Yamaha DX27 Bedienungsanleitung

|“

UNT

DIGITAL

PROGRAMMIERBARER

ALGORITHMUS

SYNTHESIZER

VOICE

PROGRAMMING

GUIDE

PROGRAMMATION

ANLEITUNG

ZUR

TRUMENTENSTIMMEN-

GRAMMIERUNG

ロラ

コス

INTRODUCTION

Once

you're

thoroughly

familiar

with

the

basic

operation

the

DX27/100,

you'll

want

begin

experimenting

with

the

creation

original

voices.

This

not

all

difficult

once

you

"get

the

feel"

the

tone

generator

system.

The

process,

however,

quite

different

from

programming

voices

conventional

analog

synthesizer.

So,

help

you

get

into

creating

your

own

voices

the

DX27/100

quickly

and

easily

possible,

this

guide

book

will

provide

you

with

some

useful

guidelines

well

help

you

program

five

new

voices:

COMBO

ORGAN

ELECTRIC

LUTE

BACKING

BRASS

BELLS

HARPSI-PIANO

following

the

outlined

programming

procedures

and

listening

the

way

each

voice

sounds

each

stage

the

programming

process,

you

will

develop

the

"FM

awareness"

required

program

your

own

voices.

Note

that

all

these

voices

will

programmed

from

scratch

(i.e.

will

start

ini-

tializing

voice

using

the

DX27/100

INIT

VOICE

function).

Once

you've

mastered

programming

voices

this

way,

will

easy

matter

edit

existing

voices

make

slight

modifications

create

completely

new

sounds.

Before

you

actually

start

working

your

way

through

this

guidebook,

recommend

that

you

review

the

VOICE

PROGRAMMING

chapter—The

Basics

Synthesis—in

the

OWNER'S

MANUAL.

CONTENTS

INTRODUCTION

mEEImSm———

———————————

BASIC

VOICE

PROGRAMMING

PROCEDURE

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

REVIEW:

THE

INIT

VOICE

FUNCTION

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

SAMPLE

VOICES

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

наннан

nennen

trennen

VOICE

COMBO

ORGAN..

VOICE

ELECTRIC

LUTE.....

VOICE3:

BACKING

BRASS...

‚12

VOICE

ЕМ

BELLS

.......

213

VOICE

НАНРФІРІАНО.........

меен

нен

еененеемен

мн

анааан

VOICE/FUNCTION

БАТА...........................ишиш

ин

нии

ннн

DATA

МАМЕ

лан

дылды

dedi

оным

Banaue

angen!

()

BASIC

VOICE

PROGRAMMING

PROCEDURE

this

section,

we'll

examine

the

basic

steps

required

for

the

creation

any

voice..Once

you

get

used

programming

with

FM,

you

won't

need

think

about

the

procedure

involved.

the

beginning,

however,

the

following

discussion

will

useful

helping

you

understand

the

various

elements

involved.

CHOOSING

ALGORITHM

This

almost

always

the

first

step

programming

any

voice,

since

the

con-

figuration

operators

each

algorithm

which

determines

the

type

voices

that

can

produced.

The

“almost”

the

preceding

sentence

refers

the

fact

that

some

cases

you

might

end

choosing

different

algorithm

than

the

one

you

started

with

order

improve

the

voice.

any

case,

algorithm

must

selected

before

you

can

any

further

the

programming

process.

The

following

algorithm/voice

type

breakdown

may

serve

rough

guide

choosing

particular

algorithm

for

the

type

voice

you

have

mind.

This

guide,

however,

need

not

strictly

adhered

to.

Mainly

experience

will

help

you

find

the

best

algorithms

for

your

own

original

voices.

ALGORITHMS

and

These

are

all

single-carrier

algorithms,

providing

the

most

complex

modulation.

They

are

best

for

plucked

strings

(guitar,

harp,

bass,

harpsichord,

etc.),

hammered

strings

(acoustic

piano,

etc.),

reed

wind

instruments

(clarinette,

oboe,

sax,

etc.),

woodwinds

(flute,

piccolo,

etc.),

and

conventional

synthesizer

type

voices.

