YAMAHA AUTHORIZED PRODUCT MANUAL DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER
YAMAHA DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER OWNER’S MANUAL
CONGRATULATIONS! Your Yamaha DX21 Digital Programmable Algorithm Synthsizer incorporates the state-of-the-art in digital FM tone generation technology, providing extraordinarily vibrant, rich voices and outstanding playability. The DX21 actually has two FM tone generators, permitting two voices to be combined and played simultaneously, or in a split keyboard configuration.
PRECAUTIONS 1. Location 2. Cleaning 3. Service and Modifications 4. Relocation 5. Handing 6. Electrical Storms (Lightning) 7. Electromagnetic Fields Choose the installation location for the DX21 with caution. Avoid locations exposed to direct sunlight or other sources of heat. Also avoid locations subject to vibration, excessive dust, cold or moisture. Do not attempt to clean the exterior with chemical solvents, as this may damage the finish. Clean with a soft, dry cloth.
CHAPTER I: SETTING UP 1. Audio Outputs 2. Optional Foot Controllers & Foot Switches 3. Optional BC1 Breath Controller 4. Headphones 5. MIDI Terminals 6. Cassette The DX21 has two audio outputs, one for each tone generator channel. These are labelled MIX/A and B. When a plug is plugged into the MIX/A output only, the sound from both the A and B tone generator channels will be mixed and delivered via the MIX/A output.
7. AC Power 8. Music Rack lnstallation Plug the DX21 AC power cord into an AC wall socket. Be sure that your local line voltage matches that specified on the DX21 rear panel. The POWER switch is located next to the AC cord on the rear panel. NOTE: When setting up your system, be sure to turn the DX21 and any effects units used on BEFORE turning the main amplifier system on. This will prevent the initial power-on shock surge from possible damaging your amplifier and speaker system.
CHAPTER II: PLAYING THE DX21 1. The 32 Voice RAM Memory The DX21 has 32 RAM (Random Access Memory) locations which contain voices which may be immediately selected by pressing the appropriate memory button while the DX21 is in one of the three normal play modes described below. The two rows of 16 buttons- row A and row B-are the voice memory selectors. The row A and B selectors correspond to DX21 tone generator channels A and B. These same buttons actually serve a number of functions.
Enter the DUAL mode by pressing the PLAY DUAL button. 3. The DUAL Play Mode “DU” in the upper left display corner indicates that the DUAL mode has been selected. The upper display line now shows the number and name of any voice selected from the “A” row of memory selectors, while the lower display line shows the number and name of any voice selected from the “B” row of voice selectors.
SPLIT POINT set at 60 The split point number on the LCD will change to the number of the pressed key, the “A” voice will be playable on all keys to its left (Including the split key), and the “B” voice will be playable on all keys to the right of the split key. This process can be repeated as many times as necessary, but you must press and hold the S POINT key again every time you re-program the split point.
THE 128 VOICES PROVIDED IN THE INTERNAL ROM GROUP 1 : PIANO 1 GROUP 5 : BRASS GROUP 9 : PERCUSSION 2 GROUP 13 : BASS Electro Tom 1 2 Deep Grand 1 Horns 1 Brite Brass 2 Timpani 3 Breakin 3 Solid Bass 2 Uprt Piano 2 3 Honkey Tonk 3 4 Ivory Ebony 4 Flugel horn Trombone 4 Xylo snare 4 Mono Bass 5 Phase Grand 5 Hard Brass 5 Synballs 5 Flap Bass 6 Elec Grand 6 Power Brass 6 Hand Drum 6 Elec Bass 7 Piano bells 7 BC1 Horns 7 Clock werks 7 Uprt Bass 8 BC1 Trum
CHAPTER III: THE FUNCTION MODE The FUNCTION mode permits access to four groups of functions: tuning functions, MIDI functions, memory management functions, and performance functions. In this chapter we’ll describe each of these functions; what they do and how they are programmed. 1. Accessing the FUNCTION Mode The FUNCTION mode is accessed by pressing the FUNCTION button to the left of the LCD display.
