Yamaha Loopfactory DX200 Owner's Manual
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Yamaha Loopfactory DX200 Owner's Manual

Desktop control synthesizer/fm synthesis
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  • Page 2: Special Message Section

    This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.
  • Page 3 • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdei- ing:...
  • Page 4 SAVING USER DATA • Save all data to an external device such as the Yamaha MIDI Data Filer MDF3, in order to help prevent the loss of important data due to a malfunc- tion or user operating error.
  • Page 5 With eighteen knobs and umpteen switches, many of them “dedicated” — meaning that a con- trol does specifically and ONLY what its name indicates — the DX200 is a synthesizer control freak’s dream. Powering the richly textured and dynamic Voices of the DX200 is the FM Synthesis system —...

  • Page 6: Table Of Contents

    Contents Contents Contents ... 6 How to Use This Manual ... 8 Panel Controls ... 9 Quick Start Guide ... 11 Parameter Structure ... 12 Tone Generator Signal Flow & Effect Block Diagram ... 13 Chapter 1 Pattern Basics ... 15 Tip 1 Playing a Pattern ...
  • Page 7 Chord progressions with Pattern Assign ... 95 Chapter 18 Master Class 1 — Onstage...96 Tip 80 Sync the DX200 to your sequencer... 96 Tip 81 Changing the MIDI channels ... 97 Tip 82 Loopfactory setup — with the SU200 ... 98 Tip 83 Loopfactory sync system —...

  • Page 8: Contents

    How to USE a manual? Sounds a bit obvious, we admit. (“Open it and read it.”) But here goes: Go straight to the Quick Start Guide. This tells you simply and in no uncertain terms how to set up your new DX200 and get sound out of it. Work through the 93 Tips.

  • Page 9: Panel Controls

    Main Control Here’s a quick way to get familiar with your DX200! The front (or top) panel of the DX200 can be roughly divided into four sections: Main, Control, Voice, and Keyboard. Look through the controls here, and check out the Tips related to each of them for more information.
  • Page 10 Panel Controls These are the fundamental controls of the DX200 — for changing modes, adjusting values, exiting from func- tions, and so on. Display and indicators [SONG] ...Tips 8, 63 [PATTERN] ...Tip 1 [DATA] knob ...Tips 2, 69 [SHOW VALUE] ... Tips 21, 22 [STORE]...

  • Page 11: Quick Start Guide

    Quick Start Guide Quick Start Guide Once that you’ve got the DX200 out of the box and checked that all included items were indeed included, it’s time to set everything up and get playing. 1 Turn the VOLUME control all the way down to the minimum.

  • Page 12: Parameter Structure

    This diagram shows the structure and hierarchy of the Songs, Patterns and Voices of the DX200. As you work with the DX200 and explore its various functions and features, refer back to this diagram to see how all the pieces of the puzzle fit together.

  • Page 13: Tone Generator Signal Flow & Effect Block Diagram

    Tone Generator Signal Flow & Effect Block Diagram Tone Generator Signal Flow & Effect Block Diagram Effect section Synth track Distortion Rhythm track 1 Rhythm track 2 Rhythm track 3 The EQ processing is accessible only with the DX200 Editor software.
  • Page 14 This is NOT an owner’s manual! This is NOT an owner’s manual! At least not an ordinary one. But, then again, the DX200 is no ordinary instrument. It’s packed with exciting, powerful, yet easy-to-use features that give you complete, hands-on sonic control — plus tons of dynamic real-time...

  • Page 15: Pattern Basics

    Patterns as well. (See page 68.) Exploring other Patterns The DX200 features a total of 256 specially pre-programmed Patterns. Try some of these out now. Use the [DATA] knob to select a different Pattern. Notice how the Pattern number in the display changes.

  • Page 16: Switching Patterns On The Fly

    Switching Patterns on the fly Try mixing it up now. The DX200 lets you change Patterns as easily as pressing a button... Thanks to the Pattern Select function, you can chain together Patterns in real time from the keyboard — as you perform.

  • Page 17: Playing It Backwards

    Now, that you’ve got a Pattern playing, try changing its speed. (This is also called “bpm” — beats per minute.) The DX200 gives you two ways to do this — tapping out the speed manually, or using the [DATA] knob to adjust it.

  • Page 18: Messing With The Beat

    Chapter 1 Pattern Basics Messing with the Beat There’s more than one way to mess with the rhythm. Actually, the DX200 gives you a truckload of ways you can disturb and deconstruct your beats. One of these is the (appropriately named) Beat function.

  • Page 19: Song Playback

    Chapter 2 Song Playback As we said before, the Patterns are the basic building blocks of the DX200. But what can you build with them? Songs! Our team of expert programmers has created a few Songs using the various Patterns of the DX200. Check these out and hear just how powerful and ver- satile the DX200 can be for recording your own material.

  • Page 20: The Keyboard

    Playing the keyboard The built-in keyboard is small — just one octave — but it lets you use all the features of the DX200 without having to connect a separate keyboard. Try it out now.

  • Page 21: Tip 11 Playing The Rhythm Track

    Playing the Rhythm track The DX200 also has a special Rhythm track (actually there are three) that let you play and record drum, per- cussion, bass and other sounds — giving you the power to easily create your own ultra-hip beats. Naturally, you can play all these sounds straight from the built-in keyboard...

  • Page 22: Scene Basics

    Chapter 4 Scene Basics Scene is one of the most powerful and exciting features of the DX200. It lets you “morph” between two completely different sounds — in real time, as the Pattern is playing. Switching Scenes Here we’ll switch between Scenes, for instant sound changes.

  • Page 23: Effects

    Chapter 5 Effects The effects of the DX200 are more than just icing on the cake — they’re pow- erful tools you can use to completely transform the sound, and put your tracks over the top. What is an Effect? The Effects are the last element in the sound chain —...

