0
~
255
G-l - A-l
4
45 86
127 168
209
0
~
255
A#-1
-
CO
5
46
87
128 169
210
0
~ 255
C#O
- D#0
6
47 88
129 170
211
0
~ 255
EO
-
F#O
7
48
89
130
171
212
0
~
255
G0
- A0
8
49
90
131
172
213
0
~
255
A#0- Cl
9
50
91
132 173
214
0
~ 255
C#1 -
D#1
10
51
92
133 174
215
0
~ 255
E1
- F#1
11
52
93
134 175
216
0
~ 255
G1
-
A1
12
53
94
135 176
217
0
~
255
A#1
-
C2
13
54 95
136 177
218
0
~ 255
C#2
- D#2
14
55
96
137 178
219
0
~ 255
E2 -
F#2
15
56 97
138 179
220
0
~ 255
G2
-
A2
16
57 98
139 180
221
0
~ 255
A#2-
C3
17
58 99
140
181
222
0
~ 255
C#3
-
D#3
18
59 100
141
182
223
0
~ 255
E3
- F#3
19
60
101
142 183
224
0
~ 255
G3
-
A3
20
61
102
143 184
225
0
~ 255
A#3
-
C4
21
62 103
144 185
226
0
~ 255
C#4
-
D#4
22
63 104
145 186
227
0
~ 255
E4
-
F#4
23
64
105
146 187
228
0
~ 255
G4 - A4
24
65
106
147 188
229
0
~ 255
A#4-
C4
25
66 107
148 189
230
0
~ 255
C#5
- D#5
26
67 108
149 190
231
0
~ 255
E5
-
F#5
27
68 109
150
191
232
0
~ 255
G5
-
A5
28
69 110
151
192
233
0
~ 255
A#5-
C6
29
70
111
152
193
234
0
~ 255
C#6
-
D#6
30
71
112
153 194
235
0
~ 255
E6
-
F#6
31
72
113
154 195
236
0
~
255
G6
- A6
32
73 114
155 196
237
0
~ 255
A#6
- C7
33
74
115
156 197
238
0
~ 255
C#7
- D#7
34
75 116
157 198
239
0
~ 255
E7
-
F#7
35
76
117
158 199
240
0
~ 255
G7
-
A7
36
77 118
159
200
241
0
~ 255
A#7
- C8
37
78 119
160 201
242
0
~ 255
C#8
- D#8
38
79 120
161
202
243
0
~ 255
E8
-
F#8
39
80
121
162
203
244
0
~ 255
G8
40
81
122
163
204
245
0
~ 255
Add-16
SPECIFICATIONS
Keyboard
61 keys (C
1
~C
6
), with Initial/After touch
Tone Generator
FM tone Generator (6 operators 32 algorythms)
Simultaneous Note Output (Reverse priority)
16 notes
Internal Memory
64 voices/32 performances, 2 micro tunings, 1 system set-up
External ROM Memory
128 voices/64 performances, micro tuning, fractional level scaling, system set-up
External Memory
RAM cartridge (Optional, RAM4) = Internal Memory x 1, or 64 fractional level scaling or 63 micro tuning
Control Sliders and switches
Volume slider, Continuous sliders CS1, CS2 (Data entry)
Data entry switch x 2, Mode setting switch x 12, Voice switch x 32
Controls
PITCH BEND WHEEL, MODULATION WHEEL
External Control Terminals
BREATH CONTROL, SUSTAIN, FOOT SWITCH (Sustain, Portamento, Key hold, Soft), FOOT CONTROL
1 (Volume, Modulation, Voice parameter), FOOT CONTROL2 (Volume, Modulation).
RAM&per.ROM CARTRIDGE SLOT
MIDI IN — OUT — THRU
Output Terminals
Display
Output Headphones
LC: 40 letters x 2 lines (illuminated)
LED: 7 segments x 2
Dimensions (W x H x D), Weight
999 x 85.8 x 333.7 mm, 10.5 kg
Power Supply, Power Consumption
U.S & Canadian Models: 120V, 50/60Hz
General Model: 110V/220V/240V 50/80Hz
Standard Accessories
Music holder, ROM cartridge
Optional Accessories
RAM Cartridge
RAM4
Flight Case
LC-7IIF
Hard Case LC-7IIH
Soft Case
SC-7IIS
Cartridge Adaptor
ADP1
Foot Switch FC4/FC5, Foot Controller FC7, Breath Controller BC1, Head Set Breath Controller BC2,
Stand LG-100, MIDI Cable MIDI 01/03/15, Accessary KitADX20 (FC5, FC7, BC1), MIDI Data Filer (MDF1).
Add-17
IMPORTANT
SAFETY AND INSTALLATION INSTRUCTIONS
INFORMATION RELATING TO POSSIBLE PERSONAL INJURY, ELECTRIC SHOCK AND
FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING
– When using electronic products, basic prec-
autions should always be followed, including the following:
1. Read all Safety and Installation Instructions, Supple-
mental Marking and Special Message Section data, and
any applicable assembly instructions BEFORE using
this product.
2. Check unit weight specifications BEFORE you attempt
to move this product.
3.
Main power supply verification. Yamaha Digital Musical
Instrument products are manufactured specifically for
use with the main supply voltage used in the area where
they are to be sold. The main supply voltage required
by these products is printed on the name plate. For name
plate location please refer to the graphic in the Special
Message section. If any doubt exists please contact the
nearest Yamaha Digital Musical Instrument retailer.
4. Some Yamaha Digital Musical Instrument products