3. The Performance Parameters “Performance parameters” are programmable parameters which pertain mainly to real-time performance effects such as how the pitch bend and modulation wheels affect the sound. All performance parameters can be memorized for each voice. If you wish that the edited data will remain in the memory, you have to store it using STORE function (see CHAPTER V: VOICE PROGRAMMING, “4. Storing Voice Data”). B1: POLY/MONO This function selects either the POLY or MONO note output mode.
(2) “Fingered Porta” (MONO mode only): Portamento only occurs if the previously played note is held while the next note is played. This mode is useful in recreating the effect of guitar string bending techniques, wood bass slide effects, etc. If you lift your hand off the DX21 keyboard between notes, there will be no portamento effect.
produced depends on the settings of the LFO parameters—these will be discussed in CHAPTER V: VOICE PROGRAMMING. Note, however, that the appropriate voice PITCH MODULATION SENSITIVITY parameter must be set to a value higher than 0 for pitch modulation to be effective. The voice PITCH MODULATION SENSITIVITY parameter will also be discussed in CHAPTER V. The data range is from 0 to 99. At 0 pitch modulation is OFF, and rotating the modulation wheel will cause no pitch modulation to be applied to the voice.
Data is entered using the DATA ENTRY controls and -1/+1 switches. Once this function is called, subsequent presses on the B10 button increment the data value. B11: BREATH RANGE, AMPLITUDE This function is used to set the maximum depth of LFO amplitude modulation which can be applied using the Breath Controller. The actual effect produced depends on the settings of the LFO parameters—these will be discussed in CHAPTER V: VOICE PROGRAMMING.
B15: TRANSPOSE This function permits transposing the pitch of the entire DX21 keyboard up or down two octaves in semitone steps. The data range is from C1 to C5 (C3 is middle C, C2 is one octave lower than middle C, C4 is one octave higher than middle C, etc.). Immediately after this function is called the desired new key can be selected simply by pressing any note on the keyboard between C1 and C5 (within a plus or minus two octave range of middle C).
imately 1/4 semitone—is achieved with a setting of 99. The detune effect is produced by simultaneously increasing the pitch of channel A while decreasing the pitch of channel B. Use the DATA ENTRY control or -1/+1 switches to enter the data for this parameter. Once the DUAL MODE DETUNE function is called, subsequent presses on the A2 button increment the data value. 5.
INITIALIZED VOICE DATA LIST When this function is called the LCD will read “Init. Voice ?“. Confirm your intention to initialize the voice edit buffer by pressing the DATA ENTRY YES button. The DX21 will then ask you to reconfirm your intention to initialize the voice with “Are You Sure ?“. Press the DATA ENTRY YES button again to actually execute the initialize operation. Once executed, the DX21 will automatically enter the EDIT mode, ready for voice programming.
Once you have selected the desired ROM memory group, press the DATA ENTRY YES button to go on to the next step. If you press the NO button at this point the display will revert to the “Group to Bank?” stage. If you do press the YES button, the display will prompt you to select the group of 8 memory locations to which you will load the selected ROM voice group—A1 through A8, A9 through A16, B1 through B8, or B9 through B16. The desired memory location group is selected by pressing the A1 through A4 buttons.
You can now try out the newly loaded voice. ** Be sure to turn the MEMORY PROTECT function back ON after the load operation. A13: CASSETTE SAVE/VERIFY This function actually incorporates two “sub-functions” —SAVE and VERIFY. After calling this function, subsequent presses on the B13 button alternate between the SAVE and VERIFY sub- functions. Normally, however, you will start with the SAVE function which saves the entire contents of the DX21 RAM voice memory onto cassette tape.
A14: CASSETTE LOAD This function loads a complete set of 32 voices from cassette tape into the DX21 RAM voice memory. Before using this function make sure that all cassette connections have been properly made, as described in CHAPTER I: SETTING UP. Also make sure that the DX21 MEMORY PROTECT function (A16) is OFF. When this function is initially called the LCD will read “Load from Tape ?".