  • Page 24: Tip 16 Playing With The Effects

    Chapter 5 Effects Playing with the Effects Let’s take a look at each of the Effects, and try applying them to the sound. Before you begin, set the [WET] knob up to about 2:00 or 3:00. Generally, you should keep the knob at this position. This ensures that you can properly hear the Effect.
  • Page 25 Flanger (Flanger 1, 2) This modulation-based Effect produces a “swishing” or “tunneling” sound. Play a Pattern and select Flanger 1 (FLG1). Take the [PARAM] knob from minimum to maximum, and notice how the sound grows from a subtle sweep- ing, metallic sound — like a jet airplane taking off — to a virtually pitch-less sonic meltdown. Chorus Chorus is another modulation effect (“hidden”...

  • Page 26: Tip 17 Distortion

    Although not strictly part of the Effect section, Distortion is a strong effect in its own right. Compared to the warm Overdrive/Amp Effect types, it has more edge and bite. When applied to many of the DX200’s Voices, it is capable of creating very convincing guitar-like distortion effects.

  • Page 27: Filter (Vcf)

    Chapter 6 Filter (VCF) The VCF or Filter section is one of the most powerful and dynamic on the entire instrument. Used in the right way, the VCF controls are capable of transforming sterile, boring sounds into something really dynamic and excit- ing.

  • Page 28: Tip 19 Wild, Wild Filter Sweeps - Vcf Types

    Chapter 6 Filter (VCF) Wild, wild filter sweeps — VCF Types The enormous power and versatility of the Filter section continues with the VCF Types. These hidden varia- tions put some really heavy-duty sonic fireworks at your fingertips — just what you need to blow the crowd away.
  • Page 29 VCF Type Determines the filter type used for the VCF section. The filter passes only a specified range of frequencies while cutting off the rest. There are sev- eral completely different types, as well as a variety of filter slopes (see below).

  • Page 30: Tip 20 Feg Depth

    Chapter 6 Filter (VCF) FEG Depth Technically, the FEG Depth controls how the Filter works over time. This is even shown on the panel for you: With the the [CUTOFF] and [RESONANCE] knobs set respectively to 9:00 and 3:00 (see above), slowly turn the [FEG DEPTH] knob. Depending on the Pattern selected, negative settings (setting the knob left of 12:00) may result in little or no sound.

  • Page 31: Nuts And Bolts

    Let’s take a break from the fun and games for a moment. Check out the fol- lowing functions and familiarize yourself with them — they’re very useful, convenient tools you’ll need as you work with the DX200. Show Value Sometimes you’ll want to see what value a knob or button has been set to. Remember that when you call up different Patterns, the knobs won’t correspond to the settings, so just looking at the knobs won’t help.

  • Page 32: Tip 22 Original Value

    Chapter 7 Nuts and Bolts 3 Press the [EXIT] button to return to normal operation. • Trade Secrets Use Show Value to pick the brains of our programmers. Do you have a favorite Voice and would like to find out its settings? Just call up Show Value and take a peek behind the curtain. Original Value If you tweak and turn the knobs on a Voice for any length of time, you’re going to come up with a Voice that’s VERY different from the one you started out with.

  • Page 33: Tip 23 Panic! (Or "Uh-Oh

    Until you know exactly how the controls work and how they affect the sound, you’ll ocassionally find the DX200 to be an unpredictable, sometimes uncontrollable beast. Before you unplug it and try to stuff it back in its box, try these common-sense workarounds and solutions.

  • Page 34: Tip 24 Factory Reset

    Do a Factory Reset operation. (See Tip 24.) Use this only if you suspect something is actually wrong with the DX200. (For the most part, many of the confusing things about the instrument may just be things that you don’t quite understand yet.) Remember, this will COMPLETELY ERASE any original work you’ve done or saved —...

  • Page 35: Pattern Playback

    Chapter 8 Pattern Playback We’re going to pick up where we left off in Chapter 1, and give you some more Pattern Tips. These are simple things you can do to change the sound, pitch, rhythmic feel, and other aspects of the Patterns — even the Patterns them- selves —...

  • Page 36: Tip 26 Transposing The Key

    Chapter 8 Pattern Playback Transposing the key The Transpose function lets you change the pitch or key of the Pattern as it plays back. With this, you can change chords on the fly, and create your own chord progressions — instantly, as you perform. Let’s try it out.

  • Page 37: Tip 27 Swing

    • When the Beat parameter (page 18) is set to “12,” Swing has no effect on the Pattern. Muting tracks The Patterns of the DX200 contain and play back up to four separate tracks — the Synth track and three Rhythm tracks. The convenient Track Mute feature lets you selectively mute these tracks — even during playback.

  • Page 38: Tip 29 Muting Notes During Playback

    Chapter 8 Pattern Playback Notice how buttons [1], [2], [3], and [4] light while you hold down [SHIFT] — this means all four tracks are on. Button [1] corresponds to the Synth track; when you press this, the Synth track cuts out. To bring the Synth track back in, simply hold down [SHIFT] and press [1] again.

  • Page 39: Tip 30 Mixer Controls - Pan And Volume

    Hear how the Synth sound fades in and out as you tweak the knob? Remember, this only affects the Synth track — unlike the master [VOLUME] knob, which controls the overall sound of the DX200. Chapter 8 Pattern Playback Step Mute Allows you to mute and unmute specific...

  • Page 40: Tip 31 Assigning Patterns To The Keyboard Buttons

    Chapter 8 Pattern Playback Assigning Patterns to the keyboard buttons Remember in Tip 3 how you selected Patterns on the fly, as they were playing? Here’s where you can set which Patterns are triggered by which keyboard buttons. Any Pattern — even the User Patterns — can go to any button.

  • Page 41: Lfo Modulation

    LFO applications — modulating volume. Used with some of the other sound shaping controls on the DX200, this is responsible for the machine gun effects, helicopter-like sounds and a slew of other industrial noises you hear in a lot of techno, electronica and dance music today.

