Yamaha Corporation After Touch Magazine Archive Apr 1987 Issue 04

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TM

THE OFFICIAL PUBLICATION

OF

THE YAMAHA USERS

GROUP

APRIL

1987

C)

)

YAMAHA®

Editor

Tom Darter

Operations

Sibyl Darter

Editorial

Board

Bob Frye

Bill Hinely

Mark Koenig

Jim Smerdel

Cover

Photograph

Jim Hagopian

AFTERTOUCH

is

pub-

lished monthly. Third class

postage paid at Long

Prairie, MN and additional

points of entry.

SUBSCRIPTIONS:

Free.

Address subscription cor-

respondence to AFTER-

TOUCH,

P.O.

Box

2338,

Northridge,

CA

91323-

2338.

POSTMASTER:

Send form 3579

to

P.O.

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April1987

Volume 3, Number 4

Issue

#19

4 SONG

BELLS

A

new

DX7 voice created

by

Bruno

Choiniere.

5 STEELPANS

A

new

DX7 voice created

by

Edward Ritch.

6

SHIMMER

A

new

DX7 voice created

by

Paul Huang.

7 MRMOOGFC

A

new

DX7 voice created

by

Bob Lewin.

8 BassnDyno

A

new

TX81Z

Performance setup created by Michael

A.

Huisman.

10

CX5M 11/128

An

introduction

to Yamaha's new music computer.

By

Tom

Darter.

12

RX5

A

drummer

looks

at

the

musical capabilities

of

the

RX5 digital

rhythm

programmer,

and

offers some new applications

and

perspectives.

By

Gardy Weber.

16

MoloElPnos

A

new

TX81 Z Performance setup created by

Scott

Plunkett.

17

Big

Wash

A

new

TX81Z

Performance setup created

by

Scott

Plunkett.

18

BigS

lap

A

new

TX81Z Performance setup created

by

Scott

Plunkett.

Box 2 3 38,

Northridge

•

CA

re

I9R7 Y,Jmaha

lmernanonal

Corporation.

No

p,Jrt of

th1~

puhltccltlon

may

he

reproJuccJ,

stored

111

,1

rl'meva!

~y.~tem,

m tran::.m1w:J 1n

,m\

torm

tH

hy

anv

meam,

9132

3~

2 3

38.

clct.:tnmtuJI!y, mcchanJcally,

rh•>ttlCtlpymg,

rccmJJng,

tlr tlthcrv.tst',

wtthtmt

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Y,nnah,l lnternatllm,ll Corptlf<ltltltl.

2 AFTERTOUCH!Vol. 3 No. 4

From

The

Editor

T

OTS

OF

IMPORTANT

INFORMATION

.Lto

pass

on

this

month,

so let's get right

to it.

Product

Literature:

All requests for specific

product literature must go directly to Yamaha

[Yamaha Music

Corporation

USA,

P.O. Box

6600,

Buena

Park,

CA

90622].

We

at

AfterTouch are happy to receive specific ques-

tions concerning

the

use

of

Yamaha professional

music products,

and

we

will answer

as

many

of

them

as

we

can

in

the

Questions column; how-

ever, requests for general product information

must be sent directty to Yamaha.

Last

Month's

TX81Z

Voices:

In

the

March

1987 issue

of

AfterTouch,

we

inadvertently

printed confusing Frequency

data

in

both

of

the

TX81Z voice patches.

The

biggest giveaways

were

the

Frequency

Coarse

settings

in

the

"MaleYoices" voice [AfterTouch, March 1987,

page 17]: operators

#3

and

#4

were listed

as

"0"

and

"28"

respectively-and,

as

all TX81Z

owners know,

both

of

these settings are im-

possible.

Well,

the

real

problem

is

that

we

didn't

explain

the

TX81Z

data

charts as well

as

we

should have.

The

charts

were created using

the

prototype

of

a

new

CAY

(computer-assisted

voicing) program for

the

TX81Z.

In

the proto-

type version

we

used,

the

numbers listed for

both

Frequency Coarse (ratio)

and

Frequency

Fine

(ratio)

do

not

represent

the

actual

settings-rather,

they represent a value

within

a

range

of

values for

both

parameters.

There

are

64

possible values for

the

Frequency

Coarse

parameter

(from 0.

50

to

25.95

if

Frequency

Receive

AfterTouch

Free Every

Month!

Fine

is

at

its lowest setting),

and

the

prototype

CAY program simply

numbered

these from 0 to

63.

There

are

either

8 or 16 possible Frequency

Fine settings associated

with

the

various Fre-

quency Coarse settings,

and

the

CAY

program

numbered these from 0

to

15.

The

actual Fre-

quency settings for

the

two voices are as follows:

MaleYoices

Op

#1-1.50

(ratio)

Op

#2-1.49

(ratio)

Op

#3-0.

75

(ratio)

Op

#4-9.06

(ratio)

Tpt&Woodwd

Op

#1-1.50

(ratio)

Op

#2-1.50

(ratio)

Op

#3-1.49

(ratio)

Op

#4-1.49

(ratio)

To get these Frequency settings, simply start

from

the

lowest

Frequency

Coarse

and

Fre-

quency Fine settings,

and

press

the

+

1/INC

button

the

number

of

times indicated

by

the

numbers

in

the

charts.

Our

apologies for

the

confusion.

The

TX81Z

patch

charts

in

this

month's

issue show

both

the

actual Frequency settings

and

the

value range

numbers.

AfterTouch/Yamaha

Reader

Survey:

Once

again,

we

want

to

thank

the

thousands

of

read-

ers

who

participated

in

our

first Reader Survey.

Your

response was astounding.

The

Grand

Prize

winner

is

After

Touch reader

Continued on

page

20

Y

OU

CAN

RECEIVE

AFTERTOUCH

for

an

entire year, absolutely free, just

by

asking. If you are

not

already

on

our mailing list

and

would like to be, fill

out

the

attached

postcard. Be sure

to

sign

the

card (a postal regulation); it lets

us

know

that

you

really

want

to

receive AfterTouch.

After

you

have

filled

in

the

relevant information,

put

a stamp

on

the

postcard

and

mail it to us.

When

we receive

the

card, we'll

put

you

on

our

permanent

mail-

ing list,

and

you will receive twelve issues

of

AfterTouch absolutely free!

There

is

absolutely

no

obligation,

and

no

other

strings are attached.

(By

the

way,

if you received

this

issue

in

the

mail, you are already

on

our

perma-

nent

mailing list, so you

don't

need

to send

in

another

card.)

