Yamaha Corporation After Touch Magazine Archive Feb 1989 Issue 02

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THE OFFICIAL PUBLICATION OF THE YAMAHA USERS GROUP

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FEBRUARY 1989

YAMAHA®

&
T

HE WINTER NAMM SHOW, held January 20-22 at the Anaheim Convention
Center, proved to be busy for the people at the
Yamaha Corporation of America exhibit. In
addition to showcasing the complete line of
Yamaha products, the exhibit was the center for
a number of other activities, including demonstrations by Yamaha's team of Product Specialists, autograph sessions with a number of top
artists, three days of performances by Chick
Corea, and a special Cl giveaway.
All four of Yamaha's DMI Product Specialists,
Phil Clendennin, Danny Hoefer, Mark Santos,
and Kevin Stratton, were on hand to demonstrate the new DMI products. (For more on the
Product Specialists, see the interview in the
January 1989 issue of AfterTouch.)
Drummers on hand for autograph sessions
included Bobby Blotzer of RATT, LA session
player Vinnie Colauita, Alex Acuna, Peter Erskine, Aresnio Hall's drummer Terri Lyne
Carrington, Dave Garibaldi from Wishful
Thinking, and the drummer in Chick Corea's
current band, Dave Weeki. Also on hand to
sign autographs were bassists Jeff Berlin, an LA
session player, Verdine White of Earth, Wind
and Fire, and the bass player for Mr. Big, Billy
Sheehan.
Visitors to the exhibit were treated to performances by The Chick Corea Akoustic Band.
Besides Chick Corea, who used a Yamaha MIDI
grand, KX88, KXS, TX16W, and MC2404, the
group consisted of John Patitucci, who played
an LBS custom-S string bass, and Dave Weeki,
who played on Tour Series Custom drums in
Cobalt Blue with the SD295 Metal Snare and
DSP850 double bass drum pedal. They did three
shows a day, and had standing-room only
crowds for all performances. The sound system
was all Yamaha, including a PM300 mixer for
the house sound and new ':A..ST" loudspeaker
systems. AST stands for Active Servo Technology, a newly-developed Yamaha technique
that provides exceptional low frequency
performance with a relatively small speaker
cabinet-attaining sub-woofer-type bass
response without the mass associated with existing sub-woofer speaker systems.

AFTERTOUCH!Vol. 5 No. 2

Yamaha also held drawings on Friday and Saturday for a C1 Music Computer and accompanying software packages. Friday's grand prize
winner was Scott Zehm, of San Bernardino,
California. Scott's prize was a standard Cl with
two disk drives, plus an extensive software package. The lucky man of the weekend might well
have been Saturday's grand prize winner, David
Oviatt. The day before, David had been a runner-up in the drawing, winning a jacket instead
of the Cl. Undeterred, David entered the drawing on Saturday, and became the grand prize
winner of the day. He won a Cl/20 (a Cl
equipped with a 20 meg hard disk drive) plus an
extensive software package.
Yamaha wishes to acknowledge and thank
the following software companies who donated
products for these drawings: Auricle Control
Systems, Bacchus Software Systems, Computer
Business Associates, Dr. T's Music Software,
Dynaware, Electronic Courseware Systems,
Golden Midi Music & Software, Robert Keller,
LTA Productions, Macaluso, Magnetic Music,
MIDiconcepts, Midisoft, Music Soft, Passport
Designs, Playroom Software, Rigamer Technology, Silver Wolf Software, SNAP Software,
Sound Quest, Temporal Acuity Products, Turtle
Beach Softworks, Twelve Tone Systems, and
Voyetra Technologies.
-Sibyl Darter
Soundcheck '88 Update
The International Popular Music Festival
will be held, as previously reported in
AfterTouch, on February 12th, at the Fuji
televison studios in Tokyo. The previous location, Budokan, on the grounds of the Imperial
Palace, was not available due to the recent passing of Japan's honored Emperor Hirohito. This
year, the United States will be represented by
the winner of Soundcheck '88, Giraffe. This
San Jose-based group is leaving for Japan on
February 7th, accompanied by Soundcheck
A&R person Bob Stabile. Doug Buttleman, the
executive Producer of the Soundcheck project,
will be leaving a day later, along with a group of
celebrity judges from the USA. There are 21
finalist bands, from 15 different countries.

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February 1989

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Editor
Tom Darter

Operations
Sibyl Darter

Volume 5, Number 2
Issue #41

Questions & Answers
Answers to questions from readers. By Steve Deming and
Torn Darter.

Session Notes from "The 'burbs"
An insider's look at Jerry Goldsmith's scoring sessions for the
new Joe Dante film. By Tom Darter.

G10 Performances
TX81Z Performances for the G 10 MIDI guitarist.
By Craig Anderton.

Production
Sibyl Darter
Tom Darter
Editorial Board
Steve Deming
Charles Feilding
Bob Frye
Rick Huyett
Mark Koenig
J.P. Lincoln
Phil Moon
Jim Smerdel
Steve Thatcher
Cover Photograph
Jim Hagopian
Dee Dee Cawley

Sequence
An introduction to Yamaha's new MIDI sequencer program for
the Cl music computer. By Scott Plunkett.

