Yamaha dx100 Owner's Manual

Yamaha dx100 Owner's Manual

Digital programmable algorithm synthesizer
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YAMAHA
®
AUTHORIZED
PRODUCT MANUAL
DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER

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Summary of Contents for Yamaha dx100

  • Page 1 YAMAHA ® AUTHORIZED PRODUCT MANUAL DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER...
  • Page 2 YAMAHA ® DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER OWNER’S MANUAL...
  • Page 3: Table Of Contents

    FM voices. Of course, the DX100 is fully programmable, allowing you to create your own FM voices or sound effects. Broad MIDI compatibility is also provided so the DX100 can control or be controlled via other MIDI-compatible music equipment.
  • Page 4 Digital circuitry such as that used in the DX100 is sensitive to voltage spikes and surges. Be sure to remove all connecting cables in the event of an electrical storm.
  • Page 5: Chapter I: Setting Up

    Or, insert the optional PA-1210 7. Battery, AC Power AC power adaptor cord into the DC IN jack located on the rear panel of the DX100, Adaptor and then plug the standard 2-prong plug into an AC wall socket. Be sure that your local line voltage matches that specified on the PA-l210.
  • Page 6: Power-On, Low Battery Led Indicator

    NOTE: When setting up your system, be sure to turn the DX100 and any effects units used on BEFORE turning the main amplifier system on. This will prevent the initial power-on shock surge from possibly damaging your amplifier and speaker system.
  • Page 7: When Using Dry Batteries

    After inserting the dry batteries, replace the cover of the battery case. *AC power operation When operating this unit on AC power, it is recommended to use an economical AC adapter (optional). DX100 CONNECTIONS...
  • Page 8: Chapter Ii: Playing The Dxl00

    CHAPTER II: PLAYING THE DX100 The DX100 has three different voice memories which serve different purposes. They 1. DX100 Voice are: Memory The 24-voice INTERNAL memory. Configuration This voice memory is used for quick selection of voices for performance, and it is to this memory that original voices you have edited or programmed are initially stored.
  • Page 9: The Internal Play Mode

    INTERNAL memories as desired. They can also be directly accessed and played using the PRESET SEARCH function. The chart below shows the overall DX100 voice memory configuration. The VOICE EDIT BUFFER is a special memory into which a voice is called when selected.
  • Page 10: The Bank Play Mode

    In this mode, you can play any of the voices currently in the DX100’s 24-voice INTERNAL memory individually. The BANK PLAY mode enables you to access the 96 BANK memory locations. These initially contain the first group of 96 voices from the 192-voice PRESET 3.
  • Page 11: The 192-Voice Preset Memory

    The DX100 comes with 192 different pre-programmed voices in an internal ROM 4. The 192-Voice (Read Only Memory).These voiced be loaded singly into the DX100's selectable PRESET Memory 24-voice INTERNAL memory, or into any location in the DX100 bank memory.
  • Page 12: Preset Search

    PRESET SEARCH This function allows you to directly access the voices in the PRESET memory, in the order they appear in the PRESET memory. PRESET SEARCH is accessed in the FUNCTION mode. To enter the FUNCTION mode press the FUNCTION button. Then press any of the PRESET SEARCH se- lectors to access the corresponding voices (these are the same as the BANK A–D selectors used in the BANK PLAY mode).
  • Page 13: Chapter Iii: The Function Mode

    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. The FUNCTION mode is called by pressing the FUNCTION button.
  • Page 14 This function sets the pitch range of the pitch bend wheel located to the left of the DX100 panel. The pitch bend wheel automatically centers at normal pitch. It then may be moved upward (away from the player) to raise the pitch, or moved downward (toward the player) to lower the pitch by the specified amount.
  • Page 15 This mode is useful in re- creating the effect of guitar string bending techniques, acoustic bass or bass guitar slide effects, etc. If you lift your hand off the DX100 keyboard between notes, there will be no portamento effect.
  • Page 16 The optional Yamaha BC-1 breath controller is a unique way of adding musical expression as you play the DX100 keyboard. The BC-1 is held in the mouth just like the mouthpiece of a wind instrument. Blowing harder or softer into the BC-1 mouthpiece produces a corresponding effect.
  • Page 17 20: BREATH RANGE, PITCH This function is used to set the maximum depth of LFO pitch modulation that 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 IV: VOlCE PROGRAMMING.
  • Page 18 During either of the normal DX100 play modes, pressing the KEY SHIFT button instantly transposes the pitch of the entire DX100 keyboard up or down to a key programmed using this function. When KEY SHlFT is engaged, the letter “K” will appear at the left side of the LCD display until the KEY SHlFT button is pressed again, returning the keyboard to normal pitch.
  • Page 19: Tuning Functions

