YamahaメーカーDX7の使用説明書/サービス説明書
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YAMAHA AUTHORIZE D PRODUC T MANUA L DX7 DIGITA L PROGRAMMABL E ALGORITH M SYNTHESIZE R.
YAMAHA Digita l Programmabl e Algorith m Synthesize r OPERATIO N MANUA L.
PRECAUTION S Locatio n Avoid placing the DX7 in direct sunlight or clos e to a source o f heat. Also , avoi d location s in which the instru- ment i s likely to b e subjecte d t o vibration, excessiv e dust, cold, or moisture.
INTRODUCTIO N The DX7 i s th e world's first full y user programmable and prese t FM digital synthesizer. If you're use d to con - ventional synthesizers, one loo k a t the DX7 will tell you that something unique has happened.
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NOT E FO R SYNTHESIZER S SOL D BY TH E U.S.A . Internally , th e DX7 generate s signal s i n th e radi o frequenc y spectrum . I f th e instrumen t i s installe d i n th e immediat e proximit y o f som e type s o f audi o o r vide o device s (withi n te n feet) , interferenc e ma y occur .
INTRODUCTIO N Inside fron t cove r PRECAUTION S Inside front cove r CONVENTION S 3 "QUICK " BASI C FEATURE S 4 SETU P 1 2 Audio Outpu t 1 2 External Foo t Controller Jacks 1 2 Breath Control.
CONVENTION S Nearly every button on the DX7 has severa l functions. Typically, the editing parameters are labele d in violet , the overall instrument functions are labele d in brown, and yet other function s are labele d in white or by reversing out th e colo r o f the button.
"QUICK " BASI C FEATURE S Thi s sectio n i s provide d for referenc e s o yo u ca n quickl y locat e a contro l o r acces s a function . I t i s mean t mor e fo r revie w tha n a s a learnin g tool .
These buttons select the internal or cartridge memory and activate the PLAY mode; they also designate where individual voices may be stored This button selects the EDIT mode and com- pares edited to o.
and light brown characters belo w the buttons for FUNC- TION mode parameters. A brie f example for two buttons i s shown here, with the specifi c reference s for these two buttons noted in parentheses.
PITCH This lets you se t th e sensitivity o f th e voice t o LF O pitch modulation from no sensitivity (0 ) to maximum (7) . One setting affects the overal l voice . AMPLITUDE This lets you se t the sensitivity o f the individua l operators i n a voice to amplitud e modulation from no sensitivity (0) to maximum (3) .
KEYBOARD RATE SCALIN G In EDIT mode, this button activates the [DAT A EN- TRY] sectio n s o its control s can b e use d to program o r edit eac h operator s o its envelop e rate s becom e faster a s you mov e u p the keyboard.
POLY/MONO In FUNCTION mode , thi s button activates the [DAT A ENTRY] section s o it s controls ca n se t the keyboar d to play polyphonically (up to 1 6 note s simultaneously) or monophonically (one note at a time).
voice s into the DX 7 internal memory and then format if you like.) You cannot format a ROM (factory preset ) car - tridge. BATTER Y CHEC K In function mode, thi s button cause s th e display to show the voltage leve l o f the battery which preserve s th e DX7 interna l voice and programming memories when power i s turned off.
Keyboar d This i s a 61-ke y keyboard which has initial (veloc - ity) and after (pressure ) sensitivity, although these parameters must b e programmed into the voic e in order to b e useable . The keyboard ha s 16-not e poly - phonic capability or ca n b e switched to monophonic mode.
SETU P NOTE: Do not turn power On until all other connections have been made. Audi o Outpu t The DX7 ha s a built in headphone amplifier, s o stere o headphones may b e plugged into th e front panel jack. However , the instrument doe s not have a built in powe r amplifier, and thus requires an exter - nal amplifier/speaker system .
Additional Technical Installation Notes When connecting the DX7 t o an amplifier o r mixer, a maximum unbalanced cabl e length o f 2 0 feet will reduce susceptibility t o hum, noise , and high frequen.
PLAYIN G TH E FACTOR Y PRESE T VOICE S Playin g th e Interna l Voice s 1 . If the DX7 happens to b e on, tur n it off . Then turn it back o n while observin g the display window. This will let you se e the initial display s we are about t o describe .