14 Hot Tips
Reader tips for the MEP4, MV802, and more.

16 MIDI Mixup
MIDI feedback and other horrors. By Michael Babcock.

18 C 1 Users Central
Presenting a simple Cl program for loading voice and perfor~
mance data from a Cl disk to a DX7 II. By Jim Smerdel and
Tom Darter.

©1989 Yamaha Corporation of America. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means,
electronically, mechanically, photocopying, recording, or otherwise, without the prior written permission of Yamaha Corporation of America.

AFTERTOUCH is published monthly. Third class
postage paid at Long
Prairie, MN and additional
points of entry.
SUBSCRIPTIONS: Free.
Address subscription correspondence to AFTERTOUCH, P.O. Box 7938,
Northridge, CA 913277938. POSTMASTER:
Send form 3579 to P.O.
Box 7938, Northridge, CA
91327-7938.
Vol. 5 No. 21 AFTERTOUCH

&
I have an RX7 drum machine that I use with
an IBM sequence program (Texture). Is there a
way I can turn Effects on and off via MIDI?Jon Epperson, Mission Viejo, CA.
Yes, this is possible. You need to send the RX7 a
System Exclusive "remote switch parameter
change message" from your computer. The message string is shown below on the left (in
hexidecimal), with explanations on the right:
Hex code
FO
43
ln

02
50
lB
00 or 7F
F7

explanation
Sys Ex message
Yamaha ID number
substatus and device
number
(n =MIDI channel)
group and sub-group
parameter group
parameter number:
Effects
OO=off; 7F=on
end of Sys Ex message

I own a CXSM computer, which I love, but
when I feel like creating graphics with MSX
Basic I find the unit a little lacking. I though I
had been saved when I saw a CXSM II on display in a local store, but I was told it was not
for sale. What is the story? -Brad Morris,
Peoria, IL.
The CXSM II has been officially discontinued,
so it is no longer available at any retail outlet.

AFTERTOUCH/Vol. 5 No. 2

Answers To
Questions From
Readers. By
Steve Deming
& Tom Darter.

RX7 digital rhythm

programmer.

I use a DX7 II FD to control a Roland MKS20
sound module. There are two scenarios I've
been trying to achieve without success. Here
they are: 1) I would like one foot controller
controlling the OX's local volume, while the
other foot controller controls MIDI volume
only (for the MKS20). Is this possible? 2) Is
there any way I can program these machines so
that my left hand (on the OX) is playing a OX
patch only, while my right hand (on the OX) is
playing a piano patch on the MKS20 only?Eric Tallman, San Francisco, CA
First, question one: If you look under the words
"Foot control" in the DX7 screen displays for its
Foot Controllers, you will see numbers: 4 for
FCl and 7 for FC2 . This means that FCl outputs MIDI Controller Code 04 information
(MIDI Foot Controller), while FC2 outputs
MIDI Controller Code 07 information (MIDI
Volume). Both Foot Controllers are programmed as part of voice data in the DX7 II.
Therefore, to get the effect you want, you need
to program the following on the DX7 for each
voice you want to use: FCl-program it to control
Volume only (set the Volume parameter to a
high number, like 99, and set the other FCl
parameters to 0); FC2-program it so that all
parameters are set to zero (meaning that it will
have no effect on the OX's internal sounds).
Finally, make sure that the MKS20 is set to
respond to MIDI Volume.
Question two presents more of a problem:
The DX7 II outputs on only one MIDI channel
at a time, and the MKS20 does not have a MIDI
key limit feature. It would be possible to "turn
off' the OX's right hand, by setting up a Split
mode performance that uses a "dummy" voice
in the right hand location (a voice where all operator output levels are set to 0); however, you
still wouldn't be able to stop the MKS20 from
responding to the MIDI notes being played by
your left hand on the OX. The only solution
would be to use a MIDI data modifier (like the
MEP4 MIDI event processor) to filter out all of
your left hand notes, allowing only those from
your right hand to reach the MKS20.

I will soon be working with my own G 10
MIDI guitar controller and G 10C controller
set. What are your recommendations for a
wireless setup? My first instinct is to use a
standard wireless unit on the guitar strap.
However, in order to use a wireless unit between the G 10 and the G lOC, I need to get
some kind of a conversion cord for the multipin connection between the two. Most of my
post-G lOC problems are due to MIDI DIN 5pin incompatibility with the standard 1/4'' plug;
Does Yamaha offer a MIDI-in, 1/4" signal-out
for connecting MIDI-sized equipment to standard units?-Tony Max Nance, Orange, N.J.
Well, first of all, it is impossible to convert a
MIDI-type signal to an electronic audio-type
signal (the kind transmitted by standard wireless units) simply by using some kind of conversion cable. Remember that the output signal
from the G 10C is a MIDI-type signal: It must be
connected to a MIDI-compatible tone generator (VIA MIDI) in order for the system to create sound-the sounds themselves come from a
tone generator, while all of the MIDI data for
controlling the tone generator comes from the
G10/G10C system.
To make a wireless connection between the
G 10C and your tone generator, you would have
to use a MIDI wireless setup, which is considerably more expensive than a standard wireless
unit.
Finally, the multi-pin connector between the
G 10 and G 10C also carries a specialized kind of
data, which cannot be converted into "standard
wireless" data through the use of converter cord;
in fact, such a cord would be impossible to
make. There is no wireless unit that allows
connection between the G 10 MIDI guitar and
the G lOC controller.
I want to control my Yamaha RX5 rhythm
programmer from my Macintosh. To do this, I
need a manual or pamphlet that gives the
MIDI commands for the unit (particularly the
System Exclusive commands). Where can I get
this information?- Tony Zepeda, Oakland,
CA.
System Exclusive and other MIDI documentation can be purchased from the Yamaha Electronic Service Parts Department. For more
information, write to: Yamaha Corporation of
America, Electronic Service Parts Department,
P.O. Box 6600, Buena Park, CA 90622; or call
1-800-443-3548.

