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Yamaha DX21 User's Manual

1. Deep Grand 1 Horns 1 Electro Tom 1 Solid Bass Uprt Piano 2 Brite Brass 2 Timpani 2 Pluck Bass Honkey Tonk 3 Flugel horn 3 Breakin 3 Synthe Bass Ivory Ebony 4 Trombone 4 Xylo snare 4 Mono Bass Phase Grand 51 Hard Brass 5 Synballs 5 Flap Bass Elec Grand 6 Power Brass 6 Hand Drum 6 Elec Bass Piano belts 7 BC1 Horns 7 Clock werks 7 Uprt Bass Acous Elec 8 BC1 Trumpet 8 Heifer Beli 8 Fretless GROUP 2 ELECTRIC PIANO GROUP 6 PLUCKED GROUP 10 LEAD SYNTH GROUP 14 SOUND EFFECT 1 1 Old Electro 1 Pluk guitar 1 Heavy synth 1 Racing Car 2 New Electro 2 Brt Guitar 2 Harmo solo 2 Heticopter 3 High Tines 3 Soft Harp 3 Feed Lead 3 Alarm Call 4 Hard Tines 4 Sitar 4 Mono Lead 4 Ghosties 5 Perco Piano 1 5 Jazz Guit 5 Hollow lead 5 Doppler FX J 6 Wood Piano 6 Old Banjo 6 Lyrisyn 6 Storm Wind 7 Vibra belle 7 Kotokoto 7 Schmooh J Space Talk 8 Piano brass 8 Folk Guit 8 Huff Talk 8 L Birds 1 2 3 GROUP 4 STRINGS GROUP 3 ORGAN G ROUP 7 COMPING GROUP 11 OTHER KEYBOARD GROUP 15 SOUND EFFECT 2 Click organ 1 Easy Synth Jazz Organ Drawbars Easy Clav Ham lt n gt Eggs gt wow lt lt Metal Keys Harpsi low Harpsi Hi Fuzz Clav Clear Clav Diesel Hole in 1 lt lt Smash gt gt FM SOUARE Club Organ Cheeky Mute Clav lt 6 Tease gt Rubber Band Squeeze box Gentle Pipe Full Ranks omisioinm s w N Pick Pluck S H Syn
2. While holding EG COPY key EG Copy from OP1 to gra Select OPERATOR to which data is to be copied A A5 ALGORITHM ALGORITHM Permits selection of any of the 8 available algorithms The desired algorithm number is selected using either the DATA ENTRY control or switches 35 3 1111 ALGORITHM SELECT A6 FEEDBACK FEEDBACK Feedback can be applied to one operator in each algorithm Pressing this switch permits setting the amount level of feedback which will be applied The feedback level range is from 0 to 7 At 0 feedback is OFF and at 7 maximum feedback is applied Data is entered via the DATA ENTRY control or switches eALG 3 1111 FEEDBACK The LFO LFO WAVE SPEED DELAY PMD SYNC 5 94 2 9 LFO stands for Low Frequency Oscillator It is this oscillator that is used to apply modulation effects such as tremolo or vibrato to the DX21 voices By setting the LFO WAVE SPEED and SYNC parameters you determine the effect that will be applied to the currently selected voice when the modulation wheel or breath conbtroller is operated The LFO parameters work together with the A13 and A14 MODULATION SENSITIVITY parameters and these must be set properly to achieve the desired effect NOTE When the DX21 is set to the DUAL or SPLIT play mode the LFO data set for the A voice simultaneously affects the B v
3. Sustain foot sw 65 1 0 1 Portamento f sw 96 Xi x Data entry 1 E 97 X1 x Data entry 1 i Prog 0 31 90 127 Change True XXXXXXXXXXXXXX 31 i lt System Exclusive X2 o 12 Voice parameters IE ERE RE Syaten Song Pos x Song Sel x fox Common Tune 1 x iX i fmc ee eque emite d Pepe System Clock x LE Real Time Commands x DX Aux Local ON OFF x All Notes OFF x 123 126 127 Mes Active Sense o H x sages Reset H Notes All MIDI communications are enabled if MIDI switch is on i X1 tranamit receive if CH information switch is on X2 transmit receive if system information switch is on Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO Yes Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO x 3AVN 5718 3504 93 Svia 15 5 IWNTOA MS 1003 INIL 300W ONOW SNYOHD YOLVY3INID 34013 3 39NVH H1V3dH8 JONVY 133HM 710u1NO2 1004 HOLVH3N39 12013AN1 HOLid A10d OLNIWVLYOd 901711280
4. Valve Plop Another type of synthesizer percussion Short rhythm due to short envelope Mars to Reply is heard when keyboard is released YAMAHA NIPPON GAKKI CO LTO HAMAMATSU JAPAN OMD 127AM 85 07 0 2 CR Printed in Japan
5. 12 SFO 43 0n 03 SFO 43 2n 03 SFO 43 2n 04 Bn 878 CH INFO n 7F Bn 7E PARAMETER CHANGE 1 VOICE BULK VOICE BULK DUMP REQUEST 32 VOICE BULK DUMP REQUEST ALL NOTE OFF MONO MODE POLY MODE 4 Reception Data All MIDI data is received when the MIDI ON OFF function is ON When a specific MIDt receive channel has been selected using the MIDI RECV CH function and the OMNI mode is OFF MIDI data will be received only on the specified channel MIDI data will be received on all channels when the OMNI mode is ON 4 1 CHANNEL INFORMATION 4 1 1 Channel Voice Message 1 Key off Status 1000nnnn n channel no Note no Okkkkkkk k 0 C 2 127 G8 Velocity v is ignored 2 Key On Off Status 1001nnnn n channel no Note no Okkkkkkk k 0 C 2 127 G8 Velocity Ovvvvvvv v 0 key off v 1 127 key on The key on note level will vary according to the received velocity value The range of this instrument is C 1 to B6 If a higher or lower key number is received it will be output within the range limits For example recieved C7 through B7 data will be output as notes in the C6 through B6 range 3 Control Change Status 1011nnnn n channel no Control no Control code Ovvvvvvv a Received whether MIDI CH INFO is ON or OFF Control no Control code C 64 Sustain sw V 0 OFF 127 0 Control no Control code C 1 modulation wheel V 0 127 C 2 br
6. 124 PITCH MODE 0 2 25 126 127 d Receive only Digital Programmable Algorithm Synthesizer 1 Date 3 9 1985 Model 21 MIDI Implementation Chart Version 1 2 i Transmitted t Recognized Remarks Function OS Rae REIS quu ee eee To em Ee ESS KT Basic Default 1 16 21 16 memorized 4 Channel Changed 1 16 21 16 E lt Sea n E E Default 3 1 2 3 4 memorized Mode Messages x POLY MONO M 1 5 i Altered OXXXXXXXXXXXXXX x eas N Se lx mc ciuis MEE an Note 36 96 0 127 1 Number True voice XXXXXXXXYXXXXX 0 127 1 Velocity Note ON x OnH v 764 20 1 127 1 Note OFF x 8nH v 64 X i N JA aim Oa mn Poo Kan Tamm mti mt Pm After Key s x io x Touch Ch s x Pitch Bender 0 0 12 semi 7 bit resolution Sere Jossu joss oton tiin H 1 0 X1 X1 Modulation wheel i 2 X1 Breath control i 5 x 11 Portamento time Control 6 0 Xi x Data entry knob 7 0 X1 0 X1 Foot volume i Change i 4 64
7. Pan Floot Sound of simple pan flute Lead Reed Sound of double reed Can be used for oboe parts Mono Sax Saxaphone in mono mode Portamento can be added by playing in legato Flute Wood Realistic flute with breathy feeling lt BC1 gt Sax Saxaphone using BC1 No sound is generated if BC1 is not used O IDO P win gt i BC1 Hrmnca Harmonics using BC1 No sound is generated if BC1 is not used 13 BASS GROUP Voice Name Performance Notes Solid Bass Mild sound of wooden bass Try playing a running pattern Pluck Bass Bass sound with attack feeling of chopper bass Synthe Bass This bass sound is essential for funk music Use of bender must be good Mono Bass Bass in mono mode Portamento can be added by playing in legato Flap Bass Sound of synthesizer bass Rising feeling is very funky Elec Bass Electronic bass with high tone Uprt Bass Sound of wood bass Highly realistic feeling of strings COPA alia a win gt Fretless Fretless bass Can be made even more realistic using bender 14 SOUND EFFECT GROUP u Voice Name Performance Note 1 Racing Car Sound of race cars Engine throttles up increases as keys are held down 2 Helicopter Helicopter sound Feeling of takeoff when keys are released 3 Alarm Call Sound of alarm clock 4 Ghosties Slightly comical ghosts 5 Dopplar
8. eld tud EV 0343 INNLIG ALIDOTIA ALIAILISN3S NOILVINOOW AM svia INAS anwy HIWWNVYDOYd i 1 3510A UON 13S3Hd 31VG VHVAVA Pai a 57 L SONILL3S 3WYN ON 3210A 1 3WYN 39NVWHO3H3d ON SONILLAS 3WYN ON 32IOA 3WYN 39NVIAHO JH3d a 1 YIMINVYDOUd diva v 3ONVIAHOdH3d LE lt I VHVINWA SINCE 1887 YAMAHA NIPPON GAKKI CO LTD HAMAMATSU JAPAN OMD 127M 85 11 3 0 CR Printed in Japan YAMAHA DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER SYNTHETISEUR NUMERIQUE A ALGORITHMES PROGRAMMABLES DIGITAL PROGRAMMIERBARER ALGORITHMUS SYNTHESIZER PERFORMANCE NOTES NOTES SUR LES PERFORMANCES ANMERKUNGEN ZU DEN PARAMETERN FUR FUNKTIONEN UND INSTRUMENTSTIMMEN PERFORMANCE NOTES FOR 128 VOICES 1 PIANO GROUP Voice Name Performance Notes 2 9 Deep Grand Dignified and deep grand piano Uprt Piano Gives the feeling of an upright piano Honkey Tonk Honky tonk piano that is slightly out of tune Perfect for ragtime music Ivory Ebony Black and white keys o
9. the LFO always begins from the peak of a positive half cycle 90 degrees phase angle when a key is played This produces a clear consistent attack on all notes When LFO KEY SYNC is OFF the LFO cycle starts from a random point when a key is played This is the ideal setting when the LFO is being used to create na tural sounding chorus or phasing type effects NOTE When in DUAL or SPLIT mode the voice is affected by the LFO data of the A voice 13 PITCH MODULATION SENSITIVITY MODULATION SENSITIVITY PITCH AMPLITUDE BIAS ea This parameter sets the sensitivity of all operators to pitch modulation applied either via the LFO PMD parameter above or via the modulation wheel of breath controller The data range is from 0 to 7 At 0 no pitch modulation can be applied and at 7 the maximum pitch modulation can be achieved When LFO PMD above is set to 99 a setting of 7 produces a plus and minus one octave pitch variation eALG 3 1111 P MOD SENS 5 A14 AMPLITUDE MODULATION SENSITIVITY This sets the operator s sensitivity to LFO and EG BIAS effects applied via the LFO PMD or AMD functions or via the modulation wheel or breath controller The application of LFO modulation to a carrier results in tremolo and applied to modulator the result is a periodic variation in timbre which is similar to wow effects When EG BIAS is applied to a carrier via the breath controller the r
10. AR 0 3 DECAY RATE EG DIR 0 31 2 DECAY 2 RATE D2R 0 3 3 RELEASE RATE EG RR 0 15 4 DECAY LEVEL EG DIL 0 15 5 KEYBOARD SCALING LEVEL LEVEL SCALE 0 99 6 KEYBOARD SCALING RATE RATE SCALE 0 3 7 EG BIAS SENSITIVITY E BIAS SENS 0 7 8 AMPLITUDE MODULATION ENABLE A MOD SENS 21 9 KEY VELOCITY KEY VELOCITY 0 7 10 OUTPUT LEVEL OUTPUT LEVEL 0 99 11 OSCILLATOR FREQUENCY FREQUENCY 0 63 12 DETUNE DETUNE 0 7 13 eu SAME AS FOR OP4 OP2 25 26 SAME AS FOR OP4 OP3 38 39 SAME AS FOR 4 OPI 5 52 ALGORITHM ALGORITHM SELECT 0 7 q 53 FEEDBACK LEVEL FEEDBACK 0 7 54 LFO SPEED LFO SPEED 0 99 55 LFO DELAY LFO DELAY 0 99 56 PITCH MODULATION DEPTH LFO PMD 0 99 57 AMPLITUDE MODULATION DEPTH LFO AMD 0 99 58 LFO SYNC LFO SYNC 0 59 LFO WAVE LFO WAVE 0 3 60 PITCH MODULATION SENSITIVITY P MOD SENS 0 7 61 AMPLITUDE MODULATION SENSITIVITY A MOD SENS 0 7 62 TRANSPOSE Middle C 0 48 63 PLAY MODE POLY MONO Poly Mode D 1 64 PITCH BEND RANGE P Bend Range 0 12 65 Full Time Porta 0 66 PORTAMENTO TIME Porta Time 0 99 67 FOOT VOLUME Foot Volume 0 99 68 SUSTAIN FOOT SWITCH Foot Sustain 90 69 PORTAMENT FOOT SWITCH Foot Porta Ql 70 CHORUS SWITCH Chorus 0 MODULATION WHEEL PITCH MODULATION RANGE MW Pitch 0 99 12 MODULATION WHEEL AMPLITUDE MODULATION RANGE MW Amplitude 0 99 73 BREATH CONTROL PITCH MODULATION RANGE BC Pitch 0 99 74 BREATH CONTROL AMPLITUDE MODULAT ON RANGE BC Amp
11. Algorithms Simultaneous Note Output Polyphonic 8 notes SINGLE 4 notes DUAL 4 4 notes SPLIT Monophonic 1 note SINGLE DUAL 1 1 note SPLIT Internal Memory 128 ROM voice memory 32 RAM voice memory 32 RAM performance memory Controls PITCH WHEEL MODULATION WHEEL VOLUME BALANCE DATA ENTRY Display LCD 16 characters x 2 lines Connecting Terminals OUTPUT MIX A OUTPUT B PHONES CASSETTE Control FOOTSWITCH SUSTAIN PORTAMENTO FOOT CONTROLLER VOLUME MIDI IN OUT THRU Dimensions Weight 909 W x 82 H x 270 D mm 35 8 x 3 2 x 10 6 8 kg 17 6 ibs Power Requirements U S amp Canadian Models 120 50 60 Hz General Models 220 240 50 Hz JW Power Consumption Standard Music Stand Cassette Cable Optional FC7 Foot Controller FC4 or FC5 Footswitch BC1 Breath Controller 1 215 or SC 21 Carrying LG 21 Stand MIDI 03 or MIDI 15 MIDI Cable MIDI DATA FORMAT 1 Transmission Conditions ACTIVE SENSING NOTE OFF NOTE ON SUSTAIN SWITCH PITCH BENDER MODULATION WHEEL BREATH CONTROL DATA ENTRY SLIDER VOLUME PORTAMENTO SWITCH PROGRAM CHANGE PA
12. Data That is the data pertaining to the 32 voices contained in the DX21 RAM voice memory This data could be transmitted for example to the RAM voice memory of another DX21 When this function is called the LCD will read Midi Transmit Pressing the DATA ENTRY YES button then begins actual transmission of the data During transmission the LCD will go blank Transmission takes about two seconds EA FUNCTION CONTROL Midi Transmit YES TAS NOTE System exclusive communication data is only useable with compatible Yamaha MIDI equipment 26 CHAPTER IV THE PERFORMANCE MEMORY 1 Performance Memory Organization 2 Accessing the Performance Memory 3 Programming the Performance Memory In addition to the DX21 s 32 voice RAM memories and 128 voice ROM memory the DX21 also features a special 32 performance memory system This performance memory can be programmed with a voice number or pair of voice numbers one from each channel play mode split mode split key number or dual mode detune data key shift data and pitch bend mode data Thus when one performance memory is called a voice or combination of voices in any play mode is automatically called along with th most important real time performance parameters programmed for that voice or voice combination To access the performance memory hold down the FUNCTION key and press the EDIT COMPARE key The LCD will loo
13. FX Realistic doppler effect Sound becomes closer as keys are held down and goes away when keys are released 6 Storm Wind Storm with thunder Spase Talk 15 SOUND EFFECT GROUP 2 A conversation in Space e effect when keys are released Performance Notes Diesel Sound of diesel engine 2 Hole in 1 Hole in one in middle of golf tournament 3 lt lt Smash gt gt Try pressing five or six keys at once Gives the effect of glass smashing FM SQUARE Square wave created using two operators Used for creating the sound of woodwinds FM PULSE Same pulse wave Used for creating the sound of plucked strings FM SAW TOOTH These are sawtooth waves Used for creating strings and brass LFO NOISE Scale noise with feeling of being in tune PINK NOISE Pink noise used for the creation of various noise effects 16 SOUND EFFECT GROUP 3 Wind Bells Performance Notes Sound of noisy bells Perfect for the sound of bells in the wind Synvox Synthesizer voice Attach scales and try to make it sing Punk Funk XR Funky synthesizer sound Can even be used as bass Whistling Realistic feeling of scratchy whistling A little portamento can be added Voices Realistic intonation of human voices Can be used for creating a chorus Zing Plop Interesting melodic percussion effects can be created when used as synthesizer percussion