AL-

GORITHM

good

choice

for

programming

bowed

strings

(violin,

cello,

etc.),

well

some

horn

and

brass

voices.

ALGORITHM

This

dual-carrier

algorithm

has

two

separate

modulation

"stacks."

This

lets

you

create

voices

with

two

distinct

voice

"elements,"

each

having

fairly

complex

harmonic

structure.

example

this

type

voice

the

electric

piano,

which

has

distinct

tine

sound

high

"ping"

attack)

addition

the

actual

piano

sound.

This

algorithm

also

useful

when

creating

"thick"

voices

such

or-

chestra

and

heavy

synthesizer

voices.

also

good

for

complex

bell

voices

such

glockenspiel,

tubular

bells

and

celeste.

ALGORITHM

has

three

carriers,

all

modulated

the

same

time

single

modulator.

useful

for

brass,

horns,

etc.

ALGORITHMS

and

These

have

and

carriers,

respectively.

Both

these

algorithms

are

best

suited

for

creating

smooth,

gentle

voices.

ALGORITHM

does

have

one

stack

which

permits

the

addition

bright,

sharp

elements

the

voice,

while

ALGORITHM

made

all

carriers,

ideal

for

organ

type

voices.

You

might

find

interesting

and

educational

through

the

preset

voices

and

(in

the

EDIT

mode)

look

which

algorithms

have

actually

been

used

for

the

various

voices.

SETTING

THE

CARRIER

OUTPUT

LEVEL(S)

INITIAL

MODULATOR

OUTPUT

LEVEL

SETTING

CREATING

THE

“BASIC”

VOICE

SETTING

THE

CARRIER

AND

1st

MODULATOR

FREQUENCY

RATIO

INITIAL

CARRIER

SETTING

INITIAL

MODULATOR

SETTING

FINE

MODULATOR

OUTPUT

LEVEL

SETTING

The

initialized

output

level

setting

for

OP1

90.

This

sufficient

when

using

ALGORITHMS

through

since

OP1

their

only

carrier.

With

other

algorithms,

however,

best

start

setting

the

output

level

all

carriers

90.

You

will

find

that

for

most

voices,

the

modulator

output

levels

between

and

are

the

most

frequently

used.

best,

therefore,

begin

programming

setting

the

output

levels

all

modulators

somewhere

Wwithin

this

range.

best

concentrate

programming

just

one

"part"

voice

time.

For

example,

you're

working

with

ALGORITHM

turn

OFF

the

2nd

and

3rd

mod-

ulators

(OP3

and

OP4),

and

concentrate

creating

the

basic

voice

using

just

the

carrier

and

1st

modulator.

you

choose

ALGORITHM

start

with

either

the

stacks

(OP1

and

OP2,

OP3

and

OP4)

and

turn

OFF

the

other

two

operators.

The

other

operators

can

turned

back

later

refine

and

finish

the

voice.

most

cases,

the

carrier

frequency

ratio

single-carrier

algorithms

through

will

set

1.00,

since

this

will

produce

standard

keyboard

pitch.

With

mul-

tiple-carrier

algorithms,

however,

the

carriers

may

set

different

frequency

ratios

create

organ-coupler

type

effects,

voices

with

two

distinct

frequency

components.

The

modulator

frequency

ratio

relation

the

carrier

frequency

determines

the

timbre

the

voice.

For

example,

carrier/modulator

ratio

1:1

(i.e.

carrier

1.00,

modulator

1.00)

produces

sawtooth-like

waveform,

and

carrier/modulator

ratio

1:2

(i.e.

carrier

1.00,

modulator

2.00)

produces

square

wave.

This

only

general

guideline,

and

the

actual

results

depend

the

amount

mod-

ulation

(modulator

output

level)

applied

the

carrier.

Fractional

ratios

(e.g.