Also,

don't

limit yourself to just sending

in

your address: Let

us

know

what

you

want to read,

and

what

you have to offer (see page 19 for details).

We

look forward

to your input.

AFTER,

TOUCH

is

a

monthly

informational

publication from

Yamaha

To receive

AFTER,

TOUCH

every

month, abso,

lutely free, just

put your name

and address

on

the enclosed

card and mail it

to

us.

Vol.

3 No.

4/

AFfERTOUCH 3

~~~~~

~~~~~~=:~

-----

~

SONG

BELLS.

A

NewDX7

Voice

By

Bruno

Choiniere.

These

DX7

voices

can

also

be loaded into

all the other

Yamaha 6,oper,

ator

FM

digital

synthesizers and

tone generators,

including the

DXS,

TX7,

TX216, TX816,

TFl, DXl,

and

DX7

II

FD/D.

4 AITERTOUCH/Vol. 3 No. 4

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STEEL PANS.

ANewDX7

Voice

By

Ed

..

ward

Ritch.

Notes:

Use

this

patch

as

a

starting

point

for

your

own

steel

drum

creations.

It

was

created

by

editing

the

factory

timpani

patch.

Play

this

voice

with

vibrant

dynamics-hit

it

hard,

just

as

you

would

a

real

pan,

for

loudness

and

brightness.

Vol.

3 No.

4/

AFTERTOUCH 5

- - 7

- -

-=-

-

--

~

-=-

SHIMMER.

ANewDX7

Voice By

Paul

Huang.

6 AFTERTOUCH!Vol. 3 No. 4

js~~~P\

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SCALING

Cl.IRVE

BREAKPOINT

DE

I'll<

LI-LI

ILio

A-1

R I -L I I R I 0

OPO

I

OUTPUT

LEVa.

I

VELOCITY

4 84 1

~

FREQUENCY

I

DETI.INE

1.230 Hz +7

I"MS

0

ENVB.OP1E

DATA

R1

IR2

IR3

IR

4

IRS

71

70

20

43

0

L1

IL2

IL3 IL4

I

999284

0

KEYBOORD

SCALING

CURVE

BREAKPOINT

DEPTH

LI-LI

ILio

A-1

RI·LI

IRio

OPO

I

OUTPUT

LEV

B.

I

VELOCITY

3 99 1

I

MRMOOG

FC. A

New

DX7 Voice By

Bob Lewin.

Notes:

This

sound

is

intended

for

lead

synthesizer

work.

It

is

scaled

very

simply,

but the tone

changes

dramatically

with

the

slightest

movement

of the Foot

Controller.

Aftertouch

adds

another dimension of

expres-

sive

control.

If

desired,

Portamento

can

be

added,

to

approximate

yet

another

important

lead

syn-

thesizer

effect.

Vol.

3 No.

4/

AITERTOUCH 7

TX81Z

BassnDyno. A

NewTX81Z

Performance

Setup

By

Michael

A.

Huisman.

Notes:

This

TXBI Z

perfarmance

setup

is

based

on

three

new

voice

patches:

"]

aco

Bass2,

"

"Jazz

Walker,"

and

"CharusMeEP.

"

8 AITERTOUCH/Vol. 3 No. 4

I name:

BassnD:ino

II

1 : Jaco Bass2

5:

assign mode

NORM

2:

JazzWalker

6:

micro tune select OCT.

3:

ChorusMeEP 7:

effect select DELAY 4:

inst. number 2 3

number

of

notes 1 1 6

voice number

I32

I31

I30

receive ch. 1 1 1

key limit /L

C-2 C-2

C#

3

key limit /H c 3 c 3 G 8

detune

+3

-3

+0

note shift

+12

+0

volume 99 99

99

out assign L R

LR

lfo select 1 1

VIB

micro tune OFF OFF

OFF

on/off

ON

out level 99

80

81

70

freq. type

RTO RTO RTO

RTO

fix range

255 255 255

255

freq. coarse o o o 8

freq. fine o o o o

detune

+0 +3

-3

+0

·······:·:c~·····T··

..

··:·::;·~·····T······:·:;·~·····T······~·;j:·······

0.50

~

0.50

~

0.50

~

2.00

ENVELOPES------------~

attack rate

15

18

31

decay 1 rate 8

decay 1 level

11

decay 2 rate 0

release rate 8

eg shift OFF

10

11

6

12

11

0'

15

8 8

2

5

8

OFF OFF OFF

SCALING/SENS

------,.

rate o

level

o 1

0

1

0

ams on/off OFF OFF OFF OFF

sans eg bias 0 0 0 0

key vel 1 o 1 1

8:

4 5 6 7 8

0 0 0 0 0

I01

I01 I01

I01

1 1 1 1 1

C-2

C-2 C-2

C-2

G 8 G 8 G 8 G 8 G 8

+7 +7 +7 +7 +7

+0 +0 +0 +0 +0

90 90 90 90 90

LR LR LR

LR LR

1 1 1 1 1

OFF

voice name: Jaco Bass2

algorithm no. 2

feedback 1

LFO------------------~

waveform

tC:...v

speed

25

amp mod depth o

pitch mod depth 6

sync OFF

delay 8

sans OFF

sans 4

FUNCTION--------~

mode

POLY

mid

C = c 2

rev rate 0

pb range 2

·········

pitch

50

portamento FULL

porta time o

vol

99

~

pitch 0

amp o

pitch

50

amp 0

~

amp o

,

eg

bias o

!

........

p bias

+0

TX81Z

OPERATOR 0 1 voice name:

JazzWalker

..

on/off

ON

out level 99 74 65 70 algorithm no. 4

freq. type

RTO RTO

feedback 7

fix range 255 255 255 255

freq. coarse 4 0 4 8

freq. fine 0 0 0 0

detune

+0

-3

+3

·······:·1·~··

...

T.

·····:·2·~

......

~

·······:·)·~

.....

T"

....

·~·4·

:·····

..

1.00

~

0.50

~

1.00

~

2.00

LFO

ENVELOPES

waveform~

sync

OFF

attack rate 31 31 31 29 speed 28 delay 0

decay 1 rate 9 1

17

10 amp

mod

depth 0 sens

OFF

decay 1 level 9 0

13

4 pitch mod depth 0 sans 5

decay 2 rate 0 0 6 0 FUNCTION

release rate 9 8 8 8 mode

POLY

mid C = c 2

eg shift

OFF

12

24 portamento

FULL

rev rate 0

SCALING/SENS

porta time 0 pb range 4

rate 0 2 3 3

vol

99

.........

pitch 0

level 0 0 27 0

~

pitch 0 ' amp 0

ams on/off

OFF

OFF OFF

........

amp 0

:(i'

eg

bias 0

sans

eg

bias 0 0 0 0

~

pitch 75

~

........

p bias

+0

key vel 1 0 7 3 amp 0

OPERATOR 0 1 voice name: ChorusMeEP

on/off

ON

out level 99 85 83 83 algorithm no. 5

freq. type

RTO RTO

feedback 6

fix range 255 255 255 255

freq. coarse 4 0 4 42

freq. fine 0 0 0 0

detune

+3

-3

+3

.......