A16: MEMORY PROTECT This function turns the DX21 MEMORY PROTECT function ON or OFF. When ON, the internal RAM voice memory cannot be altered using the STORE, INTERNAL MEMORY LOAD, or CASSETTE LOAD functions. The MEMORY PROTECT function does not affect the voice edit buffer, so the INIT VOICE, EDIT RECALL, INTERNAL MEMORY LOAD SINGLE, and CASSETTE LOAD SINGLE functions will operate whether MEMORY protect is ON or OFF.
The data turned ON or OFF by this function consists of the following: (a) KEY VELOCITY: Initial touch response data. Although the DX21 does not have key velocity sensitivity (keyboard touch response), its tone generator is capable of receiving key velocity information from an external keyboard which has this capability. (b) MODULATION WHEEL: Modulation wheel position. (c) BREATH CONTROLLER: Breath controller pressure. (d) PORTAMENTO FOOT SW: Portamento footswitch on/off status.
CHAPTER IV: THE PERFORMANCE MEMORY 1. Performance Memory Organization 2. Accessing the Performance Memory In addition to the DX21’s 32 voice RAM memories and 128-voice ROM memory, the DX21 also features a special 32 performance memory system. This performance memory can be programmed with a voice number or pair of voice numbers (one from each channel), play mode, split mode split key number or dual mode detune data, key shift data, and pitch bend mode data.
CHAPTER V: VOICE PROGRAMMING 1. The Basics Of FM Synthesis Before you begin actually programming or editing your own voices, a basic understanding of how digital FM synthesis works will be necessary. In the following explanation we will discover how the DX21’s FM voice generator produces complex voices. This information will help you to understand the process and make it easier for you to create and edit your own voices.
Operators do not have to be connected “vertically” in a modulator-carrier relationship, as shown above. The outputs of two operators can also be mixed—just as the stops in an organ are mixed. In this case the sounds are simply added together with no modulation effect. ALGORITHMS We have seen two different ways that two operators may be combined. The DX21 uses four operators, offering a lot of potential connection possibilities.
The bottom operator of a stack is called a CARRIER. Any operators which are connected to the carrier’s inputs are called MODULATORS. YOU CAN’T HEAR A MODULATOR DIRECTLY, but you hear its effect by listening to the carrier’s altered (modulated) output. A given operator can be either a carrier or a modulator: the only difference is how it is “connected” in a given algorithm. Most algorithms have multiple modulators and carriers.
Still more variations can be achieved by changing the relative output levels between operators; the greater the level of the modulating operator, the more harmonics are present. FEEDBACK Note that every algorithm has one operator with a “feedback loop”—represented by a line from the output of the operator which feeds back to the input of the same operator. In effect, a feedback loop means that the operator is modulating itself.
Each of the 4 operators available in DX21 can be programmed with its own envelope. The envelope applied to a carrier will, generally, contribute to the overall volume envelope of the note, while an envelope applied to a modulator will contribute to the timbre envelope of the note. Here is a copy of the envelope diagram printed above the LCD on the DX21 panel. This envelope diagram can be used as a guide in visualizing DX21 envelope settings while you program or edit a voice.
2. The EDIT and COMPARE Modes To actually program or edit a voice you need to enter the EDIT mode. This is done by pressing the EDIT/COMPARE switch in the group of switches to the left of the LCD panel. When the EDIT mode is activated the upper line of the LCD will indicate the currently selected algorithm, the operator ON/OFF status (the group of four 1s or 0s) and the currently selected operator. The lower disply line will indicate the currently selected voice parameter.
at the top right corner of the LCD: for example, “OP 3”. This only applies to parameters which can be individually programmed for each operator, however, when parameters that affect all operators simultaneously are called (the LFO WAVE, SPEED and DELAY parameters, for example) the current operator display will disappear from the LCD and individual operators cannot be selected. A1-A4: OPERATORlAMS ON-OFFIEG COPY, 1—4 Individually turns operators 1 through 4 ON or OFF.