FUNCTIO N MODE : SETTIN G OVERAL L PERFORMANC E PARAMETER S NOTE Yamaha reserves the right to continue to refine and update factory preset voices. For this reason, some ROMs may have this voice in a different loca- tion, or may have a different voice altogether.
th e keys (Afte r Touch). Velocit y sensitivity i s NOT se t in this mode ; it i s programmed into individual voices . ALL THE PERFORMANCE PARAMETERS AFFECTED BY FUNCTION MODE ARE MARKED IN BROWN on the control panel.
doe s not cance l th e original note . Leav e the instru- ment se t to POLY mode for the time being . PITC H BEN D RANGE & STE P The PITCH bend wheel locate d at the far left sid e o f th e keyboard can b e use d to "bend " notes or chords, provided the Pitch Bend Range i s se t to som e non-zer o value.
PORTAMENT O & GLISSAND O I N POL Y MOD E Sustain : Ke y Pitc h Retai n 1 . Pres s [PORTAMENTO TIME] and us e the [DAT A ENTRY] control s t o se t a time o f 80 , a s indicate d in the LCD window.
Glissand o (Ke y Pitc h Retai n & Ke y Pitc h Follow ) Glissand o i s similar to the Portamento effects you just explored, wit h this exception; the pitch glid e in Porta - mento i s continuous, whereas in Glissand o it move s u p or down in 1/2 step increments.
4. You ca n obtain a "Ful l Time Glissando " effect in much the sam e way (with steppe d pitch shift instea d o f a continuous glide) ; just pres s [GLISSANDO] and then the DAT A ENTRY [ON ] button.
a RAM cartridge before submitting the instru- ment for a new battery or repair. See page 49 for Cartridge Save and Load descriptions and directions. Please do not try to change the battery yourself ; expensive damage that is not covered by your Warranty may result.
5 . Play th e keyboard and then move the MODULATION WHEEL toward "MAX" . Notice it doe s not change the sound; that's becaus e you just turned OF F the Wheel' s effect.
HO W TH E DX 7 CREATE S SOUND S Breath Controller or Foo t Controller) to tur n note s u p and down withi n the existing envelopes , provided you are als o playing the notes on the keyboard. The more EG bias , the les s amplitude i s present when you play a note; the leve l increase s when you add EG bia s by advancing th e Wheel.
Algorithm s Different arrangements o f operator s are known a s "algorithms. " An algorithm i s something like a "patch " on a modular synthesizer ; i t define s the way the opera .
The results o f using different frequency ratios , a s wel l a s different algorithms, are shown graphically in the accompanying illustration. In the left column, you se e th e resulting waveforms create d by 1:1,2:1 and 3: 1 frequency ratios when a modulator i s stacke d atop a carrier — for example, operators 1 and 2 in Algorithm 5 o r 16 .
Envelope s an d Envelop e Generator s Conside r what happens when you play a note . The volume goe s u p to som e value, then eventually falls t o nothing, with som e sor t o f reasonabl y well defined pat - tern that i s characteristic o f th e particular instrument.
PROGRAMMIN G VOICES : A TUTORIA L ence whether th e envelop e had reache d LEVEL 3 and wa s sustaining, had just reache d LEVEL 2 , o r had not yet reache d LEVEL 1 . Whatever the leve l when you releas e the key , the sound immediately move s towar d LEVEL 4 a t RATE 4.
2. Assuming you want to initialize the voic e edit mem- ory (buffer), answer affirmative by pressin g [YES] . (If you changed your mind and don't want to initialize a voice, pres s [NO] ; the display won't change, but the voice will not b e initialized and you ca n selec t any other functio n you wish.
The "current" operator i s that one whose parameters are being displayed, and which i s ready t o b e repro - grammed. You ca n se e which one i s current (OP 1 through OP6 ) by looking at t.
3 0 With al l level s at the maximum o f 9 9 (excep t Leve l 4, which i s a t 0 ) and with Rat e 1 a t 25 instea d o f the 9 9 t o which the other rate s ar e set , the note builds u p slowl y when you pres s a key and turns off the instant you releas e the key If you coul d se e the envelope , i t would loo k something like this: 2 .
RATE] a s require d s o yo u ca n us e [DAT A ENTRY ] to adjus t Rat e 3 to a valu e o f 50 . When you play a note, observ e how the sound builds to a maximum, then falls to the sustain leve l a t a moderate rate and stay s there unti l you releas e the key, after which th e sound slowl y fades.
Instea d of takin g th e tim e t o reprogra m th e envelope , we as k yo u t o agai n us e th e Voic e Initializ e feature.. . i t save s time . 1 . T o gai n acces s t o th e "Voic e Initialize " function , pres s [FUNCTION] , an d the n [VOIC E INIT] , an d answe r th e displaye d prompts .