1:1.73)

can

produce

extremely

complex

waveforms

that

frequently

have

"metallic"

sound.

You'll

have

experiment

find

the

frequency

ratio

that

produces

timbre

which

the

one

you

want.

Now

you're

ready

set

the

basic

volume

envelope

("shape")

the

voice.

Start

with

the

carrier

parameters.

For

details

the

parameters

refer

the

discussion

the

Envelope

Generators

the

"The

Basics

Synthesis"

section

the

owner's manual.

many

cases,

sufficient

copy

the

carrier

parameters

the

modulator

using

the

COPY

function.

This

gives

fairly

constant

timbre

over

the

entire

length

the

note.

the

timbre

the

voice

vary

with

time,

the

modulator

envelope

can

then

further

modified.

The

most

common

form

timbre

variation

where

the

modulator

comes

strongly

with

the

attack

the

note

(producing

rich

harmonic

structure)

and

then

decays

lower

level

the

note

held.

This

type

timbre

variation

common

with

plucked

and

hammered

strings

well

with

brass

and

horns.

The

reverse

(i.e.

modulation

gradually

increases

the

note

held)

creates

electronic

synthesizer

type

sounds.

Once

the

basic

parameters

have

been

set

up,

back

and

readjust

the

output

level

the

modulator

"fine

tune"

the

timbre

the

voice.

This

will

probably

have

done

several

stages

throughout

the

voice

programming

process.

Whenever

you

feel

the

timbre

not

quite

right,

try

readjusting

the

modulator

output

level.

(Ҙ

ADDING

AND

ADJUSTING

THE

2nd

AND

SUBSEQUENT

MODULATORS

10.

SETTING

KEYBOARD

SCALING

FOR

THE

BEST

OVERALL

KEYBOARD

BALANCE

11.

REFINING

THE

TOTAL

SOUND,

ADDING

FEEDBACK

12.

ADDING

“LIFE”

THE

VOICE

13.

SETTING

THE

PERFORMANCE

PARAMETERS

14.

STORE

THE

COMPLETED

VOICE

Once

you're

satisfied

with

the

basic

voice,

you

can

and

add

the

remaining

elements.

single-carrier

algorithms,

turn

the

2nd

modulator

and

set

the

appropriate

frequency

ratio.

Then

back

and

repeat

steps

and

for

the

2nd

modulator.

Add

the

remaining

modulators

and

repeat.

course,

you

don't

have

use

all

the

modulators

algorithm.

you're

satisfied

with

the

way

things

sound

with

just

one

carrier

and

one

modulator,

then

turn

the

remaining

modulators

OFF

setting

their

output

levels

With

multiple-carrier

algorithms

you

can

add

carriers

and

modulators

one

time,

adjusting

them

described

above.

Frequently

voice

will

sound

just

fine

the

lower

end

the

keyboard,

but

may

become

loud

bright

you

play

the

higher

keys.

the

voice

becomes

too

loud

the

higher

keyboard

range,

apply

KEYBOARD

LEVEL

SCALING

the

carrier(s).

the

sound

becomes

too

bright

sharp

the

upper

keyboard

range,

apply

KEYBOARD

LEVEL

SCALING

the

modulators.

Particularly

with

piano-type

voices,

the

higher

notes

may

sound

unnaturally

long

(the

high

strings

real

piano

decay

much

faster

than

the

low

strings).

shorten

the

envelope

the

higher

notes,

apply

KEYBOARD

RATE

SCALING

the

carrier(s).

With

all

operators

ON,

assess

the

total

voice

and

the

settings,

and

adjust

necessary.

Feedback

may

added

this

point.

Increasing

feedback

1st

modulator

generally

adds

increasing

sharpness,

grittiness

bite

the

sound.

Maximum

feedback

often

results

noise,

and

can

useful

for

creating

some

sound

effects.

The

effects

feedback

the

2nd

3rd

modulators

subtle.