    ON and OFF. 6: RECALL EDIT In addition to the voice edit buffer, the DX100 has a special edit recall buffer memory which maintains the last edited voice data. if, after editing or creating a new voice, you inadvertently call new data into the voice edit buffer by pressing one of the voice selector buttons before storing the edited voice data, the voice you had spent so much time editing will be erased from the edit buffer.
  • Page 20 When this function is called, the LCD will read “Init. Voice?” Confirm your intention to initialize the voice edit buffer by pressing the +1 button. The DX100 will then ask you to reconfirm your intention to initialize the voice with “Are You Sure ?”...
  • Page 21 INTERNAL memory, to ensure that no errors occured in the SAVE process. Before using this function, make sure that an appropriate data cassette recorder is properly connected to the DX100, as described in CHAPTER I: SETTING UP.
  • Page 22 To begin the actual save operation, press the +1 button. Pressing the -1 button prior to the final step in the above process will abort the CASSETTE SAVE function. As the DX100 saves each voice to tape, the LCD display will indicate the voice number being saved.
  • Page 23 This function allows you to load a single voice from a previously saved 24-voice cassette file into the DX100's voice edit buffer, after which it can be stored in any voice location using the STORE function. Make sure the MEMORY PROTECT function (12) is OFF before using the LOAD SINGLE function.
  • Page 24: Midi Functions

    2: MIDI ON-OFF This function turns transmission and reception via the DX100's MIDI terminals on or off. When on, the DX100 can transmit or receive MIDI data to or from external MIDI equipment. When off, no MIDI data interchange is possible.
  • Page 25 If the SYS INFO button is pressed again, the “Midi Transmit?” display will appear. If the YES button is then pressed, then the DX100 will perform a bulk dump of all voice data–INTERNAL RAM voices 1 through 24. Voices 25–32 will be dumped...
  • Page 26: Chapter Iv: Voice Programming

    CARRIERS AND MODULATORS The DX100 voice generator has 4 operators. When the output of one operator is fed to the modulation input of a second operator, i.e. the first operator modulates the second, a whole spectrum of harmonics is created that can form an incredibly diverse range of complex waveforms (including the more conventional triangle, sawtooth, and square waveforms).
  • Page 27 These different configurations of operator relationships are called “algorithms,” and the DX100 offers 8 algorithm choices. These are all printed right on the DX100 panel. In the algorithm diagrams on the panel, the small boxes numbered 1 through 4 are the operators.
  • Page 28 The algorithm alone, however, does not determine the actual sound of the voice. The vital characteristics of the voice you create depend mostly on the frequencies and levels you program into each operator. The 8 algorithms provided in the DX100 were specially selected because they offer the broadest range of voice programming possibilities.
  • Page 29 In effect, a feedback loop means that the operator is modulating itself. While every algorithm has one feedback loop, feedback is not necessarily used in every voice. One of the DX100 editing functions permits the feedback level to be set between 0 (no feedback) and 7 (maximum feedback).
  • Page 30 (the timbre changes) from the time the note is initiated to the time it decays. Each of the 4 operators available in DX100 can be programmed with its own en- velope. 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 con- tribute to the timbre envelope of the note.
  • Page 31: The Edit And Compare Modes

    CHAPTER IV: VOICE PROGRAMMING. If you do make a mistake and lose the edited data, the DX100 has been provided with a special temporary buffer memory from which the lost data can be recalled (assuming only one error has been made) using the RECALL EDIT function.
  • Page 32: The Voice Parameters