:·1·~···

..

T

·····

·:·2·~

......

~

.......

:·)

·~·····T···

···~·4·

:····

...

1.00

i

0.50

~

1.00

~

14.00

LFO

ENVELOPES

waveform~

sync

OFF

attack rate 28 31 31 30 speed 20 delay 0

decay 1 rate 4 0

18

14 amp

mod

depth 2 sans 48

decay 1 level 10

10

13

9 pitch mod depth 1 sens 2

decay 2 rate 0 0 6 15 FUNCTION

release rate 7 7 8 14 mode

POLY

mid C = c 3

eg shift

OFF OFF

portamento

FULL

rev rate 7

SCALING/SENS

porta time 0 pb range 2

rate 2 1 0 1

.........

vol

99

.........

pitch 50

level 0 48 0 0

~

pitch 0

~

amp o

ams on/off

OFF

ON

OFF OFF

.........

amp 0 ,

eg

bias o

sens

eg

bias 0 0 0 0

~

pitch 50

~

........

p bias

+0

key vel 2 3 3 3 amp 0

Vol.

3 No.

4/

AITERTOUCH 9

CXSM

11/128

An

lntro

..

duction To

Yamaha's

New

Music

Com

..

puter.

By

Tom

Darter.

Two

KS

1 0

powered

monitor

speakers

can

be

used

as

an

in-

expensive

sound

system

for

the

stereo

outputs

of

the

SFG

li

digital

FM

synthesizer

built-in

to

the

CXSM

I/1128.

Y

AMAHA'S

NEW

CX5M

II/128

mustc

computer

offers a

number

of significant

improvements over

the

original

CX5M,

while

at

the same time

maintaining

the

goal of its

predecessor-

it

provides

a

very

affordable

introduction

to

the

world

of

computer-assisted

music making. Even

though

the

CX5M

II

repre-

sents a major

advance

in

computing power, it

maintains complete compatibility with all pro-

grams

created

for

the

original CX5M.

And,

at

the

same time, it

is

(of course) compatible with

all programs created for MSX-based computers.

Memory

Expansion

Perhaps

the

most significant

change

in

the

new

music

computer

is its

increased

RAM

memory.

The

original

CX5M

had

only

32K

bytes

of

internal

RAM,

which

meant

that

it was

impossible to work

with

the

MSX Disk

Operat-

ing

System

(MSX-DOS),

which

requires

an

internal

RAM

of

at

least 64K bytes.

The

new

CX5M

II/128

has 128K bytes

of

internal

RAM,

so

it has more

than

enough

memory

to

deal with

the

standard

MSX-DOS

operational

and

pro-

gramming

routines.

MSX-DOS

opens

up a

whole

new

world

of

disk-based

software for

MSX

computers-a

world

that

can

now

be ex-

plored

with

the

CX5M

II/128

music

computer

~-~---

10 AITERTOUCH/Vol. 3 No. 4

(when

equipped

with

the

optional FD03 3.5"

disk drive).

Increased

Music

Program

Power

The

expanded memory

of

the

new CX5M

also increases

the

power

and

flexibility

of

a

number

of

Yamaha music programs first created

for

the

original

CX5M.

The

YRM301 MIDI Recorder Program car-

tridge

is

one

of

many

that

benefits from the

CX5M

II/128's

increased memory. If you boot

up this program

on

the

original CX5M, the free

byte indicator will tell you

that

you have 20,959

bytes to work with. Using the new CX5M II/

128

(with

a disk drive

connected),

the free byte

indicator will tell you

that

you have resources

totaling 114,751 bytes.

The

YRM501 Music

Composer

II

Program

cartridge

is

another

that

has

much

more capac-

ity

when

used

with

the

new

CX5M

II/128. If

you boot this program

on

the

original CX5M,

you will be told

that

you have

8,359

steps left to

work with. Using

the

new

CX5M

II music com-

puter

(with a disk drive

connected),

you will

find

that

you

have

16,370 available steps.

Increased

Word

Processing

Power

In

addition

to

its increased usefulness

as

a

music computer,

the

new

CX5M

II/128

also

provides more flexibility

as

a word processor

(when

used in

conjunction

with

the TWE01

Word Processor/Teleword

Enhancer

Program

cartridge).

The

original

CX5M

only offered 40-

column

resolution ( 40 characters per line

on

the

monitor),

but

the

new

CX5M

II/128

can

be

set

to

SO-column resolution (80 characters per

line

on

the

monitor).

Internal

Synthesizer

The

most

unique

feature

of

the

original

CX5M

is

of

course offered

as

part

of

the

new

unit.

The

CX5M

II/128

comes equipped with a

built-in FM digital synthesizer

tone

module.

Now

called

the

SFG

II in

the

new computer

owners manual, this built-in synthesizer

is

the

same

as

the

SFG05

tone

module-offered

last

year

as

an

upgrade

to

the

CX5M's

first FM digi-

tal

tone

module

(the

SFGOl).

The

SFG

II

is

an eight-voice, 4-operator

FM

digital

tone

module

that

is

fully programmable.

To assist you in programming

the

SFG II, the

CX5M

II/128

is

shipped

with

the

YRM502

FM

Voicing Program II. Housed in a new "small

cartridge" package, this program

is

the

first cre-

ated to fit in

the

CXSM

II/

128's "small car-

tridge"

port

(included in

the

front

portion

of

the unit).

In order

to

take full advantage

of

the

musical

capabilities

of

the

SFG

tone

module, it

is

nec-

essary

to

connect

either

a Music Keyboard

peripheral (YK01, YK10,

or

YK20)

or

a MIDI

keyboard to the CXSM.

The

Music Keyboard

peripherals have their

own

connection

termi-

nal, while MIDI keyboards

can

be

connected

via

the

MIDI

terminals

associated

with

the

SFG

II

tone

module.

Cartridge

Ports

The

most obvious physical

change

in

the

new

CXSM

is

the inclusion

of

two cartridge ports

on

the

unit's

top

panel.

The

extra

port

makes

memory management

much

easier: it

can

be

used either to

connect

an

FD03 disk drive

or

to

house a UDC01

data

cartridge.