Your

voice

almost

completed.

enhance

further,

you

can

now

use

the

DETUNE

LFO

effects.

The

LFO

can

used

add

vibrato

voice

setting

the

PMD

(Pitch

Modulation

Depth)

parameter

value

greater

than

AMD

(Amplitude

Modulation

Depth)

can

applied

individual

operators,

create

variety

effects.

AMD

applied

carrier

creates

tremolo

effect;

applied

modulator,

can

create

anything

from

wild

"wow"

sound

subtle

chorus

effect.

Set

the

desired

performance

controller

parameters

(Pitch

Bend

Wheel,

Modulation

Wheel,

Breath

Controller)

give

you

the

expressive

control

you

need

for

the

voice.

Use

the

STORE

function

(see

owner's

manual)

store

the

newly

created

voice

any

one

the

INTERNAL

voice

memory

locations.

REVIEW:

The

INIT

VOICE

Function

Since

the

voices

the

following

section

will

all

programmed

starting

with

the

initialized

voice

parameters,

let's

quickly

review

the

DX27/100

INIT

VOICE

function.

Press

the

FUNCTION

button

enter

the

FUNCTION

mode.

Press

the

INIT

VOICE

button.

The

LCD

will

respond

with

"Init

voice?".

С]

еф

(Е

Init

Voice

INIT

Press

the

YES

button.

The

LCD

will

respond

with "Are

you

sure?".

YES

Суў

[Е

Аге

you

sure

Press

the

YES

button

again

and

the

initial

voice

parameters

(see

chart)

will

loaded

into

the

voice

edit

buffer.

The

EDIT

mode

will

automatically

entered

allowing

you

begin

programming

your

voice.

YES

ом

MODULATION

SENSITIVITY

VELOCITY

^—

MODULATION

SENSITIVITY

1.00

FREQ

RATIO}

DETUNE

OSCILLATOR

PORTAMENTO

FOOT

WHEEL

RANGE

ВАЕАТН

RANGE

______|

MODE

TIME

ASSIGN

шы

PITCH

|AMPLITUDE

PITCH

BIAS|

ser

Tercer

emer

8AST

]

Porta

Note

that

when

voice

initialized,

only

operator

number

(from

now

referred

OP1)

ON.

That

is,

the

OP1

output

level

set

while

all

other

operators

are

OFF

(set

0).

all

algorithms

the

DX27/100,

OP1

a carrier,

you

play

note,

all

you

will

hear

simple

sine

wave—the

output

from

OP1.

Note

also

that

the

envelope

generators

are

set

the

simplest

form

envelope.

When

playing

key,

the

sound

begins

immediately

maximum

level;

When

releasing

the

key,

the

sound

stops

immediately.

The

operator

frequency

ratios

are

all

set

their

basic

value:

1.00

(all

operators

produce

the

same

frequency).

important

understand

this

situation

since

from

this

most

basic

"voice"

simple

sine

wave)

that

all

our

voices

will

created.

Now

that

have

executed

the

INIT

VOICE

function

and

have

the

initial

voice

parameters

all

loaded

into

the

DX27/100's

voice

edit

buffer,

let's

begin

pro-

gramming

very

simple

voice.

———"————

————————————

SAMPLE

VOICES

this

section,

provide

the

data

for

five

new

voices

that

you

can

program

yourself.

After

having

done

this,

you

should

familiar

enough

with

the

workings

the

system

programming

even

better

voices

that

are

ideal

for

your

own

musical

applications.

For

the

first

and

most

simple

voice—COMBO

ORGAN—we

will

provide

complete

step-by-step

programming

in-

structions.

For

the

remaining

four

voices,

however,

we'll

give

you

data

chart

with

few

pointers

and

let

you

the

actual

programming

your

own.

you

get

stuck,

refer

back

the

BASIC

VOICE

PROGRAMMING

PROCEDURE

section

for

help.