14. P1 E G OP This operator OUT is the Fundamental amp Carrier Harmonics complex tone to audio output Operators do not have to be connected vertically in modulator carrier re lationship as shown above The outputs of two operators can also be mixed just as the stops in an organ are mixed In this case the sounds are simply added together with no modulation effect ALGORITHMS We have seen two different ways that two operators may be combined The DX21 uses four operators offering a lot of potential connection possibilities These dif ferent configurations of operator relationships are called algorithms and the DX21 offers 8 algorithm choices These are all printed right on the DX21 panel the algorithm diagrams on the panel the small boxes numbered 1 through 4 are the Operators ALGORITHM 1 MODULATOR MODULATOR MODULATOR CARRIER Algorithm 1 consists of a stack of OUT 3 modulators and 1 carrier HOW ALGORITHMS AFFECT THE SOUND By changing the relative frequencies between operators in a modulator carrier re lationship you change not only the fundamental pitch of the note but also the frequencies present in the harmonic structure Thus the timbre of the voice can be precisely controlled In addition since each operator has its own envelope generator and a sophisticated one too the harmonic structure of a note can be programmed to vary over time just as a plucked string
15. SPLIT mode and while holding it down press the key on the DX21 keyboard at which you want the split point to be programmed C3 60 gt SP 1 Deep Grand 64 1 Strings SPLIT POINT set at 60 vun EDC I 5 The 128 Voice ROM Memory The split point number on the LCD will change to the number of the pressed key the A voice will be playable on all keys to its left Including the split key and the voice will be playable on all keys to the right of the split key This process be repeated as many times as necessary but you must press and hold the 5 POINT key again every time you re program the split point As in the DUAL mode the A B BALANCE control can be used to balance the volume levels of the and voices The DX21 comes with 128 different pre programmed voices in an internal ROM Read Only Memory These voices can be loaded in groups of 8 or singly into the DX21 s selectable 32 voice RAM memory The ROM voices are organized into 16 different categories each containing 8 voices see next page To load these voices into the DX21 s RAM voice memory for selection and use see A11 LOAD INTERNAL MEMORY and A12 LOAD SINGLE INTERNAL ME MORY in the following chapter THE 128 VOICES PROVIDED IN THE INTERNAL ROM GROUP 1 PIANO G ROUP 5 BRASS GROUP 9 PERCUSSION 2 GROUP 13 BASS
16. also be used to select the desired mode FUNCTION CONTROL Chorus OFF B15 TRANSPOSE n 15 79 TRANSPOSE This function permits transposing the pitch of the entire DX21 keyboard up or down two octaves in semitone steps The data range is from C1 to C5 C3 is middle C C2 is one octave lower than middie C C4 is one octave higher than middle C etc Immediately after this function is called the desired new key can be selected simply by pressing any note on the keyboard between C1 and C5 within a plus or minus two octave range of middle C The keyboard s C3 key then assumes the pitch of the key played and all other keys are adjusted automatically Pressing any key higher than C5 on the keyboard results in a transposition to C5 This method of data entry can only be used once immediately after the TRANSPOSE function is called Further alterations may be made using the DATA ENTRY control or switches FUNCTION CONTROL Middle 3 15 4 Tuning Functions KEY SHIFT KEY SET KEY SET During any of the normal DX21 play modes pressing the KEY SHIFT button instantly transposes the pitch of the entire DX21 keyoard up or down to a key programmed using this function When KEY SHIFT is engaged the letter will appear at the upper left corner of the LCD display until the KEY SHIFT button is pressed again returning the keyboard to normal pitch Pressing this button in the FUNCTION mode permits programming the d
17. applied to the selected voice 12 LFO modulation can be made to modulate the pitch of the voice producing a range of vibrato type effects This function is used to set the maximum depth of pitch modulation which can be applied using the modulation wheel The actual effect produced depends on the settings of the LFO parameters these will be discussed in CHAPTER V VOICE PROGRAMMING Note however that the appropriate voice PITCH MODULATION SENSITIVITY parameter must be set to a value higher than 0 for pitch modulation to be effective The voice PITCH MODULATION SENSITIVITY parameter will also be discussed in CHAPTER V The data range is from 0 to 99 At 0 pitch modulation is OFF and rotating the modulation wheel will cause no pitch modulation to be applied to the voice A setting of 99 produces the greatest possible pitch modulation depth Data is entered using the DATA ENTRY controis or switches Once this function is called subsequent presses on the B8 button increment the data value FUNCTION CONTROL MV Pitch 50 B9 WHEEL RANGE MODULATION WHEEL AMPLITUDE As you move the DX21 modulation wheel away from you an increasing amount of LFO modulation is applied to the selected voice LFO modulation can be made to modulate the amplitude level of specified voice elements operators producing a range of tremolo or timbre modulation wow wow type effects This function is used to set the maximum depth of amplitude modulation which c
18. changes its overtones as the note decays Depending on the selected algorithm operators can be stacked vertically connected horizontally or both In the vertical arrangement when the output of one operator is connected to the input of another the result is modulation By convention the operator at the bottom or output of a stack of operators is known as a carrier All operators in the same stack above the carrier are modulators By increasing the output level of one or more modulators feeding a carrier the number of harmonics in the resultant sound is increased its bandwidth is increased making it more brilliant 30 The bottom operator of a stack is called a CARRIER Any operators which are MODULATOR oP2 connected to the carrier s inputs are called MODULA EA TORS YOU CAN T HEAR CARRIER MODULATOR DIRECTLY 7 but you hear its effect by QUT listening to the carrier s altered modulated output A given operator can be either a carrier or a modu lator the only difference is how it is connected in a given algorithm Most algorithms have multiple modulators and carriers In one algorithm a given Operator may be a carrier while in the next it might function as a modulator the only difference being how it is connected In algorithm number 5 for example there are two vertical stacks of two operators and the outputs of the carriers in these stacks are connected in parallel ho
19. play the DX21 keys and listen to how parameter changes are affecting the voice as you edit In many cases you will be editing an existing voice and will want to compare the sound of the edited voice with the original voice This is done simply by pressing the EDIT COMPARE switch again The small letter e in the top left corner of the LCD will change to a c indicating that the COMPARE mode has been activated and that the voice you will now hear is the original voice before editing the parameters displayed on the LCD will also revert to those of the original voice You can then return to the voice being edited by pressing the EDIT COMPARE switch again This can be repeated as many times as needed during the editing process The COMPARE mode can only be entered from the EDIT mode however after at least one data change has been made to the original voice The EDIT COMPARE mode can be exited by entering any PLAY mode or the FUNCTION mode Please note however that if you exitthe EDIT COMPARE mode and then select a new voice ANY DATA YOU HAVE EDITED WILL BE ERASED This is because all editing is performed in a special edit buffer memory which is the same memory to which a voice is called when its selector button is pressed To save edited data you must use the STORE function to save the new data in one of the DX21 s 32 RAM voice memories The STORE function will be discussed in CHAPTER III MEMORY MANAGEMENT If you do make a mistake and lose the e
20. ready for voice programming Pressing another function button a PLAY mode button or the EDIT mode button prior to the final step in the above process will abort the voice initialize function 18 11 LOAD INTERNAL MEMORY a 3053 LOAD LOAD SINGLE INTERNAL MEMORY To load a ROM voice group first make sure that the MEMORY PROTECT function is OFF A16 Then enter the FUNCTION mode and press the A11 voice selector button to call the LOAD INTERNAL MEMORY function The LCD should now look like this FUNCTION CONTROL Group to Bank Confirm your intention to load a group of 8 ROM voices into RAM memory by pressing the DATA ENTRY YES button The top line of the LCD will now ask you to select the group you wish to load Group 1 16 and the lower display line will show the currently selected group The 16 different ROM voice groups are selected by pressing the A1 through A16 voice memory selectors Group 1 16 G1 PIANOS Once you have selected the desired ROM memory group press the DATA ENTRY YES button to go on to the next step If you press the NO button at this point the display will revert to the Group to Bank stage If you do press the YES button the display will prompt you to select the group of 8 memory locations to which you will load the selected ROM voice group A1 through 8 A9 through A16 B1 through B8 or B9 through B16 The desired memory location group is selected by pressing the
21. response to breath pressure Set to directly affect amplitude EG BIAS for example the Breath Controller can be used to apply realistic tonguing effects to brass and other wind instrument sounds The four BREATH parameters listed below determine just how the Breath Controller will affect the DX21 sound These parameters may be set individually or combined for more complex effects 13 810 BREATH RANGE PITCH This function is used to set the maximum depth of LFO pitch modulation which can be applied using the Breath Controller The actual effect produced depends on the settings of the LFO parameters these will be discussed in CHAPTER V VOICE PROGRAMMING Note however that the appropriate voice PITCH MODULATION SENSITIVITY parameter must be set to a value higher than O for pitch modulation to be effective The voice PITCH MODULATION SENSITIVITY parameter will be discussed in CHAPTER V VOICE PROGRAMMING The data range is from O to 99 At O pitch modulation is OFF and applying breath pressure to the Breath Controller will cause no pitch modulation to be applied to the voice A setting of 99 produces the greatest possible pitch modulation depth Data is entered using the DATA ENTRY controls and 1 1 switches Once this function is called subsequent presses on the B10 button increment the data value FUNCTION CONTROL BC Pitch f B11 BREATH RANGE AMPLITUDE This function is used to set the maximum depth of LFO amplitude modul
22. standard pair of stereo headphones When a plug is inserted into the B audio output the channel A and B signals are delivered to the headphones in stereo When the B audio output is not connected the channel A and B signals are mixed and delivered to the headphones in mono Headphone volume is controlled via the VOLUME control on the top panel These terminals are used when connecting the DX21 to ether MIDI Musical In strument Digital Interface compatible eguipment such as digita seguence re corders modular FM voice generators drum machines etc The MIDI OUT terminal transmits MIDI data from the DX21 to other MIDI eguipment The MIDI OUT terminal will normally be connected to the MIDI IN terminal of the receiving equipment The MIDI IN terminal accepts MIDI data from external MIDI equipment such as a digital seguence recorder music computer or modular FM voice generator THe DX21 s MIDI IN terminal will normally be connected to the MIDI OUT terminal of the transmitting equipment The MIDI THRU terminal re transmits the data re ceived at the MIDI IN terminal Thus data received via the DX21 MIDI IN terminal can be simultaneously sent to other MIDI equipment The DIN connector end of the supplied cassette cable is plugged into the DX21 CASSETTE connector The three plugs on the other end of the cable should be connected to a cassette data recorder the kind normally used with personal computers etc as follows RED cassette deck mic
23. the right ready for the next character A character entered over an existing character will replace the original character The PLAY SINGLE button can be used to enter a space To correct errors the cursor may be moved to the left and right using the 1 NO OFF and 1 YES ON switches respectively If you have edited any of the above voice parameters and wish to keep the edited data you must use the STORE function BEFORE PRESSING ANY VOICE SE LECTOR AFTER EXITING THE EDIT OR FUNCTION MODES and store the new data in one of the 32 RAM voice memories Of course this means it is a good idea to have a free memory location ready before you begin editing If you are editing voices that were originally called from the internal ROM memory don t worry you can recall the ROM memory voices any time you need to If the RAM is full of original voices however make sure any voices you want to keep have been saved to cassette tape from which they can later be recalled To STORE a newly edited voice first exit the EDIT mode by pressing the PLAY SINGLE mode selector Then hold down the STORE button this is the same as the EG COPY button and press the voice selector to which you want to save the edited voice data The MEMORY PROTECT function must be OFF before attempting to use the STORE function E MEMORY STORE STORE from Al to sor MEMORY STORE w KK vy STORE VOICE NAME from 1 to B16 There are two basic approaches w