In addition to these two cartridge ports,

the

CXSM

Ill

128 also has a third, smaller cartridge

port located in

the

front portion

of

the

unit.

At

present, this

port

should be used

to

connect

the

included

FM

Voicing Program

II

(equivalent

to

the YRM502

FM

Voicing Program II)

to

the

computer.

In

the

future,

other

program

car-

tridges

in

this

smaller

format

will

become

available.

Increased

Interface

Options

The

new

CXSM

Il/128

has

many

new

connection

terminals,

which

make

it

much

easier to hook

the

unit up

to

various peripher-

als. For example, the composite

video/

audio

output

can

now be

connected

using

standard

RCA

connectors (which means

that

the

old

VC02 cable

is

no

longer needed).

In addition, the CXSM

II

now has a dedi-

cated RF

output

connector, which means

that

you

can

connect

the

unit directly

to

your televi-

sion set (without needing

to

use

the

RF02

con-

nector

cable). A

channel

select switch allows

you to choose between

channel

3

and

channel

4

when

connecting

to a standard

TV

set.

There

is

also a dedicated RGB

output

(for direct

connec-

tion to an

RGB

monitor).

The

new CXSM also has a monitor-select

switch

that

allows you to choose

either

"color"

or

"black-and-white."

The

black-and-white

setting

can

be useful for increasing

the

clarity of

displays

on

sub-standard video monitors.

All

standard

connections

from

the

original

CXSM are

of

course retained in

the

new unit:

There

is

a

port

that

allows direct

connection

of

a PN

101

printer,

and

the cassette interface

is

also retained (so

that

cassettes

can

be used

as

a

storage

medium).

The

SFG

II

tone

module

(which

fits

into

the

CXSM's

slide

slot)

is

equipped

with

both

audio

and

MIDI terminals.

01 BRASS 1

13

EORGAN 2

25

CLAV

37

02

BRASS 2

14

PORGAN 1

26

HARP

SIC

38

03

TRUMPET 1 5 PORGAN 2

27

BELLS

39

04

STRING 1

16

FLUTE

28

HARP

40

05

STRING 2

17

PICCOLO

29

SMADSYN

41

06

EPIANO 1

18

OBOE

30

HARMON I

42

07

EPIANO 2

19

CLARINET

31

STEELDR

43

08

EPIANO 3

20

GLOCKEN

32

TIMPANI

44

09

GUITAR

21

VIBRPHN

33

LO

STG 1

45

10

EBASS 1

22

XYLOPHN

34

HORN

LO

46

11

EBASS 2

23

KOTO

35

WHISTLE

47

12

EORGAN 1

24

ZITHER

36

STORM

48

F003 3.5"

disk

drive.

This

table

lists

the

internal

voices

of

the music computer's

built-in

SFG

II

digital

FM

synthesizer.

RM.

BRAS

RM.

FLUT

RM. GUIT

RM.HORN

R1. BASS

R2.

BASS

SNAREDR

RD

CYMB

PERC

1

PERC

2

CSM

Vol.

3 No.

4/

AFTERTOUCH

11

RX5

A Drummer

Looks

At

A Digital

Rhythm Pro

..

grammer,

And

Offers

New

Musical

In

..

sights.

By

Gardy

Weber.

RX5

digital

rhythm

programmer.

TO

PLAY

THE

SNARE

DRUM,

an

aspir-

ing virtuoso spends years in avid practice.

At

the beginning, as

when

one learns

to

walk,

the movements are awkward, difficult,

and

un-

familiar.

However,

the

efforts

are

soon

re-

warded. As one learns

and

masters

the

fun-

damentals, the urge to find

and

accomplish

the

grip

of

the

sticks

to

the

movement

of

the

wrists, a player

hones

his

ability.

The

student works through

the

26 Basic

Rudiments, the core for

the

development

of

his

technique.

As musical

growth

takes

place,

these early steps

can

preage

the

skills

of

an

Elvin

Jones or a Tony Williams. Teachers

and

books,

listening

and

practice; these are

the

sources

and

tools of

the

learning experience.

What

place,

then,

does

the

Electronic Age

have in

the

world

of

a drummer?

Is

this a new

field of knowledge, a new incentive to

learn

the

art

of

drumming?

Or

is

the

"Drum

Machine"

a

tool for non-drummers, a professional replace-

ment

for

the

drummer,

or

a

technician's

idea

of

drumming?

Having

taken

a lengthy hiatus

fro·m

the

music

world, my feeling about electronic instruments

had

long

been

one

of

extreme distaste. A drum-

mer

through

many years

of

practice

and

work,

my first reaction

to

drum machines was

to

dis-

miss

and

ignore

them,

somewhat vehemently.

Several years

of

musical

hibernation

changed

my approach

and

altered

the

initial abhorrence.

I was

open

to

new musical experiences.

12

AFTERTOUCH!Vol. 3 No. 4

Enter the

RXS

Digital

Rhythm

Programmer-

the name itself

is

a

much

more inviting intro-

duction

than

that

provided

by

the earlier

"drum

machine" moniker.

The

quality

of

the RXS's

sounds

and

the

ability

to

manipulate

those

sounds-these

capabilities

immediately

attracted my

attention.

After

having audience

to a demonstration

of

the

RXS, curiosity took

over

and

I was ready

to

sit down

and

explore this

new electronic world.

With

the

RXS

and

its owners manual, one

can

grasp

the

operation

of

the

instrument with-

out

undue difficulty. As you proceed through

this article, you may need

to

refresh your mem-

ory

of

the

instrument's basic operation

by

refer-

ring to the manual.

The

intent

here

is

to

further

the

use

and

com-

prehension

of

the instrument,

and

then

to

make

music. In

what

follows, you will find a

number

of suggestions for ways

of

manipulating sound

on

the

RXS

that

originate from

the

sensibility

of

a drummer.

Real Time Write

The

fundamental operational system

of

most

drum

machines

almost

always

involves

a

composing/recording scheme called Real

Time

Write.

The

RXS

offers an impressive amount of

flexibility

within

this function.

The

list below

shows all

of

the

functions

that

are directly

accessible while composing in

the

Real Time

Write

Mode.