RX 17 digital rhythm
programmer.

I am writing about the RX17 drum machine. I
cannot get the cassette storage feature to work.
I even tried the Radio Shack dataset model
mentioned in your earlier answer on this subject (in the July 1988 issue) but still no luck. I
usually get a message saying "LOADING or
VERIFY ERROR," which according to the
manual means that the RX17 does not recognize the data, but is at least hearing something.
Do you have any further suggestions?-Kenn
Busch, Janesville, WI
Based on the message you are getting, it sounds
like the problem is that you are using high bias
tape with a normal bias machine. The Radio
Shack units we mentioned in July (CCR81 and
CCR82) are both normal bias machines. It is
very important to use normal bias tape when
using these normal bias machines for data
storage.
Our band uses the D1500 digital delay and the
R1000 digital reverb, and we've lost the owners manuals for both. How can we get another
copy of each? -Gerald Jones, Scottsboro, AL.
To get a copy of the D1500 or R1000 owners
manuals, write to: Yamaha Corporation of
America, Pro Audio Division, Literature Dept.,
P.O. Box 6600, Buena Park, CA 90622
I recently bought a used Yamaha PSS-360, a
model that I believe had been discontinued. I
would like to get an owners manual. Can you
tell me how I might find one?-Elly Barker,
Urbana, IL.
To get a copy of the PSS-360 owners manual,
write to: Yamaha Corporation of America,
Consumer Products Division, Literature Dept.,
P.O. Box 6600, Buena Park, CA 90622

Vol. 5 No. Z/ AFTERTOUCH

ESSION: "THE 'BURBS," a film directed
by Joe Dante; starring Tom Hanks, Carrie
Fisher, and Bruce Dern; produced by Larry
Brezner and Michael Finnell, to be released by
Universal on February 17th. Music by Jerry
Goldsmith, the award-winning composer of
more than 130 film scores.
Cast: A 70-piece orchestra, including three
keyboard parts. Besides composing the music,
Jerry Goldsmith will be conducting the sessions. Bruce Botnick is the recording engineer;
Ken Hall is the Music Editor, (working with an
Auricle program); Authur Morton is handling
the orchestrations; and the contractor for the
sessions is Sandy DeCrescent.
Location: The Universal lot on Stage 10,
which is the scoring stage. The basic scoring
sessions covers four days: November 28, 29, and
30, and December 1. All four sessions are doubles: three hours in the morning, an hour for
lunch, three hours in the afternoon. On the
first day, Monday, the keyboard players are asked
to get there an hour early at nine o'clock, to
make sure that there are no problems in getting
the keyboard gear set up-it's not a good idea to
take time making sure the keyboards work while
the full orchestra is sitting there.
Jerry Goldsmith treats snythesizers just like
he treats all other members of the orchestra. He
makes specific demands, and expects specific
results. His short-score compositions always
include detailed instructions for the entire orchestration, and that includes the electronic
instruments. During recording, he is very
careful about the overall mix: he adjusts the
electronics, adjusts the acoustic instruments,
adjusts the overall mix and then records.
There are three keyboard desks for the film:
Ralph Grierson is playing desk one for the first
two days (he has other work scheduled for the
last two days); Mike Lang is playing desk two for
the first two days, and will switch to desk one
for the last two days; replacing Ralph Grierson
on Wednesday and Thursday (and playing desk
two) will be Randy Kerber; and I am playing
desk three all four days.
Desk one has piano, a Yamaha TX16W, Roland D-50 (sometimes the two are MIDied
together), and Emulator II. Desk two has
Yamaha DX7, D-50, and Emulator II. Desk

AFTERTOUCH!Vol. 5 No. 2

An Insider's
Look At Jerry
Goldsmith's
Scoring
Sessions For

The New Joe
Dante Film.

By Tom Darter.

Jerry Goldsmith conducting a
· scoring session.

three has DX7, D-50, and Roland Super JX.
There is a lot of jumping back and forth on certain cues.
For the Emulator II and TX 16W, Jerry
brought all of the disks; for the D-50, the OX,
and Super JX, he brought all of the cartridges.
Each one of his parts indicates what instrument
is to be played, if it is to be MIDied to some
other instrument, and what sounds from his cartridges or disks are to be called up. For this reason, the various keyboard setups are not the
standard setup that many of the performers
bring-Jerry requests that only certain instruments be brought.
Ralph Grierson, for instance, brought much
less than half of his standard setup, and the
same is true for Mike Lang and Randy Kerber.
This is a cause for some mixed feelings: In the
past, Ralph has suggested that, since he spends
a lot of time putting his setup together and feels
comfortable with it, he would like to have the
opportunity to use his entire basic setup; but he
also understands that Jerry's compositional
approach doesn't require that.
While there are some composers who spend a
fair amount of time working out particular
sounds or getting aspects of the synthesizer
setup worked out ahead of time, many composers
hire keyboardists or synthesizer players that they