24. voice parameters in the voice edit buffer to their initialized values permitting voice programming from an effectively neutral set of values a clean slate Ea FUNCTION CONTROL INIT VOU Init Voice YES coal mp FUNCTION CONTROL ON Are You Sure YES ON Voice is initialized INITIALIZED VOICE DATA LIST ame 0 0 L9 0 AMPU TUDE EG BIAS 0 31 31 16 1 0 15 0 0 0 0 31 31 15 0 15 0 0 0 9 o 15 N 0 99 50 9 50 99 50 9 31 31 15 0 15 1 90 0 9 DETUNE DIR DIL RR OUT LEVEL RATE LEVEL PRI Pu PR2 PL2 PR3 PL3 ATOR ORTAMENTO OPERATOR KEYBOARD SCALING PITCH ENVELOPE GENERATOR 15 FOOT CONTROL WHEEL RANGE BREATH RANGE CHORUS VOICE MONO MODE Time root sw voiume sustain eric PITCH AMP EK BIAS POE Full Poly 4 T 0 ON 40 ON 50 0 0 50 0 OFF c3 ime When this function is called the LCD will read init Voice Confirm your intention to initialize the voice edit buffer by pressing the DATA ENTRY YES button The DX21 will then ask you to reconfirm your intention to initialize the voice with Are You Sure Press the DATA ENTRY YES button again to actually execute the initialize operation Once executed the DX21 will automatically enter the EDIT mode
25. 2 voice bulk data 52 5 System Exclusive Data 5 1 VOICE DATA VMEM format Parameter no P Parameter DECAY RATE DECAY 2 RATE RELEASE RATE DECAY LEVEL OP 4 KEYBOARD SCALING LEVEL AMPLITUDE MODULATION ENABLE EG BIAS SENSITIVITY KEY VELOCITY OUTPUT LEVEL OSCILLATOR FREOUENCY KEYBOARD SCALING RATE DETUNE 46 47 48 49 50 51 52 53 54 55 56 57 66 67 68 69 70 71 L 10 q j SAME AS FOR OP4 2 19 E 20 F j SAME AS FOR OP4 OP3 29 30 SAME AS FOR OP4 OP LFO SYNC FEEDBACK LEVEL ALGORITHM LFO SPEED LFO DELAY PITCH MODULATION DEPTH AMPLITUDE MODULATION DEPTH PITCH MODULATION SENSITIVITY AMPLITUDE MODULATION SENSITIVITY LFO WAVE TRANSPOSE PITCH BEND RANGE CHORUS SWITCH PLAY SUSTAIN FOOT SWITCH PORTAMENT FOOT SWITH PORTAMENTO MODE PORTAMENTO TIME FOOT VOLUME MODULATION WHEEL PITCH MODULATION RANGE MODULATION WHEEL AMPLITUDE MODUL ATION RANGE BREATH CONTROL PITCH MODULATION RANGE BREATH CONTROL AMPLITUDE MODULATION RANGE BREATH CONTROL PITCH BIAS RANGE BREATH CONTROL EG BIAS RANGE VOICE NAME I VOICE NAME 10 PITCH EG RATE I PITCH EG RATE 2 PITCH EG RATE 3 PITCH EG LEVEL PITCH EG LEVEL 2 PITCH EG LEVEL 3 53 5 2 VOICE PARAMETERS VCED format Parameter no LCD Display Data Note 0
26. 2 voice memory locations to cassette tape by pressing the DATA ENTRY YES button The display will then read from Mem to Tape all ready At this point reconfirm that the cassette recorder is set up properly make sure a suitable blank tape is loaded into the cassette recorder and start the recorder running in the RECORD mode To begin the actual save Operation press the DATA ENTRY YES button Pressing another function button a PLAY mode button or the EDIT mode button prior to the final step in the above process will abort the CASSETTE SAVE function As the DX21 saves each voice to tape the upper line of the display will indicate the voice number being saved When all 32 voices have been saved the DX21 will automatically go into the tape verify mode permitting you to check that the data was recorded properly 20 Stop the cassette recorder The LCD will now read Verify Tape To verify first rewind the tape to the beginning of the file just saved then press the DATA ENTRY YES button in response to the Verify Tape display which should be showing the display will now read Verify Tape ready Press the DATA ENTRY YES button then start the cassette recorder running in the PLAY mode The DX21 will now read each voice from the cassette tape and compare it with the corresponding voice data in the RAM voice memory If the cassette and RAM data matches the display will read VERIFY COMPLETED Any PLAY mode can then be entered simply b
27. 9 10 00 10 38 10 99 11 00 11 30 12 00 12 11 12 56 12 72 13 00 13 84 14 00 14 10 14 13 15 00 15 56 15 57 15 70 16 96 17 27 17 30 18 37 18 84 19 03 19 78 20 41 20 76 21 20 21 98 22 49 23 55 24 22 25 95 These frequency ratios have been carefully chosen as the most useful for voice programming A ratio of 1 00 sets the selected operator to standard pitch a pitch of 440 Hz will be produced when the A3 A above middle C key is pressed A ratio of 0 50 produces a pitch one octave lower and a ratio of 2 00 produces a pitch one octave higher than standard pitch and so on The fractional ratios 1 73 for example produce extremely complex waveforms when combined with operators set to other ratios permitting the creation of an unlimited variety of sound effects 39 including extremely realistic bells explosions etc More even ratios are more useful for creating musical instrument sounds it is possible to combine a modulator set to a fractional ratio at a low operator level with even ratio operators to add bite to a string sound and many other effects The standard DX21 keyboard pitch is 87 therefore in terms of footage 0 50 16 1 00 8 and 2 00 4 eALG 3 1111 OP 2 FREQUENCY 0 78 B2 DETUNE This parameter permits slight detuning of the selected operator in relation to the others making it possible to create richer fuller voice effects If detune is applied to carriers the result is a thick multi instrument effect Ap
28. A1 through A4 buttons The selected group will be displayed on the lower line of the LCD Bank 1 4 i A1 A8 Now the selection of the source voices and the destination memory locations is complete all you have to do to actually load the selected voices is press the DATA ENTRY YES button If you press the NO button at this point the display will revert to the Group to Bank stage If you do press YES the display will announce that the load job has been accomplished with the COMPLETED display You can now press any play mode selector to try out the newly loaded voices Be sure to turn the MEMORY PROTECT function back ON after the load op eration A12 LOAD SINGLE INTERNAL MEMORY This function lets you load one ROM voice into the DX21 voice edit buffer from which it can be stored in any of the 32 RAM memory locations using the STORE function Make sure the MEMORY PROTECT function A16 is OFF before at tempting to use the LOAD SINGLE INTERNAL MEMORY function When this function is first called the LCD will look like this FFUNCTION CONTRO Voice to Buff Confirm your intention to load a single ROM voice into the voice edit buffer by pressing the DATA ENTRY YES button The upper line of the display will now show the currently selected ROM voice group and the lower line will show the voice currently selected from that group G1 PIANOS Deep Grand The various voice groups b
29. ANGE BREATH RANGE 2 The SINGLE Play Mode These same buttons actually serve a number of functions In the FUNCTION and EDIT modes which are covered in later sections of this manual they serve to select the function or edit parameter to be programmed Since RAM memory can be written to as well as read from it is possible to load new voice data into the 32 available RAM memory locations This can be done by loading new voices from the DX21 s internal 128 voice ROM Read Only Memory into the RAM memory see 5 The 128 Voice ROM Memory below or by loading a new set of 32 voices from data stored on an external cassette tape see CHAPTER III THE FUNCTION MODE Memory Management Functions If you re just starting out you ll want to try out the voices that are pre programmed into the RAM memory You can do this in any of the three play modes discussed below Make sure your DX21 is properly connected to a sound system or you could simply plug a pair of headphones into the PHONES jack see CHAPTER SETTING UP set the VOLUME control to about its center position and set the A B BALANCE control to its center position you ll feel a click stop at dead center Now you can start experimenting with the DX21 voices in the SINGLE play mode Enter the SINGLE play mode by pressing the PLAY SINGLE button to the left of the LCD Liguid Crystal Display panel When you do this the LCD will look something like this PLAY S
30. E PROGRAMMING 1 The Basics of FM Synthesis Before you begin actually programming or editing your own voices a basic un derstanding of how digital FM synthesis works will be necessary In the following explanation we will discover how the DX21 s FM voice generator produces complex voices This information will help you to understand the process and make it easier for you to create and edit your own voices OPERATORS The Yamaha DX series FM digital synthesizers use pure sine waves that interact to create the full harmonic spectrum for any voice Each digital sine wave oscillator is combined with its own envelope generator to form an operator IN IN pez OSC E G out i ANM Sine Wave Note that the operator s oscillator has two inputs one for the oscillator pitch data and one for modulation data CARRIERS AND MODULATORS The DX21 voice generator has 4 operators When the output of one operator is fed to the modulation input of a second operator i e the first operator modulates the second a whole spectrum of harmonics is created that can form an incredibly diverse range of complex waveforms including the more conventional triangle sawtooth and square waveforms All this from just two operators IN IN e 7 OSC OPERATOR 2 OP 2 E G This operator OUT is the Sine Wave Output Modulator pure tone IN IN 982 OPERATOR1
31. INGLE SINGLE tav A 1 Deep Grand Thetop line of the LCD reads PLAY SINGLE indicating that you are in the SINGLE play mode and the bottom display line will indicate the selected memory location number A1 through A16 or B1 through B16 followed by the name of the selected voice In this mode you can play any of the voices currently in the DX21 s RAM memory individually 3 The DUAL Play Mode 4 The SPLIT Play Mode Enter the DUAL mode by pressing the PLAY DUAL button DU 1 Deep Grand PEI 19 1 Strings DU in the upper left display corner indicates that the DUAL mode has been se lected The upper display line now shows the number and name of any voice selected from the A row of memory selectors while the lower display line shows the number and name of any voice selected from the B row of voice selectors The number followed by a colon in the lower left display corner indicates the current DUAL MODE DETUNE function value see CHAPTER III THE FUNCTION MODE In this mode any of the 16 voices from tone generator A can be selected and combined with any voice from tone generator B As you try out various com binations of voices you ll notice that some voices are louder than others resulting in one voice overpowering the other when two are combined This can be adjusted by using the A B BALANCE control Moving this control more towards the A end of the scale increas
32. OAD SINGLE functions will operate whether MEMORY protect is ON or OFF When this function is called the LCD will read either Mem Protect ON or Mem Protect OFF according to the current state of the MEMORY PROTECT function MEMORY PROTECT is automatically turned ON each time mains power to the DX21 is turned ON The DATA ENTRY ON and OFF buttons are used to turn MEMORY PROTECT ON or OFF FUNCTION CONTROL Mem Protect ON a ON OFF RECV CH TRNS CH CH INFO SYS INFO BULK Miot This group of functions deals with parameters which control the transmission and reception of MIDI data via the DX21 MIDI OUT and MIDI IN terminals This section will describe how each parameter is programmed while actual operational details will depend entirely on the type of MIDI eguipment with which the DX21 will be used A3 MIDI ON OFF This function turns transmission and reception via the DX21 s MIDI terminals ON or OFF When ON the DX21 can transmit or receive MIDI data to or from external MIDI eguipment When OFF no MIDI data interchange is possible This function is turned ON or OFF using the DATA ENTRY buttons FUNCTION CONTROL Midi Switch ON ON OFF A4 RECEIVE CHANNEL The DX21 is capable of receiving data on any of the 16 available MIDI channels or in the OMNI mode which enables reception on all channels simultaneously This function is used to set the desired MIDI receive channel or acti
33. OLUME g K VOLUME SUSTAIN FOOT CONTROL This function sets the contro range of a foot volume controller Yamaha FC 7 optional connected to the rear panel VOLUME jack The data range is from 0 to 99 At O the foot controller is OFF and will have no effect on the sound At 99 the foot controller can be used to adjust output volume over the full range from maximum volume to zero volume Intermediate settings permit corresponding degrees of expression or swell control The DATA ENTRY control and 1 1 switches can be used to enter the data for this function Once the FOOT CONTROL VOLUME function is called subsequent presses on the B6 button increment the data value FUNCTION CONTROL Foot Volume 99 B7 FOOT CONTROL SUSTAIN This function turns the sustain footswitch Yamaha FC 4 or FC 5 optional connected to the rear panel SUSTAIN jack ON or OFF When ON the sustain pedal can be used to control the sustain effect When OFF the sustain pedal will not function Once this function is called subsequent presses on the B7 button alternate between the ON and OFF states The DATA ENTRY switches can also be used to select the desired mode FUNCTION CONTROL Foot Sustain ON B8 WHEEL RANGE MODULATION WHEEL PITCH EH EC gy PITCH AMPLITUDE WHEEL RANGE As you move the DX21 modulation wheel away from you an increasing amount of LFO Low Frequency Oscillator modulation is
34. RAMETER CHANGE 1 VOICE BULK 32 VOICE BULK FE 8n 1i1 Bn 40 Bn 01 4 Bn 02 Bn 06 OH INFO Bn 07 Bn 841 cn SFO 43 Sin 12 43 0n 503 43 SOn 04 2 Transmission Data 0 MIDI TRANS CHn MIDI ON OFF 0 gt MIDI OUT All MIDI data is transmitted when the MIDI ON OFF function is ON The MIDI transmissioh channel is determined by the setting of the MIDI TRNS CH function 2 1 CHANNEL INFORMATION 2 1 1 Channel Voice Message 1 Key Off Status Note no Velocity 1000nnnn Okkkkkkk 01000000 n channel no k 36 C1 96 C6 2 Key On Status 1000nnnn n channel no Note no Okkkkkkk k 36 C1 96 C6 Velocity 01000000 3 Control Change Status 1011nnnn n channel no Control no Occccccc Control code Ovvvvvvv a Transmitted whether MIDI CH INFO is ON or OFF Control no Control code C 64 Sustain sw V 0 0FF 127 0N b Transmitted when MIDI CH INFO is ON Control No Control code C 1 modulation wheel V 0 127 C 2 breath control V 0 127 C 6 data entry slider V 0 127 C 7 foot volume V 0 127 C 65 portamento sw V 0 0FF 127 0N 4 Program Change Status 1100nnnn n channel no Program no Oppppppp p 0 31 This data is transmitted when a voice select
