MSS1 | User manual | THE OFFICIAL PUBLICATION OF THE YAMAHA USERS

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

- -

-

-

-

-

THE OFFICIAL PUBLICATION OF THE YAMAHA USERS GROUP

-

~TM

FEBRUARY 1988

Editor

Tom Darter

Operations

Sibyl Darter

-

-

-

-

-

---

-

--

-

-

-

-

-

~

Editorial Board

Bob Frye

Bill Hinely

Mark Koenig

J.P. Lincoln

Jim Smerdel

Cover Photograph

Jim Hagopian

Dee Dee Cawley

February 1988 Volume 4, Number 2

Issue #29

4 RX5

"Gate Snare," a new RXS voice edit by Robert Cavallo.

4 RX5

"Locust," a new RXS voice edit by Lil Crawford.

5 RX5

"Techno-Funk," a new RXS voice edit by Ken Como.

5

RX5

"Boomin' Bass," a new RXS voice edit by Joe Chila.

6 TX81Z

"ChorusCell," a new TXSIZ performance setup by

Scot Ragland.

7 TX81Z

"CymlsVoice," a new TXSIZ performance setup by

Chris Chen.

8 TX81Z

"WineGlass," a new TXSIZ voice by Craig Anderton.

9

TX81Z

"ParisDream," "PetalPiano," and "Bass Beast," three new

TXSIZ voices by Dan Van Oss.

10 DX11

An introduction to Yamaha's new multi-timbral FM digital synthesizer. By Tom Darter.

AITERTOUCH is published monthly. Third class postage paid at Long

Prairie, MN and additional points of entry.

SUBSCRIPTIONS: Free.

Address subscription correspondence to AFfER-

TOUCH, P.O. Box 7938,

Northridge, CA 91327-

7938. POSTMASTER:

Send form 3579 to P.O.

Box 7938, Northridge, CA

91327-7938.

2

AITERTOUCH/Vol. 4 No. 2

14 Hot Tips

Reader tips for the RXll, REV7, FB-01, SPX90, MEP4, and more.

18 FM

Studies

In NY

Information on a new, non-profit educational resource located in New York City.

©1988 Yamaha Music Corporation USA. No part of this publication may he reproduced, stored m a retrieval system, or transmitted in any form or by any means, electromcally, mechanically, photocopying, recording, or otherwise, without the pnor written permission of Yamaha International Corporation.

Information & Services

Back Issues: Previous issues of AfterTouch are sent out free of charge-all you have to do is ask. However, if a request for back issues is combined with a subscription request or other material, the chances are good that it will not be fulfilled. All requests for After Touch subscriptions go to our Mailing List input service. After the addresses are entered, the postcards and letters are normally kept on file (in keeping with various postal regulations}.

To be absolutely sure that you receive any available back issues that you want, make back issue requests separately, and include the indication "ATTN: Back Issues" on the envelope.

Please do not send back issue requests on the attached subscription postcard.

Also, request back issues by issue number (issue #12) or date (September 1986) only. If you write and ask for "All issues that contain information on the DX2 7," it will be very difficult for us to fulfill your request.

For more information on issue contents, look up the January 1988 issue (issue #28}: It contains a complete index for the first three calendar years (issues 1-27) of AfterTouch. If you are not sure what issues you want, refer to this index before ordering.

Allow six to eight weeks for delivery of back issues.

Address Changes: If you move, you need to let us know of your new address. In order to ensure the most efficient processing of your address change, send us an old address label

(from the outside back cover) along with your new address. If you just send us a new address

(with no indication of your previous address}, we will not be able to process your address change.

Please send your address change in a separate envelope marked "ATTN: Address Change."

Do not combine your address change information with other requests. Also, do not send address changes on the attached subscription postcard.

Product Literature: All requests for literature on individual products or entire product lines must be send directly to Yamaha. The address is: Yamaha Music Corporation USA,

Literature Department, P.O. Box 6600, Buena

Park, CA 90622.

We at AfterTouch are happy to receive specific questions concerning the use of Yamaha professional music products, and we will answer as many of them as we can in the Questions column; however, requests for general product information must be sent directly to Yamaha.

(Also, when requesting information directly from Yamaha, be sure to indicate the instrument or line of instruments in which you are interested.)

Foreign Correspondents: We have received many requests for AfterTouch from outside the

United States. For a short time, Yamaha tried to support these requests. Unfortunately, the costs of these foreign subscribers have become prohibitive. AfterTouch is supported by Yamaha

Music Corporation USA (DMI Division} as a free informational service to its users; therefore,

AfterTouch subscriptions are available only to residents of the United States.

AFTER,

TOUCH is a monthly informational publication from

Yamaha

Receive AfterTouch Free Every Month!

Y OU CAN RECEIVE AFTERTOUCH for an entire year, absolutely free, just by asking. If you are not already on our mailing list and would like to be, fill out the attached postcard. Be sure to sign the card (a postal regulation); it lets us know that you

really

want to receive AfterTouch.

After you have filled in the relevant information, put a stamp on the postcard and mail it to us. When we receive the card, we'll put you on our permanent mailing list, and you will receive twelve issues of AfterTouch absolutely free! There is absolutely no obligation, and no other strings are attached.

(By the way, if you received this issue in the mail, you are already on our permanent mailing list, so you don't need to send in another card.)

Also, don't limit yourself to just sending in your address: Let us know what you want to read, and what you have to offer (see page 19 for details). We look forward to your input.

To receive

AFTER,

TOUCH every month, abso, lutely free, just put your name and address on the enclosed card and mail it to us.

Vol. 4 No. 2/ AITERTOUCH

3

ANewRX5

Voice Edit By

Robert Cavallo.

Notes:

Far different gated snare sounds, try adjusting the following: Pitch in the range between -650 and -200 cents,

Decay 1 Rate in the range between 50 and 47, and Gate

Time in the range between

0500 and 0275 milliseconds.

Voice Name: Gate Snare Origin: lnt-SD 2

JOB • PARAMETER RANGE

02

Pitch

03/1

Attack Rate

03/2

Decay 1 Rate

03/3

Decay 1 Leve 1

03/4

Decay 2 Rate

03/5

Re 1 ease Rate

03/6

Gate Time

04/1

Bend Rate

04/2

Bend Range

. 05

lnst Leve1

06

Sound Loop

-3600 ~ 2400

1 ~ 99

1 -99

1 ~ 60

1

N

1-

99 gg

100- 6500

-60- 60

1 ~ 60

0- 31

OFF I ON

NEW VALUE

-400 cent

99

50

53

80 no effect

0500 ms

00

00

31

ON

ANewRX5

Voice Edit By

LU Crawford.