  • Page 42: Tip 33 Modulating The Filter

    Chapter 9 LFO Modulation Modulating the Filter Now, let’s apply the LFO to the Filter — and create some interesting wah-wah effects. 1 Press [DETAIL] until “Fmd” (Filter Modulation Depth) appears briefly in the display. 2 Use the [DATA] knob to set the value to around “50.” This is the Filter Modulation Depth setting.

  • Page 43: Tip 34 Modulating The Pitch

    Modulating the pitch Try using the LFO to warp the pitch — and discover some more awesome modulation effects. 1 Press [DETAIL] until “Pmd” (Pitch Modulation Depth) appears briefly in the display. 2 Use the [DATA] knob to set the value to “0.” This is Pitch Modulation Depth.

  • Page 44: Tip 35 Changing The Lfo Wave

    Chapter 9 LFO Modulation Changing the LFO wave The LFO uses one of 6 different waveforms to modulate the sound. The particular wave you select has a huge effect on the final sound. Try out some of these and see what kind of chaos you can create. 1 Press [DETAIL] until “UA<E”...
  • Page 45 Wave Determines the LFO waveform. Settings Triangle (trGL) Saw Down (SAUd) Saw Up (SAUu) Square (Squr) Chapter 9 LFO Modulation Sine (SinE) Sample-and-hold (S-H)

  • Page 46: Eg Basics

    One of the most important aspects in analog synthesizer sound is how that sound is controlled over time. The DX200 gives you some very powerful and flexible ways to do this. One of them is the EG section. EG stands for Envelope Generator — “envelope” here being the control that shapes the sound as it evolves over time.
  • Page 47 5 Next, play with the [DECAY] knob and hear how that affects the sound. Experiment with the [DECAY] knob. Depending on the Voice and the other EG settings, a short Decay value (knob around 9:00) may result in a weak, percussive sound. Try adjusting the knob around 11:00 or 12:00 and then slowly move upwards from that as you repeatedly play the key.
  • Page 48 Chapter 10 EG Basics • Tweak them together When you start out tweaking the EG, you may want to set [SELECT] to both FEG and AEG. This eliminates a lot of confusion about which EG is doing what. For example, if you have sep- arate settings and the FEG opens up long after the AEG has already shut down, you’ll probably not hear much of the sound.

  • Page 49: Tip 37 Using Eg To Control The Filter (Feg)

    Using EG to control the Filter (FEG) In Tip 36 above, we introduced you to the EG and showed you how it works with volume (Amplitude). Now, let’s take a look at what the EG can do with the Filter. These specific FEG setting examples will get you started, and give you a definite feel for how to use EG to change the tonal quality of the sound.

  • Page 50: Tip 38 More About Feg Depth

    Chapter 10 EG Basics 7 Just for good measure, play around with the [DECAY] knob a bit. As with the other controls, tweak this to various settings as you play the keys. Finally, set this to around 1:00 or 2:00 (80 - 90). 8 You’re on your own now! With the above settings as a starting point, go back to each of the EG knobs and play around with them some more.

  • Page 51: Tip 39 Going Negative - With Feg Depth

    Going negative — with FEG Depth As we promised in the last Tip, here’s a sound-creating pointer that takes advantage of the negative values of FEG Depth. Try these settings out — and hear what it’s like on the “minus” side of the sound. 1 First, get everything set up with the following settings: EG [SELECT]...

  • Page 52: Advanced Sound Shaping Controls

    You’ve learned about the Patterns, the Scenes, Effects, the Filter, LFO, EG, and so on — but your education’s not over yet. The DX200 has actually got quite few more sonic tricks up its sleeve. Let’s try some of them out now...

  • Page 53: Tip 41 Selecting The Algorithm

    Selecting the Algorithm Algorithm is one of the fundamental controls behind the FM Synthesis sound of the DX200. It determines how the basic sound-generating elements (operators) of the synthesizer are organized and combined. Without getting into too deep of a discussion of FM Synthesis (you can read more about that on page 116), selecting an Algorithm changes how the six operators are configured.

  • Page 54: Tip 42 Shifting Harmonics

    Now that you’ve tried out a few different Algorithms (in Tip 41 above), tweak the FM sound some more with the Modulator controls. These give you enormous control over the sound of the DX200 Voices — letting you add a rich spectrum of harmonics to the sound, and/or radically change the basic pitch.

  • Page 55: Tip 43 Mellow Or Metallic - Fm Depth

    Mellow or metallic — FM Depth Depending on the other settings, FM Depth can be very subtle, adding harmonics or changing the pitch — almost imperceptibly at times. Keep in mind that it works interdependently with the other Modulator con- trols, so you’ll need to factor these in as well.

  • Page 56: Tip 44 Controlling The Fm Decay

    Chapter 11 Advanced Sound Shaping Controls Controlling the FM Decay Decay is a simple EG-like control (remember Chapter 10?) that lets you control how quickly the volume of the Modulators dies out. This gives you additional control over the tone or timbre of the sound. Keep in mind that the Modulators’...

  • Page 57: Tip 46 All Kinds Of Noise

    Maybe you thought that if you’ve heard one kind of noise, you’ve heard them all. Not true. The Noise Oscil- lator on the DX200 gives you quite a choice of noise makers — sixteen in all! As we pointed out in Tip 45, noise can be very useful in crafting sounds. Try selecting different noise types here and listen for the difference in sound.

  • Page 58: Tip 47 Fat, Phatter And Phattest

    How phat do you want to get? Key Assign lets you configure the DX200 in either Poly or Mono operation, for full chords or single-note lines. Combined with the Unison setting, this function brings the humongously phat sounds of vintage syn- thesizers to the digital realm —...