35. SS FUNCTION button see 4 The Performance Name below 27 4 The Performance Name Store DATA IN PERFORMANCE MEMORY Performance Mode Store PHE Select PERFORMANCE number to STORE to while holding STORE button Ea gt Performance Mode Store PMEM 1 selected PERFORMANCE number Release the key 1 Perfm Memo SI 12 Low Check this display to determine that the programmed parameters have been properly stored Be sure to turn the MEMORY PROTECT function A16 back ON after a suc cessful storage operation The performance name can be programmed at any time while in the performance mode as follows Hold down the FUNCTION CHARACTER button You ll notice that a cursor begins flashing over the first letter of the current performance name While holding down the CHARACTER button you can enter characters by pressing the appropriate character buttons see CHAPTER V VOICE PROGRAMMING B16 VOICE NAME The available characters are printed in white on the right of the voice selector buttons and the buttons to the left of the LCD Pressing the PLAY SINGLE button inputs a space The cursor can be moved backwards or forwards by pressing the DATA ENTRY 1 and 1 buttons Once a performance name has been entered the entire performance combination must be stored using the STORE function as described in 3 Programming the Performance Memory above CHAPTER V VOIC
36. X21 1 The 32 Voice RAM Memory The DX21 has 32 RAM Random Access Memory locations which contain voices which may be immediately selected by pressing the appropriate memory button while the DX21 is in one of the three normal play modes described below The two rows of 16 buttons row A and row B are the voice memory selectors The row A and B selectors correspond to DX21 tone generator channels A and B OPERATOR AMS ON OFFIEG COPY MODULATION SENSITIVITY ae 1 2 3 z ALGORITHM FEEDBACK WAVE SEED ET SYNC PITCH AMPLITUDE EG BIAS VELOCITY a 1242 6 3 639 5 4 59 En MASTER DUAL ONOFF 55 0 BUK LORD LOAD SNGLE SMVENERIFY LOAD LOAD SINGLE MEMORY TONAL INTERNAL MEMORY CASSETTE OSOILLATOR ENVELOPE GENERATOR OPERATOR KEYBOARD SCALING PITCH ENVELOPE GENERATOR FREQ RATIO DIR Dx BUTIEVEL RATE LEVEL PRI PRE RE PRE 9 E 29 EE 3 6 POLYIMONO PITCH BEND MODE FOOT SW VOLUME SUSAN AMPUTOOE PITCH AMPUTUOE PITCH BIAS 60 CHORUS TRANSPOSE VOICE NAME RANGE PORTAMENTO FOOT CONTROL WHEEL R
37. YAMAHA OWNER S MANUAL MANUEL D UTILISATION BEDIENUNGSANLEITUNG CONGRATULATIONS Your Yamaha DX21 Digital Programmable Algorithm Synthsizer incorporates the state of the art in digital FM tone generation technology providing extraordinarily vi brant rich voices and outstanding playability The DX21 actually has two FM tone generators permitting two voices to be combined and played simultaneously or in a split keyboard configuration The DX21 has a 32 voice programmable RAM memory from which any voice can be selected at the touch of a button a built in 128 voice preset ROM memory from which voices can be called into the RAM memory as desired 32 special performance memories which can be programmed with combinations of voices and some function parameters and a cassette interface that permits unlimited storage of FM voices Of course the DX21 is fully programmable allowing you to create your own FM voices or sound effects Broad MID compatibility is also provided so the DX21 can control or be controlled via other MIDI compatible music equipment To ensure that you gain maximum benefit from all the performance and flexibility provided by the DX21 we urge you to read this owner s manual thoroughly while actually trying out all of the available functions CONTENTS 5 2 CHAPTER I SETTING UP 1 Audio Outputs Op
38. aded Tape to INT B16 Load Completed Be sure to turn the MEMORY PROTECT function back ON after a successful LOAD operation 22 A15 CASSETTE LOAD SINGLE This function allows you to load a single voice from a previously saved 32 voice cassette file into the DX21 voice edit buffer from which it can be stored in any voice memory using the STORE function Make sure the MEMORY PROTECT function A16 is OFF before using the LOAD SINGLE function When this function is initially called the LCD will read Load Single Press the DATA ENTRY YES button to go on to the next step The LCD will now read Tape to Buff A1 A16 B1 B16 You must now enter the voice number of the voice you wish to load from cassette do this by pressing the corresponding voice memory selector button The selected voice number will appear in place of the portion of the upper display line Then make sure the appropriate cassette is loaded in the cassette recorder and is rewound to the beginning of the voice file containing the desired voice press the DATA ENTRY YES button and start the cassette recorder running in the PLAY mode The DX21 will automatically locate the selected voice and load it into the voice edit buffer When finished the display will read LOAD COMPLETED The LOAD SINGLE function can be interrupted by pressing the DATA ENTRY NO button Doing this may however result in garbled voice data in the DX21 voice edit bu
39. an be applied using the modulation wheel The actual effect produced depends on the settings of the LFO parameters these will be discussed in CHAPTER V VOICE PRO GRAMMING Note however that the appropriate voice AMPLITUDE MODU LATION SENSITIVITY parameter must be set to a value higher than 0 for amplitude modulation to be effective The voice AMPLITUDE MODULATION SENSITIVITY parameter will also be discussed in CHAPTER V The data range is from 0 to 99 At 0 amplitude modulation is OFF and rotating the modulation wheel will cause no amplitude modulation to be applied to the voice A setting of 99 produces the greatest possible amplitude modulation depth Data is entered using the DATA ENTRY controls or switches Once this function is called subsequent presses on the B9 button increment th data value FUNCTION CONTROL MW Amplitude amp The Yamaha Breath Controller Es ese 5 PITCH AMPLITUDE PITCH BIAS BIAS BREATH RANGE The optional Yamaha 1 Breath Controller is a unique way of adding expression to the sound as you play the DX21 keyboard The BC1 is held in the mouth just like the mouthpiece of a wind instrument Blowing harder or softer into the BC1 mouthpiece then produces a corresponding effect The Breath Controller can be used to apply varying amounts of pitch or amplitude LFO modulation just like the modulation wheel In addition it can be set up to directly affect pitch amplitude or timbre in
40. and Modifications 4 Relocation 5 Handing 6 Electrical Storms Lightning 7 Electromagnetic Fields Choose the installation location for the DX21 with caution Avoid locations exposed to direct sunlight or other sources of heat Also avoid locations subject to vibration excessive dust cold or moisture Do not attempt to clean the exterior with chemical solvents as this may damage the finish Clean with a soft dry cloth Do not open the cabinet or attempt to make your own repairs or modifications to any part of the instrument Such actions may not only result in electrical shock or damage but will also void the product warranty Refer all servicing to a qualified Yamaha service center When moving the instrument be sure to unplug the AC mains cord as well as all other connecting cables Avoid applying excessive force to switches and slide controls dropping or rough handling The DX21 is ruggedly constructed using reliable solid state circuitry nonetheless it is a fine instrument that should be treated with care Digital circuitry such as that used in the DX21 is sensitive to voltage spikes and surges Because of this the DX21 should be turned off and unplugged from the AC power outlet in the event of an electrical storm Digital circuitry is also sensitive to electromagnetic fields such as those produced by television sets radio receivers transmitters transceivers etc The DX21 should kept at leas
41. ass music Should be played quickly Sound of a folk guitar Try playing in arpeggio style like the chord work for a guitar E E al B Easy Synth True synthesizer sound Easy Clav Sound of clavichord Combinations of right and left sounds are the key gt gt WOW lt lt Wow wow for synthesizer sound Metal Keys Tone wanders as the keys are held down Cheeky Damped synthesizer like sound with key clicks Rubber Band Sound of rubber band Pick Pluck Strong attack with damped properties when keys are released S H synth Tone changes randomly as keys are held down olsJ o oa P W N 8 PERCUSSION GROUP au Glocken Charming sound of glockenspiel Sounds the best when played i in high range Hamarimba Marimba like sound Steel Drums Sound of steel drums Effective when used for fill in Tube Bells Sound of tubular bells Temple Gong Gong sound Gives a folk feeling Mamarimba Another marimba like sound Envelope is slightly shorter Good Vibes Vibraphone with realistic tremolo 1 2 3 4 5 6 7 8 Bells Bells Sound of Big Ben 9 PERCUSSION GROUP 2 Voice Name Performance Notes 2 9 Electro Tom Tom sound of electronic drums Timpani Sound of timpani Lingering resonance can be created using staccato Breakin Percussion with short envelope Can be used to create interesting melodies Xylo Snare Percussion sound similar t
42. ation which can be applied using the Breath Controller The actual effect produced depends on the settings of the LFO parameters these will be discussed in CHAPTER V VOICE PROGRAMMING Note however that the appropriate voice AMPLITUDE MODULATION SENSITIVITY parameter must be set to a value higher than O for amplitude modulation to be effective The voice AMPLITUDE MODULATION SENSITIVITY parameter will be discussed in CHAPTER V VOICE PROGRAM MING The data range is from O to 99 At O amplitude modulation is OFF and applying breath pressure to the Breath Controller will cause no amplitude modulation to be applied to the voice A setting of 99 produces the greatest possible amplitude modulation depth Data is entered using the DATA ENTRY controls or switches Once this function is called subsequent presses on the B11 button increment the data value FUNCTION CONTROL BC Amplitude B12 BREATH RANGE PITCH BIAS This function permits breath pressure applied to the BC1 Breath Controller to directly control the pitch of the voice In other words the LFO has no effect only your breath pressure directly affects the pitch of the voice The data range is from 0 to 99 At 50 pitch bias is OFF A setting of 99 permits the greatest pitch increase to be produced through the Breath Controller while a setting of O permits the greatest pitch decrease Data is entered using the DATA ENTRY controls and 1 1 switches Once this function is ca
43. dited data the DX21 has been provided with a special temporary buffer memory from which the lost data can be recalled assuming only one error has been made using the EDIT RECALL function The EDIT RECALL function will also be discussed in CHAPTER III MEMORY MANAGEMENT The following is a brief description of each available voice parameter how it is programmed and its effect These parameters are selected by pressing the appro priately labelled violet labels indicate voice parameters panel switch while the DX21 is in the EDIT mode PB MODE OPERATOR SELECT OPERATOR SELECT This switch located immediately above the 1 DATA ENTRY button selects the Operator to be worked on Only one operator can be selected at a time Only the parameters for the selected operator will be displayed on the LCD panel 34 In the EDIT mode the currently selected operator number is generally displayed at the top right corner of the LCD for example OP 3 This only applies to pa rameters which can be individually programmed for each operator however when parameters that affect all operators simultaneously are called the LFO WAVE SPEED and DELAY parameters for example the current operator display will di sappear from the LCD and individual operators cannot be selected A1 A4 OPERATORIAMS ON OFFIEG COPY 1 4 OPERATOR AMS ON OFF EG COPY 1 2 3 4 3B 3 Individually turns operators 1 through 4 ON or OFF many case
44. e DX21 memory write protect function ON and OFF A9 EDIT RECALL EA RECALL EDIT In addition to the voice edit buffer the DX21 has a special edit recall buffer memory which maintains the last edited voice data If after editing or creating a new voice you inadvertently call new data into the voice edit buffer by pressing one of the voice selector buttons before storing the edited voice data the voice you had spent so much time editing will be erased from the edit buffer If only one error of this type has been made the edited data still resides in the edit recall buffer and can be recalled into the voice edit buffer using this function When this function is initially called the LCD will read Recall Edit Confirm your intention to recall the data into the voice edit buffer by pressing the DATA ENTRY YES button The DX21 will then reconfirm with Are You Sure Press the DATA ENTRY YES button again to actually execute the edit recall function The EDIT mode will then be automatically entered and the voice edit buffer will contain the data called from the edit recall buffer Pressing another function button a PLAY mode button or the EDIT mode button during the above process will abort the edit recall function E FUNCTION CONTROL Recall Edit vES EN gt ES CONTROL Are You Sure 7 YES ON EDIT RECALL is executed 7 10 INIT VOICE 100 INIT VOICE This function sets all
45. e selected by using the 1 through A16 buttons and the 8 voices within each group are individually selected using the B1 through B8 buttons When the desired voice has been selected in this way simply hold down the STORE button and press the memory selector button to which you want to store the selected voice EG COPY A MEMORY STORE STORE from Buff to COPY 1 Co MEMORY STORE STORE MASTER from Buff to Al PLAY SINGLE A 1 Deep Grand You can now try out the newly loaded voice Be sure to turn the MEMORY PROTECT function back ON after the load op eration 13 CASSETTE SAVEIVERIFY ca SAVENERIFY LOAD LOAD SINGLE CASSETTE This function actually incorporates two sub functions SAVE and VERIFY After calling this function subsequent presses on the B13 button alternate between the SAVE and VERIFY sub functions Normally however you will start with the SAVE function which saves the entire contents of the DX21 RAM voice memory onto cassette tape The VERIFY function is then used to check the saved data against the data still in RAM memory to ensure that no errors occured in the SAVE process Before using this function make sure that an appropriate data cassette recorder is properly connected to the DX21 as described in CHAPTER I SETTING UP When this function is initially called the LCD will read Save to Tape Confirm your intention to save the contents of the 3