Notes:

Far sharter locust attacks, adjust the Attack Rate parameter to a higher value.

4

AITERTOUCH/Vol. 4 No. 2

Voice Name: Locust Origin: lnt-Shaker

JOB • PARAMETER RANGE

02

Pitch

03/1

Attack Rate

03/2

Decay 1 Rate

03/3

Decay 1 Leve 1

03/4

Decay 2 Rate

03/5

Re 1 ease Rate

03/6

Gate Time

04/1

Bend Rate

04/2

Bend Range

05

06

lnst Leve1

Sound Loop

-3600- 2400

1- gg

1 ~ 99

1 ~ 60

1 -99

1gg

100 ~ 6500

-60- 60

1 -60

0 ~ 31

OFF I ON

NEW VALUE

-2400 cent

1 1

99

59

- -

82

60

6500 ms

47

+34

27

ON

Voice Name:

Techno-Funk

Origin:

lnt-Rim 2

JOB •

02

03/1

PARAMETER RANGE

Pitch

-

-3600 ~ 2400

Attack Rate

1-99

03/2

Decay 1 Rate

1 -99

03/3

Decay 1 Leve 1

1 -60

03/4

Decay 2 Rate

1 -99

03/5

Re 1 ease Rate

1-99

03/6

04/1

Gate Time

Bend Rate

100- 6500

-60- 60

04/2

05

06

Bend Range lnst Level sound Loop

1 -60

0-31

OFF I ON

NEW VALUE

-500 cent

99

53

47

59

60

0450 ms

15

-24

31

ON

ANewRX5

Voice Edit

By

Ken Como.

Notes:

This voice edit works well as a synth percussion sound, or as a tecno-funk bass drum sound.

Voice Name:

Boomin' Bass

JOB • PARAMETER . RANGE

02

Pitch

03/1

Attack Rate

03/2

Decay 1 Rate

03/3

Decay 1 Leve 1

03/4

Decay 2 Rate

03/5

Re 1 ease Rate

03/6

Gate T1me

04/1

Bend Rate

04/2

Bend Range

05

06

I nst Leve I

Sound Loop

-3600- 2400

1 -99

1 -99

1 -60

1 -99

1 -99

100- 6500

-60- 60

1 - 60

0-31

OFF I ON

Origin:

lnt-Tom 4

ANewRX5

Voice Edit

By Joe Chila.

NEW VALUE

-1600 cent

99

65

01

99

99

6500 ms

00

00

30

ON

Notes:

For an even more incredible sound, try this with a good digital reverb.

Vol. 4 No. 2/ AITERTOUCH 5

TX81Z

ChorusCell.

ANewTX81Z

Performance

Setup

By

Scott

Ragland.

I

name: ChorusCell assign mode NORM micro tune select OCT. effect select OFF

~

1: HarmoPad

2: BoxCello

3: BoxCello 2

4: inst. number 2 3 number of notes voice number receive ch. key limit /L key limit /H

3 3 2

B28 B19 !01

1 1 1

C-2 C-2 C-2

G 8 G 8 G 8

5:

6:

7:

8:

4 5 6 7 8

0 0 0 0 0

!01 !01 !01 !01 !01

4 5 6 7 8

C-2 C-2 C-2 C-2 C-2

G 8 G 8 G 8 G 8 G 8 de tune note shift

-2 +0 +3

+0 +0 +0 volume 99 99 99 out assign LR LR LR lfo select micro tune

1 2 VIB

OFF OFF OFF

+0 +0 +0 +0 +0

+0 +0 +0 +0 +0

99 99 99 99 99

LR LR LR LR LR

VIB VIB VIB VIB VIB

OFF OFF OFF OFF OFF

Notes:

This TX81 Z performance setup is based on three voice patches: "BoxCello 2" (a new voice), "BoxCello"

(from the TX81Z's internal

ROM bank B), and

"HarmoPad" (from the

TX81Z's internal ROM bank

B).

"BoxCello 2" is exactly Uke the ROM voice "BoxCello," except for some changes in the envelope generator for

Op #2.

This "ChorusCell" performance setup sounds good playing fourths or fifths, or as a melodic voice anywhere across the range. 1 can also be used for thick, powerful bass.

OPERATOR~ 0 ~ ~=-~~~. voice name: BoxCello 2 on/off ON ON ON ON out level 99 58 81 72 freq. type RTO RTO RTO RTO fix range 255 255 255 255 freq. coarse 8 8 22 4 freq. fine o o o o

....... :·1·; ..... T ...... :·2·; ....

'T ......

:·i·; ....

'T ......

;·4·: .......

2 . 00

!

2 . 00

!

7 • 00

!

1. 00

ENVELOPE------------~ attack rate 11 12 17 28 decay 1 rate 10 18 16 4 decay 1 level 15 decay 2 rate o release rate 5 eg shift OFF

13 9 14

1 0 0

4 11 6

OFF OFF OFF

SCALING/SENS - - - - - . . rate 2 0 0 0 level 5 21 12 15

OFF OFF OFF ams on/off OFF sans eg bias o key vel 1

0

1

0

2

0

0 algorithm no. 3 feedback 6

LFO-------------------,.

waveform~

sync OFF speed 29 amp mod depth 0 delay 6 sans o pitch mod depth 15 sans 5

FUNCTION-----------~. mode POLY mid C = C 2 portamento FULL rev rate 5 porta time 0

......... vol 99 pb range 4

. ........ pitch o

~pitch o

......... amp o p!~~ ~

; amp 0

:(i' eg bias o

L.. ..... p bias +0

6 AFTERTOUCH/Vol. 4 No. 2

I

name: CyrnlsVoice

II assign mode NORM micro tune select OCT. effect select OFF inst. number 2 3 number of notes voice number receive ch. key limit /L key limit /H

4 4 0

I01 D31 I01

1 1 3

C-2 C-2 C-2

G 8 G 8 G 8

1 : Male Voice

2: Synballs

3:

4:

5:

6:

7:

8:

4 5 6 7 8

0 0 0 0 0

I01 !01 I01 I01 I01

4 5 6 7 8

C-2 C-2 C-2 C-2 C-2

G 8 G 8 G 8 G 8 G 8 detune note shift

+2 -2 +0

+0 +0 +0 volume 59 99 99 out assign LR R LR

Ito select micro tune

1 2 VIB

OFF OFF OFF

+0 +0 +0 +0 +0

+0 +0 +0 +0 +0

99 99 99 99 99

LR LR LR LR LR

VIB VIB VIB VIB VIB

OFF OFF OFF OFF OFF

TX81Z

Cymls Voice.