  • Page 59: And Saving Them

    Scene 1 has just been stored. Now let’s go on to Scene 2. Make sure keep holding [STORE] until you’ve pressed SCENE button [1] or [2]. Otherwise, the DX200 will switch to the Store Pattern operation (page 79). 4 Do the same operation for Scene 2 — repeating Steps 1 - 3 above with SCENE button [2] this time.

  • Page 60: Free Eg

    Free EG The DX200 has so many real-time control features, it’s hard to get a grip on them all. Feel you need an extra pair of hands? Or maybe an extra two? No problem. Just use the amazing Free EG feature. The DX200 is packed with a lot of powerful recording functions —...
  • Page 61 EG track recordings will be saved right along with it. • Recording to more than one track at a time Press the appropriate Free EG Track buttons. During recording, the DX200 automatically assigns each knob you move to the next available track. For example, let’s say you’re record- ing to Tracks 1 and 2.

  • Page 62: Tip 50 Changing The Length Of Your Free Eg Tracks

    Chapter 12 Free EG Changing the Length of your Free EG tracks The flexible little Length feature works both ways — both in recording and playback. It lets you set how long (in measures) your Free EG moves are recorded for, and it lets you separately set how long it takes for them to play back.

  • Page 63: Pattern Power Tips

    Chapter 13 Pattern Power Tips It’s time to put your DX200 know-how and experience to work — and delve into these Pattern Power Tips. The first couple of Tips introduce you to some important tools for working with the Patterns, such as copying and erasing data. They’re basic nuts-and- bolts stuff, but don’t ignore them.

  • Page 64: Tip 52 Shake, Retrigger, And Roll

    Chapter 13 Pattern Power Tips Shake, Retrigger, and Roll! In Tip 51, you saw how to use the Top function to play your own stutter hits. Here’s a nifty variation on that function — it’s called Retrigger & Roll. Retrigger & Roll does just as its name suggests. It retriggers notes of the Synth track, and repeats them — like a drum roll.

  • Page 65: Tip 53 Selecting A Voice (Copy Voice)

    Selecting a Voice (Copy Voice) One important step you can take in creating a Pattern is to select the Voice you’ll be using for it. Keep in mind that each Pattern includes a Voice, and that strictly speaking, Voices CANNOT be selected sep- arate from their Patterns.

  • Page 66: Tip 55 Transposing The Pitch Of A Pattern

    Chapter 13 Pattern Power Tips Transposing the pitch of a Pattern Try this cool editing tool on your tracks. The Transpose Pattern function lets you change the overall key (pitch) of a Pattern — including the Rhythm tracks. Shift the pitch way up, or bring it way down — there’s a lot of range here to work with.

  • Page 67: Tip 56 Copying A Pattern (Sequence)

    Copying a Pattern (Sequence) Earlier in this section, in Tip 53, you learned how to copy a Voice from one Pattern to another. Here you’ll learn how to copy a Sequence (the Pattern’s notes) from one Pattern to another. 1 First, select the source Pattern — the one that has the Sequence you like. The word “Sequence”...

  • Page 68: Pattern Recording

    Erasing a Pattern — and starting from scratch The first thing you’ll need to do when you make your own Pattern is to make room for it on the DX200. To do that, you’ll have to erase or clear one of the factory preset Patterns.

  • Page 69: Setting The Metronome Lead-In

    Setting the Metronome lead-in When you record your parts in real time, you’ll need a rhythmic guide — a metronome click — to lead you into the recording, and keep you in time. Here, you can set the length of the Metronome lead-in — in other words, how long the Metronome clicks before Real-time recording actually starts.

  • Page 70: Recording A Pattern In Real Time

    Chapter 14 Pattern Recording Recording a Pattern in real time Up until this point, you’ve been working with the preset Patterns of the DX200. Now, here’s your chance to create some Pattern magic yourself — by recording your own original Patterns.

  • Page 71: Tip 60 Step Recording

    “feel” your way to a great recording. What’s more, the DX200 automatically corrects the timing of the notes you play. This may not always give you the results you expect — but it will ensure that ALL your notes play back in perfect sync with the rhythm.
  • Page 72 [11] twice again. Remember that the Pattern isn’t really erased — you can get it back by sim- ply turning the DX200 off and back on again. 2 Make the Beat setting for the new Pattern: 16, 12, or Hold down [SHIFT] and press [SWING] (BEAT).
  • Page 73 Entering the Notes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • In this section, you’ll be entering the notes (pitches) for each of the sixteen steps.
  • Page 74 Chapter 14 Pattern Recording Enter the notes for these Steps in the same way as you did with Steps 1 - 8 above, but use the setting guide below: Again, this is ONLY a guide — make your own settings, if you want. 8 Finally, press the Start/Stop button —...
  • Page 75 15 Set the knobs as shown. Set knobs [1] and [5] to around 2:00. (The display value should be around 90 - 100.) Set knobs [2], [3], [4], [6], [7], and [8] to around 11:00. (The display value should be around 40 - 50.) Or, make your own settings.
  • Page 76 Chapter 14 Pattern Recording Rhythm Tracks The DX200 is filled to the brim with an enormous variety of drum, percussion, and special effects sounds. Put these to good use with the Step Recording features — and create your own awesome beats and smokin’...
  • Page 77 Overdubbing the Hi-hat — Rhythm Track 2 • • • • • • • • • • • • • • • • • • • • • • • • • Now, let’s flesh out the rhythm a bit with some hi-hat parts — and add a turntable scratch at the end. 21 Using the “In the Fast Lane”...
  • Page 78 Chapter 14 Pattern Recording Fine Tuning Your Tracks — Pitch, Gate Time, and Velocity • • • • • • • • • • • • • • Before you run off, remember that the Rhythm Tracks can be edited some more with the Pitch, Gate Time, and Velocity parameters.