46. eath control V 0 127 C 5 portamento time V 0 127 C 6 data entry slider V 0 127 C 7 foot volume V 0 127 C 65 portamento sw V 0 0FF 127 0N 4 Program Change Status 1100nnnn n channel no Program no Oppppppp Received only when MIDI CH INFO is ON If received during the PLAY or PER FORMANCE mode the voice or performance number will be changed accordingly The lower five bits of the program no contain the voice or performance number 5 Pitch Bend Status 1110nnnn n channel no Code LSB Ouuuuuuu Code MSB Ovvvvvvv Function s only on MSB data MSB 00000000 Lowest value 01000000 Center value 01111111 Highest value 4 1 2 Channel Mode Message Status 1011nnnn n channel no Ovvvvvvv a Recived whether MIDI CH INFO is ON or OFF C 123 V 0 All notes OFF b Received only when MIDI CH INFO is ON C 126 V 1 MONO mode ON C 127 V 0 POLY mode ON 4 2 SYSTEM INFORMATION 4 2 1 System Real Time Message Active sensing Status 11111110 Sensing begins when this code is received once If status and data are not received within 300 milliseconds the MIDI receive buffer wil be cleared and the currently output note will be turned OFF 4 2 2 System Exclusive Message 1 parameter Change swithch mode Status 11110000 ID no 01000011 Substatus ch no 0001nnnn n channel no Parameter group no 00001000 Switch no Ommmmmmm Data Oddddddd d 0 OFF 1 127 0N EOX 11110111 All panel swithces are contro
47. es the volume of the A voice while decreasing the volume of the B voice Moved in the opposite direction towards B it has the opposite effect Use this control to achieve the best balance between the two selected voices in the DUAL play mode Enter the SPLIT mode by pressing the PLAY SPLIT button 5 POINT SP 1 Deep Grand 60 1 Strings SP in the upper left display corner indicates that the SPLIT mode has been selected As in the DUAL mode the number and name of one voice selected from the A row will be shown on the upper display line and the number and name of a voice selected from the B row will be shown on the lower display line Unlike the DUAL mode however the two selected voices do not sound together The A voice will be assigned to all keys to the left of and including the programmed split key while the B voice will be assigned to all keys to the right of the split key This type of arrangement lets you assign a bass voice for example to the left side of the keyboard and a piano voice to the right side of the keyboard so you can play bass and piano lines simultaneously The next step is to decide on and program the desired split point Note that at the extreme left of the lower display line there is a number followed by a colon This is the number of the selected split point To program the split point simply press the S POINT button notice that this is the same as the PLAY SPLIT button you used to enter the
48. esired pitch to be shifted to when the KEY SHIFT button is pressed during any of the play modes The transpose range for the KEY SHIFT function is plus or minus two octaves The data range is from 24 to 24 with 0 corresponding to standard keyboard pitch Each increment corresponds to a shift in pitch of one semitone a setting of 2 would therefore raise the pitch of the entire keyboard a whole tone Immediately after calling the KEY SET function data can be entered simply by pressing a key on the keyboard within a plus minus two octave range of C3 middle C The pressed key then assumes the pitch of C3 and all other keys are adjusted accordingly Pressing the 2 key for example produces a setting of 3 Pressing a key higher than C5 results in a 24 setting and pressing a key lower than C1 results in a 24 setting This method of data entry however can only be used once after this function is called Subsequent changes can be made using the DATA ENTRY control and 1 1 switches FUNCTION CONTROL Key Shift This group includes just two functions MASTER TUNE and DUAL MODE DETUNE A1 MASTER TUNE Ye ADU This is the DX21 MASTER TUNE function All voices are affected simultaneously The programmable data range is from 63 to 63 When set to 0 the pitch of the key is the standard 440 Hz At the lowest setting of 64 the overall pitch of the keyboard is 100 cents 1 semitone lower than standard pitch and at the hig
49. esult is volume expression control and applied to a modulator the result is brilliance control data range is from O to 3 At O amplitude modulation sensitivity is OFF no LFO or EG BIAS effects can be applied to the selected operators A setting of 3 produces maximum sensitivity and therefore maximum effect depth The operators to which modulation sensitivity is to be applied are selected using buttons A1 through The four digits 1 or 0 the top right corner of the LCD correspond to operators 1 through 4 When an operator is turned ON i e able to receive amplitude modulation the corresponding digit will be a 1 When OFF the corresponding digit will be a 0 The operators are turned ON and OFF al ternately each time the corresponding OPERATOR AMS ON OFF EG COPY button is pressed eALG 3 AME 1000 A MOD SENS 3 A15 EG BIAS This sets the operator s sensitivity to EG BIAS effects applied via the breath con troller EG bias changes the overall output level from the operator The harder you blow into the breath controller the higher the maximum envelope level When EG BIAS is applied to a carrier via the breath controller the result is volume expression control and applied to a modulator the result is brilliance control data range is from 0 to 7 At 0 EG BIAS sensitivity is OFF and no EG BIAS effects can be applied to the selected operators A setting of 7 produces maximum sensitivity and the
50. f piano High pitched piano Phase Grand Piano with phasing Try playing a ballad Elec Grand Sound of electric grand piano CP Piano Bells Bell can be heard together with the piano ONY Ql a Acous Elec Mild piano between acoustic and electric sound 2 ELECTRIC PIANO GROUP Voice Name Performance Notes 2 o iow Old Electro The sound of a typical electronic piano Slight distortion gives an old flavor New Electro This is also the sound of a typical electronic piano Sense of lightness High Tines Clear sounding electronic piano Hard Tines Powerful sound of electronic piano with feeling of attack Perco Piano Electronic piano with special closed in feeling when keys are released Wood Piano Woody piano which sounds similar to marimba NS Ola Vibra Belle Sound of metallic bell like vibraphone Piano Brass Sound of piano and brass ensemble 3 ORGAN GROUP No Voice Click Organ Organ sound with realistic clicking sound b Jazz Organ Dignified jazz organ This one should be played cool Ham lt n gt Eggs Powerful organ for rock sounds Drawbars Typical organ sound created around 16 8 and 4 drawbars Club Organ Mild organ sound lt 6 tease High tone using high range drawbars 6 Tease is expression from the sixties Gentle Pipe Solemn pipe organ together with gentle pipe organ o ojo
51. ffer The loaded voice may now be stored into any voice memory location by holding down the STORE button while pressing the voice selector of the destination voice memory location This must be done before another voice selector button is pressed if you desire to keep the loaded voice in memory otherwise the loaded voice data in the voice edit buffer will be erased and replaced by the voice data called by the pressed voice selector button FUNCTIO om FUNCTION CONTROL Load Single EI Select voice No to load B G3 Tape to Buff 1 16 1 16 selected voice 3 to Buff A1 A16 B1 B16 7 Start cassette PLAYBACK and simultaneously press YES key selected voice EV 3 to Buff r3 Press CZ to stop LOAD during execution or The following display appears when the specified voice has been loaded Tape 3 to Buff Load Completed Be sure to turn the MEMORY PROTECT function A16 back ON after a suc cessful LOAD operation 23 6 MIDI Functions 16 MEMORY PROTECT MEMORY PROTECT This function turns the DX21 MEMORY PROTECT function ON or OFF When ON the internal RAM voice memory cannot be altered using the STORE INTERNAL MEMORY LOAD or CASSETTE LOAD functions The MEMORY PROTECT function does not affect the voice edit buffer so the INIT VOICE EDIT RECALL INTERNAL MEMORY LOAD SINGLE and CASSETTE L
52. he greatest pitch variation dependent on the PITCH MODULATION SENSITIVITY setting described below A13 When the PITCH MODULATION SENSITIVITY parameter is set to maximum 7 the maximum pitch variation PM DEPTH 99 will be plus and minus 1 octave Even if this parameter is set to 0 pitch modulation can still be applied via the modulation wheel or breath controller eALG 3 1111 LFO PMD 2 A11 LFO AMD This parameter sets the depth of amplitude variation tremolo or wow produced by LFO modulation for all operators simultaneously This function is independent from amplitude modulation produced by the modulation wheel or breath controller and is always ON once set The data range is from 0 to 99 At 0 amplitude modulation is OFF and a setting of 99 produces the greatest variation dependent on the AMPLITUDE MODU LATION SENSITIVITY setting A14 When the AMPLITUDE MODULATION SENSITIVITY parameter is set to maximum 3 the maximum amplitude variation AM DEPTH 99 will be plus and minus 42 dB peak to peak Even if this parameter is set to 0 amplitude modulation can still be applied via the modulation wheel and breath controller eALD 3 1111 LFO AMD 44 A12 LFO SYNC The beginning of the LFO cycle is normally synchronized with key on timing This parameter permits turning this synchronization ON or OFF All operators are affected simultaneously eALG 3 1111 LFO SYNC ON 37 When this parameter is ON
53. hest setting of 63 the overall pitch of the keyboard is 100 cents higher than standard pitch Use the DATA ENTRY control or 1 1 switches to enter the data for this parameter Once the MASTER TUNE function is called subseguent presses on the A1 button increment the data value FUNCTION CONTROL Master Tune 9 A2 DUAL MODE DETUNE E 3 DUAL MODE DETUNE 16 5 Memory Management Functions This function makes it possible to detune the pitches of channels A and B to create chorus type effects DUAL MODE DETUNE only functions when the DUAL play mode is selected The data range is from 0 to 99 At 0 no detune effect is produced The greatest deepest detune effect a pitch difference between channels A and B of approx imately 1 4 semitone is achieved with a setting of 99 The detune effect is produced by simultaneously increasing the pitch of channel A while decreasing the pitch of channel B Use the DATA ENTRY control or 1 1 switches to enter the data for this parameter Once the DUAL MODE DETUNE function is called subsequent presses on the A2 button increment the data value FUNCTION CONTROL Dual Detune 16 The memory management functions include functions for loading voices from the DX21 s internal ROM voice memory for storing and loading RAM memory voices to and from cassette tape initializing the voice memory recalling voice data from a special safety buffer memory and turning th
54. hich can be taken when programming voices on the DX21 First you can run through all the existing voices choose one that is close to the sound you wish to create and then edit that voice to create your own Second you can initialize the the voice edit buffer see CHAPTER III MEMORY MANAGEMENT 1 The initialize Voice Function setting all parameters to their initial values and begin programming your voice from scratch The first method editing a preset voice is generally a much more efficient approach provided the sound you want is close to something that already exists If however you are looking for a unique voice that is totally unlike any of the available presets it is probably best to initialize and start from scratch if you choose to program a voice from scratch you ll need to have a clear memory location or one containing a voice that you either don t want or have already backed up on cassette tape so that when you ve completed programming the voice you can save it Since all editing is done in the separate voice edit buffer nothing is erased while you are actually programming the voice But when you save the new voice whatever was in that memory location will be erased and replaced by the new data GENERAL SPECIFICATIONS 61 keys C1 Co Sound FM Tone Generator 4 operators x 2 A B 8
55. inrijoijNi Full Ranks Organ sound with special properties when keys are released 4 STRINGS GROUP Voice Name an Strings High strings Try using in the dual mode Silk Cello Cool cello sound Orchestra Deep orchestra sound Solo Violin Solo violin slightly out of tune on rising phrases Box Cello Cello with lingering resonance Rich String Dazzling strings 5th String Strings on fifth interval 1 2 3 4 5 6 7 8 Pizzicato Strings played in pizzicato Sound is more realistic if played in staccato 5 BRASS GROUP Voice Name Performance Notes 2 9 Warm sound of horns be used together with strings for ensemble Brite Brass Bright brass sound Flugel Horn Realistic flugelhorn with the sound of the pipes for the unique brass sound Trombone Realism can be increased by adding a bit of portamento Hard Brass Hard driving brass sound Power Brass Powerful brass sound used for perfect rhythm BC1 Horns Try using BC1 to make realistic horn sounds ON OM a PIIN BC1 Trumpet This is the sound of a trumpet also using BC1 6 PLUCKED GROUP Pluk Guitar Guitar with h slightly reduced treble Brt Guitar 1 Sound of strongly plucked guitar with comping added Soft Harp Sound of soft harp Sitar Exotic sound of sitar Jazz Guit Sound of fully acoustic jazz guitar Old Banjo Banjo for blue gr