ANewTX81Z

Performance

Setup

By

Chris

Chen.

Notes:

This TXBI Z performance setup is based on two voice patches: "Male Voice" (a new voice) and "Synballs"

(from the TXBIZ's internal

ROM bank D).

OPERATOR~ 0 ~ -=~~~~~ voice name: Male Voice on/off ON ON ON ON out level 95 60 59 50 freq. type RTO RTO RTO RTO fix range 255 255 255 255 freq. coarse 13 16 0 63 freq. fine o o o

15 detune +0

·······:·1·~·····T······:·;a·~······l

.......

-3

:·:;·~···

... l .......

+0

~·~·:

...... .

4.00 j 5.00 j 0.50 j 27.57

ENVELOPE------------~ attack rate 14 decay 1 rate o decay 1 level 15

11 15 31

2 2 0

15 15 15

3 4 0 decay 2 rate 1 release rate 6 eg shift OFF

1 1 4

OFF OFF OFF

SCALING/SENS - - - - - - - . . rate o

0 0 0 level 8 13 35 44 ams on/off OFF OFF OFF OFF sens eg bias o o o 0 key vel 3 o o 0 algorithm no. 4 feedback 1

LFO------------------~. waveform

C:...v sync ON speed 10 amp mod depth 1 pitch mod depth 5 delay 7 sens o sens 6

FUNCTION------------~ mode POLY mid C portamento FULL

= c

2 rev rate o porta time o

:........ vol 99 pb range 5

. ........ pitch o

~pitch

0

......... amp o

~pitch 3 l~ amp o

' amp fJJ eg

~ias

0 o

: ........ p b1as +0

Vol. 4 No. 21 AFTERTOUCH 7

TX81Z

WineGlass.

ANewTX81Z

Voice

By

Craig

Anderton.

OPERATOR~ 0 ~ -=~~~~~ on/off ON ON ON out level 91 52 99 freq. type RTO RTO RTO RTO fix range 255 255 255 255 freq. coarse 8 25 8 36 freq. fine o o 0 o detune -3 +3 +3 -3

·······:·1·;······1·······:·2·;······1·······:·:;·;······1·······;·~·:·······

2 . 00 i

8. 00 i 2 . 00

i

12 . 00 voice name: wineGlass* algorithm no. 5 feedback 0 '""='"---.. ~~~

ENVELOPE------------~ attack rate 3 8 8 3 decay 1 rate 1 7 9 5 decay 1 level 12 12 12 decay 2 rate o o

1 o 5 release rate 4 4 4 4 eg shift OFF OFF OFF OFF

SCALING/SENS - - - - - - - , rate 3 1 3 1 level 50 64 50 64 ams on/off ON ON ON OFF sens eg bias 0 key vel 2

0

1

0 0

4 1

LFO------------------~.

waveform~

sync OFF

speed

8 delay o amp mod depth 34 sens 3 pitch mod depth 8 sens 3

FUNCTION-----------,. mode POLY mid C = C 3 portamento FULL porta time o

;········ vol 99

~pitch

0

......... amp o p!~~ ~ rev rate 5 pb range 4

r·······

pitch 0

~

amp o

: eg ~ias 96

: ........ p btas +0

OPERATOR~ 0 ~ ~~~~~. on/off ON ON ON ON out level 99 99 84 7 freq. type RTO RTO RTO RTO fix range 255 255 255 255 freq. coarse 22 22 10 31 freq. fine o 0 8 8 detune +2 -2 +2 -2

·······:·1·;·····T······:·2·;······1·······:·:;·;······1·······;·~·:·······

7. 00 i

7. 00

1

3. 50

i

10. 50

ENVELOPE--------------, attack rate 14 19 31 31 decay 1 rate 15 . 11 9 10 decay 1 level 13 10 10 11 decay 2 rate 12 release rate 7 eg shift OFF

12

7

OFF

12 11

6 6

OFF OFF

SCALING/SENS - - - - - - . rate 0 0 1 0 level o o

0 0 ams on/off OFF OFF OFF OFF sens eg bias o 0 o 0 key vel o 2 2 2 voice name: ParisDream algorithm no. 7 feedback 7

LFO------------------~.

waveform~

sync OFF speed 26 amp mod depth 0 pitch mod depth 5 delay 0 sens o sens 4

FUNCTION---------.. mode POLY mid C

=

C 2 portamento FULL rev rate o porta time o

:-······· vol 99

~pitch

......... amp o o p!~~ ~ pb range 1

r·······

pitch 0

A amp o

~eg ~ias

0

: ........ p btas +0

8 AFTERTOUCH!Vol. 4 No. 2

OPERATOR

0 1 on/off ON ON ON ON out level 99 59 87 67 freq. type RTO RTO RTO RTO fix range 255 255 255 255 freq. coarse 0 0 0 4 freq. fine 0 0 0 0 de tune +2 -2 -3 +2

·······:·i·~·····T······:·;a·~·····T······:·;;·~·····T······~·~·:·······

0. 50 j 0. 50 j 0. 50 j 1. 00

ENVELOPE attack rate 19 19 29 29 decay 1 rate 5 6 8 8 decay 1 level 3 10 10 9 decay 2 rate 7 7 7 7 release rate 6 6 6 6 eg shift OFF OFF OFF OFF

SCALING/SENS rate 1 1 0 0 level 0 0 0 87 ams on/off OFF OFF OFF OFF sens eg bias 0 0 0 0 key vel 2 0 0 7 voice name: PetalPiano algorithm no. 2 feedback o

LFO------------------~.

waveform~

.speed 28 sync OFF delay 8 amp mod depth 0 sens o pitch mod depth 4 sens 3

FUNCTION----------------,. mode POLY mid C

=

C 4 portamento FULL rev rate 6 porta time o

:········ vol 99

~pitch o

: ........ amp 0

~pitch

L ..... amp so o pb range 2

r·······

pitch 0

A amp o

~eg ~ias

0

: ........ p b1as +0

TX81Z

Paris Dream,

PetalPiano, and

Bass Beast.

Three New

TX81Z Voices

By Dan Van

Oss.