know well, write the parts with general directions
as to the kind of sounds they want, and then it is
the responsibility of the synthesizer player to
program the sounds, MIDI various instruments
together, and get the final sound.
Jerry Goldsmith, on the other hand,
approaches the instruments as he does the rest
of the instruments of the orchestra: it is always
the case that he comes prepared with all of the
sounds that he wants, and a very specific selection of instruments. That's why it is so easy to
list the specific instruments being used in the
score. This was no less true for the other scoring
sessions I have worked on with Jerry: Explorers,
Poltergeist II, and Innerspace. Jerry really knows
his stuff.
We only has a few difficulties during the setup
period: Ralph Grierson's MIDI patching
machine crashed as it was being set up; it might
hae been a problem with a cable, or there may
have been a problem with AC being plugged in
or unplugged at the wrong time. In any case,
Ralph wound up having to do all of his MIDI
patching manually. He did say that it was lucky
that the unit happened to blow up at this particular time, rather than at almost any of his other
dates when he's using his full setup, because
then he would have had a very difficult time
making the necessary instrumental changes,
particularly in a TV score, where a keyboard
player is often called upon to make a large number of changes in a very small amount of time.
A few anxious moments were caused by the
TX16W-it was rented, and showed up
originally without the System disk; finally, the
System disk showed up, and we loaded the necessary sounds without further difficulty.
Also, thank God for edit/play buffers: we
only had one cartridge for each type of unit, and
sometimes two different keyboardists needed a
sound from a cartridge on same cue. No one
wanted to alter the internal memory of the
units they were using, but it wasn't necessary:
One player would load a sound into the
edit/play buffer from the cartridge, then pass it
on to next keyboardist; if one had to change
sounds on the same instrument during a cue, he
was the one who would keep the cartridge
plugged into his unit.
The TX16W does not have a volume control
on front panel, so to pull instrument in and out
of mix during a cue, we had to call up a page
with volume, and move' from 99 to 0 or vice
versa. Luckily, there was no change of Performance during any cue, so this was no problem.
During any session, you always learn that
what you thought would be difficult and what
actually is difficult are sometimes very different.
In this session, I had none of the those pages full

Jerry Goldsmith with Tom
Darter at a scoring session for
the film Poltergeist II.

of notes that test your sight-reading and your
nerves, but there were other things. Here are
three of the difficult things I learned about on
this date:
1) Whole notes. In the very first cue of the
movie, my part called for octave whole-notes on
the D-50, held for four bars. This innocuouslooking part was actually tied to a D-50 patch
that contained a rhythmic, multi-timbral,
quasi-sequenced effect that was perfectly in
time with the click and meter of the cue. Therefore, if I don't play the octave right on the
downbeat of the first bar, the rhythm for the
entire four bars will be wrong. Not really difficult, but something you can't afford to lose
concentration on.
2) Straightforward eighth-notes in a moderately fast tempo. If a part like this is exposed
{either as a solo or with just a few other instruments), any error sticks out like a sore thumb,
and the part doesn't look or sound hard. If you
get too comfortable with your old piano chops,
your hand (or one finger) will stray over an extra
synthesizer key and create a "clam"-keep those
fingers high, and be careful.
3) Program changes during a cue. If you call
up the wrong sound or fail to connect {or disconnect) a MIDI hookup, it's just as bad as missing 200 notes. Also, if you have to make MIDI
Continued on page 20

Vol. 5 No. 2/ AFTERTOUCH

G~DMIDI
TX81Z
Performances
For The

GlOMIDI
Guitarist.

By Craig
Anderton.

HEN RESPONDING TO MIDI guitar
controllers such as the Yamaha G10, all
synthesizers and tone generators are not created
equal-some lack the MIDI features necessary to
link synthesizer and controller together in an
efficient manner.
The most important of these features is the
ability to receive on at least six different MIDI
channels at once, since guitar controllers usually work best when each string can control its
own channel. One benefit of this approach is
that bending one string will not bend the pitch
of the other strings (while with a keyboard,
bending with the pitch bend wheel usually
changes the pitch of all keys being held down).
Another benefit is that each voice controlled
by that MIDI channel can be set to "mono
mode." This insures that each channel will play
only one note at a time, thus mimicking the way
a guitar string responds (since each string also
plays just one note at a time}.
Performance Mode Basics
The TX81Z and TX802 tone generators are
very well-suited to guitar synthesis. The main
reason for the cost differential between the two
is sound quality, circuit complexity, and extra
user RAM, not any differences in MIDI guitar
compatibility. Both are equally flexible for guitar applications, thanks to the availability of
Performance mode.
In this mode, each MIDI channel controls its
own instrument. An instrument is a combination of any one of the synth's voices along with
several associated settings: number of notes the
voice will play (usually one note with MIDI guitar), volume, transposition, detuning, output
assignment, LFO selection, microtuning, and

TXBl Z FM digital tone
generator.