  • Page 79: Storing Your New Pattern

    Free EG moves, and Effect edits — are stored with the Pattern, too. The DX200 gives you 128 User memory spaces for saving your original Patterns. Once you’ve created a Pattern (or Voice) you want to save, DO NOT select another Pattern until you’ve stored it.
  • Page 80 108) to save your valuable Pattern and Voice data in multiple “banks” of 128 Patterns. Load each bank of 128 back to the DX200 when you need it — or share your banks with your DX200-equipped friends and bandmates. Keep in mind too that you can use Bulk Send with the computer-based DX200 Editor (page 106) to further edit your Voices.

  • Page 81: Song Recording

    Erasing a Song — and starting from scratch The first thing you’ll need to do when you create your own Song is to make room for it on the DX200. To do that, you’ll have to erase or clear one of the existing Songs.

  • Page 82: Creating A Song

    Creating a Song Finally, we come to the culminating feature of the DX200. This is the place where you bring together all the Voices, Scenes, Free EG moves and Patterns you’ve made — and use them to create your own original Songs.

  • Page 83: Tip

    By the way, if you’re creating a Song from scratch, you may not need to enter “----” at all. Just skip over the measures that you want to stay the same — the DX200 automatically repeats the last Pattern, until the next new entry.

  • Page 84: Setting The Bpm (Tempo) For Your New Song

    Song. To do this, enter the “----” setting for as many measures as needed. Or, if you’re programming the Song from scratch, just skip over the measures that you want to stay the same — the DX200 automati- cally maintains the last setting, until the next new entry.

  • Page 85: More Song Editing Features

    More Song editing features In Tips 63 and 64 above, you learned how to enter Pattern numbers and BPM values to the measures of your Song. But that’s not all you can do. In this Tip, we’ll show you how to use the rest of the powerful Song editing features in your tunes.
  • Page 86 Chapter 15 Song Recording Swing This lets you introduce a swing feel to the Pattern at the selected measure. (See Tip 27 for more infor- mation.) To select: Press the [SWING] button. The [SWING] button lights, indicating Swing is selected. Gate Time This lets you control the length of the notes for the Pattern at the selected measure.
  • Page 87 Adding Patterns to your Song — Insert Pattern Naturally, you can add Patterns to your existing Songs — by using the Insert Pattern function. This puts a new Pattern in the Song at the measure you specify. It doesn’t matter whether you’re in the Song mode or the Song Edit mode — you can insert a Pattern from either.

  • Page 88: Taking Patterns Out Of Your Song - Delete Pattern

    Chapter 15 Song Recording Taking Patterns out of your Song — Delete Pattern If you’ve made a mistake in creating your Song, you can always clear it (page 81) and start over. Or you can use Delete Pattern to erase the offending entry, and keep the other Patterns intact. Delete Pattern lets you take Patterns out of specific measures in your existing Songs.

  • Page 89: Storing Your New Song

    Storing your new Song Now that you’ve created and arranged a new Song, you’ll want to save it for future recall. The DX200 gives you a total of 10 memory spaces for saving your original Songs. Once you’ve created a Song you want to save, DO NOT select another Song and DO NOT leave the Song mode until you’ve stored it.

  • Page 90: Speed Tips For Power Users

    Work smarter, not harder! In this section, we’ll show you some nifty ways to put your editing in high gear — so you can get MORE out of your DX200 in LESS time. Using [SHIFT] with the [DATA] knob — for leaps and bounds! The [DATA] knob is really useful for narrowing in on a value and fine-tuning the parameter settings.

  • Page 91: Using [Shift] To "Hold" A Setting

    Using [SHIFT] to “hold” a setting Editing on the DX200 is quick and easy — you press a button or turn a knob, and the setting/value changes. However, convenient as it is, there are times when you want to select a parameter without changing it.

  • Page 92: Real World Tips

    Chapter 17 Real World Tips This chapter is a grab bag full of various practical tips that solidify your pro- gramming chops and put you on the way to truly mastering the instrument. You’ve seen all these features before. Now, try them out in these real-world examples —...

  • Page 93: Changing The Pitch With The Keyboard

    Changing the pitch with the keyboard As you saw in Tip 26, you can use the keyboard of the DX200 to change pitch and even create chord pro- gressions on the fly. But you can get really wild and crazy with this feature, too — and come up with some truly mad techno mayhem.

  • Page 94: Tip 75 Stutter Fill-In 1

    Chapter 17 Real World Tips Stutter fill-in 1 Remember in Tip 51 how you hit the top of a Pattern? In this Tip, and the two that follow, let’s try some spe- cific “stutter” rhythm examples. Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following rhythm.

  • Page 95: Tip 77 Stutter Fill-In 3

    Stutter fill-in 3 Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following rhythm. Use both hands on this one too. This could take a little practice before you nail it... Start ! Hit it here...

  • Page 96: Master Class 1 - Onstage

    Sync the DX200 to your sequencer The sophisticated sync features of the DX200 let you lock it in step with the rhythm of just about any other MIDI device, such as a computer, rhythm machine or external sequencer. No drift, no glitching, no slipping out of sync —...

  • Page 97: Changing The Midi Channels

    In general, you won’t need to fool with these settings. But they’re here if you ever DO need them. The four tracks of the DX200 — Synth and Rhythm 1 - 3 — are fixed to receive/transmit data over MIDI Channels 1 through 4, respectively. To match the tracks to a controlling MIDI keyboard or sequencer, you may have to change these settings.

  • Page 98: Loopfactory Setup - With The Su200

    With this playback sync system, you can have the samples on the SU200 sync up perfectly to the Patterns of the DX200 — thanks to Loop Track Play. Use the the DX200 as a master “switch” for the whole system —...
  • Page 99 Loopfactory sync system — with the AN200 In case you didn’t know, the DX200 has a sister synthesizer — almost a twin sister, actually. The AN200 has many of the same sound-shaping controls, plus all of the Pattern and Song features that are found on the DX200.