For

our

COMBO

ORGAN

voice

will

use

ALGORITHM

you

can

see

VOICE

looking

the

ALG8

diagram,

there

are

modulator-carrier

relationships,

COMBO

ORGAN

true

modulation

can

take

place.

All

the

operators

act

carriers,

basically,

will

simply

adding

the

outputs

the

four

operators

together.

will,

however,

take

advantage

the

feedback

loop

provided

OP4,

allowing

OP4

modulate

itself

produce

nice

gritty

sound

one

the

voice

“elements”

will

use

create

the

total

organ

sound.

Here

the

filled-in

DATA

MEMO

chart

for

the

COMBO

ORGAN

voice

blank

chart

provided

the

back

this

manual

and

the

DX27/100

owner's

manual;

make

copies

and

use

record

your

own

voice

parameters).

DATA

МАМЕ:

の

ぢ

の

ORGAN

DATE

NUMBER

PROGRAMMER

iii

пе

кешелек

ЖӨЕ

вне

827288

жа

sae

ros

lyuosl

sas

MODULATION

SENSITIVITY

VELOCITY

сери

ЛЕ

pice

ШЕ

(ШЕ

ヶ

の

ЕП

な

ео

11291

ЕРГЕН

БЕ

0-1.

ЕНГЕ

ЕТИ

ЛЕНИН

Ны

ИС

RATE

TRANSPOSE

OSCILLATOR

ENVELOPE

GENERATOR

OPERATOR

KEYBOARD

SCALING

POLY/MONO|PITCH

BEND

PORTAMENTO

FOOT

BREATH

RANGE

PANGE

ASSIGN

РОБЕ

PiTcH

[AMPLITUDE|PITCH

BIAS]

ЕС

Bias

ТІМЕ

уа

[sul

|ојо

you

feel

confident

your

programming

ability,

ahead

and

set

the

parameters

given.

you

need

little

coaching,

the

step-by-step

programming

instructions

below.

STEP

SELECT

THE

ALGORITHM

Press

the

ALGORITHM

button

and

then

use

the

DATA

ENTRY

slider

buttons

select

ALGORITHM

АИ

ALGORITHM

но

YES

ЕСІГІ

Gee)

[е1111

ALG=8

OFF

DATA

ENTRY

STEP

SET

THE

BASIC

VOLUME

ENVELOPE

this

case,

we'll

leave

the

parameters

their

initial

values

since

the

COMBO

ORGAN

voice

requires

simple

ON/OFF

type

volume

envelope.

Here's

what

the

envelope

looks

graphic

form:

A A

KEY

OFF

STEP

ADD

THE

OPERATORS,

SET

THE

FREQUENCY

RATIOS

AND

SET

THE

BASIC

OUTPUT

LEVELS

Press

the

OPERATOR

OUT

LEVEL

button

and

set

the

output

levels

OP2,

OP3

and

OP4

90.

OPERATOR

OUT

LEVEL

SELECT

YES

(Go

Лаф)(

CE)

[е1111

OUT=90

0Р2

OFF

DATA

ENTRY

Press

the

OSCILLATOR

FREQ

RATIO

button

and

set

the

frequency

ratio

OP1

0.50,

OP2

1.00

(initial

setting),

OP3

2.00,

and

OP4

6.00.

ШЕШІ

OSCILLATOR

OPERATOR

FREQ

RATIO

SELECT

YES

9»

C3Ə3C

[е1111

F=0.50

ОРІ

OFF

DATA

ENTRY

STEP

ADD

FEEDBACK

Press

the

FEEDBACK

button

and

set

ИНИНИ

FEEDBACK

DATA

ENTRY

YES

”

СЭ

Саф

[е1111

FBL=7

OFF

Note

that

ALGORITHM

the

feedback

applied

OP4.

you

play

note

this

point,

you'll

notice

that

the

voice

still

sounds

little

dull,

and

that

the

high

pitch

produced

OP4

with

feedback

bit

too

loud

the

high

keyboard

range.

We'll

eliminate

these

problems

the

two

steps.