AFTERTOUCH!Vol. 5 No. 2

upper/lower key limit. Since each string can
control a different voice, you can have, for
example, bass voices on the bottom two strings,
lead guitar on the top two strings, and some
kind of piano sound for the middle two strings.
Typical Performance 1: Mono Mode
Let's look at the two Performances I've found
most useful when feeding a TX81Z from the
G 10 (the screen dumps are taken from the
"TX81Z Pro" editor/librarian from Digital
Music Services). These Performances can serve
as "templates" into which you can plug different
Voice numbers and other parameters to create
different sounds.
Figure 1 shows a very common MIDI guitar
Performance that assigns each string to its own
channel. Each instrument plays one note and
the same Voice number ( 112 in this case). The
first six instruments play the first six MIDI
channels (as expected), but instruments 7 and 8
are assigned to MIDI channels 1 and 2, which
correspond to the controller's two highest
strings. These additional instruments thicken
the upper register by doubling the top two .
strings. To add a chorusing effect, note that
instruments 7 and 8 are detuned by -2. Also,
since doubling the sound makes the top two
strings louder than the others, the volume for
the doubled instruments has been reduced to

77.
Detuning and volume changes hold many
other possibilities. For example, with the above
template, try detuning instruments 5 and 7
(which are set to the same MIDI channel and
therefore play the same notes) by + 2 and -2 respectively. This would again give a large enough
frequency offset for chorusing, but the offset

G 10 MIDI guitar system

would be centered around concert pitch. In this
case, you'd probably want to set both instruments to a somewhat lower but equal volume,
say around 80.
On some sounds, doubling the bottom two
strings can add a really strong low end. This is
particularly effective on MIDified rhythm guitar parts. Another trick is to transpose the doubled instruments an octave higher or lower;
adding a sub-octave to the bottom two strings
works very well.

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

ALL

8
...

Typical Performance #2: Omni Mode
Mono mode is not the optimum choice if you
don't want a newly-played note to cut off any
previously-played no tes that are still sounding
Figure 1. A typical mono
mode TXBI Z Performance for
use with the G 10.

Performanfe Editor
name : Pu Ise 1.-Jave

(±)

Finally, don't forget to edit each single Voice
so that its mode (in the Function menu) is
Mono, not Poly, and save it before working with
a Performance. Mono mode insures the most
guitar-like feel.

1
1
129
1
C-2
G 8

1 : Me llowSqar
2 : Me llowSqar
3 : Me llowSqar
4 : Me llowSqar

1
129
2
C-2
G 8

1
129
3

C-2
G8

4
1
129
4
C-2
G 8

5 : Me llowSqar
6 : Me llowSqar
7 : Me llowSqar
8 : Me llowSqar

1
129
5
C-2
G 8

1
129

1
129
1
C-2
G 8

C-2
G 8

8
1
129
2
C-2
G 8

+0
+0
+0
+0
+0
-2
-2
de tune +0
'
note shift +12 +12 +12 +12 +12 +12 +12 +12
volume 73
73
99
99
99
99
50
50
out assign LR
LR
LR
LR
LR
LR
LR
LR
lfo select
1
2 VIB VIB VIB VIB VIB VIB
micro tune OFF OFF OFF OFF OFF OFF OFF OFF
Vol. 5 No. 2/ AFTERTOUCH

G1D

Continued fram page 9
result is a rough and uneven sound. However, in
cases where bending is absolutely necessary, if
you can avoid bending more than one string at a
time you'll be able to get away with adding some
pitch bend response.

on that same string. Choirs, flutes, strings,
horns, and similar "pad" sounds (as well as
patches with long release times where you need
to avoid having notes cut each other off}
require a Performance like the one shown in
Figure 2.
In this Performance, only instrument 1 is of
interest because it has all eight of the TX81Z's
notes assigned to it. Assigning eight notes to an
instrument automatically takes all the other
instruments out of the picture. However,
remember that the guitar is still transmitting in
Mono mode. Setting the receive channel to
Omni guarantees that signals from any of the
strings will be played by the assigned Voice,
up to a total of eight notes sounding
simultaneously.
In this case, you need to go into the Function
menu for the single Voice used with this Performance, set the mode to Poly, and save the
Voice. Otherwise, you'll hear only one note at a
time, even if you strum a chord.
Another important point is that setting the
pitch bend response to zero makes life a lot
easier with this performance. This is because in
Omni mode, bending more than one string confuses the TX81Z, which can't decide which of
the various bend messages it should follow. The
Figure 2. A typical omni mode
TXBIZ Performance
far use with the G 10.

NORM
OCT.
OFF

;nst. number

...
AFTERTOUCH/Vol. 5 No. 2

de tune
note sMft
volume
out ass;gn
lfo select
m;cro tune

I 2:

1: HornMut*

5:
6:

3:
4:

0
107

0
101
7

0
101

2
C-2

0
107
4

C-2

G 8

+0
+0

LR
OFF
OFF

LR
VIB
OFF

number of notes
8
vo;ce number 107
rece;ve ch. OMNI
key Hm;t /L C-2
key Hm;t /H G 8

ass;gn mode
m;cro tune select
effect select

ALL

One point about MIDI guitar that doesn't
seem to have gotten a lot of print is the subject
of adding special effects. Over the years, we
have come to associate certain guitar sounds
with specific signal processors-the wah-wahs of
funk music, the fuzz of heavy metal, a bit of long
echo on a stinging lead part, slap back echo for a
rockabilly groove, and so on. Adding some guitar-oriented signal processing to a synth's sound
will often make a MIDI guitar feel much more
like a "real" guitar, because you'll be hearing a
more familiar sound. Try chorusing some
rhythm parts, too.
MIDI guitar can be a lot of fun, but it can't be
said enough that you have to optimize the
controller, the converter, and the synthesizer to
make the whole process work. Hopefully this
article has provided a bit of insight into how to
tweak your synthezier and tone generator Performances for MIDI guitar.