A8: LFO SPEED Permits setting the speed of the low frequency oscillator. The data range is from 0 to 99. 0 corresponds to the slowest LFO speed (0.06 Hz), and 99 corresponds to the fastest LFO speed (50 Hz). A9: LFO DELAY Permits setting a delay of between 0 and approximately 3 seconds before the LFO modulation effect begins after a key is played. This is particularly useful for simulating brass instruments, human voice, etc.
A12: LFO SYNC The beginning of the LFO cycle is normally synchronized with key-on timing. This parameter permits turning this synchronization ON or OFF. All operators are affected simultaneously. When this parameter is ON, the LFO cycle always begins from the peak of a positive half-cycle (90 degrees phase angle) when a key is played. This produces a clear, consistent attack on all notes. When LFO KEY SYNC is OFF, the LFO cycle starts from a random point when a key is played.
BIAS is applied to a carrier via the breath controller the result is volume (expression) control, and applied to a modulator the result is brilliance control. The data range is from 0 to 7. At 0 EG BIAS sensitivity is OFF and no EG BIAS effects can be applied to the selected operators. A setting of 7 produces maximum sensitivity and therefore maximum effect depth.
including extremely realistic bells, explosions, etc. More even ratios are more useful for creating musical instrument sounds. It is possible to combine a modulator set to a fractional ratio at a low operator level with even-ratio operators to add bite to a string sound and many other effects. The standard DX21 keyboard pitch is 8’, therefore in terms of footage: 0.50 = 16’, 1.00 = 8’. and 2.00 = 4’.
The following EG curves show the parameters for some common instruments. When creating voices on the DX21 you should apply these EG curves to the carrier operator. B8: OPERATOR OUTPUT LEVEL Permits setting the output level of the selected operator. The data range is from 0 to 99. At 0 the operator is OFF, and a setting of 99 produces maximum output level from the selected operator.
B10: LEVEL SCALING This parameter produces a gradual decrease in note output level towards the right (high) end of the keyboard. Many acoustic instruments exhibit a gradual falloff in level towards the higher notes, and this function can be used to create the most natural overall keyboard response for any particular voice. The data range is from 0 to 99. At 0 no level scaling is applied. At 99 the deepest keyboard level scaling effect is produced, and highest note on the keyboard may be almost inaudible.
B16 (FUNCTION MODE): VOICE NAME This function is accessed in the FUNCTION mode—press the FUNCTION button and then the B16 (VOICE NAME) button. The VOICE NAME function can be used to give voices in the voice memory an identifying name. Voice names can be up to 10 characters in length. When this function is called the flashing cursor will appear at the beginning of the voice name entry space on the lower display line, ready for you to enter the first character.
GENERAL SPECIFICATIONS Keyboard 61 keys, C1 ~ C6 Sound Source FM Tone Generator: 4 operators x 2 (A,B), 8 Alogorithms Simultaneous Note Output Polyphonic: 8 notes (SINGLE), 4 notes (DUAL), 4 + 4 notes (SPLIT) Monophonic: 1 note (SINGLE, DUAL), 1 + 1 note (SPLIT) Internal Memory 128 ROM voice memory 32 RAM voice memory 32 RAM performance memory Controls PITCH BEND WHEEL, MODULATION WHEEL, VOLUME, BALANCE, DATA ENTRY Display LCD (16 characters x 2 lines) Connecting Terminals OUTPUT MIX/A, OUTPUT
MIDI DATA FORMAT 1. Transmission Conditions 2. Transmission Data All MIDI data is transmitted when the MIDI ON/OFF function is ON. The MIDI transmission channel is determined by the setting of the MIDI TRNS CH function. 2-1. CHANNEL INFORMATION 2-1-1. Channel Voice Message (1) Key Off Status Note no. Velocity 1000nnnn 0kkkkkkk 01000000 38 n=channel no.