utilize external power supplies or adapters. Do NOT
connect products of this type to any power supply or
adapter other than the type described in the owners
manual or as marked on the unit.
5.
This product may be equipped with a plug having three
prongs or a polarized line plug (one blade wider than
the other). If you are unable to insert the plug into the
outlet, contact an electrician to have the obsolete outlet
replaced. Do NOT defeat the safety purpose of the plug.
Yamaha products not having three prong or polarized
line plugs incorporate construction methods and de-
signs that do not require line plug polarization.
6. WARNING – Do NOT place objects on the power cord
or place the unit in a position where any one could walk
on, trip over, or roll anything over cords of any kind.
An improper installation of this type can create the
possibility of a fire hazard and/or personal injury.
7. Environment: Your Yamaha Digital Musical Instrument
should be installed away from heat sources such as
heat registers and/or other products that produce heat.
8. Ventilation: This product should be installed or posi-
tioned in a way that its placement or location does not
interfere with proper ventilation.
9. Yamaha Digital Musical Instrument products are fre-
quently incorporated into “Systems” which are as-
sembled on carts, stands or in racks. Utilize only those
carts, stands, or racks that have been designed for this
purpose and observe all safety precautions supplied
with the products. Pay special attention to cautions that
relate to proper assembly, heavier units being mounted
at the lower levels, load limits, moving instructions,
maximum usable height and ventilation.
10. Yamaha Digital Musical Instrument products, either
alone or in combination with amplification, headphones,
or speakers, may be capable of producing sound
levels
that could cause permanent hearing loss. Do NOT op-
erate at high volume levels or at a level that is un-
comfortable. If you experience any discomfort, ringing
in the ears, or suspect any hearing loss, you should
consult an audiologist.
11.
Do NOT use this product near water or in wet environ-
ments. For example, near a swimming pool, spa, in the
rain, or in a wet basement.
12. Care should be taken so that objects do not fall, and
liquids are not spilled into the enclosure.
13. Yamaha Digital Musical Instrument products should be
serviced by a qualified service person when:
a. The power supply/power adapter cord or plug has
been damaged; or
b. Objects have fallen, or liquid has been spilled into
the products; or
c. The unit has been exposed to rain; or
d. The product does not operate, exhibits a marked
change in performance: or
e. The product has been dropped, or the enclosure of
the product has been damaged.
14. When not in use, always turn your Yamaha Digital Mu-
sical Instrument equipment “OFF”. The power supply
cord should be unplugged from the outlet when the
equipment is to be left unused for a long period of time.
NOTE: In this case, some units may lose some user
programmed data. Factory programmed memories
will not be affected.
15. Electromagnetic Interference (RFI). Yamaha Digital
Musical Instruments utilize digital (high frequency
pulse) technology that may adversely affect Radio/TV
reception. Please read FCC Information (back cover)
for additional information.
16. Do NOT attempt to service this product beyond that
described in the user maintenance section of the owners
manual. All other servicing should be referred to qua-
lified service personnel.
PLEASE KEEP THIS MANUAL
FOR FUTURE REFERENCE!
This information on safety is provided to comply with U.S.A. laws, but should be observed by users in all countries.
FCC INFORMATION
While the following statements are provided to comply
with FCC Regulations in the United States, the cor-
rective measures listed below are applicable world-
wide.
This series of Yamaha professional music equipment
uses frequencies that appear in the radio frequency
range and if installed in the immediate proximity of