6 . Slide [DATA ENTRY] all the way down s o the fre- quency return s to 1.00 , and then pres s [OSCILLA- TOR-FREQUENCY COARSE] and us e DAT A ENTRY [+1 ] to se t th e frequency ratio to 2.00 . Then slowly move this slider up and down fully, or use these buttons while continuing to play a note 7 .
ALGORITHM # I These bracketed numbers show you where the on/off switching is done in the algo- rithm. Operators can be dis- abled (turned Off) using the [OPERATOR ON/OFF] buttons, but they remain Off only while programming. Stored voices have all operators On.
Press this button (Don't confuse it with [EG LEVEL], button 22) And repeatedly play notes until the display shows maxi- mum output level I f you are familia r with analog synthesizers, you may se e a parallel betwee n this sound and tha t o f a saw - tooth wave which i s going through a filter that has a lot o f resonance.
And again adjust [DAT A ENTRY] to hear the results of different frequency ratios as you play Leave Operator 2 set to a frequency ratio of 2.00 The sound you now hear will be simitar to that of a square wave in a conventional synthe- sizer.
9 . T o compare what the sound i s like with and without th e carrier, you don't have to tur n down the output leve l o f operator 1 ; you ca n simply tur n it off. Pres s [OPERATOR ON/OF F 1 ] t o tur n off the carrier, and tr y to play few notes .
preset voices, you can do so without "losing" this voice. There are two approaches to this. (A ) You ca n stor e this voic e in it s current stat e o n a RAM cartridge by following the instructions o n pag e 49 , or.
When you later tr y switching algorithms after adding FEEDBACK and activating the other 4 operators , you'll hear much more variation. 2 . Pul l down th e [DAT A ENTRY] slider and/or us e the [-1 ] button unti l you've selecte d algorithm 1 again.
In this cas e scalin g operato r 2 i s not necessar y s o you can omit the proces s o f setting its break point (which would b e done by pressin g [OPERATOR SELECT ] and adjusting the value a s desired) . Now play som e scale s and notice that the sound i s still reasonabl y uniform acros s the keyboard .
41 LFO SECTION BLOCK DIAGRAM ments. One MODULATION SENSITIVITY control i s provided for PITCH, and another for AMPLITUDE. I n order for you to hear the result o f any LFO PMD or AMD settings, the corresponding [MOD SENSITIVITY- PITCH] or [MOD SENSITIVITY-AMPLITUDE] param - ete r must be greater tha n zero .
3 . Pres s [PMD] (Pitch Modulation Depth), and adjust [DAT A ENTRY] for a value o f 50 , again, just to begin. Now play a few notes . You probably won't hear any change from when you started.
The display should look like this. Play several brief notes 10 . Now use [DAT A ENTRY] t o tur n the syn c OFF Again, play the same brief note severa l times, and listen to the pitch eac h time. You'll hear the initia l pitch o f each note change slightly a s the randomly timed note s interact with th e regularly oscillating LFO .
Programming th e remainin g 4 operator * S o far we have use d just 2 o f the 6 available operator s withi n the algorithm to creat e the voic e you are hearing.
In this case , we do not want thes e two segment s o f th e voice (OP1-OP 2 and OP3-OP6 ) t o combine; we want a "split" keyboard instead. (With another voice , you might want th e two voice segments to play to - gether, complementing one another.
46 press and hold down the [CHARACTER] button, then pres s individual buttons which correspon d to the letters, numbers, o r punctuation you wis h to use . You ca n determine which buttons produce which alphanumeric character s by looking a t the smal l dark brown "reversed " typ e in the right come r o f eac h button.
Any o f the prese t voice s can b e edite d to change them slightly, or totally I n fact, the term "primary voice " might be better tha n "prese t voice, " sinc e thes e voice s are not permanent like the preset s o f mos t other synthesizers .
Analyzin g an d keepin g a recor d o f voice s You ca n us e the EDIT mode to examine all the param- eter s o f eac h preset.. . or o f any voice . You don't have t o change anything, but the envelope or frequency ratio s or touch sensitivit y o f a voic e may b e useful to you in creating a new voice .
TH E INTERNA L AND CARTRIDG E MEMORIE S We have already describe d how t o play voice s that are store d in th e internal memories o r cartridge memories .
play a liv e performance and you want memorie s 1-3 2 to contain the voice s you plan to play in numerical order . This ca n b e done either in the internal memory or in the RAM cartridg e memory It s bes t t o have a t leas t 1 "blank" or unwanted voic e which you ca n eras e when doing this .