    The following is a brief description of each available voice parameter, how it is 3. The Voice programmed, and its effect. These parameters are selected by pressing the appro- priately labelled (purple labels indicate voice parameters) button while the DX100 Parameters is in the EDIT mode.
  • Page 33 “LFO” stands for Low Frequency Oscillator. This oscillator is used to apply mod- ulation effects such as tremolo or vibrato to the DX100 voices. By setting the LFO WAVE, SPEED, and SYNC parameters, you determine the effect that will be applied to the currently selected voice when the modulation wheel or breath controller is operated.
  • Page 34 5: LFO DELAY Permits setting a delay of between 0 and approximately 10.7 seconds before the LFO modulation effect begins after a key is played. This is particularly useful for simulating brass instruments, human voice, etc., in which a vibrato effect is gradually applied after the note has been initiated.
  • Page 35: Eg Bias Sensitivity

    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.
  • Page 36: Key Velocity

    The data range is from 0 to 7. At 0, key velocity sensitivity for the selected operator is OFF. A setting of 7 produces the highest sensitivity, and therefore the greatest effect. If KEY VELOCITY is set to other than 0, the volume produced when DX100 keys are pressed will decrease.
  • Page 37 The standard DX100 keyboard pitch is 8’; therefore, in terms of footage: 0.50 = 16’, 1.00 = 8’, and 2.00 = 4’.
  • Page 38 The following EG curves show the parameters for some common instruments. PIANO E.G. CURVE ORGAN E.G. CURVE BRASS E.G. CURVE 20: OPERATOR OUT LEVEL Permits setting the output level of the selected operator. The data range is from 0 to 99. At 0, the operator is OFF. A setting of 99 produces maximum output level from the selected operator.
  • Page 39: Storing Voice Data

    There are two basic approaches that can be taken when programming voices on 5. Two Approaches to the DX100. First, you can run through all the existing voices, choose one that is close to the sound you wish to create, and then edit that voice to create your own.
  • Page 40 If you choose to program a voice from scratch, you’ll need to have a clear memory location (or one containing a voice that you either don’t want or have already backed up on cassette tape, so that when you’ve completed programming the voice, you can save it).
  • Page 41: Chapter V: Voice Programming Example

    CHAPTER V: VOICE PROGRAMMING EXAMPLE In this section we’ll go through the steps in creating a fairly percussive electric piano voice from scratch. This simple example should help you understand the programming process. Initialize a Voice STEP 1: Enter the FUNCTION mode (press FUNCTION button) and call the MEMORY PROTECT function.
  • Page 42 Set the OP1 (carrier) EG STEP 4: Select the ENVELOPE GENERATOR AR parameter, and select operator 1 by pressing the OPERATOR SELECT button. We want an instantaneous attack, so AR should be set at 31. Select the D1R parameter and set to 10 for a relatively slow initial decay. Select the D1L parameter and set to 10.
  • Page 43 D1L = 0 D2R = 0 RR = 10 Copy OP3 (carrier) EG Parameters to OP4 (modulator) STEP 9: Hold down the EG COPY button and press the OPERATOR/AMS ON-OFF 4 button. Raise OP4 (modulator) Output Level STEP 10: Select OP4, select the OPERATOR OUTPUT LEVEL parameter and set it to 71. Set OP4 Frequency Ratio STEP 11: To get a metallic attack “ping,”...
  • Page 44 Add Amplitude Modulation to OP2 STEP 15: As a final enhancement to our voice, let’s add just a touch of amplitude modulation to OP2—the main piano sound modulator. This will create a subtle chorus effect. Select the LFO WAVE parameter, set to triangle. Select the LFO SPEED parameter, set to 28.
  • Page 45: General Specifications

    GENERAL SPECIFICATIONS Keyboard 49 keys, (Mini keybord) Sound Source FM Tone Generator (4 operators, 8 algorithms) Simultaneous Note Output 8 notes, reverse priority Internal Memory 24-voice internal RAM (alterable) 192-voice number bank (reading only) 96-voice number bank (alterable) Effects PITCH BLEND WHEEL, MODULATION, PORTAMENTO, SUSTAIN, KEY VELOCITY (re- ception only) Controls PITCH BEND, WHEEL, MODULATION WHEEL, VOLUME, LCD CONTRAST...
  • Page 46: Midi Data Format

    MIDI DATA FORMAT 1. Transmission Conditions ACTIVE SENSING NOTE ON /OFF SUSTAIN SWITCH PITCH BENDER POLY MODE MONO MODE MODULATION WHEEL BREATH CONTROLER DATA ENTRY SLIDER VOLUME (DATA ENTRY SLIDER : PLAY MODE) PORTAMENTO SWlTCH PROGRAM CHANGE PARAMETER CHANGE I VOICE BULK 32 VOICE BULK...
  • Page 47: Transmission Data