some types of audio or video devices (within three
meters), interference may occur. This series of Yamaha
combo equipment have been type tested and found
to comply with the specifications set for a class B
computing device in. accordance with those specifi-
cations listed in subpart J of part 15 of the FCC rules.
These rules are designed to provide a reasonable
measure of protection against such interference.
However, this does not guarantee that interference
will not occur. If your professional music equipment
should be suspected of causing interference with other
electronic devices, verification can be made by turning
your combo equipment off and on. If the interference
continues when your equipment is off, the equipment
is not the source of interference if your equipment
does appear to be the source of the interference, you
should try to correct the situation by using one or
more of the following measures:
Relocate either the equipment or the electronic device
that is being affected by the interference. Utilize power
outlets for the professional music equipment and the
device being affected that are on different branch
(circuit breaker or fuse) circuits, or install AC line
filters.
In the case of radio or TV interference, relocate the
antenna or, if the antenna lead-in is 300 ohm ribbon
lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfac-
tory results, please contact your authorized Yamaha
professional products dealer for suggestions and/or
corrective measures.
If you cannot locate a franchised Yamaha professional
products dealer in your general area contact the pro-
fessional products Service Department, Yamaha Music
Corporation, 6600 Orangethorpe Ave., Buena Park,
CA 90620, U.S.A.
If for any reason, you should need additional infor-
mation relating to radio or TV interference, you may
find a booklet prepared by the Federal Communi-
cations Commission helpful:
“How to Identify and Resolve Radio —TV Interference
Problems”. This booklet is available from the U.S.
Government Printing Office, Washington D.C. 20402
– Stock No. 004-000-00345-4.
YAMAHA
DX7S OM
3/10/99 19C0170
YAMAHA CORPORATION
P.O. Box 1, Hamamatsu. Japan
88 04 2.1 CR Printed in Japan
  • Page 1 1
  • Page 2 2
  • Page 3 3
  • Page 4 4
  • Page 5 5
  • Page 6 6
  • Page 7 7
  • Page 8 8
  • Page 9 9
  • Page 10 10
  • Page 11 11
  • Page 12 12
  • Page 13 13
  • Page 14 14
  • Page 15 15
  • Page 16 16
  • Page 17 17
  • Page 18 18
  • Page 19 19
  • Page 20 20
  • Page 21 21
  • Page 22 22
  • Page 23 23
  • Page 24 24
  • Page 25 25
  • Page 26 26
  • Page 27 27
  • Page 28 28
  • Page 29 29
  • Page 30 30
  • Page 31 31
  • Page 32 32
  • Page 33 33
  • Page 34 34
  • Page 35 35
  • Page 36 36
  • Page 37 37
  • Page 38 38
  • Page 39 39
  • Page 40 40
  • Page 41 41
  • Page 42 42
  • Page 43 43
  • Page 44 44
  • Page 45 45
  • Page 46 46
  • Page 47 47
  • Page 48 48
  • Page 49 49
  • Page 50 50
  • Page 51 51
  • Page 52 52
  • Page 53 53
  • Page 54 54
  • Page 55 55
  • Page 56 56
  • Page 57 57
  • Page 58 58
  • Page 59 59
  • Page 60 60
  • Page 61 61
  • Page 62 62
  • Page 63 63
  • Page 64 64
  • Page 65 65
  • Page 66 66
  • Page 67 67
  • Page 68 68
  • Page 69 69
  • Page 70 70
  • Page 71 71
  • Page 72 72
  • Page 73 73
  • Page 74 74
  • Page 75 75
  • Page 76 76
  • Page 77 77
  • Page 78 78
  • Page 79 79
  • Page 80 80
  • Page 81 81
  • Page 82 82
  • Page 83 83
  • Page 84 84
  • Page 85 85
  • Page 86 86
  • Page 87 87
  • Page 88 88
  • Page 89 89
  • Page 90 90
  • Page 91 91
  • Page 92 92
  • Page 93 93
  • Page 94 94
  • Page 95 95
  • Page 96 96
  • Page 97 97
  • Page 98 98
  • Page 99 99
  • Page 100 100
  • Page 101 101
  • Page 102 102
  • Page 103 103
  • Page 104 104
  • Page 105 105
  • Page 106 106
  • Page 107 107
  • Page 108 108

Yamaha DX7s Manual de usuario

Yamaha
Marca
Yamaha
Modelo
DX7s
Categoría
Sintetizador
Tipo
Manual de usuario
Descargar PDF
informe

En otros idiomas

Documentos relacionados

Otros documentos