ADVANCE D PROGRAMMIN G NOTE S Playin g styl e an d programmin g o f dynami c contro l B y now you should b e familiar with som e o f the way s the DX7' s keyboard can b e programmed to b e touch responsive .
variation o f the secon d category . Another variation simi - lar t o categor y (2 ) i s feedback, which create s frequency modulation through regeneration. If you wer e to se t the 6 operator s t o any frequency ratios you choose , and se t their envelope s and output levels to "typical " value s (i.
ent modulator output level s for eac h combination o f frequencies, since this can make a world o f difference in the sound. Ensembl e voice s ma y differ fro m sol o voice s When a musician plays an instrument a s part o f an ensemble, whether 2 or 7 0 people are playing, the sound of his instrumen t wil l interact wit h the other sounds.
"live " after you exi t the FUNCTION mode by pressin g one o f the [MEMORY SELECT] buttons (internal o r cartridge) . Th e [DAT A ENTRY] controls onl y chang e the las t use d parameter prior t o pressin g the [MEM- ORY SELECT] button. Thi s feature ca n b e useful a s an additional live performance control.
MIDI : A STANDAR D INTERFAC E FO R REMOTEL Y PLAYIN G AND/OR PROGRAMMIN G MULTIPL E SYNTHESIZER S MIDI i s an acronym for Musica l Instrument Digita l Interface, a specificatio n which severa l manufacturers have alread y agree d t o us e for designing equipment which i s compatible.
Transmittin g 3 2 voice s fro m th e Maste r t o th e Slav e Fo r this discussion , we will assume the simple setup shown with just two DX7 synthesizers . Basically , the same procedure i s use d when playing more DX7s , or a mixture o f other DX synthesizers .
or [MEMORY SELECT-CARTRIDGE] and then pressing the appropriate VOICE SELECTO R (1-32) . 4 . The voic e you just selecte d on th e Master i s now locate d in the edit buffe r within the Slave .
MAINTENANC E AND TROUBLESHOOTIN G Cleanin g Th e DX7 should b e cleane d with a soft, moistened cloth. To remove more stubborn dirt, us e a mild deter- gent solution on the cloth. D o not allow flui d to ru n into the instrument, and do not us e specia l cleaner s since solvent s can mar the finish.
DX SYNTHESIZE R GLOSSAR Y ADSR This is an acronym for "Attack-Decay-Sustain-Release" which, in turn, refers to the four controls provided on a con- ventional synthesizer's envelope generators. While the DX synlhesizers can simulate ADSR-type EGs , the DX EG s are more complex.
Fingere d Port a This i s an abbreviation for "fingere d portamento." This i s a functional mode o f the DX7 which i s available only when the keyboar d i s se t t o MONO operation.
Loa d I n th e DX7, "Load " describe s the proces s o f trans- ferrin g th e 3 2 voice s from one bank o f a ROM cartridge, or from a RAM cartridge, into th e 3 2 internal memories .
Sav e In the DX7, "Save " describe s the proces s o f simul- taneously placing al l 3 2 internal memory voice s into the correspondingly numbered RAM cartridg e memories . Sawtoot h wav e A waveform that contains the funda- mental and both od d and even harmonics.
DX7 SPECIFICATION S Keyboar d 6 1 keys , Cl t o C6 : velocit y and pressure sensitive (Initial & Afte r touch): 1 6 note polyphonic, and may be se t to monophonic Soun d Sourc e FM digital tone ge.
INDE X AC powe r C*,12-14,20,27,58,59,61,63 afte r touc h C,4,10,16,21,23,42,44,52,58,59,61,63 algorith m 6,9,24-26,28,33,34,38,39,44,46,47,52,55,59,62,6 3 AMD (amplitud e modulatio n depth ) 6,40-43,51,59,6 3 amplitud e modulatio n 4,6,7,10,11,22,23,40,43,53,58,59,6 3 audi o outpu t 4,12-14,23,63 batter y (bat t check ) C,4,5,10.
YAMAHA VOICE DATA LIS T.
DX 7 OM 5/20/9 9 19E011 2 international Corp. , Box 6600 , Buen a Park , Calif . 9062 2.
YAMAHA Yamaha Corporatio n o f America 6600 Orangethorpe Avenue, P.O . Bo x 6600 Buen a Park , CA 90622-6600 10/11/9 9 19J0062 DX7 OM.
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