56. intention to load a complete set of 32 voices from cassette tape into the RAM voice memory remember this will erase any voices previously in the RAM memory by pressing the DATA ENTRY YES button The LCD will now read from Tape to Mem all ready At this point make sure the appropriate cassette tape is loadeed into the recorder and is rewound to the beginning of the desired voice file To execute the load operation press the DATA ENTRY YES button again and start the cassette recorder running in the PLAY mode Pressing another function button a PLAY mode button or the EDIT mode button prior to the final step in the above process will abort the CASSETTE LOAD function The DX21 will indicate each voice on the LCD as it is loaded When the load function is completed the LCD will read LOAD COMPLETED Stop the cassette recorder and turn the DX21 MEMORY PROTECT function back ON The LOAD function can be interrupted at any time by pressing the DATA ENTRY NO button This can however result in incomplete data loading possibly causing garbled voice data to appear in one memory location FUNCTIO _ FUNCTION CONTROL Load from Tape T Ea LOAD YES a ON from Tape to Hem ready Start cassette in PLAY mode J Tape to INT A 1 A counts down from At to B16 Press CL to stop load during execution The following display will appear when all voices have been lo
57. k something like this 1 Perfm Memo SI A 1 12 Lov The 32 performance memories are then selected by pressing the voice selector buttons A1 through A16 1 through 16 B1 through B16 17 through 32 The first data on the top LCD line is the selected performance memory and its performance name This is followed by the programmed play mode SI SINGLE play mode DU DUAL play mode SP SPLIT play mode From left to right on the lower display line we have the number of the voice or voices selected by this performance memory the split or detune data this depends on whether the SPLIT or DUAL play mode is selected the key shift data and the pitch bend mode The performance memory is programmed quite simply by setting up the desired voice or voices in the desired play mode with the desired performance parameters Then after making sure the MEMORY PROTECT function A16 is OFF access the performance memory by holding down the FUNCTION button and pressing the EDIT COMPARE button Now you can store the currently set up performance combination in any memory location by holding down the STORE button and pressing the performance memory selector button to which you wish to save the performance data Before you do this however you might want to give your performance combination a name Turn MEMORY PROTECT off NO 16 FUNCTIO gt MENC Y OFF PROTE Call PERFOMANCE mode R EDIT Enter PERFORMANCE NAME while holding down
58. key is pressed PR2 is the speed at which the EG curve moves from PL1 to PL2 The EG begins moving towards PL2 immediately after PL1 is reached PL2 is the sustain pitch The pitch determined by PL2 will be maintained as long as a key is held Once the key is released the EG will begin moving back towards PL3 at a rate determined by the setting of PR3 PR3 can be thought of as the release rate If all level parameters are set at 50 standard pitch the pitch envelope generator will have no effect 42 4 STORING Voice Data 5 Two Approaches to Creating Your Own Voices B16 FUNCTION MODE VOICE NAME a VOICE NAME This function is accessed in the FUNCTION mode press the FUNCTION button and then the B16 VOICE NAME button The VOICE NAME function can be used to give voices in the voice memory an identifying name Voice names be up to 10 characters in length When this function is called the flashing cursor will appear at the beginning of the voice name entry space on the lower display line ready for you to enter the first character The available characters are printed in white on the right side of the voice selector buttons and the group of six buttons to the left of the LCD To enter a character in the FUNCTION VOICE NAME mode hold down the CHARACTER button this is the same as the FUNCTION button and press the corresponding character button As each character is entered the flashing cursor moves one space to
59. litude 0 99 75 BREATH CONTROL PITCH BIAS RANGE Pitch Bias 0 99 16 BREATH CONTROL EG BIAS RANGE BC EG Bias 0 99 77 VOICE ASCII b od 86 10 93 87 PITCH EG RATE PEG RATE 0 99 88 PITCH EG RATE 2 PEG RATE 2 0 99 89 PITCH EG RATE 3 PEG RATE 3 D 99 90 PITCH EG LEVEL LEVEL 0 99 PITCH EG LEVEL 2 LEVEL 2 0 99 L 92 PITCH EG LEVEL 3 LEVEL 3 0 99 5 3 FUNCTION PARAMETERS one no Parameter LCD Display Data Note 93 OPERATOR ENABLE DISABLE 0 15 94 OPETATOR SELECT 0 3 95 EDIT MODE 0 0 1 96 FUNCTION MODE ON FUNCTION CONTROL 0 1 97 STORE MODE 1 ON MEMORY STORE 0 1 98 PLAY DUAL MODE 1 ON 0 99 PLAY SPLIT MODE i ON 0 100 PLAY SINGLE MODE ON PLAY SINGLE 0 101 DUAL MODE DETUNE Dual Detune 0 99 102 SPLIT POINT 0 127 103 MASTER TUNE 40 CENTER Master Tune 0 127 104 MIDI SWITCH ON Midi Switch 0 1 105 MIDI CH INFO Midi is OFF 0 106 OMNI 0 1 ON Midi Omni 0 107 MIO TRANS CH Midi Trns Ch 0 15 108 MIDI RECV CH 0 OMNi ON Midi Recv Ch 0 16 109 MIDI SYS INFO Midi Sy Info 0 110 32 VOICE BULK DUMP Midi Transmit 111 EDIT RECALL Recall Edit 0 1 112 INIT VOICE Init Voice 0 1 113 MA 115 116 M7 118 119 MEMORY PROTECT ON Mem Protect 0 1 120 KEY SHIFT 24 CENTER Key Shift 0 48 121 PITCH BEND MODE ON Bend Mode 0 1 122 KEY SHIFT 0 1 123 COMPARE 0
60. lled The switch numbers are arranged as shown in the illustration below Receiced only when MIDI SYS INFO is ON 2 Parameter Change The format is the same as the transmitted parameter change data Received only when MIDI SYS INFO is ON Permits changing voice and function parameters while the EDIT mode is active It is also possible to change modes PLAY EDIT etc The parameter no and data received are shown in voice parameter table 5 2 and function parameter table 5 3 51 3 1 Voice Bulk Data Received only when MIDI SYS INFO is ON The format is the same as for the transmitted 1 voice bulk data The 93 voice data bytes are read into the voice edit buffer replacing the current voice data The 93 received data bytes are shown in voice parameter table 5 2 4 32 Voice Bulk Data Received only when MIDI SYS INFO is ON The format is the same as for the transmitted 32 voice bulk data This data can be received only when the MEMOTY PROTECT function is OFF The received voice data is stored in the 32 RAM voice memory locations The MIDI RECEIVED display appears to confirm complete reception of 32 voice bulk data 5 Dump Request Status 11110000 10 no 01000011 Substatus ch no 0010nnnn n channel no Format no Offfffff f 3 4 11110111 Received only when MIDI SYS INFO is ON When received the bulk data corre sponding to the received format code will be dumped via MIDI OUT f 3 1 voice bulk data 4 3
61. lled subsequent presses on the B12 button increment the data value FUNCTION CONTROL BC Pitch 50 14 B13 BREATH RANGE EG BIAS This function permits breath pressure applied to the BC1 Breath Controller to directly control the amplitude or timbre of the voice according to settings of the corre sponding voice parameters which will be covered in CHAPTER V The LFO has no effect only your breath pressure directly affects the amplitude or timbre of the voice The data range is from 0 to 99 At 0 EG bias is OFF A setting of 99 permits the greatest amplitude or timbre variation to be produced through the Breath Controller Data is entered using the DATA ENTRY controls and 1 1 switches Once this function is called subsequent presses on the B13 button increment the data value FUNCTION CONTROL BC EG Bias 6 B14 CHORUS a EI CHORUS The DX21 has a built in chorus effect which can be used to add a pleasant stereo chorus effect to any voice Chorus is only effective however when both the DX21 s A and B audio outputs are connected to a sound system in a stereo configuration The full impact of the chorus effect will not be heard if the A MIX output only is used or if the A and B outputs are externally mixed to a mono signal This function turns the chorus effect ON or OFF Once the CHORUS function is called subseguent presses on the B14 button alternate between the ON and OFF states The DATA ENTRY buttons can
62. nd one on the MONO voice Once the POLY MONO function is selected subsequent presses on the B1 button alternate between the POLY and MONO modes The DATA ENTRY switches can also be used the 1 switch selects POLY and the 1 switch selects MONO The POLY MONO function can not be selected in the DUAL or SPLIT play mode only the display changes Set to SINGLE play mode to select POLY MONO function FUNCTION CONTROL Poly Mode B2 PITCH BEND RANGE B PITCH BEND RANGE This function sets the pitch range of the pitch bend wheel located to the left of the DX21 panel The pitch bend wheel automatically centers at normal pitch It then may be moved upward away from the player to raise the pitch or moved downward toward the player to lower the pitch by the specified amount The data range is from O to 12 At O the pitch bend wheel is off Each increment between 1 and 12 represents a semitone Thus if this function is set to 12 maximum travel of the pitch bend wheel produces a one octave pitch variation both above and below center position i e plus or minus one octave The DATA ENTRY control and 1 1 switches can be used to enter data Once the PITCH BEND RANGE function is called subsequent presses on the B2 button increment the data value FUNCTION CONTROL P Bend Range 4 PB MODE MODE SET MOCE SET 10 This function selector located immediately above the DATA ENTRY 1 button offers a choice of three pi
63. ng techniques wood bass slide effects etc If you lift your hand off the DX21 keyboard between notes there will be no portamento effect Once the PORTAMENTO MODE function is called subsequent presses on the B3 button alternate between the two available portamento modes only if the MONO note output mode is selected The DATA ENTRY switches can also be used to select the desired portamento mode FUNCTION CONTROL Full Time Porta B4 PORTAMENTO TIME This function sets the speed of the portamento effect The data range is from 0 to 99 At 0 portamento is off A setting of 99 produces the longest portamento effect Data be entered using the DATA ENTRY control and 1 1 switches Once the PORTAMENTO TIME function has been called subsequent presses on the B4 button increment the data value FUNCTION CONTROL Porta Time 11 B5 PORTAMENTO FOOT SWITCH This function turns the rear panel PORTAMENTO footswitch jack ON or OFF When OFF the PORTAMENTO footswitch will NOT function When ON the PORTAMENTO footswitch connected to the PORTAMENTO jack can be used to turn the portamento effect ON or OFF accepts Yamaha 4 or 5 foot switches Once the PORTAMENTO FOOT SW function has been called subsequent presses on the B5 button alternate between the ON and OFF settings The DATA ENTRY switches can also be used to turn this function ON and OFF FUNCTION CONTROL Foot Porta OFF B6 FOOT CONTROL V
64. o a xylophone and snare played at the same time Synballs Sound of ride cymbals Has touches of synthesizer in it Hand Drum Sound of hand drum Clock Werks Sound of ticking clock Try two different intervals alternating with each other HWM aA gt e Heifer Bell Percussion sound similar to cow bell being struck 10 LEAD SYNTH GROUP y t6 Performance Notes Heavy Synth Suitably heavy sound of solo synthesizer Harmo Solo Harmonica sound Try creating the feeling of instability in the interval using pitch biending Feed Lead Lead synthesizer with feedback Mono Lead Mono lead synthesizer Portamento can be added by playing in legato Hollow Lead Woody synthesizer sound with sense of attack Lyrisyn Expressive lead synthesizer Gentle lead synthesizer which reminds one of a lady s voice Huff Talk Synthesizer voice lead which sounds like people talking Fuzz Clav Clavichord sound with added fuzz Should be played hard Clear Clav Light clavichord Nice feeling can be created with a swinging rhythm Mute Clav Muted clavichord Squeeze Box Simple lead sound Perfect for chanson Celeste Munich celeste sound Circus Time Sound sure to remind one of circus Should be played with as simple a chord progression as possible Ciaranette Creates hollow Teeling of clarinet Bassoon Best feelings when played in lower and mid ranges Sound of loose basson
65. oice A7 LFO WAVE Permits selection of the low frequency oscillator waveform The available waveforms are SAW UP a rising sawtooth waveform SQUARE TRIANGLE and S HOLD sample and hold These waveforms are selected using the DATA ENTRY control or switches 8 LFO SPEED Permits setting the speed of the low frequency oscillator The data range is from 0 to 99 O corresponds to the slowest LFO speed 0 06 Hz and 99 corresponds 36 A9 LFO DELAY Permits setting a delay of between and approximately seconds before the LFO modulation effect begins after a key is played This is particularly usefu for simulating brass instruments human voice etc in which the a vibrato effect is gradually applied after the note has been initiated data range is from O to 99 At O there is no delay and a setting of 99 produces a delay of approximately 15 seconds With longer delay settings the modulation effect begins gradually for a remarkably natural sound KEY ON LFO DELAY set at 70 Y H eALG 3 1111 LFO DELAY 3 MAX AMPLITUDE YY 3 55 3 05 A10 LFO PMD This parameter sets the depth of pitch variation produced by LFO modulation for all operators simultaneously This function is independent from pitch modulation produced by the modulation wheel and breath controller and is always ON once set The data range is from 0 to 99 At 0 pitch modulation is OFF and a setting of 99 produces t
66. or Note that there are two exceptions the PB Pitch Bend MODE SET and KEY SHIFT KEY SET buttons are NOT included among the voice selectors These function selectors are located immediately above the DATA ENTRY 1 and 1 switches When the FUNCTION mode is called the LCD should look something like this FUNCTION CONTROL Master Tune 0 The top line of the display will read FUNCTION CONTROL indicating that the FUNCTION mode is active and the lower display line will show the name of the selected function and its current data In the example above the MASTER TUNE function is called press the A1 button and the data is currently set at 0 Once the desired function has been selected its value can be altered using either the linear DATA ENTRY contro located to the left of the panel or the adjacent 1 NO OFF and 1 YES ON switches cs DATA ENTRY Moving the DATA ENTRY control away from you increases the value of the selected parameter and moving the control towards you decreases the data value Pressing the 1 switch decreases the value of the selected parameter by one decrements and pressing the 1 switch increases the value by one increments While the DATA ENTRY control is valuable for quickly approaching the desired value with parameters that have a large data range the 1 and 1 switches permit precise step wise location of a specific value The switches are also easier to use with parameters that onl