INSlRUMfNl{

LJD[]LJ[][]LJ[J[]LJ[]C

Kf'S

LJLJLJ[]LJ[]LJ[]LJ[]LJ[]

INTE:RNAL

BO

l so 1 RIM 1 E

Tom

1

VOICFS

802

so 2

RIM2

Tom 1

CARTRIDGE

BO

3 so 3

Cga

HMT

Cga

Hop

VOICFS l1mpn

FM

pre 1

OX

mrmb

T1mbiH

RAM

Poe;

tor'

Cp1

Cp2 Cp3

Cp4

VO'Cf'

BO

1 so 1 RIM 1

Tom

1

One

can

enter

and

exit any

of

these func-

tions, changing

the

parameters they control,

without stopping

the

Real

Time

Write

func-

tion. While you are using one

of

these func-

tions,

the

"Write"

portion

of

Real

Time

Write

is

disabled,

but

you

can

still listen to the

Pattern

as

it repeats, and compare your new parameter

settings

to

those already recorded. As soon

as

you are satisfied with a new setting, you

can

begin to record again in Real

Time

Write, sim-

ply

by

pressing

the

Real

Time

Write

button.

Here

is

a list

of

all operational parameters

available for alteration

within

the

Real

Time

Write

mode:

CLICK

On/Off

Volume

Sounding

Subdivision

QUANTIZE

On/Off

Note

Value

SWING

On/Off

Off-Beat Delay Percentage

TEMPO

Metronome

Setting

(slider

or

numeric)

REVERSE

On/Off

E

Tom2

E

Tom3

Tom

2 Tom 1

CgaLO

Bgo

HI

T1rTbl

L FM pre 2

CpS

Cp6

Tom2

Tom 3

DAMP

On/Off

CLEAR

E Tom 4

Torn~

Bgo

LO

FM

pre

3

Cp7

Tom4

Erase (single notes)

KEY

ASSIGN

Voice Assign

Parameter Assign

Multi Voice

Multi

Step

Accent

Levels

Output

Channel

Assign

Save Key

Data

Load Key

Data

Copy

Voice

HHclos

Edge

Ch1na

HH

open

Cup

Crash

Ago

HI

Ago

LO GlsCsh

C stnt Whstl

Gun

OX

clav

OX

arch

Cp8

Cp9

Cp10

HH

clos

Cup

Crash

As

you

can

see, all of

the

Jobs in Key Assign

mode are available during Real

Time

Write.

This

feature

is

very useful, especially since it

gives you

the

ability

to

preview voices

and

voice

changes

before

actually

recording

them

into

rhythm

patterns.

The

following examples illus-

trate this capability.

Example 1.

Working

in

Real

Time

Write

mode, you decide

to

use a different snare drum

voice. Follow these steps:

1)

Press

the

KEY

ASSIGN

button.

2) Select Job

#01

(Voice Assign).

3) Press

Instrument

Key

B.

Continued

Tambrn Shaker

Claps

CowbAI

Hey

Cure

a

Wao E bass H

Ooo E

bass

L

Cp11

Cp12

Claps

Cow

bel

This chart

shows

the

factory

preset

output channel

as<ign-

ments

fur

all

64

voices

avail-

able

on

the

RX5.

This chart

shows

the

stereo

position

assigned

to

each

uf

the

RX5's

12

output

channels.

{

DDDDDDDDDDDD

'"rRu~,E~r

DDDDDDDDDDDD

OUTPUT

1

CHANNfL

S

t

STEREO

8

POSITIONS

2

t

9

3

'

9

4

II.

12

5

'\

10

6

,.

6

7

.If

4

8

"'

13

9

3

....

10

II

11

Jf

5

12

t

8

Vol.

3 No. 4/ AITERTOUCH 13

RXS

This

chan

shows

the

instru-

ment

key

and

stereo

layout

of

the

cymbal

setup

created

using

the

steps

outlined

in

the

article.

Continued

4)

Scan

the

snare voices available using

the

-

1/NO

and

+ 1/YES

buttons;

preview

the

snare voices as you scan

by

tapping

Instrument

Key

B.

S)

Once

you find

the

voice you

want

to

use,

press

the

REAL

TIME

WRITE

button.

6)

You

are

now

recording in Real

Time

Write

mode again,

and

can

continue

to compose

using

the

new

snare voice.

Example

2.

The

snare drum voice you have

picked

is

still

not

quite

what

you want.

You

can

alter

the

voice

with

the

Parameter Assign func-

tion. Follow these steps:

1)

Press the

KEY

ASSIGN

button.

2) Select Job

#02

(Parameter Assign).

3) Press instrument Key

B.

4)

Change

Pitch, Level,

Attack,

and

Decay

parameters, following

the

procedures out-

lined

in

the owners manual.

S)

Preview

the

voice changes while altering

the

parameters

by

tapping

instrument

Key

B.

6)

Once

you have altered

the

sound

of

the

snare voice

to

your satisfaction, press

the

REAL

TIME

WRITE

button.

7)

You

are now recording in Real

Time

Write

mode again,

and

can

continue

to

compose

using the altered snare voice.

Cymbals

produce

particularly

complex

sounds, which have

been

most difficult

to

re-

produce

with

authentic

qualities.

But,

with

recent technological advances,

the

RXS has

managed

to

capture excellent cymbal voices.

Drummers

no

longer

have

to cringe

when

it

comes time

to

program

the

"brass plates."

The

distinctive sound

and

arrangement

of

a

drum kit cymbal setup

can

also be reproduced

using

the

RXS. It

is

possible

to

position

the

var-

ious cymbals of a drum set by placing

them

in

the stereo field.

By

assigning voices to various

output

channels,

they

can

be

arranged

"around"

the

set.

The

following step-by-step

example illustrates

one

way

to

go

about

this pro-

cess. It

is

an

invitation to your

own

invention.

Follow these steps:

1) Press

the

KEY

ASSIGN

button.

2) Select Job

#09

(Copy Voice)

3) Copy

Int-Cup

to

location

Cp

1.

4) Copy Int-Edge to location

Cp2.

S)

Copy

Int-China

to

locations

Cp3

and

Cp4.

6) Copy

Int-Crash

to locations CpS, Cp6,

and

Cp7.

7)

Select

Job

#06

(Output

Channel

Assign)

8) Assign Cp1

to

channel

11.

9) Assign

Cp2

to

channel

11.

10) Assign

Cp3

to

channel

04.

11) Assign

Cp4

to

channel

09.

12) Assign CpS

to

channel

03.

13) Assign

Cp6

to

channel

OS.

14) Assign

Cp7

to

channel

09.

1S) Select Job

#01

(Voice Assign).

16) Assign Cp1

to

Key

K.

17) Assign

Cp2

to

Key

W.

18) Assign

Cp3

to

Key D.

19) Assign

Cp4

to

Key I.

20) Assign CpS

to

Key C.

21) Assign

Cp6

to

Key

E.