  • Page 100: Loopfactory Sync System - With The An200

    Loopfactory sampling Here’s a nifty little variation on Tip 82 above. First, hook up the outputs of the DX200 and the SU200 to an external mixer — to pump the sounds out to the crowd. Then, use the Aux Send on the mixer to feed the DX200 sound to the sampling input on the SU200 —...

  • Page 101: Full Dj System - Turntable And All

    Do some sampling here, too. Sample your vinyl or CD beats to the SU200, and mix them in as you play. And sample the DX200, like you did in Tip 84. Have the DX200 play its Patterns while you fly in your new samples —...
  • Page 102 MIDI Thru (OUT) terminal, you should set the MIDI Receive Channels (page 97) on the AN200 to values different than the DX200. If the DX200 is set to receive over Channels 1, 2, 3, and 4, set the AN200 to receive over 5, 6, 7, and 8.

  • Page 103: Master Class 2 - Advanced Music Production

    Playing the DX200 as a synthesizer The DX200 is an extremely powerful and versatile synthesizer, with a wide variety of truly stunning and dynamic sounds. And one of the best ways to harness that power is to hook up a MIDI keyboard. Do this, and explore the wealth of Voices and the full 16-note polyphony of the DX200.

  • Page 104: Recording To A Sequencer

    DX200 as you play the keyboard. • Since the Synth Voices of the DX200 play on Channel 1, make sure that any recorded tracks on the sequencer are set to play via MIDI Channel 1.

  • Page 105: Recording Dx200 Knob Moves To A Sequencer105

    Recording DX200 knob moves to a sequencer Have you got an external sequencer or computer? And are you using the DX200 as a synthesizer (as we covered in Tip 87) to play back your sequencer tracks? If so, here’s a power-user Tip for you that will give you undreamed-of control over the sound.

  • Page 106: Editing The Dx200 From A Computer

    The DX200 Editor is special software that works on your Macintosh or PC-compatible computer. It allows you to directly edit all of the DX200 Voice settings and parameters — right from your computer. It’s also extraordinarily intuitive, with a virtual front panel that gives you at-a-glance, full control over your DX200.

  • Page 107: Midi Sequencer Controls - Start, Continue, Stop

    DX200 strictly as a tone generator in a larger MIDI system. For example, if you are using the song data on a sequencer to play the DX200’s Voices, you wouldn’t want the Patterns to play when you clicked PLAY. Simi- larly, there may be times when you want to play a Pattern on the DX200, yet want to avoid starting the sequencer at the same time.

  • Page 108: Saving Patterns And Songs To A Midi Data Filer

    Another fantastic thing about MIDI is all the data storage options it gives you. With the use of a MIDI data filer (such as the Yamaha MDF3) or MIDI sequencing software (such as the included XGworks lite), you can save all your valuable Song and User Pattern data for future recall — any time you need it. Plus, you can amass a whole library’s worth of Songs and Patterns on just a few floppy disks.

  • Page 109: Loading Back Your Saved Patterns And Songs

    Chapter 19 Master Class 2 — Advanced Music Production Loading back your saved Patterns and Songs Once you’ve saved your valuable data, you can bring it all back to your DX200 — with this simple operation. 1 Set up the DX200 and the recording device.

  • Page 110: Function Index

    Function Index This index lets you quickly find information on the various functions and parameters of the DX200. All the references here are to Tip numbers, except for a few page references (for Tips that stretch over several pages). AEG...Tip 36 Algorithm Type...Tip 41...
  • Page 111 octaves, changing ...Tip 10 Original Value...Tip 22 Overdrive/Amp...Tip 16 Pan ...Tip 30 Pattern mode ...Tip 1 Pattern Select...Tips 3, 78, 79 Pattern Select (Song Edit)... Tips 63, 65 Pattern Select Assign...Tip 31 Pattern speed, doubling/halving...Tip 7 Patterns ...Tip 1 Patterns, copying...Tip 56 Patterns, erasing (clearing)...Tip 57 Patterns, recording ...

  • Page 112: About The Included Cd-Rom

    DX200 Editor • • • • • • • • • • • • • • • • • • • • • • You can use the DX200 Editor Plug-in applications of XGworks lite to edit the Patterns of the DX200.
  • Page 113 Control Synthesizer, which you can use them as the template. DX200 Editor • • • • • • • • • • • • • • • • • • • • • • DX200 Editor allows you to edit the DX200 Patterns on your computer.

  • Page 114: Specifications

    Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. • Die technischen Daten und Beschreibungen in dieser Bedienungsanleitung dienen nur der Information.

  • Page 115: Troubleshooting

    • Is the MIDI control set to “On” or “In”? (Page 107) • Is the MIDI clock set to “Internal”? (Page 97) Are the MIDI IN/OUT jacks of the DX200 and the MIDI OUT/IN jacks of the computer (or MIDI interface) are properly connected? (Page 106)

  • Page 116: Fm Tone Generation

    These six operators are com- bined in various ways to make up the different voices produced by the DX200. The operators can be used to freely change two different aspects of the sound: (1) The frequency (pitch) of the generated sine wave.
  • Page 117 Combinations of Two Operators Although the six operators can be combined in a wide variety of ways for many different sounds, here we'll look at the fundamental combinations of just two operators, to help you understand the basics of FM synthe- sis.
  • Page 118 Appendix FM Tone Generation Carrier and Modulator In FM tone generation, each of the six operators functions as either a carrier or a modulator. The operator doing the modulation is called the modulator; the one being modulated and delivering the actual sound is called the carrier.
  • Page 119 Harmonics Most sounds are made up of multiple tones that are different than the pitch (frequency). Within these multi- ple tones, the one that determines the pitch of the entire sound is called the fundamental tone (fundamental frequency). All the tones besides the fundamental tone are called harmonics or overtones. When all the harmonics that are related to a particular fundamental tone are arranged in order, it is called a harmonic series.
  • Page 120 Although two operators can be combined in only two different ways, six operators can be configured in a wide variety of combinations. These combinations are called “algorithms.” Just as on the original DX7, the DX200 features 32 different algorithms, giving you different levels of harmonic complexity for various appli- cations.