Performanfe Editor
name: Horns

(±)

One Final Tip

For
S

INCE YOU CAN RUN just about any kind
of MS-DOS software on the Yamaha C1
Music Computer, it's easy to forget that those
MIDI ports, CS sliders and note-value keys
aren't just added for cosmetic value. Despite its
multi-talented nature, the C1 was primarily
designed as a tool for music creation. With that
in mind, Yamaha has introduced Sequence, a
professional sequencer software package that is
specially designed to give musicians access to
the C1 's unique music making capabilities.
Graphic Interface
Some popular computers have a form of user
interface known as a graphic interface. Without
naming names, you'll probably recognize one of
these computers by the presence of a small trash
can in the lower right corner of the screen when
the computer is turned on. This type of interface has proven to be especially useful for music
applications. As a general rule, MS-DOS applications don't use a graphic interface, but
Yamaha has thoughtfully included a graphic
interface package with Sequence so that you
can take advantage of features like pull-down
menus, scroll bars, and graphic editing. For
those of you who are addicted to a mouse,
Sequence also supports both mouse and keyboard commands.
In addition to providing a graphic environment to aid in music creation, Yamaha has
given a great deal of attention to the C1 's music
hardware. Recording can take place from either
of the two MIDI IN ports, and each track can
be assigned to play back through any of the
eight MIDI OUT ports. The CS 1 and CS2 sliders ar~ available for data entry (you'll appreciate
this when you want to move quickly from the
lowest to the highest value in a range) and
tempo control during a playback.
If you happen to find yourself without a MIDI
keyboard, you can still compose by step recording using the C1 keyboard. The notes can be
entered on the C1 note keys (which are logically laid out to resemble a piano keyboard), the
note values can be set with the note value keys,
and the proper octave can be set with the
C1 's octave keys. If you need to do long sequences, Sequence is also smart about how

C1
An Introduction
To Yamaha's
New Sequencer
Program For
TheCl Music
Computer. By
Scott Plunkett.

much extended memory is available on the
Cl. With the standard 512k of extended memory, about 39,000 notes can be stored. If you
need extra memory, you can buy an EMB15
RAM board to boost your extended memory
to 2 meg and get a healthy 193,000 note
capacity.
If you're the type of composer who needs that
193,000 note capacity, you'll be happy to know
that Sequence has 400 tracks. Only (!) 200 of
them can play simultaneously, but you can use
the others for editing or making safety copies of
tracks. There's also a handy provision for
converting any part of a track into a pattern. A
patte~h may then be inserted into any of the
400 tracks at any specified location. Up to 1024
patterns can be defined at one time, so frequently used phrases or repeating parts may
quickly be constructed, edited, and inserted
into empty tracks for song creation.
Master Track
You can simply set a tempo and a meter and
begin recording or playback, or you can use the
Master Track if you want complicated meter
and tempo changes. The Master Track Numeric
Editor lets you see all of the current meter and
tempo changes and edit them as single events.
The location of each event is shown in Meas/
Beat/Clock and Hr/Min/Sec/Frm format so
that you can make changes based on SMPTE
time code locations. Since you can record
tempo changes in real time using the CS 1 slider
or even record tempo changes over MIDI, the
Master Track editor gives you a convenient way
to edit out mistakes or insert new data.
The Master Track is also used for inserting
Rehearsal Marks. Any time you want to mark a
particular location for playback, you can insert
a Rehearsal Mark with a comment. By specifying the proper Rehearsal Mark for playback, you
can jump immediately to any position in the
song.
Recording With Sequence
Both realtime and step recording are possible
with Sequence. In realtime record you have the
option of using replace mode, which erases what
Vol. 5 No. 21 AFTERTOUCH

Continued fram page II
what was previously on the track and replaces it
with the new recording, or overdub mode,
which adds the new recording to the old. Loop
recording is available (with the option of
quantizing during recording) for building up
drum and rhythm tracks quickly, and there are
three punch modes, including an auto punch
mode that can punch in and out to the precision of Sequence's 480-clocks-per-quarter-note
resolution.
Sequence can record on multiple tracks simultaneously, which can really come in handy
when you need to port over a song from another
sequencer. In fact, since each of the two MIDI
IN ports are active and each port supports all16
MIDI channels, you have the potential of
recording up to 32 different parts in one pass.
Sequence can recor.d while it's synchronized to
other sequencers with standard MIDI clock,
direct SMPTE sync (using the Cl's SMPTE
ports), or MIDI Time Code.
When you finish recording a track, Sequence
responds by giving you a visual representation of
what was recorded in the Track Data area at the
bottom of the screen. You'll never have to wonder anymore about whether a track actually
contains data. This display is normally what
you see at the bottom of the main screen, but
there are actually some powerful functions hidden within the Track Data area.
Clicking the mouse button beside the Track
Data title brings up the Track Attribute screen.
For each track, you can set a time offset to move
the track forward or backward in time, change
the transposition, or send an initial program
change, volume, or pan value whenever
playback begins. A unique feature in the Track
Attribute window is the individual track tempo
LFO. You can set the speed and depth of the
tempo LFO on each track to give a more fluid,
human feel to quantized tracks.
From the Track Attribute screen, you can go
to the Track Comment screen to add a 32 character comment for each track. This is a good
place to put information about the tone generators and patches you used, in case you want to
reconstruct a performance later. The last hidden function, Velocity Meter, is the most entertaining. With this feature you can watch the
changing note-on velocity of each track as it
plays back. This is sort of like having a block of
MIDI VU meters at your disposal, except you
never have to worry about clipping.