22) Assign

Cp7

to

Key

U.

With

these assignments, we have created a full

cymbal arrangement in

the

stereo field.

The

cymbals are set up as they

might

be

in

an acous-

tic situation. (See

the

accompanying diagram.)

From this point, we

can

proceed

to

create a

specific color for

each

cymbal in

the

"kit."

The

choice of cymbal

tone

colors

is

a trademark

of

each

drummer. Listening

to

some

of

your favor-

ite players will show you

how

each

uses cymbal

type

and

tone

to

build

their

characteristic

DDLJDLJDDD~DI;~~~)ID

CDLI:JLI:JUWWO~WWaU

14

AITERTOUCH!Vol. 3

No.4

sound.

Through the altering

of

voice parameters,

various cymbal voices

on

the

RXS

can

be varied

to meet your musical requirements.

The

exam-

ples below show

one

attempt at creating some

of

these individual cymbal sounds. Starting from

the cymbal setup

we

have just created, follow

these steps (to avoid confusion, initialize all

Key

Assign parameters before you begin Voice

Editing):

1)

Press the EDIT VOICE button.

2) Select Job

#01

(Select Voice For Edit).

3) Press

Key

C (CpS-Crash).

4) Select Job

#02

(Pitch

Edit).

5) Enter

pitch

value + 0600.

6) Select Job

#03

(Envelope Edit).

7)

Enter

Attack

value

99, Decay 1 Rate

value 45, Decay 1 Level value 60, Decay

2 Rate value 3 7, Release Rate value 99,

and

Gate

Time

value 6500.

8) Select Job

#04

(Bend Rate/Range)

9)

Enter

Bend

Rate

value

00,

and

Bend

Range value 00.

10) Select Job

#07

(Store Voice).

11) Press

the

+ 1 /YES

button

twice.

12) Select Job

#01

(Select Voice For Edit).

13) Press

Key

D

(Cp3-China).

14) Select Job

#02

(Pitch

Edit).

15) Enter pitch value

-0300.

16) Select Job

#03

(Envelope Edit).

17)

Enter

Attack

value 99, Decay 1

Rate

value 35, Decay 1 Level value 58, Decay

2 Rate value 43, Release Rate value 01,

and

Gate

Time

value 6500.

18) Select Job

#04

(Bend

Rate/Range).

19)

Enter

Bend

Rate

value 30,

and

Bend

Range value 01.

20) Select Job

#07

(Store Voice).

21) Press

the

+ 1/YES

button

twice.

22) Select Job

#01

(Select Voice For Edit).

23) Press

Key

U (Cp7-Crash).

24) Select Job

#02

(Pitch

Edit).

25) Enter

pitch

value

-0500.

26) Select Job

#03

(Envelope Edit).

27)

Enter

Attack

value 99, Decay 1

Rate

value 41, Decay 1 Level value 60, Decay

2 Rate value 50, Release Rate value 60,

and

Gate

Time

value 6500.

28) Select Job

#04

(Bend

Rate/Range).

29)

Enter

Bend

Rate

value 00,

and

Bend

Range value 00.

30) Select Job

#07

(Store Voice).

31) Press the + 1/YES

button

twice.

Snare

Drum-Sustained

Sounds

The

Long Roll. It

is

a snare drum technique

that

takes years

of

practice to perfect. As dif-

ficult

as

it

is

to

perform

on

the

snare drum, the

Long Roll presents a special challenge for drum

machine programmers.

The

characteristics of

the

sound stem from

the technique used

to

perform it

on

an

acoustic

drum. If you strike a snare drum head, the stick

rebounds

of

its

own

momentum,

and

then

strikes the head again in decreasing levels.

The

Roll

technique

uses

this

rebound

effect

to

produce multiple strikes per stroke,

as

a drum-

mer

alternates

hand

to

hand.

The

bounce

strikes are,

by

the laws of physics, progressively

weaker in relation to the initial strike.

This

makes the bounce strike aurally different from

the initial strike,

and

makes the overall effect

difficult to reproduce

on

a drum machine. Most

attempts sound like a machine gun roll.

After trying to create this effect

by

entering

each

note

without

suitable

success,

it

was

decided to take

another

approach:

to

create a

sound

that

would

mimic

short

grace-note

effects.

The

two attempts offered below may

give some

direction

for

the

development

of

drum roll voices.

Example 1. Follow these steps:

1)

Press

the

KEY

ASSIGN

button.

2) Select Job

#01

(Voice Assign).

3) Assign Int-SD2 to Key

B.

4) Press

the

EDIT VOICE

button.

5) Select Job

#01

(Select Voice For Edit).

6) Press Key

B.

7)

Select Job

#02

(Pitch Edit).

8) Enter Pitch value

-0200.

9) Select Job

#03

(Envelope Edit).

.10)

Enter

Attack

value 49, Decay 1

Rate

value 43, Decay 1 Level value 60, Decay

2 Rate value 63, Release Rate value 01,

and

Gate

Time

value 6500.

11) Select Job

#04

(Bend

Rate/Range).

·

12) Enter Bend Rate value 01,

and

Bend

Range value 01.

13) Select Job

#07

(Store Voice).

14) Press

the

+ 1/YES

button

twice.

Example

2.

Follow these steps:

1)

Press the

KEY

ASSIGN

button.

2) Select Job

#01

(Voice Assign).

3) Assign Int-SD3 to Key

N.

Continued on

page

19

Vol.

3 No.

4/

AITERTOUCH

15

TX81Z

MoloElPnos.

ANewTX81Z

Performance

Setup By Scott

Plunkett.

Notes:

This

TX81 Z

performance

setup

is

based

on

two

voice

patches:

"RatRhodes"

(a

new

voice)

and

"Reed

Piano"

(from

the

TX81Z's

internal

ROM

bank

A).