OPERATOR~ 0 ~ ~~~=-~~. voice name: Bass Beast on/off ON ON ON ON out level 97 7 4 90 99 freq. type RTO RTO RTO RTO fix range 255 255 255 255 freq. coarse 0 8 13 0 freq. fine 0 o o 0 detune -2 -1 +3 +1

·······:·i·~·····T······:·;a·~·····T······:·;;·~·····T······~·~·:·······

0. 50 j 2. 00 j 4 . 00 j 0. 50

ENVELOPE-------~. attack rate 16 11 3 9 decay 1 rate 5 5 8 9 decay 1 level 13 15 8 10 decay 2 rate 3 4 3 3 release rate 6 3 5 5 eg shift OFF 48 OFF OFF

SCALING/SENS - - - - - - - - , rate level o o

0 1 0

0 56 34 ams on/off OFF OFF sens eg bias key vel o

0 o

2

ON OFF

0 0

2 2 algorithm no. 3 feedback 4

LFO--------------~-----, waveform

~

sync ON speed 28 amp mod depth 6 delay 6 sens 3 pitch mod depth 4 sens 4

FUNCTION----------------,. mode POLY mid C portamento FULL

=

C 3 rev rate o porta time 0

:········ vol 99

~pitch

:. ....... amp o

o

p!~~ ~ pb range 2

········· pitch o

A amp 0

~eg ~ias

0

:. ....... p b1as +0

These TX81Z voices and

per~

formances can also be loaded into the new

DXll FM

digi~

tal synthesizer.

Vol. 4 No. 2/ AITERTOUCH 9

DXll

An lntroduc .. tion To

Yamaha's New

Multi .. Timbral

FM Digital Syn .. thesizer. By

Tom Darter.

OX II FM digital synthesizer.

T HE DX11 IS Yamaha's first fully multitimbral keyboard synthesizer. It combines all of the features of the popular TX81Z FM digital tone generator with a 61-note, velocitysensitive, aftertouch-equipped keyboard. Also, like most Yamaha keyboard synthesizers, the

DX11 has both a Pitch Bend wheel and a

Modulation wheel, plus jacks that allow connection of a Breath Controller, a Foot

Controller, a Footswitch, and a volume pedal. and one major new editing feature as additions to the basic architecture made popular by the

TX81Z.

The Pitch Envelope Generator lets you change the overall pitch of the sound over time.

There are settings for three Rates and three

(pitch) Levels. Although not as complex, this pitch envelope generator is patterned after those featured on the DX7 and DX7 II.

The Quick Edit section allows you to make overall adjustments in the sound of a voice.

There are four basic parameters: The DXll And The TX81Z

The basic layout of both instruments is the same. Like the TX81Z, the DXll has a 4-operator, 8-algorithm FM voice architecture. In addition, the TX81Z and DXll are the only

Yamaha FM digital synthesizers that have waveforms other than sine waves. Both give you a choice of eight different waveforms, offering a greater richness of timbre than ever before available in a 4-operator unit. (See the accompanying diagram.)

Since the DXll has a full set of front panel controls, all editing and utility features are much easier to access than they are on the rackmount TX81Z. In addition, the DX11 offers new parameters, new editing features, and expanded memory options. (For more information on the basic layout of the TX81Z, see the

February 198 7 issue of After Touch.)

New Features

10 AITERTOUCH!Vol. 4 No.2

The DX11 offers one major new voice feature

• Attack

• Release

• Volume

• Brilliance

Attack

and

Release

adjust the Attack Rate,

Decay 1 Rate, and Release rate of all operators equally. Volume adjusts the Output Level of all carriers.

Brilliance

adjusts the Output Level and

Decay 1 Rate of all modulators.

Memory

The internal memory of the DX11 hold 128 voices in permanent ROM (Read-only memory), plus space for another 32 userprogrammable voices in RAM (random-access memory). To expand your voice library quickly, you can also load voices from a TX81Z, DX21,

DX27, or DX100 into the DX11. Since voices from the DX21 family use only sine waves, you can load them into the DXll and experiment

- - - - - - - -

- -

- -

- - - - - - - - - - - - - - -

with different waveforms to enrich the basic sounds.

In addition, the DXll has a cartridge port

(unlike the TX81Z), which houses a Yamaha

RAM4 cartridge. This gives you access to an additional 64 voices and 64 performance memories.

Effects

Like the TX81Z, the DXll offers three sets of effects: Delay, Pan, and Chord. These are all edited in the Single Utility mode.

For the

Delay

effect, the delay time, feedback

Continued on page I2

This chart shows the harmonic content for each of the

OX II 's eight available waveforms. The amplitude

(volume) of each harmonic partial is given as a percentage of the fundamental.

W1

Sine wave. Only fundamental.

W2

Odd partials somewhat like a square wave

1

I

2

100 0

3

0

4

0

5

0

6

0

7

0

8

0

9

0

10

0

11

0

12

0

1

I

I

.

2 3 4 5

3 100 0 19 9

6

0

7

1

8

0

9

0

10 11

0 0

12

0

W3

Even partials.

1

I

I

2

100 39 0

3

8

4

•

5

0 4

6

.

7

0

8

2

9 10

0 1

11

0

12

1

W5

Partials 2, 3, 5, 7, 9 .... (stronger partials than W4)

Second partial is stronger than fundamental.

1

I

2

I

I

I

3 4 5

15 0 100 109 56 0

6

•

7

6

8

0 4

9

. .

10 11

0 2

12

0

W4

Partials 2, 3, 5, 7, .......

1

I

I

I

2 3

100 55 18 0

4 5

3

6

0

7

1

8

0

9

0

10

0

11 12

0 0

W6

Partials 2, 3,. 5, 6, 7,. 9, 10, 11, ... (no 4, 8, .... )

Second partial is stronger than fundamental.

1

I

2 3

I

I

I

.

4 5 6 7

100 116 66 0 34 25 6

8

0

9

3

10 11

4 1

12

0

W7

Partials 3, 4, 5,. 7, 8, 9, ... (no 2, 6, 10, .... )

1

I

I I

I

.

2 3 4 5 6 7

100 0 56 50 15 0 6

8

•

•

9

9 4

•

10 11 12

0 2 4

W8

Partials 3, 4, 5, 7, 8, 11, .... (no 2, 6, 8, 10 .... )

1

I

I I

I

2 3 4 5

100 0 66 74 34 0

6

•

7

6

8

0

9 10 11

3 0 1

12

0

Vol. 4 No. 2/ AFTERTOUCH 11

DXll

Continued

This chart shows the 128 preset voices supplied with the

DXII in its ROM memory.