67. or is pressed during the play mode when MIDI CH INFO is ON and SYS INFO is OFF Also transmitted when a performance selector is pressed in the performance mode 5 Pitch Bend Status 1110nnnn n channel no Code LSB Ouuuuuuu Code MSB Ovvvvvvv The transmitted data is as follows MSB LSB 00000000 00000000 Lowest value 01000000 00000000 Center value 01111111 01111110 Highest value 2 2 SYSTEM INFORMATION 2 2 1 System Real time Message Active sensing Status 11111110 Transmitted once approximately every 200 milliseconds 2 2 2 System Exclusive Message Trasnmitted only when MID SYS INFO is ON 47 1 Parameter Change Status 11110000 ID no 01000011 Substatus ch no 0001 nnnn n channel no Parameter group no 00010010 Perameter no Oppppppp Data Oddddddd EOX 11110111 This data is transmitted when voice or function parameters are changed in the EDIT or FUNCTION modes The voice parameters transmitted are those given in voice parameter table 5 2 and the function parameters transmitted are shown in function parameter table 5 3 2 1 Voice Bulk Data Status 11110000 ID no 01000011 Substatus ch no 0000nnnn n channel no Format no 00000011 Byte count 00000000 Byte count 01011101 Data Oddddddd 93 bytes Oddddddd Checksum EOX 11110111 The data for one voice is transmitted when a voice selector is pressed in the PLAY SINGLE mode Data in the voice edit buffer is transmitted when a fo
68. own once the key is released a note played on a wood block on the other hand starts guickly as the mallet strikes the block and stops guickly as the block stops resonating The characteristic volume pattern of any note played on any instrument is known as its volume envelope Most acoustic instruments also have a timbre envelope in which the harmonic content of the note changes the timbre changes from the time the note is initiated to the time it decays 32 Each of the 4 operators available in DX21 can be programmed with its own envelope The envelope applied to a carrier will generally contribute to the overall volume envelope of the note while an envelope applied to a modulator will contribute to the timbre envelope of the note Here is a copy of the envelope diagram printed above the LCD on the DX21 panel ENVELOPE GENERATOR LEVEL TIME l The time during gt The instant you which a key is The instant you held down press a key release a key This envelope diagram can be used as a guide in visualizing DX21 envelope settings while you program or edit a voice Each envelope generator can be programmed with five different parameters AT TACK RATE AR DECAY 1 RATE D1R DECAY 1 LEVEL D1L DECAY 2 RATE D2R and RELEASE RATE RR The RATE parameters determine how fast the envelope moves from one level to the next The term LEVEL is used rather than volume because the envelo
69. pe of the operator you re working on could affect volume or timbre depending on whether it is a carrier or a modulator Any note begins at zero level when you press a key then begins to approach maximum EG level at a rate determined by the setting of AR Attack Rate The envelope may reach maximum level instantly or it may take over 30 seconds de pending on the setting of AR When the envelope reaches maximum level it immediately begins moving towards the next level in the envelope D1L Decay 1 Level at a speed determined by the setting of D1R Decay 1 Rate The change from maximum EG level to D1R can be either a decrease in level or a sustain at maximum level depending on the values you choose for D1L After reaching D1L the envelope then begins to decay toward zero level at a speed determined by the setting of the D2R Decay 2 Rate parameter If D2R is set to 0 no decay however the note will be sustained at D1L for as long as you hold the key Now when you release the key you have been holding the envelope will immediately begin to decay towards O level at a speed determined by RR Release Rate In fact at whatever point in the envelope you release the key the envelope will immediately begin moving toward O level at the set Release Rate Thus ends the note envelope history THE PITCH EG In addition to the EG functions just described the DX21 also has a PITCH EG This pitch envelope generator is programmed in a similar wa
70. plied to modulators the result is a slight periodic variation in timbre sometimes similar to a phase shift effect The data range is from 7 to 7 for a maximum detuning range of plus or minus 2 cents 1 600th of an octave At 0 no detune effect is produced eALG 3 1111 OP 2 DETUNE 3 B3 B7 ENVELOPE GENERATOR AR D1R D1L D2R RR ENVELOPE GENERATOR OIR DL AR D2R RR These switches select the specific envelope generator parameters to be worked on ATTACK RATE DELAY 1 RATE DELAY 1 LEVEL DELAY 2 RATE and RELEASE RATE The data range for AR D1R and D2R is O to 31 with 31 being the fastest rate instantaneous and O the slowest RR and D1L have a data range of from O to 15 with 15 being maximum level and O being zero level for D1L eALG 3 1111 OP 2 EG AR 22 The following EG curve shows the relationship between the RATE and LEVEL parameters BASIC EG CURVE D1R rate of first decay AR D2R rate of second decay attack rate DIE level at end of first decay RR release rate Key on Key off The following EG curves show the parameters for some common instruments When creating voices on the DX21 you should apply these EG curves to the carrier operator 40 PIANO E G CURVE ORGAN CURVE 31 Key off Key on Key off BRASS E G CURVE Key on Key off B8 OPERATOR OUTPUT LEVEL OPERATOR OUT LEVEL Permits setting the output level of the
71. r to carrier equals 1 1 Frequency ratio of 2 operators 14 OP 4 0 mae 14 Frequency ratio of modulator to carrier equals 2 1 14 0 EN 2 2 Carrier 14 or Modulator ratio of modulator to camer equals 3 1 OPI Camier Output wave form 2 or Modulator Still more variations can be achieved by changing the relative output levels between operators the greater the level of the modulating operator the more harmonics are present FEEDBACK Note that every algorithm has one operator with a feedback loop represented by a line from the output of the operator which feeds back to the input of the same operator In effect a feedback loop means that the operator is modulating itself While every algorithm has one feedback loop feedback is not necessarily used in every voice One of the DX21 editing functions permits the feedback level to be set between O no feedback 7 maximum feedback ENVELOPE GENERATORS Consider what happens when you play a note on say an acoustic instrument The level of the sound initially goes up to some value then eventually falls to nothing following some sort of pattern that is characteristic of the particular instrument played For example a low note on a pipe organ starts slowly when you press a key because it takes a while for the large column of air within the pipe to build up to maximum oscillation level and takes a while to die d
72. refore maximum effect depth 38 eALG 3 1111 0 2 BIAS SENS 5 A16 KEY VELOCITY KEY VELOCITY a While the DX21 has no key velocity sensitivity of its own its voice generators will accept key velocity data from an external MIDI controller keyboard which does have this feature This function determines the sensitivity of each operator to keyboard velocity sensitivity data from an externa keyboard connected to the DX21 MIDI IN terminal key velocity sensitivity the harder you play a key the louder the note Timbre variations are produced when keyboard sensitivity is applied to a modulator The data range is from O to 7 At O key velocity sensitivity for the selected operator is OFF A setting of 7 produces the highest sensitivity and therefore the greatest effect eALG 3 1111 OP 2 TU KEY VELOCITY E 4 B1 FREQUENCY RATIO OSCILLATOR FREQ RATIO DETUNE a 3805 These parameters determine the actual freguency of each operator For operators which function as carriers this determines the actual pitch of the sound produced For operators functioning as modulators this determines the harmonic spectrum of the sound produced Each operator can be set to any of 64 different freguency ratios as follows DX21 OPERATOR FREQUENCY RATIOS 0 50 0 71 0 78 0 87 1 00 1 41 1 57 1 73 2 00 2 82 3 00 3 14 3 46 4 00 4 24 4 71 5 00 5 19 5 65 6 00 6 28 6 92 7 00 7 07 7 85 8 00 8 48 8 65 9 00 9 42 9 8
73. rizontally Algorithm 5 has an equal number of modulators and carriers two modulators and two carriers ALGORITHM 5 MODULATOR 2 MODULATOR CARRIER OP 1 or CARRIER OUT On the other hand all operators in algorithm 8 function as carriers Note that no modulation can occur in this algorithm except for the feedback loop on operator 4 we ll discuss that later But algorithm 8 is ideal for creating rich organ voices think of each operator as different organ stops which can be mixed together as desired The algorithm alone however does not determine the actual sound of the voice The vital characteristics of the voice you create depend mostly on the frequencies and levels you program into each operator The 8 algorithms provided in the DX21 were specially selected because they offer the broadest range of voice programming possibilities The results of using different frequency ratios as well as different algorithms are shown graphically in the accompanying illustration in the left column you see the waveforms created by 1 1 2 1 and 3 1 ratios between one modulator and one carrier In the right column you see the waveforms which result from the same three ratios but when the two operators used are both carriers connected horizontally this is known as additive synthesis 31 FM SYNTHESIS ADDITIVE SYNTHESIS Modulator and carrier combinations Carrier and carrier combinations Frequency ratio of modulato
74. rmat no f 3 dump request is received The transmitted data is showm in voice parameter table 5 2 The checksum is the lowest 7 bits of the two s complement sum of all data bytes the same applies below 3 32 Voice Bluk Data Status 11110000 ID no 01000011 Substatus ch no 0000nnnn n channel no Format no 00000100 Byte count 00100000 Byte count 00000000 Data Oddddddd 4096 bytes Oddddddd Checksum Oeeeeeee EOX 11110111 The data of 32 voices in RAM memory will be transmitted if the YES BULK key is pressed in response to the MIDI Transmit display which appears when the BULK key is pressed in the FUNCTION mode The data for all 32 voices will also be transmitted when a format no f 4 dump request is received The transmitted data is shown in voice data table 5 1 55 bytes of O s are added to the 73 bytes in this table so 128 bytes are transmitted for each voice 4096 bytes are therefore transmitted for all 32 voices 3 Reception Conditions FE ACTIVE SENSING 8n NOTE OFF 9n NOTE ON OFF Bn 40 SUSTAIN SWTCH PITCH BENDER Bn 01 MODULATION SLIDER 502 BREATH CONTROL OMNI CH 9776 INFO Bn 05 PORTAMENT TIME oS Bn 06 DATA ENTRY LEVEL MIDI IN Bn 07 VOLUME Bn 41 PORTAMENTO SWITCH Cn PROGRAM CHANGE SFO 43 1n 08 PARAMETER CHANGE MEMORY SWITCH REMOTE PROTECT SFO 43 0n 04 32 VOICE BULK OFF OMNI SFO 43 1
75. rophone input WHITE gt cassette deck earphone output BLACK cassette deck remote input The DX21 does not output cassette remote control signals so this jack may be left unconnected Plug the DX21 AC power cord into an AC wall socket Be sure that your local line 7 AC Power voltage matches that specified on the DX21 rear panel The POWER switch is located next to the AC cord on the rear panel NOTE When setting up your system be sure to turn the DX21 and any effects units used on BEFORE turning the main amplifier system on This will prevent the initial power on shock surge from possible damaging your amplifier and speaker system The music rack supplied with the DX21 fits into the two sockets on the rear pane 8 Music Rack see diagram Installation STEREO HEADPHONES DX21 CONNECTIONS BC1 BREATH CONTROLLER To MIDI EQUIPMENT DIRECT OUTPUT OF FROM MIDI SIGNAL RECEIVED EQUIPMENT AT MIDI IN Lope TII A ia toe tl oo yl n YAMAHA AUR AA 4 60607 436 Zi 8tc SUSTAIN lt 5 lt zs zu A A AA A i p CSS PORTAMENTO ON OFF FOOTSWITCH N So FOOT VOLUME CONTROL SPEAKER WITH BUILT IN POWER AMP I I g ON OFF FOOTSWITCH i 1 1 I I 1 MIXER OR STEREO SOUND SYSTEM CHAPTER II PLAYING THE D
76. s voice will not require all operators in an algorithm Operators that are not needed should be turned OFF while editing Also during the voice creation process It is a good idea to start with all operators OFF and then turn them ON one at a time as you program and add them to the algorithm The four digits immediately following the algorithm number on the upper display line represent the four operators 1 through 4 in order from left to right When an operator is ON a 1 appears the corre sponding position and when an operator is OFF a 0 appears in the corresponding position Each press on the A1 through 4 buttons alternately turns the corre sponding operator ON and OFF When the AMPLITUDE MODULATION SENSITIVITY parameter is selected A14 these switches are used to determine to which operators the sensitivity setting will apply When the EG COPY function is in use these switches are used to select the operator to which the data from the currently selected operator will be copied The EG COPY function copies the ENVELOPE GENERATOR and KEYBOARD SCALING data from one specified operator to another This can save a lot of programming time when operators are to be programmed with the same or similar data The EG COPY procedure is described in the illustration below Select OPERATOR from which data is to be copied gus Tra a ALG 1 1111 OP 1 e ES EG AR 31 EG COPY EG Cory W from a source OPERATOR