(2) Key On Status Note no. Velocity 1000nnnn 0kkkkkkk 01000000 n=channel no. k=36(C1) ~ 96(C6) 1011nnnn 0ccccccc 0vvvvvvv n=channel no. (3) Control Change Status Control no. Control code a) Transmitted whether MIDI CH INFO is ON or OFF Control no. C=64: Sustain Control code. V=0:OFF, 127:ON SW. b) Transmitted when MIDI CH INFO is ON Control No. C=1 : modulation wheel C=2: breath control C=6: data entry slider C=7: foot volume C=65: portamento SW.
(1) Parameter Change Status ID no. Substatus/ch. no. Parameter group no. Perameter no. Data EOX 11110000 01000011 0001nnnn 00010010 0ppppppp 0ddddddd 11110111 n=channel no. This data is transmitted when voice or function parameters are changed in the EDIT or FUNCTION modes. The voice parameters transmitted are those given in voice parameter table 5-2, and the function parameters transmitted are shown in function parameter table 5-3. (2) 1 Voice Bulk Data Status ID no. Substatus/ch. no. Format no.
3.
4. Reception Data All MIDI data is received when the MIDI ON/OFF function is ON. When a specific MIDI receive channel has been selected using the MIDI RECV CH function, and the OMNI mode is OFF, MIDI data will be received only on the specified channel. MIDI data will be received on all channels when the OMNI mode is ON. 4-1. CHANNEL INFORMATION 4-1-1. Channel Voice Message (1) Key off Status Note no. Velocity 1000nnnn 0kkkkkkk 0vvvvvvv n=channel no.
Function s only on MSB data: MSB 00000000 01000000 01111111 4-1-2. Lowest value Center value Highest value Channel Mode Message Status 1011nnnn 0ccccccc 0vvvvvvv n=channel no. a) Recived whether MIDI CH INFO is ON or OFF C=123 V=0 All notes OFF b) Received only when MIDI CH INFO is ON C=126 C=127 V=1 V=0 MONO mode ON POLY mode ON 4-2. SYSTEM INFORMATION 4-2-1. System Real-Time Message Active sensing Status 11111110 Sensing begins when this code is received once.
(3) 1 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the transmitted 1 voice bulk data. The 93 voice data bytes are read into the voice edit buffer, replacing the current voice data. The 93 received data bytes are shown in voice parameter table 5-2. (4) 32 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the transmitted 32 voice bulk data. This data can be received only when the MEMOTY PROTECT function is OFF.
5. System Exclusive Data 5-1. VOICE DATA (VMEM format) Parameter no.
5-2. VOICE PARAMETERS (VCED format) Parameter no. P 0 1 2 3 4 5 6 7 8 9 10 11 12 Parameter ATTACK RATE DECAY 1 RATE DECAY 2 RATE RELEASE RATE DECAY 1 LEVEL KEYBOARD SCALING LEVEL KEYBOARD SCALING RATE EG BIAS SENSITIVITY AMPLITUDE MODULATION ENABLE OP4 KEY VELOCITY OUTPUT LEVEL OSCILLATOR FREQUENCY DETUNE 1 LCD Display Data EG AR EG D1R EG D2R EG RR EG D1L LEVEL SCALE RATE SCALE E BIAS SENS. A MOD SENS.
5-3. FUNCTION PARAMETERS Parameter no.
[ Digital Programmable Algorithm Synthesiser 3 Date : 3/9, 1985 Model DX21 MIDI Implementation Chart Version : 1 . 2 Transmitted Recognized Remarks Function ...
49
50
FCC CERTIFICATION (USA) While the following statements are provided to comply with FCC Regulations in the United States, the corrective measures listed below are applicable worldwide. This series of Yamaha combo equiptment 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.
® YAMAHA DX21 OM Yamaha Corporation of America 6607 Orangethorpe Avenue, P.O.