BANK A

1

2

3

4

Syn.Str 1

Syn.Str 2

Sy.Brass 1

Sy.Brass 2

5

6

7

8

Sy.Brass 3

Sy.Brass 4

Sy.Ensem. 1

Sy.Ensem. 2

9 Sy.Ensem. 3

10 Sy.Ensem. 4

11 Sy.Ensem. 5

12 Sy.Perc. 1

13 Sy.Perc. 2

14 Sy.Perc. 3

15 Sy.Perc. 4

16 Sy.Bass 1

17 Sy.Bass 2

18 Sy.Bass 3

19 Sy.Bass 4

20 Sy.Bass 5

21 Sy.Organ 1

22 Sy.Organ 2

23 Sy.Solo 1

24 Sy.Solo 2

25 Sy.Solo 3

26 Sy.Solo 4

27 Sy.Voice 1

28 Sy.Voice 2

29 Sy.Decay 1

30 Sy.Decay 2

31 Sy.Sitar

32 Sy.AftrTch

12 AFTERTOUCH!Vol. 4 No.2 amount, effect level, and pitch shift amount are all programmable. Although this effect sounds like a digital delay, it actually creates the delay effect by retriggering the voice at a lower velocity. This creates an extremely cleansounding delay. The pitch shift feature can be set in semitone increments, so that the voice will be transposed every time it is echoed.

The

Pan

effect moves the voice between output I and output II. Panning can be controlled by the LFO, velocity, or MIDI note number. To further enhance the effect, pan direction and depth are also programmable.

Chord,

the third effect, lets you set up a chord

(of up to four notes) and assign it to a single note. Twelve different chords can be defined, one for each note in the chromatic scale.

BANK B

1

2

3

4

DX7 EP

Old Rose

E.Piano 1

E.Piano 2

5

6

7

8

9

10

Grand PF

Upright

Flamenco

A.Guitar

11

12

13

14

F.Guitar

Banjo

E. Guitar

Mute Gtr

Harp 1

Harp 2

15

16

17

Harpsichrd

Clavi

Koto

18 Syamisen

19 Marimba

20 Xylophone

21

22

Vi be.

Glacken

23 Tube Bell

24 Toy Piano

25

26

Pizz. 1

Pizz. 2

27

28

E. Bass 1

E.Bass 2

29 E.Bass 3

30 Wood Bass

31 Bell

32 Steel Drum

27

28

29

30

31

32

16

17

18

19

20

21

22

23

24

25

26

6

7

8

9

10

11

12

13

14

15

1

2

3

4

5

The DXll has memory to store four settings for each of these three effects, for a total of twelve possibilities. Each performance memory can use one of these effect memories. The Delay and Chord effects only operate on the first instrument in a performance.

Microtuning

Another important aspect of the DXll is that, like most members of Yamaha's new generation of electronic instruments, it comes equipped with' both preset and programmable microtuning data.

On many electronic instruments, only standard equal-tempered tuning is available. Most acoustic instruments don't have this limitation.

BANK C

Strings 1

Strings 2

Ensemble 1

Ensemble 2

Violin 1

Violin 2

Cello 1

Cello 2

Brass 1

Brass 2

Trumpet 1

Trumpet 2

Trombone

Horn

Tuba

Sax 1

Sax 2

Wood Wind

Clarinet 1

Clarinet 2

Oboe

Flute 1

Flute.2

Recorder

Harmonica

E.Organ 1

E.Organ 2

E.Organ 3

E.Organ 4

P.Organ 1

P.Organ 2

Accordion

BANK D

1

2

3

4

5

6

7

8

9

Bass Drum 1

Bass Drum 2

Snare 1

Snare 2

Tom 1

Tom 2

Tom 3

Tom 4

"Hi!" Hat!

10 Cow Bell

11 Agogo Bell

12 Wood Block

13 Castanet

14 SyBon

15 BoConga

16 Tom-Pany

17 SynGameran

18 Mouse- Tom

19 Carnival I

20 "Air" imba

21 SplashCiav

22 BamboBiock

23 Terror!

24 Wind Voice

25 GuiRoach::

26

27

Space BUG?

Passing By

28 Earthquake

29 TAP TAP<<<

30

31

32

Space Gong

RADIATION?

White Blow

- - - - - - - - - - - - - - - - - - - - - - -

For instance, when string players perform as a section, they often deviate from strict equaltempered tuning. You can use the preset microtuning scales to imitate these tuning effects, or use the programmable memory locations to experiment with new tuning possibilities.

The list price of the DXll is $995.00. Since it combines the full multi-timbral capabilities of the TX81Z with the expressive control of avelocity-sensitive keyboard, it offers a powerful package that should be attractive to a wide range of electronic musicians.

This chart outlines the contents of the 32 Performances supplied in the OX II 's memory when it is shipped from the factory. Before storing your own performances, you may want to save this data in an available storage medium, since it is not part of the instrument's ROM memory.

6. Power Rap

7. EP/Fiute

8. Wind Band

9. PROGRESS IV

10. Syn Lead

11 . LyricSplit

12. Church

13. Rotary Str

14. Sax Solo

15. Floating?

16. Brastrings

17. Rich Str

18. Orchestra

19. FolkGuitar

20. Synth BASS

21. Latin Perc

22. Rich Horns

23. Magic Slam

24. Tension

25. Hanky Tonk

26. B(R)ASS

27. "Fantasy"

28. Power Solo

29. Heavy Brass

1 . BRASS N01!

2. Tight BASS

3. Glacken

4. Analog Str

5. Hit 1 Key!

30. Blues Time

31. Brass Band

32. I'm ZOMBI

Factory--set Performance Data

When the DX11 is shipped, the performance memories contain the following data.

A03 Sy. Brass 1 doubled.

A16 synth bass doubled, B28 electric bass doubled.

Glacken with pitch shift delay effect, rising in perfect 4ths.

Press down on the keyboard to move the stereo image.

A four-note chord for each note, in two banks-- -one using the chord effect, and the other using note shift.

Noisy drums arranged across the keyboard.

Electric piano (6-notes) and flute (2-notes), split at G3.

This uses alternate assign mode. Various wind instruments alternate.

Horn and synth strings (octave down)

Single voice layered for solos. Uses short delay effect.

Classic guitar and oboe split at G3.

Two pipe organs layered.

Strings with pan effect.

Two types of sax, two of each layered on each key. 2-note polyphonic.

Pan effect. Nice for sequencer arpeggios.

Brass and strings.

Smooth strings.

"Orchestra hit" with brass, strings and timpani. Single-note only.

Dual acoustic guitars.

Two types of synth bass, four of each on every note. Single-note only.

Various latin percussion arranged over the keyboard.

Stacked and detuned horns.

Delay effect. Bass drum on C2, snare on G4. Try the aftertouch.