77. selected operator The data range is from 0 to 99 At O the operator is OFF and a setting of 99 produces maximum output level from the selected operator Varying the output level of an operator which is functioning as a carrier results in a change in the overall level of the sound contributed to the voice by that operator while varying the output level of an operator which is functioning as a modulator results in a change in the harmonic spectrum produced by the carrier thereby changing the timbre of the sound Data is entered using the DATA ENTRY control or switches eALG 3 1111 OP 2 OUTPUT LEVEL 99 B9 RATE SCALING KEYBOARD SCALING RATE LEVEL m E 90 This parameter makes it possible to gradually shorten the overall envelope length increase EG rate as higher notes on the keyboard are played This is particularly useful for simulating the sound of stringed instruments such as piano or guitar in which the envelope of the higher notes is noticeably shorter than the lower notes eALG 3 1111 OP 2 RATE SCALE 1 The data range is from O to 3 At O RATE SCALING is minimum and at 3 the greatest variation in envelope length is produced 41 B10 LEVEL SCALING This parameter produces a gradual decrease in note output level towards the right high end of the keyboard Many acoustic instruments exhibit a gradual falloff in level towards the higher notes and this function can be used to create the most na
78. t several feet from such sources in order to prevent possible random malfunctions CHAPTER I SETTING UP 1 Audio Outputs 2 Optional Foot Controllers amp Foot Switches 3 Optional BC1 Breath Controller 4 Headphones 5 MIDI Terminals 6 Cassette The DX21 has two audio outputs one for each tone generator channel These are labelled MIX A and B When a plug is plugged into the MIX A output only the sound from both the A and B tone generator channels will be mixed and delivered via the MIX A output When plugs are inserted into both MIX A and B jacks however the channel A signal will be delivered via the MIX A output and the channel B signal will be delivered via the output This permits sending a stereo signal to a stereo sound system giving you the full impact of the DX21 s dual and split play mode capability The remaining three phone jacks are for optional foot controllers and footswitches The VOLUME jack accepts a Yamaha FC 7 or equivalent foot controller for volume or swell control The SUSTAIN jack accepts a Yamaha FC 4 or FC 5 footswitch or equivalent for sustain control press for sustain release to damp And the PORTAMENTO jack also accepts a Yamaha FC 4 or FC 5 footswitch or equivalent permitting ON OFF switching of the programmed portamento effect Yamaha s unique BC1 breath controller is plugged into the mini jack on the rear panel The PHONES jack accepts any
79. tch bend wheel modes Low High and K on in the Low mode the pitch bend wheel affects only the lowest note played on the keyboard In other words if a chord is played the pitch bend wheel affects only the pitch of the lowest note in the chord this makes it possible to produce some interesting effects The High mode is just the opposite only the highest note played will be affected by the pitch bend wheel In the K on Key on mode all notes played are affected simultaneously by the pitch bend wheel while notes sustained using the sustain footswitch will not be affected The DATA ENTRY control and 1 31 switches can be used to select the desired mode The PB MODE MODE SET does not function in the SPLIT play mode FUNCTION CONTROL Bend Mode Low B3 PORTAMENTO MODE H 221 MODE TIME FOOT SW PORTAMENTO Two different portamento modes are available Fuli Time Portamento and Fingered Portamento When the POLY MONO function is set to POLY button B1 only the Full Time Portamento mode is accessible In the MONO mode you have a choice between the Full Time and Fingered portamento modes 1 Full Time Porta MONO and POLY modes A conventional portamento effect in which portamento occurs whenever a new note is played 2 Fingered Porta MONO mode only Portamento only occurs if the previously played note is held while the next note is played This mode is useful in re creating the effect of guitar string bendi
80. th Celeste Circus time 1 2 3 4 5 6 7 8 FM PULSE FM SAW TOOTH LFO NOISE PINK NOISE ROUP 8 PERCUSSION 1 GROUP 16 SOUND EFFECT 3 tat Strings Silk Cello Glocken Hamarimba Claranette Wind bells Bassoon Synvox Orchestra Steel Drums Pan Floot Punk funk Soto Violin Tube Bells Lead Reed Whistling Box Cello Temple gong Mono Sax Voices Rich string Mamarimbs Fiute wood Zing Plop 5th String Pizzicato Good Vibes X BC1 gt Sax Valve Bells Belis o ow a win 1 Hrmnca oj yujo Mars to CHAPTER III THE FUNCTION MODE The FUNCTION mode permits access to four groups of functions tuning functions MIDI functions memory management functions and performance functions In this chapter we il describe each of these functions what they do and how they are programmed 1 Accessing the FUNCTION Mode 2 Entering Function Data The FUNCTION mode is accessed by pressing the FUNCTION button to the left of the LCD display Individual parameters to be programmed are then called by pressing the appropriate voice selector button Note that when the FUNCTION mode is active pressing a voice selector button calls the corresponding FUNCTION parameter these are the functions printed in brown below each voice select
81. tional Foot Controllers amp Foot Switches Optional BC1 Breath Controller Headphones MIDI Terminals Cassette AC Power 8 Music Rack Installation NORWOOD CHAPTER II PLAYING THE DX21 1 The 32 Voice RAM Memory 2 The SINGLE Play Mode 3 The DUAL Play Mode 4 The SPLIT Play Mode 5 The 128 Voice ROM Memory CHAPTER THE FUNCTION MODE 1 Accessing the FUNCTION Mode Entering Function Data The Performance Parameters Tuning Functions Memory Management Functions MIDI Functions OO NOONAN E W O p ON CHAPTER IV THE PERFORMANCE MEMORY 1 Performance Memory Organization 2 Accessing the Performance Memory 3 Programming the Performance Memory 4 The Performance Name 7 CHAPTER V VOICE PROGRAMMING 29 1 The Basics of FM Synthesis 2 The EDIT and COMPARE modes 3 The Voice Parameters 4 STORING Voice Data 5 Two Approaches to Creating Your Own Voices 222 43 GENERAL 5 5 45 MIDI DATA FORMAT 1 Transmission Conditions 2 Transmission Data 3 Reception Conditions 4 Reception Data 5 System Exclusive Data DATA CHAHT nues eed 57 PRECAUTIONS 1 Location 2 Cleaning 3 Service
82. tural overall keyboard response for any particular voice The data range is from 0 to 99 At 0 no level scaling is applied At 99 the deepest keyboard level scaling effect is produced and highest note on the keyboard may be almost inaudible Set this parameter for the most natural overall balance for the particular voice eALG 3 1111 OP 2 LEVEL SCALE 25 811 16 PITCH ENVELOPE GENERATOR PR1 PL1 PR2 PL2 PL3 PITCH ENVELOPE GENERATOR PRI PLI PR2 PL2 B Goo Gs ws m 3 ES These switches select the specific pitch envelope generator parameters to be worked on PITCH RATE 1 PITCH LEVEL 1 PITCH RATE 2 PITCH LEVEL 2 PITCH RATE 3 and PITCH LEVEL 3 Note that the parameters are slightly different from those of the volume envelope generator and that there are six parameters instead of five The data range for all pitch envelope generator RATE and LEVEL parameters is 0 to 99 For the RATE parameters 99 is the fastest rate instantaneous 0 the slowest The LEVEL parameters actually correspond to pitch 50 is standard pitch 99 is the highest pitch and 0 is the lowest pitch reachable with the pitch EG The following chart shows the relationship between the pitch EG rate and level pa rameters 4 oct 92 PLI Pitch level 9 4 oct PL3 Pitch Level 3 is the level pitch at which the note begins and finishes PR1 Pitch Rate 1 is the speed at which the pitch moves from PL3 to PL1 when a
83. ty sensitivity keyboard touch response its tone generator is capable of receiving key velocity information from an external keyboard which has this capability b MODULATION WHEEL Modulation wheel position BREATH CONTROLLER Breath controller pressure d PORTAMENTO FOOT SW Portamento footswitch on off status e PROGRAM CHANGE Voice memory selection f DATA ENTRY CONTROL DATA ENTRY control position Transmission only g DATA ENTRY SW DATA ENTRY 1 and 1 switch status Trans mission only Pitch bend sustain switch and all keys off status data are transmitted whether this function is ON or OF NOTE The above MIDI data is generally common to all keyboards and equipment compatible with the MIDI system Due to differences in the features provided by some manufacturers however complete compatibility can not be guar anteed A7 SYSTEM INFORMATION This function turns transmission and reception of MIDI SYSTEM EXCLUSIVE INFORMATION data ON or OFF The DATA ENTRY ON and OFF buttons are used to turn this function ON or OFF MIDI SYSTEM EXCLUSIVE INFORMATION consists of voice parameters and related data which is transmitted by the BULK TRANSMIT function A8 described below When this function is ON voice pa rameter changes made in the DX21 EDIT mode are transmitted in real time 25 FUNCTION CONTROL Hidi SY Info 0FF OFF ON 8 BULK TRANSMIT This function permits transmission of 32 Bulk
84. vate the OMNI mode The receive channel is normally set to match the transmission channel of the MIDI eguipment from which the DX21 will be receiving MIDI data Data is entered using the DATA ENTRY control or buttons and the data range is from Midi Omni ON in this state the OMNI mode is ON to Midi Recv Ch 1 through Midi Recv Ch 16 FUNCTION CONTROL FUNCTION CONTROL Midi Omni ON Midi Ch 10 1 16 24 5 TRANSMIT CHANNEL The DX21 can transmit MIDI data on any of the 16 available MIDI channels This function is used to set the desired transmission channel The transmission channels will normally be set to match the receive channel of the MIDI eguipment to which the DX21 will be transmitting data Data is entered using the DATA ENTRY control or buttons and the data range is from 1 to 16 FUNCTION CONTROL Midi Trns Ch 1 1 16 6 CHANNEL INFORMATION This is the MIDI channel information switch It turns transmission and reception of all MIDI BASIC EVENT DATA and OTHER EVENT DATA except for key event data which is always transmitted when the MIDI ON OFF function is ON ON or OFF This function is turned ON or OFF using the DATA ENTRY ON and OFF buttons FUNCTION CONTROL Midi Ch Info ON The data turned ON or OFF by this function consists of the following a KEY VELOCITY Initial touch response data Aithough the DX21 does not have key veloci
85. y have two values e g ON 1 or OFF 0 In some cases you will be required to answer YES or NO to prompts which will appear on the LCD display The 1 NO OFF and 1 YES ON switches are used for this 3 The Performance Parameters Performance parameters are programmable parameters which pertain mainly to real time performance effects such as how the pitch bend and modulation wheels affect the sound Note that performance parameters B1 through B15 are memorized individually for each voice Parameters B1 B15 must therefore be stored in the appropriate voice after editing using the STORE function see CHAPTER V VOICE PROGRAMMING 4 Storing Voice Data 1 POLYIMONO B POLY MONO This function selects either the POLY or MONO note output mode There are two possible settings POLY and MONO the POLY mode the note output configuration depends on the currently selected play mode When the play mode is set to SINGLE up to 8 notes can be played simultaneously When set to SPLIT up to 4 notes may be simultaneously played on each side of the split point 4 4 When set to DUAL up to 4 notes may be played simultaneously In the MONO mode which can only be selected when the DX21 is in the SINGLE play mode the DX21 acts as a last note priority monophonic keyboard In the SPLIT mode it is possible to select one POLY voice and one MONO voice In this case up to seven notes can be played simultaneously on the POLY voice a
86. y pressing the corresponding mode selector button If an error is encountered this fact will be displayed on the LCD If this happens go back and try the SAVE process followed by the VERIFY process one more time If the error persists then you may have to carefully adjust the record and or playback level of the cassette recorder or use a higher quality recorder or tape Be sure to check that all cassette connections are made properly Cad FUNCTIO SAVE VEF Ea gt FUNCTION CONTROL Save to Tape all ready Em E from Mem to Tape ON Start cassette recorder in RECORD mode EDI INT A 1 to Tape counts down from A1 to B16 Press to stop SAVE during execution appears when FUNCTION CONTROL SAVE completed L Verify Tape YES Ey Verify Tape ready Rewind cassette to beginning of file and enter PLAY mode EJ gt Verify Tape Al counts down from 1 to B16 appears if tape is verified with errors VERIFY COMPLETED 21 14 CASSETTE LOAD This function loads a complete set of 32 voices from cassette tape into the DX21 RAM voice memory Before using this function make sure that all cassette con nections have been properly made as described in CHAPTER 1 SETTING UP Also make sure that the DX21 MEMORY PROTECT function A16 is OFF When this function is initially called the LCD will read Load from Tape Confirm your
87. y to the individual operator EGs but it affects the overall pitch of the voice rather than level and timbre This is useful for creating certain types of voices whistling for example in which the pitch of the note usually starts out a bit low and then sweeps up to the proper pitch 33 2 The EDIT and COMPARE Modes 3 The Voice Parameters To actually program or edit a voice you need to enter the EDIT mode This is done by pressing the EDIT COMPARE switch in the group of switches to the left of the LCD panel eALG 3 1111 OP2 EDIT FREQUENCY 9 56 When the EDIT mode is activated the upper line of the LCD will indicate the currently selected algorithm the operator ON OFF status the group of four 1s or Os and the currently selected operator The lower disply line will indicate the currently selected voice parameter The last voice selected in the PLAY mode will be selected for editing The individual voice parameters are then selected by pressing the corresponding voice selector switches all voice parameters are printed in violet above the voice selector switches The selected parameter is then programmed using the DATA ENTRY control and or switches The individual parameters will be de Scribed in detail below Once the EDIT mode has been called and any parameter change has been made a small letter will appear in the top left corner of the LCD indicating that editing is in progress You can

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