16 AITERTOUCH/Vol. 3

No.4

I name:

MoloElPnos

II

1 :

assign mode

NORM

2:

micro tune select 7 7

3:

effect select

PAN

4:

inst. number 2 3

number of notes 3 5 0

voice number A16

I09 I01

receive ch. 1 1 1

key limit

/L

C-2 C-2 C-2

key limit /H G 8 G 8 G 8

detune

-2

+1 +0

note shift +0 +0 +0

volume

87

99 0

out assign L

LR

lfo select 1 2 1

micro tune

OFF

OPERATOR~

0

~

1

~~~~~~

on/off

ON

out level 87

89

99

freq. type

RTO

FIX

RTO

fix range

255

4K

255

16K

freq. coarse

15

44

o o

freq. fine 8 8 o o

detune

-3

+0 +0 +3

·······:·s:-;·····T······:·:a·;·····-r-·····:·:;·;·····T······;·;j:·······

5.49

l

2944Hl

0.50

l

0.50

ENVELOPES-------------

attack rate 31

decay 1 rate 21

decay 1 level 13

decay 2 rate 10

release rate 5

eg shift OFF

31

24

25

9

12

15

10

2 4 8

6 5 8

OFF OFF OFF

SCALING/SENS

--------~

rate 2

level 7

ams on/off OFF

sans eg bias o

key vel 7

1 2 0

0 4 43

OFF

ON

0 0 0

1 6 7

Reed

Piano

5:

RatRhodes 6:

7:

B:

4 5 6 7 B

0 0 0 0 0

I01 I01

I01

I01 I01

1 1 1 1 1

C-2 C-2

C-2

C-2 C-2

G 8 G 8 G 8 G 8 G 8

+0 +0 +0 +0 +0

0 0 0 0 0

LR

LR LR

1 1 1 1 1

OFF

OFF OFF

OFF

voice name:

RatRhodes

algorithm no. 5

feedback o

LFO-------------------

waveform

~

speed 20

amp mod depth

12

pitch mod depth 7

sync OFF

delay 22

sens 24

sans 4

FUNCTION------------~

mode

POLY

mid

C = c 3

rev rate o

pb range 2

.........

pitch 47

portamento FULL

porta time 0

·········

vol

99

~

'

·········

pitch o

amp o

pitch 50

amp 51

~

amp

39

, eg bias o

i

........

p bias +0

I

TX81Z

name: BigWash

II

1 : SqncrBass

5:

assign mode

NORM

2:

BigWash 6:

micro tune select OCT. 0

3:

effect select

DELAY

4:

inst. number 2 3

number of notes 4 4 0

voice number C10

I28

I01

receive ch. 1 1 1

key limit /L

C-2 C-2

C-2

key limit /H G 8 G 8 G 8

de tune +2

-2

+0

note shift +12 +0 +0

volume

99 96

0

out assign

LR

lfo select 1 1 1

micro tune

OFF OFF OFF

OPERATOR~

0

~

1

~~~~~,

on/off

ON

out level

99

freq. type RTO

fix range 255

freq. coarse

13

freq. fine o

detune

+0

ON

92

82

84

RTO

255 255 255

19

36

19

0 0 0

+1

-2

-3

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

4 .

00

1

6.

00

1

12.

00

1

6.

00

ENVELOPES------------,

attack rate

31

decay 1 rate

16

decay 1 level 14

decay 2 rate 8

release rate 7

eg shift OFF

31 31

31

25 5 0

12

0 0

8 0

14

10 2 5

24

12

OFF

SCALING/SENS

----------,

rate

1 1 2 2

level 0 0

94

24

ams on/off OFF OFF OFF OFF

sans eg bias 0 0 0 0

key vel 4 3 4 2

7:

8:

4 5 6 7 8

0 0 0 0 0

I01

I01 I01

1 1 1 1 1

C-2

C-2 C-2

G 8 G 8 G 8 G 8 G 8

+0 +0 +0 +0 +0

0 0 0 0 0

LR LR LR

LR

1 1 1 1 1

OFF

OFF OFF OFF OFF

voice name:

BigWash

algorithm no. 3

feedback 0

LFO----------------.

waveform

~

speed 26

amp

mod

depth 0

pitch mod depth 3

sync

OFF

delay 22

sens OFF

sans 5

FUNCTION----------------,.

mode POLY

mid

C = c 1

rev rate 0

pb range 2

·········

pitch 30

A amp 0

;'W

eg bias 0

portamento FULL

porta time 0

·········

vol

99

~

pitch o

amp o

pitch 40

amp o !

........

p bias

+0

BigWash. A

NewTX81Z

Performance

Setup

By

Scott

Plunkett.

Notes:

This

TXBI Z

performance

setup

is

based

on two

voice

patches:

"BigWash"

(a

new

voice)

and

"Sqncr

Bass

(from

the

TXBIZ's

internal

ROM

bank

C).

Vol.

3 No. 4/

AITERTOUCH

17

TX81Z

BigSlap. A

New

TX81Z Perfor

..

mance Setup By

Scott Plunkett.

Notes:

This

TXBl Z performance

setup

is

based

on

two

voice

patches:

"SlapBass"

(A

new

voice)

and

"ElecBass 1"

(from

the

TXBlZ's internal

ROM

bank

C).

18 AITERTOUCH!Vol. 3 No. 4

I name:

BigS

lap

II

1 :

assign mode

NORM

2:

micro tune select OCT. 0

3:

effect select OFF

4:

inst. number 2 3

number of notes 4 4 0

voice number

IlS

C09

I01

receive ch. 1 1 1

key limit /L

C-2

key limit

/H

G 8 G 8 G 8

de

tune

-1

+1

+0

note shift +0 +0 +0

volume

99

0

out assign

LR

Ito select 1 2 OFF

micro tune OFF OFF OFF

OPERATOR~

0

~

1

-=~~~~.

on/off

ON

out level 99

freq. type RTO

fix range

255

freq. coarse 4

freq. fine 0

detune +0

ON

72

75

RTO RTO

255 255

0

28

0 0

-3

+3

RTO

255

24

0

+3

.......

:·1·~-

....

T

......

:·:a·~

......

~

.......

:·:;·~··

...

T

......

~·;.·:

.......

1.00

~

0.50

~

9.00

~

7.85

ENVELOPES------------~.

attack rate 31

decay 1 rate 9

decay 1 level 9

decay 2 rate 0

release rate 9

eg shift OFF

31 31 31

1 9

15

0

12

6

0 6

10

8 8 8

OFF OFF OFF

SCALING/SENS

----------,.

rate 0 2 3 3

level o 0 27 0

ams on/off OFF OFF OFF OFF

sans eg bias 0 0 0 0

key vel 1 o 6 7

Slap Bass

5:

ElecBass 1

6:

7:

8:

4 5 6 7 8

0 0 0 0 0

I01

I01 I01 I01

I01

1 1 1 1 1

C-2 C-2 C-2

C-2

G 8 G 8 G 8 G 8 G 8

+0 +0 +0 +0 +0

+0 +0 +0 +0 +0 I

0 0 0 0 0

LR

LR LR LR

LR

OFF OFF OFF OFF OFF

voice name:

SlapBass

algorithm no. 1

feedback 0

LFO------------------~

waveform~

speed 28

amp

mod

depth

pitch mod depth 0

0

sync

delay

sans

OFF

0

OFF

5

FUNCTION-----------,.

mode POLY

mid

C = c 2

rev rate 0

pb range 4

i

........

pitch 60

portamento

FING

porta time 0

.........

vol 99

~

pitch o

.........

amp o

~

p~t~~

8~

A amp 0

;'W

eg

bias 0

~

........

p bias

+0

Continued from page 15

4) Press

the

EDIT

VOICE

button.