Chord effect, with high-tension chord.

Alternate assign to mistune alternate notes.

Brass or Bass?

Synth strings with white noise as you raise the modulation wheel.

Short delay effect. 2-note polyphonic.

Stacked voices for depth.

C1- F2 has normally tuned bass. White keys G2- C6 play the blues scale. Black keys above

F2 play a jazzy chord C,F,G.

Trumpet and trombone.

Sound effects and percussion arranged across the keyboard.

Vol. 4 No. 2/ AFTERTOUCH 13

Hot Tips

Reader Tips

For The RXll,

REV7, fB .. O 1,

SPX90, MEP4,

And More.

REV7 digital reverberator.

Creating A "Quiet" Level For RX Series

Rhythm Units, Plus Other RX Tips

By Gints Klimanis

Enhancing Synthesizer Sounds With The

REV7

By Mark Hannah

As many of you know by now, the Yamaha

REV7 digital reverberator has an almost endless number of possibilities for use. Here are a few of the tricks I use.

If you don't already have a digital synthesizer, you can get an analog synthesizer to sound like one by processing it through the REV7. For example, to get that funky, popping bass sound, try the following: First choose a good bass sound on the analog synth. Next, set the REV7 on preset #22 (Snare), and set the front panel controls as follows:

Mix Control 50%-75% (according to taste)

EQ ON

EQ LOW Freq 100

EQ LOW Level - 6

(2 o'clock)

(10 o'clock)

EQ MID Freq 1000

EQ MID Level + 6

EQ HIGH Freq 6000

EQ HIGH Level + 6

(center)

(2 o'clock)

(center)

(2 o'clock)

With the REV7 set this way, the analog bass patch has a whole new sound.

Another trick for use with the REV7 and a synthesizer involves getting a realistic guitar sound from a keyboard. Set your synth on a bright brass voice, and adjust the decay of the synth voice to match the decay of an electric guitar. {It also helps to run the sound from the synth through a distortion pedal and a compressor.) For a real fat rhythm sound, set the REV7 to preset # 24 (Reverse Gated Reverb); set the

EQ as desired, and set the Mix at 50%. Another good choice is preset #5 (Early Reflections 1).

You will find that, with preset #24, playing octaves for rhythm works best, while preset #5 works well with chords as well as octaves.

The sounds on the RXll, RX15, and RX21 drum machines have both an Instrument Level and an Accent Level. Most users set the instrument levels of the sounds at the optimum volume levels, and only use the accent function to make the sounds louder.

Although the user cannot change the Accent function to reduce volume, he or she can simulate this effect in a roundabout fashion. The desired "quiet" volume should be the basic

Instrument Level, and the Accent Level should equal the "optimum" level.

To optimize your RX machine, adjust the relative instrument volume levels by ear until your kit sounds good, but make sure that at least one instrument volume level is at its maximum value to get a good signal-to-noise ratio. Write down these values. Find the desired "quiet" level by decreasing each Instrument Level.

Then, use the Accent Level to adjust the accent value for each instrument until the numerical sum of the decreased Instrument Level and the

Accent Level equals the original optimum level.

Optimum levels are played with the Accent switch down, and quiet levels are played without the Accent switch. The settings will vary with the application, but the difference between them should be noticeable.

For many applications, the closed hi-hat quiet and accent levels at 01 are a little louder than I would like. Since I only have the facilities to use one mix output, I further decrease the closed hi-hat level by panning most of it into the unused mix output. The level decrease to the last position before full pan is significantly greater than the change between the other pan positions. At this pan value, the closed hi-hat has a very usable and easily adjustable instrument level range.

Precise level adjustment over a usable limited range is more useful than coarse level adjustment over an unused maximum range. Every instrument should have its range reduced if its accented level never need the provided maximum level.

A different application for the Accent function is changing the relative levels for the sounds in performance. For example, one song may require a quiet bass drum and a prominent

14

AFTERTOUCH/Vol. 4 No. 2

snare, while the next may need a pounding bass drum with the same sound, plus the same snare.

This bass drum level change could be done automatically by setting the appropriate quiet level for the first song, and programming an accented bass drum for the entire second song.

This method saves the second RXll bass drum pad for a different sound and yet another level.

If the same pattern is used in several songs and if memory permits, it would be worthwhile to copy the pattern with the accented instruments into another location.

When using the RXll Heavy Snare for your main snare, a repeated snare fill may be enhanced by assigning the Medium Snare sound to the other SD pad and alternating between the two sounds. At the proper quiet and accent levels, this two-snare combination will not sound like a machine gun, because the minor differences between the Heavy and Medium snares will simulate a drummer's alternating stick fills.

An easy method to modify RX11 claps, snares, and so on is to quickly retrigger the sound several times. First, record the part. Set

Quantize on OFF, and carefully overdub several times, trying to hit the original dub right on unless you are going for a specific groove shift.

Chances are excellent that you will not be perfect, and well-placed retriggers will sound better. A shift from quiet to accent and vice-versa is interesting for moderate to extended retriggers with large quiet/ accent level differences and at various quantize values. In addition, experiment with layering different sounds.

If a few retriggered strikes are bad, stay in

Real Time Record (with Quantize OFF), and erase only the incorrect ones by pressing and holding Clear and pressing and holding that instrument pad just before the hit. Release the held instrument immediately afterward, or the rest of the part for that instrument will be erased as well.

Although not mentioned in the manual, RX drum machines can be programmed to perform nested repeats. Nested repeats reduce redundant programming. For example, enter Song

Edit mode and enter these pattern numbers:

Part

000

001

002

Pattern

00

01

02

Now, after Part 002, program a Loop repeat

(Loop 1) as follows:

Repeat to

001

#of Times

3

When you have done so, the display will show the song part and pattern that is to begin the repeat. Now, after Part 002, program another

Loop repeat (Loop2) as follows:

Repeat to

000

#of Times

3

Advance the song by two steps to verify that the

Loop2 repeat has been placed after the Loop 1 repeat. It is intuitive to program the Loop2 repeat and "insert" (not Insert) the Loop1 repeat, but the RX will not yield the correct order when programmed in this way.

To automate your Song tempo changes, place a very short blank measure at the end of each song with the appropriate tempo change. To prevent any accidents, keep the tempo slider either all the way down or all the way up, and set the initial tempo using the increment/ decrement switches.

A quick way to "rewind" to the beginning of a song in Song Edit mode is to hit the Edit switch twice.

When an RX11 receives MIDI clock data from a Roland TR909, the RX11 automatically switches to the MIDI clock sync. There is no need to set this option manually. The RX11

Continued on page 16

RXII digital rhythm programmer.