STEP

REFINE

THE

ENVELOPE

GENERATOR

SETTING

Press

the

ENVELOPE

GENERATOR

D1R

button,

select

OP4,

and

set

13.

ИИИ

ENVELOPE

GENERATOR

OPERATOR

DIR

SELECT

YES

С)

Саф

OFF

DATA

ENTRY

е1111

DIR=13

OP4

Press

the

ENVELOPE

GENERATOR

D1L

button

and

set

12.

TEE

DIL

YES

zc»

“ЕСІ

е1111

DIL=12

0Р4

have

just

modified

the

volume

envelope

OP4

that

looks

something

this:

KEY

OFF

This

gives

slight

percussive

attack

the

voice.

Andere Handbücher für DX27

Dieses Handbuch passt für folgende Modelle

Andere Yamaha Synthesizer Handbücher

Yamaha

Yamaha SY55 Bedienungsanleitung

Yamaha

Yamaha MOX8 Bedienungsanleitung

Yamaha

Yamaha MX61 Bedienungsanleitung

Yamaha

Yamaha sonogenic SHS-300 Bedienungsanleitung

Yamaha

Yamaha TENORI-ON TNR-W Bedienungsanleitung

Yamaha

Yamaha montage6 Bedienungsanleitung

Yamaha

Yamaha CS-30 Bedienungsanleitung

Yamaha

Yamaha Tyros 3 Bedienungs- und Wartungshandbuch

Yamaha

Yamaha MOTIF XF Bedienungsanleitung

Yamaha

Yamaha S-80 Bedienungsanleitung

Yamaha

Yamaha PortaTone PSR-41 Bedienungsanleitung

Yamaha

Yamaha PF15 Bedienungsanleitung

Yamaha

Yamaha JOGR JOGRR CS50 Bedienungsanleitung

Yamaha

Yamaha PortaSound MK-100 Betriebsanleitung

Yamaha

Yamaha CS-15 Bedienungsanleitung

Yamaha

Yamaha MOX6 Bedienungsanleitung

Yamaha

Yamaha S90 XS Editor VST S70 XS Editor VST Bedienungsanleitung

Yamaha

Yamaha MODX6 Bedienungsanleitung

Yamaha

Yamaha SY99 Bedienungsanleitung

Yamaha

Yamaha S70 XS Bedienungsanleitung

Yamaha

Yamaha Symphonic Ensemble SK10 Bedienungsanleitung

Yamaha

Yamaha ME-100FS Bedienungsanleitung

Yamaha

Yamaha CS-30L Bedienungsanleitung

Yamaha

Yamaha CS15D Bedienungsanleitung

Beliebte Synthesizer Handbücher anderer Marken

Kawai

Kawai MP7 Technisches Handbuch

Joranalogue

Joranalogue Contour 1 Bedienungsanleitung

Full Bucket Music

Full Bucket Music Mono/Fury Bedienungsanleitung

Kawai

Kawai PH50 Bedienungsanleitung

IK Multimedia

IK Multimedia UNO Synth PRO X Bedienungsanleitung

Behringer

Behringer DEEPMIND 12 Bedienungsanleitung

Roland

Roland Gaia SH-01 Bedienungsanleitung

Roland

Roland GR-30 Bedienungsanleitung

Gotharman

Gotharman Gotharman's anAmoNo-box Bedienungsanleitung

QuStream

QuStream HDFS-550 Bedienungsanleitung

Modal Electronics

Modal Electronics ARGON8 Bedienungsanleitung

Roland

Roland GS-500 Bedienungsanleitung

Octave

Octave Cat SRM Bedienungsanleitung

Dreadbox

Dreadbox Murmux Initiate Bedienungsanleitung

neutral labs

neutral labs ELMYRA 2 Bedienungsanleitung

Waldorf

Waldorf KYRA Bedienungsanleitung

Tubbutec

Tubbutec Juno-66 Bedienungsanleitung

EFM

EFM VCADSR - 3510 Bedienungsanleitung