AFTERTOUCH/Vol. 5 No. 2

Bar Graph And Numeric Edit Windows

Main Recorder display of the
Sequence program

One advantage software sequencers have
always had over their hardware counterparts is
that they can make good use of the computer's
screen size. Screen size really becomes a big plus
when it's time to edit. Instead of seeing just one
MIDI event at a time, whole note lists can be
shown, or some form of graphic editing can be
used. Since both styles of editing have their
advantages, Sequence uses them both.
When you select a track to edit, you can
choose either a Bar Graph edit window or a
Numeric Editor. Since up to 4 of these edit windows can be opened and viewed simultaneously,
you can actually edit a track using a combination of the two methods.
The Bar Graph window shows notes in a "piano roll" style. Each note is represented by a bar

whose location in the window determines the
pitch and starting point (in measure/beat/
clock format). The length of the bar corresponds to how long the note was held down
when the track was recorded. To make mistakes
easier to find, the Cl sends a Note On message
to your tone generator so that you can hear the
pitch whenever you select a note bar for
editing. With the mouse, you can lengthen
notes, shorten notes, delete notes, move notes,
or even draw new notes.
The Numeric Editor gives you a complete list
of all of the MIDI events in the track. If you
aren't interested in seeing those pitch bends
that you got a bit carried away with, don't

worry, you can filter out any type of data with
the edit filter. Like the Master Track editing
window, the Numeric Editor shows the starting
time of every event in both measure/beat/ clock
and hour/minute/second/frame formats. If
you're scrolling through and want to hear a particular note, clicking the mouse on the note
number will send it to your tone generators.
There's also a PLAY button in the upper right
corner of the window that will play all of the
events that are currently visible. Any of the
data that appears in the window can be
changed, and events can easily be inserted or
deleted.
Region Editing

If you don't want to work on individual
events, Sequence lets you select a region by
dragging the mouse over the desired area in the
Bar Graph or Numeric Editor window, or by
using the Set Region command to set region
start and end points. Entire tracks can also be
selected by simply clicking on the track number
in the main display. In addition to the standard
Copy, Cut, and Replace options, you can Filter
Out specific types of data from a track or use the
"Cut with Time" function to shorten tracks by
removing the selected region itself along with
the data in the region.
As you would expect with a professional sequencer, you can do things like quantize a
region (Note On with or without duration,
Note Off with or without duration, etc.), transpose, modify velocities and gate times, or thin
out and modify controller data. There are also
some clever commands to create trills, tremolos
and arpeggios from your recorded data. And if
you start getting tired of those step recorded and
quantized tracks, there's a Bounce function that
changes the feel to a shuffle or, if you like,
something more exotic.
Rhythm Note Assign Tables And MIDI
Macros
If you've ever created a drum part for one
drum machine and then decided to switch to
another drum machine, you've probably been a
victim of the "Those Note Assignments Don't
Live Here" syndrome. Since every drum
machine manufacturer decides on a different
default note setting for each drum, the chances
are very slim that you'll actually hear a kick
drum playing when you play your kick drum
track with the new drum machine. Sure, you
could change all of the note assigns on the new
machine, but you'll probably get tired of learn-

C I music computer.

ing the operating systems of every drum
machine you encounter. A simpler way to
approach the problem is to use Sequence's
Rhythm Note Assign table. With this table you
can designate different playback notes for each
recorded note. So, for instance, if D1 is designated as the kick drum note on one drum
machine and A1 on another, you could assign
all D1 notes to play A1 notes with the Rhythm
Note Assign table.
The MIDI Macro function is a powerful feature designed for experienced MIDI users. A
string of MIDI data can be entered and saved as
one of 128 MIDI macros. Any of the 128 macros
can be inserted into a track to be sent when the
sequence plays back. This can be particularly
useful for sending MIDI System Exclusive codes
to your tone generators to change voice parameters during a performance.

Unfortunately, with a professional program
like Sequence, covering all of its many features
in one article is impossible. But, the strengths
of this kind of program are as much in its user
interface and the way it allows you to work as in
the individual features that it includes. The best
way to get an idea of what Sequence can do is to
go to your local authorized Yamaha C1 dealer
and ask for a demo or, better yet, actually make
some music with it yourself.
Vol. 5 No. 2/ AFTERTOUCH

Tips
Readers Tips
For The MEP4,
MV802, And
More.