    All MIDI data is transmitted when the MIDI ON/OFF function is ON. The MIDI 2. Transmission Data transmission channel is determined by the setting of the MIDI T CH function. 2-1. Channel Information 2-1-1 Channel Voice Message (1) Key On/Off 1001nnnn(9n) n=channel no.
  • Page 48 2-2 System Information 2-2-1 System Real-Time Message Active sensing Status 11111110(FE) Transmitted once approximately every 200 milliseconds System Exclusive Message 2-2-2 Transmitted only when MIDI SYS INFO is ON (1) Parameter Change Status 11110000(F0) ID no. 01000011(43) 0001 nnnn(1n) n=channel no. Substatus/ch.
  • Page 49 Byte count 0 0 0 0 0 0 0 0 ( 0 0 ) 0ddddddd Data 4096 bytes 0ddddddd Checksum 0eeeeeee 11110111(F7) The data of 32 voices, including the 24 voices in RAM memory, will be transmitted if the YES key is pressed in response to the "MIDI Transmit?” display which appears when the SYS INFO key is pressed twice in the FUNCTION mode.
  • Page 50: Reception Conditions

    3. Reception Conditions...
  • Page 51: Reception Data

    All MIDI data is received when the MIDI ON/OFF function is ON. When a specific 4. Reception Data MIDI receive channel has been selected using the MIDI R CH fuction, and the OMNl mode is OFF, MIDI data will be recieved only on the specified channel. MIDI data will be received on all channels when the OMNI mode is ON.
  • Page 52 Functions only on MSB data: 00000000 Lowest value 01000000 Center value Highest value 01111111 4-1-2 Channel Mode Message n=channel no. 1011nnnn Status 0ccccccc 0vvvvvvv Received whether MIDI CH INFO is ON or OFF C=123 V = 0 All notes OFF MONO mode ON C=126 POLY mode ON...
  • Page 53 (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 show in voice parameter table 5-2.
  • Page 54: System Exclusive Data

    5-1. VOICE DATA (VMEM format) 5. System Exclusive Data Parameter no. Parameter ATTACK RATE DECAY 1 RATE DECAY 2 RATE RELEASE RATE DECAY 1 LEVEL KEYBOARD SCALING LEVEL AMPLITUDE MODULATION ENABLE/EG BIAS SENSITIVITY/KEY VELOCITY OUTPUT LEVEL OSCILLATOR FREQUENCY KEYBOARD SCALING RATE/DETUNE SAME AS FOR OP4 SAME AS FOR OP4 SAME AS FOR OP4...
  • Page 55 5-2. VOlCE PARAMETERS (VCED format) parameter no. parameter LCD Display Data Note 0 ~ 31 A T T A C K R A T E 0 ~ 31 D E C A Y 1 R A T E 0 ~ 31 D E C A Y 2 R A T E 0 ~ 15 R E L E A S E R A T E...
  • Page 56 5-3. FUNCTION PARAMETERS Parameter no. Parameter LCD Display Data Note OPERATOR ENABLE/DISABLE 0 , 1 OPETATOR SELECT 0 ~ 3 0 , 1 EDIT MODE 1 = ON E, e FUNCTION MODE 1 = ON 0 , 1 F, f 0 , 1 STORE MODE 1 = ON Mem Store...
  • Page 57 D i g i t a l P r o g r a m m a b l e A l g o r i u m S y n t h e s i z e r ] D a t e : 5 / 1 0 , 1 9 8 5 M o d e l D X 1 0 0 M I D I I m p l e m e n t a t i o n C h a r t V e r s i o n : 1 .
  • Page 58: Voice/Function Data

    VOICE/FUNCTION DATA DATA NAME : DATE : NUMBER : PROGRAMMER :...
  • Page 59: Data Name

    DATA NAME DATE : PROGRAMMER : V O I C E N A M E N o . R E M A R K S...
  • Page 60 (within three meters), interference may occur. or, if the antenna lead-in is 300ohm ribbon lead, changethe lead-in This series of Yamaha professional music equipment has been to co-axial type cable. type tested and found the comply with the specifications set for...
  • Page 61 YAMAHA Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600 Recycled 2/16/98 27792 DX100 OM...

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