5)

Select Job

#01

(Select Voice For Edit).

6) Press

Key

N.

7)

Select Job

#02

(Pitch

Edit).

8)

Enter

Attack

value 64,

Decay

1

Rate

value 36, Decay 1 Level value 58, Decay

2 Rate value 64, Release

Rate

value 60,

and

Gate

Time

value 6500.

9) Select Job

#04

(Bend

Rate/Range).

10)

Enter

Bend

Rate

value

00,

and

Bend

Range value 00.

11) Select Job

#07

(Store Voice).

12) Press

the

+ 1 /YES

button

twice.

Damping

Technique

Each

output

channel

on

the

RX5

can

sound

only

one

voice at any given

instant-each

chan-

nel

is

monophonic.

Since

there are two keys per

channel,

the

tapping of

one

key initiates

the

voice sound, while

the

tapping

of

the

second

key will stop

the

first voice

sound

and

begin

the

second voice sound.

This

operating logic

of

the

instrument

can

be used

to

produce damping

techniques

when

applied to sustained sounds.

The

Electronic

Age

cannot

be

ignored,

because

of

the

many

musical

possibilities

it

offers. Also, drum

machines

are

not

the

demise

of

the

drummer.

Rhythm

programmers

have

introduced a

new

field

of

knowledge

to

be stud-

ied,

and

have introduced a new tool for

the

drummer's

professional

and

artistic

devel-

opment.

As

a

reproducer

of

playing

technique,

rhythm

units are still a

bit

cumbersome,

but

the

quality

of

the

sounds

and

the

potential

for alter-

ing

these

sounds

offer

exciting

new

areas

of

experimentation.

TET

US

HEAR

FROM

YOU!

We

want

AfterTouch

to be

an

information

network

Lfor

all

users

of

Yamaha professional musical products, so please

join

in. We're

looking for many different kinds

of

material.

Have you

created

an

incredible

patch

for

the

DX7,

the

DXlOO, or

any

of

the

other

members

of

the

Yamaha FM digital synthesizer family?

How

about

a program

for

the

CX5M

music

computer

or

a great

pattern

for

the

RXll?

Send

in your

patches, programs,

and

patterns.

If we use your material, we'll give you full

credit

plus

$25.00

for

each

item

used.

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trick

that

increases

the

musical flexibility

of

one

of

the

Yamaha

AfterTouch

products?

Send

it

in

to

our

"FinalTouch"

column.

If we use

your

hot

tip, you'll receive full

credit

plus a

check

for

$25.00.

Have you developed a

new

approach

to

one

of

the

Yamaha

After

Touch

instru-

ments,

or

have you discovered

an

important

secret regarding

their

use?

Put

it

on

paper

and

send

it to us.

Don't

worry

about

your writing

style-just

get

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informa-

tion

down. If we decide to use your material

as

a full article

in

AfterTouch,

we'll

write it up,

put

your

name

on

it,

and

send you a

check

for $100.00.

(An

After

Touch

article always covers

at

least

one

magazine

page-which

translates

to

at

least four

double-spaced pages

of

typescript.)

By

the

way, we

cannot

assume liability for

the

safe

return

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unused ideas,

patches,

or

manuscripts. We will only be able

to

return

unused material if you

en-

close a self-addressed,

stamped

envelope

with

your submission.

If you just

have

a

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regarding

the

use

of

Yamaha professional musical

products,

send

it along too,

and

we'll do

our

best to answer it

in

the

pages

of

After

Touch. (We regret

that

we

won't

be able to answer questions

through

the

mail,

but

we

will use all

of

your questions to guide us

in

our

choice

of

future topics.)

Finally, if you just

want

to

get

something

off your chest,

or

if you'd like

to

estab-

lish direct

contact

with

other

Yamaha

After

Touch

product

users,

send

in

something

to

our

letters

column,

"Touch

Response."

We'll do

our

best

to

print

names,

addresses,

and

phone

numbers

of

all those who are interested

in

starting up regional

users groups.

AfterTouch

is

your publication. Let us

hear

from you!

Write

To:

AFTER-

TOUCH,

P.O.

Box

2338,

Northridge,

CA

91323-2338.

Vol.

3 No. 4/ AFrERTOUCH 19

Bulk Rate

U.S. Postage

PAID

Long Prairie, MN

Permit No. 33

From

The

Editor

Continued from page 3

Joel Balin, a musician who lives in

Orlando,

Florida.

Although

Joel has

been

an

Ace

Music

and

Yamaha customer for some time,

he

has

not

owned

a full

YCAM

system (until now).

He

does some work with Disney in Florida,

and

plays

with

a

Christian

music group

as

well.

Joel's

name

was drawn from a pool

of

more

than

4500

surveys

returned

before

the

deadline.

Congratulations

to

Joel Balin,

winner

of

the

Grand

Prize

in

the

first

AfterTouch/Yamaha

Reader Survey.

By

the

way,

those

of

you who used

the

Survey

to

send

in

requests for

product

literature, back

issues,

and

AfterTouch

subscriptions

should

know

that

you are due for some disappoint-

20 AFTERTOUCH/Vol. 3 No. 4

ment.

All

of

the

Survey responses were sent di-

rectly to

an

outside research service for tabula-

tion,

and

this service was geared

to

deal only

with

the

Survey responses.

Other

requests sent

via

the

Reader Survey

cannot

be fulfilled di-

rectly,

and

should be resubmitted via the proper

channels.

Also,

the

machines used

by

the

Postal Ser-

vice

managed

to

chew

up a

number

of

the

names

and

addresses

on

the

Surveys

we

received. If you filled

out

a Survey

but

haven't

received a T-shirt yet, let

us

know,

and

we'll

make sure you receive one.

-TD

Yamaha Corporation After Touch Magazine Archive Apr 1987 Issue 04

Yamaha Corporation AfterTouch Magazine Archive Apr 1987 Issue aftertouch-1987-04 Yamaha Corporation - AfterTouch Magazine Archive - Apr 1987 Issue

Yamaha Corporation AfterTouch Magazine Archive Apr 1987 Issue aftertouch-1987-04 Yamaha Corporation - AfterTouch Magazine Archive - Apr 1987 Issue

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