  • Page 121: Modulator

    Voice Editing Essentials There are four main elements that determine the character of a voice: (1) Each operator's output level. (2) Each operator's frequency. (3) The feedback level. (4) Each operator's envelope generator (EG). (1) Operator Output Level The output levels of the operators are the most important parameters in editing a voice. Among these, the output level of the modulator(s) has the greatest effect on the timbre or tonal quality of the voice.
  • Page 122 (as the harmonics start to fade). Since each operator has its own EG, the DX200 gives you comprehensive and dynamic control over both the volume and timbre of the voice, letting you accurately reproduce these natural acoustic effects. The carrier EGs affect the volume of the sound over time, while the modulator EGs affect the timbre.
  • Page 123 Chart of Algorithms Modulator groups Modulator Select = 1 Operator No. Algorithm o : controlled operator (When the Modulator Select (Tip 42) is set to “ALL,” all operators of 1 to 3 are controlled.) Modulator Select = 2 Operator No. Algorithm Appendix FM Tone Generation...

  • Page 124: Midi Data Format

    Appendix MIDI Data Format MIDI Data Format 1. Channel messages 1.1 Note on/note off These messages convey keyboard performance data. Range of note numbers transmitted and received = C-2...G8 Velocity range = 1...127 (Velocity is received only for note-on) 1.2 Control changes These messages convey control operation information for volume or pan etc.

  • Page 125: Harmonic

    When the Identity Request message (2.1.2.1, above) is received, this message is transmitted. 2.1.3 DX200 Native parameter change This message sets parameters unique to the DX200. Each message can set a single parameter. The message format is as follows. 11110000...
  • Page 126 [ DX BULK DUMP ] 1) VCED 2) ACED 3) VMEM 4) AMEM 2.2.1 DX200 Native Bulk Dump This message sets the special parameters for DX200. Unlike Parameter change, one message can modify multiple parameters. Exclusive status 11110000 YAMAHA ID 01000011...
  • Page 127 11111110 This is transmitted by 200msec. After FE is received one time, if the MIDI signal does not come within 400 msec, DX200 will act the same as when ALL SOUND OFF, ALL NOTE OFF, and RESET ALL CONTROLLERS are received, and return to the condition where has not been received once.
  • Page 128 Appendix MIDI Data Format <1-2> MIDI Parameter Change table ( SYSTEM2 ) Address Size Data Parameter 00 00 07 NOT USED 00 - 06 VELOCITY CURVE NOT USED NOT USED NOT USED NOT USED NOT USED 00 - 03 32 BULK RECEIVE BLOCK NOT USED TOTAL SIZE 09 <1-3>...
  • Page 129 <1-5> MIDI Parameter Change table ( Current Voice Scene 1 ) Address Size Data Parameter High Mid Low 10 03 00 00 - 7F Filter Cutoff 00 - 74 Filter Resonance(Q) 00 - 7F FEG Attack 00 - 7F FEG Decay 00 - 7F FEG Sustain 00 - 7F...
  • Page 130 Appendix MIDI Data Format 00...7F Free EG Trk1 Data192 LSB 05 0c 00...01 Free EG Trk2 Data1 MSB 00...7F Free EG Trk2 Data1 LSB 05 0e 00...01 Free EG Trk2 Data2 MSB 00...7F Free EG Trk2 Data2 LSB 08 0a 00...01 Free EG Trk2 Data192 MSB 00...7F...
  • Page 131 00...7F Step Seq Velocity 11 00...7F Step Seq Velocity 12 00...7F Step Seq Velocity 13 00...7F Step Seq Velocity 14 00...7F Step Seq Velocity 15 00...7F Step Seq Velocity 16 00...7F Step Seq Gate Time LSB 1 00...7F Step Seq Gate Time LSB 2 00...7F Step Seq Gate Time LSB 3 00...7F...
  • Page 132 Appendix MIDI Data Format 34 - 4C Filter Input Gain 00 - 7F FEG Attack 00 - 7F FEG Decay 00 - 7F FEG Sustain 00 - 7F FEG Release 00 - 7F FEG Depth 00 - 7F FEG Depth Velocity Sense reserve 00 - 0F Noise OSC Type...
  • Page 133 <1-12> MIDI Bulk Dump Parameter table ( User Pattern Voice Scene 2 ) Address Size Data Parameter High Mid Low 41 mm 00 00 - 7F Filter Cutoff 00 - 74 Filter Resonance(Q) 00 - 7F FEG Attack 00 - 7F FEG Decay 00 - 7F FEG Sustain...
  • Page 134 Appendix MIDI Data Format <1-14> MIDI Bulk Dump Parameter table ( User Pattern Step Seq Pattern ) Address Size Data Prameter Name 50 nn 00 04,06,07 Step Seq Base Unit 08,0C,10 Step Seq Length NOT USED NOT USED NOT USED NOT USED 00...7F Step Seq Note No 1...
  • Page 135 00...01 Step Seq Mute 9 00...01 Step Seq Mute 10 00...01 Step Seq Mute 11 00...01 Step Seq Mute 12 00...01 Step Seq Mute 13 00...01 Step Seq Mute 14 00...01 Step Seq Mute 15 00...01 Step Seq Mute 16 TOTAL SIZE 66 nn = User Pattern Number ( 0 - 7F ) *1 : MSB bit 2-0 ->...
  • Page 136 Appendix MIDI Data Format <2-3> MIDI Parameter Change table ( DX Voice Additional Parameter - ACED format ) Parameter Group# Parameter# Size Data 00 - 07 00 - 07 00 - 07 00 - 07 00 - 07 00 - 07 00 - 03 00 - 01 00 - 01...
  • Page 137 PEG RATE1 PEG RATE2 PEG RATE3 PEG RATE4 PEG LEVEL1 PEG LEVEL2 PEG LEVEL3 PEG LEVEL4 ALGORITHM SELECTOR OSC PHASE INIT / FEEDBACK LEVEL LFO SPEED LFO DELAY TIME PITCH MODULATION DEPTH AMPLITUDE MODULATION DEPTH LFO PITCH MODULATION SENSITIVITY / LFO WAVE / LFO KEY SYNC TRANSPOSE VOICE NAME VOICE NAME...
  • Page 138 Appendix MIDI Data Format <4-1> Rhythm Track Parameter Base Address MODEL ID = 6D Parameter Address System Current Effects Current Multi Part Current Rhythm StepSeq User Pattern Rhythm Step Seq User Pattern Effect User Pattern Multi Part User Song <4-2> MIDI Parameter Change table ( SYSTEM1 ) Address Size...
  • Page 139 <4-4> Effect Type List Type MSB Type LSB Delay1(mono) Delay2(stereo) Flanger1 Flanger2 Phaser1 Phaser2 AmpSim1 AmpSim2 <4-5> Effect type Control Paramater Value Delay 1 (mono) Tempo Sync Resolution 0 - 127 Delay 2 (stereo) Tempo Sync Resolution 0 - 127 Delay 3 (cross) Tempo Sync Resolution 0 - 127...
  • Page 140 Appendix MIDI Data Format <4-7> MIDI Parameter Change table (User Voice EFFECT) Address Size Data Parameter 30 nn 00 00 - 03 EFFECT TYPE MSB 00 - 02 EFFECT TYPE LSB 00 - 7F EFFECT PARAMETER TOTAL SIZE 3 nn = Pattern Number <4-8>...
  • Page 141 00...7F Step Seq Velocity 4 00...7F Step Seq Velocity 5 00...7F Step Seq Velocity 6 00...7F Step Seq Velocity 7 00...7F Step Seq Velocity 8 00...7F Step Seq Velocity 9 00...7F Step Seq Velocity 10 00...7F Step Seq Velocity 11 00...7F Step Seq Velocity 12 00...7F...
  • Page 142 Appendix MIDI Data Format <4-11> MIDI Bulk Dump Parameter table ( Rhythm Track User Step Seq Pattern ) Address Size Data Prameter Name 2p nn 00 NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED 00...78 Step Seq Inst 1 00...78 Step Seq Inst 2 00...78...
  • Page 143 00…01 Step Seq Mute 9 00…01 Step Seq Mute 10 00…01 Step Seq Mute 11 00…01 Step Seq Mute 12 00…01 Step Seq Mute 13 00…01 Step Seq Mute 14 00…01 Step Seq Mute 15 00…01 Step Seq Mute 16 TOTAL SIZE 66 p = Part Number ( 0 - 2 : Rhythm Track 1 - 3 ) nn = User Pattern Number ( 0 - 7F )