Vol. 4 No. 21 AITERTOUCH 15

~-~-----

- - - - - - - - - -

- - - - - - - - - - - -

-~--------------

- - - - -

- - -

- - -

Hot Tips

eomm.,d

FB-0 1 FM digital tone module. responds to its Local Start Stop commands only when there is no MIDI clock data at its MIDI input.

Camber Chimes and Impossible .Glissandos

Using The RX17 And The fB,01

By Martin Willett

This technique, used with various FB-01 voices-especially in the keyboard bank-gives you the ability to perform "impossible" glissandos at breathtaking speed. And, if your basement or garage studio lacks crickets of its own, call up voices 7/31 (Huffsyn) and 7/48

(SinceWav) and up the tempo-instant insects!

At any rate, I've found it handy to retain one or two of these ascending or descending glissando patterns in the RX17's memory.

I once needed to replicate the sound of camber chimes (the percussion instrument made up of many hanging rods, often played in a rapid glissando, ascending or descending in pitch), but found that when either miking the real thing or trying to run a finger up the keyboard, I could never be precise enough.

Here's a way to obtain a nice, bright glissando chime sound and be able to keep control over its exact length and tempo, using the RX17 and the FB-0 1:

First, in "dual" configuration mode on the

FB-01, set voice #1 as 3/20 (Glocken) and voice #2 as 6/36 (Glockn2); set the octave at

+ 1 for both instruments, and set the pan and detune as desired.

Set MIDI receive on the FB-01, and MIDI transmit on the RX17 to the same channel, and bring down the audio output from the RX17

(we'll just be using the FB-01 audio). Now, write a pattern in Step Write mode by simply hitting the instrument buttons in order of pitch, ascending or descending as desired. (Remember, you'll have to hit each instrument key twice in Step Write mode; once to designate the instrument, and once to play it.) The May 1987 issue of After Touch lists the factory preset MIDI key number assignments.

If

you are using these key numbers, you'll have to toggle between

"upper" and "lower" a few times.

Now that you have a steady pattern, you can use it as is, or use it with an accelerando pattern

(or even increase the tempo manually on the fly) for a more realistic sound.

Setting Up Brass Sounds With the DX7 and fB,01

By Michael Le

I own a DX7 and an FB-01, and I have recently discovered a perfect way of stacking up a couple of brass patches from these two instruments to emulate the rich harmonic texture of a brass ensemble.

First, I use a patch called Lead Brass from side

A of DX7 ROM cartridge 4 (Orchestral &

Percussive Group). Next, I combine this patch with two additional brass patches from the FB-

01: I call up the "single" configuration on the

FB-01 and call up these patches with the following settings:

Instrument # 1:

Voice Bank 5, #12: HardBr4

Notes: 4

MIDI channel: 1

Out level: 105

Octave: +2

LFO: on

Detune: 0

Instrument #2:

Voice Bank 5, .#10: HardBr2

Notes: 4

MIDI channel: 1

Out level: 97

Octave: 0

LFO: on

Detune: 0

After I've entered the system settings above, I am able to play three different kinds of brass instruments simultaneously from my DX7 keyboard, and can always use the volume slider on the DX7 to control its volume and set the bal-

16 AFTERTOUCH/Vol. 4 No.2

MEP4 MIDI event processor. ance to suit my taste.

I hope you have as much fun with this patch as I do. different way to create a velocity switch and use only one processor. I enter the following in the

Data Modifier section of the relevant Processor:

0: MSG: 9n.xx.yy

1: OFS: yy,v= -50

New Uses For The MEP4

By John Honig

I recently purchased a Yamaha MEP4, and I have found it to be very much like the joke about the closet space-once you have it, you can find more and more uses for it. I have a remote keyboard controller going into the

MEP4's MIDI IN, and I have an analog synthesizer, a TX7, and a TX81Z connected to three of the MEP4's MIDI OUTs. On many tunes, I like to kick in one of the keyboards at a certain velocity level (a velocity switch). Generally, the way to do this is to limit the velocity parameter in the Data Modifier section of a Processor, to select the range of key velocities a given tone generator is to accept. For example, if I want a power brass section voice to come in only on strongly played notes, I would have the following commands in the Data Modifier portion of the Processor controlling that voice:

0: MSG: 9n.xx.yy

1: LIM: xx,50<D<7F

By pure luck(?), it happens that a Note On with negative velocity is just as good as a Note

Off, and this technique only uses one processor, freeing up another to do more interesting things like delays, adding harmonics, and so on. Like most good things in life, there is a slight catch h.ere. If you use this technique for a voice, you find that hitting the keyboard at the velocity to which you are accustomed will not give you the results to which you are accustomed. One fix is to put in another line in the Data Modifier:

2: EXP: yy,R=2 (or4)

It then may be hard to tell the difference between the velocity you are now required to use and the velocity you normally use.

Another interesting feature about negative velocity allows you to make controlled duration echoes (or delays). Pick out a bell-like voice or any voice that has a decay independent of Note

Off, and try setting up the Data Modifier as follows:

0: MSG: 9n.xx. yy

1: OFS: yy,V= -40

2: OFS: yy, V = 40

The problem with this setup is that any note with velocity greater than 50 will remain on

(the dreaded MIDI stuck-note syndrome), because most manufacturers (Yamaha included) use a 9n.xx.OO (Note On with velocity 00) as a

Note Off command instead of 8n.xx. yy. To get the note to turn off, I would have to use another processor, go into the Message Filter, and filter out everything except Note Off data. Since I would rather not dedicate an entire processor just to turn off occasional notes, I've found a

Since the processor assigns yy = 00 (I think) to negative velocity data, Command 2 will give a

Note On even when the key is struck with a velocity less than 40. Command 2 will also give a

Note On command when the key is released. By varying the OFS parameters, you can adjust the relative balance between the primary note and the echo. Continued on page 19

Vol. 4 No. 2/ AITERTOUCH 17

FM

Studies

in NY

Information On

ANewEduca .. tional Resource

Located In New

York City.

A

FTERTOUCH READERS may wonder

./""\..where they can go to learn more about the many Yamaha products covered in these pages.

Naturally, the nearest authorized Yamaha dealer will be a good source for information. Now there's also the Center for Electronic Music, a unique non-profit organization based in New

York City-a valuable new resource for all

Yamaha product owners and users. CEM offers a number of special services to the public, including a wide variety of regularly scheduled seminars and workshops on a broad range of topics, from "Introduction to MIDI" right on up to

"Digital FM Programming" and "Sampling and

Samplers." What's more, you can stop by and simply work with any of the products in the facility on your own, for a nominal charge. The

Center has an impressive collection of state-ofthe-art synthesizer and MIDI equipment, including many Yamaha products.