  • Page 144: Midi Implementation Chart

    YAMAHA [ DESKTOP CONTROL SYNTHESIZER ] Model DX200 MIDI Implementation Chart Function... Basic Default Channel Changed Default Mode Messages Altered Note Number : True voice ************** Velocity Note ON Note OFF After Key's Touch Ch's Pitch Bend 0,32 x 1,5,7,10 o...

  • Page 145: Rhythm Track Instrument List

    Rhythm Track Instrument List Rhythm Track Instrument List Note No. Note Voice Name Display bA1C PulseBass C C# -2 PulseBass C# PulseBass D bA1d D# -2 PulseBass D# PulseBass E bA1E PulseBass F bA1F Filtered square wave synth bass PulseBass F# bA1G PulseBass G G# -2...

  • Page 146: Pattern List

    Appendix Pattern List Pattern List Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#1-64) Pgm# Pattern Name Group P001 Nosebleed P002 KlingKlang P003 Swimming P004 Ethnectric P005 Percussive P006 Skirmish P007 Still DX P008 Stomper P009 Wreath P010 Subculture P011 Ni-Chi-Bu P012 KAGERO P013 Warp...
  • Page 147 U063 Ambernecta breaks 2 U064 Flash Back ambient DX200:U123,U124 & SU200:BANK A (Trip Hop Demo) DX200:U125,U126 & SU200:BANK B (Trance Demo) DX200:U127,U128 & SU200:BANK C (Break Beats Demo) Appendix Pattern List User Bank (Bank MSB=63, LSB=2, Pgm#65-128) Pre.# Pattern Name...

  • Page 148: Software Licensing Agreement

    5. LIMITED LIABILITY Your sole remedies and Yamaha’s entire liability are as set forth above. In no event will Yamaha be liable to you or any other person for any damages, including without limitation any incidental or consequential damages, expenses, lost profits, lost savings or other damages arising out of the use or inability to use such SOFTWARE even if Yamaha or an authorized dealer has been advised of the possibility of such damages, or for any claim by any other party.
  • Page 149 5. BESCHRÄNKTE HAFTUNG Ihre einzige Abhilfe und die gesamte Haftung Yamahas bestehen in dem oben Ausgeführten. Keinesfalls haftet Yamaha Ihnen oder einer anderen Per- son gegenüber für etwaige Schäden, einschließlich, aber nicht beschränkt auf, zufällige Schäden oder Folgeschäden, Kosten, Verdienstausfall, verlo- rene Ersparnisse oder andere Schadenersatzansprüche, die aus der Verwendung der SOFTWARE oder aus der Tatsach hervorgehen, daß...
  • Page 150 Les conditions énoncées dans le présent contrat de licence prennent effet à compter du jour où le LOGICIEL vous est remis. Si l’une quelconque des dispositions relatives au droit d’auteur ou des clauses du contrat ne sont pas respectées, le contrat de licence sera résilié de plein droit par Yamaha, ce sans préavis.
  • Page 151 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.

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