Special one-day seminars in the programming and use of the Yamaha DX7 II FD/D,

TX81Z, and WX7 MIDI wind controller are presented each month, and private instruction is also available. The Center also provides consultations-both on and off premises-for the user who isn't sure what to buy, or who needs assistance with his or her setup. In addition, a free manufacturer's clinic is also presented each month. Recently, Yamaha Product Specialist

Phil Clendenon hosted an entertaining evening of music and demonstration of the latest

Yamaha MIDI products before an appreciative audience.

CEM's enthusiastic and well-trained staff-all working professionals-are also constantly involved in a number of research projects. For example, they have recently completed a comprehensive survey of MIDI software for four major computers; this study is currently available as the "Compact Guide to MIDI Software" series of books, from AMSCO Publications.

In the large and comfortable classroom area, clients can work on their own or with staff assistance with any piece or pieces of equipment, one at a time or configured into a custom system. Preproduction services are also availablefor instance, many CEM clients choose to create demo tapes with the complete Yamaha

"home studio" workstation (consisting of a

DX100 synthesizer, QX5 sequencer, RX17 drum machine, and MT2X 4-track cassette deck).

The CEM facility also includes an impressive state-of-the-art S-track recording studio, which utilizes Yamaha MC2404 and DMP7 mixing boards, with the DMP7 automated under the control of a QX3 sequencer and DMP7 Pro software running on a Macintosh computer. For clients creating audio for video, a Yamaha MSS1 is used to allow complete synchronization of

SMPTE and MIDI signals. At the heart of the studio is a KX88 MIDI keyboard controller driving an impressive rack of gear, which includes both TX802 and TX81Z tone generators.

The founder and director of CEM is Howard

Massey, an educator, composer, producer I engineer, and author of numerous articles and books on the subject of music technology (including

The Complete

DX7 and

The Complete

DX7 II).

He explains, "the basic philosophy here is to try and make the technology accessible to the public at large. Our focus is education, and, since we're not a store, we can offer clients complete, objective, unbiased information about the state of the art and the best products out there. We like to think of ourselves as being a center for information-a place where anyone can stop in and learn about this complex and rapidly expanding field in a comfortable, creative environment."

He continues, "Yamaha has long been on the leading edge of music technology, and so it was very important to us to have their support.

We're very glad that our clients have the opportunity to work with so many new Yamaha products, and to see for themselves just how welldesigned and user-friendly these products really are. And, as the state of the art inevitably advances, we plan on keeping pace by continually featuring the newest and best instruments available."

What lies ahead for CEM? During the coming year, they plan on implementing three new programs: 1) an outreach to the disabled program that will provide access to equipment to disabled individuals in their homes and in hospitals; 2) an artist-in-residency program that will encourage outside artists to realize their artistic goals at the CEM facility; and 3) a scholarship program that will help to further the organization's educational activities. A regular lecture series is also planned, where guest speakers-experts in the field-will be invited to speak on various topics of interest.

For more information about CEM, write to the Center for Electronic Music, 432 Park

Avenue South, New York, NY 10016; or call

212-686-1755.

18 AITERTOUCH!Vol. 4 No.2

Hot Tips

Continued fnnn page I 7

A Detune Flange Program For the SPX90

By P.J. Otto

An Electric Drums Program For The SPX90

By P.J. Otto

I have discovered a way to create flange effects using the Pitch Change A program

( # 21) of the SPX90. The difference between this effect and regular flange is that the sweep will appear to rise or fall continuously, depending on how the FINE parameter is set.

Also, the effect is retriggered by each new note.

Start with Pitch Change A program, and set the values as follows:

PITCH: 0

FINE: 1 to 4 or - 1 to - 4

DELAY: 0.1

F. B. GAIN: 25% to 50%

BALANCE: 50%

With this patch, you can use a rhythm machine or even real drums to simulate the popular sound of synthesized drums. The patch uses the PITCH CHANGE A program (#21) to drop the pitch of a percussion sound quickly.

Start with the Pitch Change A program, and enter the following values:

PITCH: -2

FINE: 0

DELAY: 40.0

F. B. GAIN: 60%

BALANCE: 100%

Changing the PITCH to +

2 will reverse the direction of the effect.

TET US HEAR FROM YOU! We want AfterTouch to be an information network

Lfor

all

users of Yamaha professional musical products, so please join in. We're looking for many different kinds of material.

Have you created an incredible patch for the DX7 II, the DXlOO, or any of the other members of the Yamaha FM digital synthesizer family? How about a program for the CX5M II music computer or a great pattern or voice for the RX5? Send in your patches, programs, and patterns. If we use your material, we'll give you full credit plus $25.00 for each item used.

Have you discovered a trick that increases the musical flexibility of one of the

Yamaha After Touch products? Send it in to our "Hot Tips" column. If we use your hot tip, you'll receive full credit plus a check for $25.00.

Have you developed a new approach to one of the Yamaha After Touch instruments, or have you discovered an important secret regarding their use? Put it on paper and send it to us. Don't worry about your writing style-just get the information down. If we decide to use your material as a full article in After Touch, we'll write it up, put your name on it, and send you a check for $100.00. (An After Touch article always covers at least one magazine page-which translates to at least four double-spaced pages of typescript.)

By the way, we cannot assume liability for the safe return of unused ideas, patches, or manuscripts. We will only be able to return unused material if you enclose a self-addressed, stamped envelope with your submission.

If you just have a question regarding the use of Yamaha professional musical products, send it along too, and we'll do our best to answer it in the pages of

After Touch. (We regret that we won't be able to answer questions through the mail, but we will use all of your questions to guide us in our choice of future topics.)

Finally, if you just want to get something off your chest, or if you'd like to establish direct contact with other Yamaha After Touch product users, send in something to our "Letters" column. We'll do our best to print names, addresses, and phone numbers of all those who are interested in starting up regional users groups.

After Touch is your publication. Let us hear from you!

Write To:

AFTER-

TOUCH,

P.O.

Box

7938,

Northridge, CA

91327-7938.

Vol. 4 No. 2/ AITERTOUCH 19

AFTERTOUCH

P. 0. Box 7938

Northridge, CA 91327,79~

Bulk Rate

U.S. Postage

PAID

Long Prairie, MN

Permit No. 33

20 AFTERTOUCH!Vol. 4 No. 2