Three Ways To Adjust The DX7's Velocity
Range With An MEP4

By Jack R. McCreary
The expressiveness and feel of the DX7 and
PF15 (with a MIDI retrofit) make them excellent master keyboards. Unfortunately, however,
since neither keyboard puts out a higher MIDI
velocity than about 105, they are not very suitable for use with non-Yamaha products that
comply with the standard MIDI velocity scale
of0-127.
I have used the Yamaha MEP4 MIDI event
processor to change the velocity scale of the
DX7 and PF15 in the following three ways:
Velocity Shift. In its only explicit reference
to this issue, the MEP4 owners manual suggests
shifting the entire velocity scale, using settings
like this on one processor:
O:MSG:9n. xx. yy
1:OFS:yy, V = + 22

Note Off = Zero Velocity commands.) Though
the values should be tweaked to match different
equipment and playing styles, something along
the following lines works welt:
Processor One: The message filter passes both
Note On and Note Off commands. The Data
Modifier is Limited (LIM) to pass through
unmodified velocity values from 0 through 40
(decimal) only.
Processors Two through Four: Only Note On
commands pass the Message Filter. Using the
LIM command, each processor passes
through successive bands of the DX or PF velocity range; for example, 41-60, 61-80, and
81-105 (all decimal values). Following this,
an offset (OFS) function adds progressively
greater amounts of velocity in each processor;
for example, V = + 4 in Processor Two, followed by V = + 12 in Three, and V = + 22 in
Four.

(A second processor is also needed to pass
through velocity messages of 0 in an unmodified
form to provide for Note Off commands.)

Though the modified velocity scale is not
seamless-there is an abrupt break between 40
and 45, for example, and a gap of 10 at the highest break point-both the lowest and highest

While correcting the upper end of the velocity scale, this solution also distorts the lower
end of the scale so that extremely soft passages
can no longer be played.
3-Way Split Velocity Shift. An improvement over the above setup is to use three
processors to add extra velocity values in
progressively greater amounts. {One processor
must still be dedicated to protect the integrity of

MIDI velocity values are preserved. Furthermore, the breaks that do occur in this modified
velocity scale are effectively masked by the
three-way split. Under the Velocity Shift formula in example 1 above, a 22-point velocity
shift more than doubles the lower values. In this
setup, 10 additional units near the top of the
velocity scale represent a proportionately small
shift.

MEP4 MIDI event processor.

AFTERTOUCH/Vol. 5 No. 2

Reshaping Upper Velocity Curve. This
setup requires only two processors. Processor
One passes both Note On and Note Off commands through the Data Filter, and sends
through (LIM) unmodified velocity values from
0 to 79 (decimal). Processor Two limits the
range of modifications to the velocity scale from
80 to the upper end of the DX/PF scale. The
velocity date (yy) is then offset (OFS) by a
value of - 40 and, finally, expanded by a factor
of 2 (EXP: yy, R = 2).
As a result of these operations, an incoming
velocity value of 80 is still transmitted as 80
(80- 40 = 40; 40x2 = 80). However, at higher
velocity values, the scale is reshaped to transmit
progressively higher velocity values. For
example, 90 on the DX/PF scale becomes 100 at
the MEP4's output (90- 40 =50; 50x2 = 100).
The maximum DX/PF value of 105 now becomes 130 (105- 40 = 75; 75x2 = 130).
Experimentation with these values suggests
that an even lower break point for the beginning of this upper velocity curve can be effective. Some of my MIDI slaves respond best
when the LIM command begins at a velocity
value as low as 74 (decimal) with an OFS of
V= -37.
For most applications, this is the best solution to the DX/PF velocity problem. Lower
velocity values are preserved; also, unlike the
two previous solutions, the maximum MIDI
velocity of 127 is reached without creating
discontinuities. In addition, this setup frees two
MEP4 processors for other assignments.
I hope other MEP4 users find these setups
useful.

Getting More Than Eight Input Channels
From A Yamaha MV802 Mixer

available Effects Loops (for reverb), so I use the
stereo returns from the unused Effects Loop as
inputs for my CD player! Using the Aux Return
controls, I effectively have volume and balance
controls for the CD player.
I use a Roland D-50 as part of my setup; since
I use its "built-in" effects only, I need to add
only its output to the mixer-so I use the "Sub
In" R/L jacks. I simply use the D-50's volume
control and effects controls. This means that
I've used four line-level sources (two for the CD
player and two for the D-50) without using any
of the eight "main" channels.
The eight main channels are available for the
TX802, my Kurzweil K1000, and my drum
machine. Since these units use only six of the
eight channels, channels 1 and 2 are still free for
mics! And, if I have a need for more inputs,
there's always the "Sub In" AUX 1 and AUX 2
jacks! I hadn't realized when I purchased the
MV802 that it would allow for such flexibility.
Maybe others could benefit from realizing that
there are ways to add extra inputs to their
MV802.

MV802 rack-mount mixer.

Using E! To Reduce Noise Levels
By Mark Nadlin

By James A. Laing, Jr.
I recently purchased a Yamaha MV802 to mix
my keyboards and tone generators. I've discovered that I really have more than eight input
channels available to me, even if the "extra"
channels don't have the same flexibility as the
eight "main" channels provided by MV802.
I have two stereo tone generators (Yamaha
TX802 and Kurzweil KlOOO) plus a drum
machine. I also like to use the MV802 for playing CDs (using my portable CD player) while
the band is on break. I only use one of the two

Here is a tip for E! equipped DX7 II users.
The noise level of any MIDI piece can be
reduced by altering the velocity level in E!'s
Track Assign map (accessed via button #28).
Since "5" is the normal velocity level, levels of
"6" or "7" work well.
On muddy-sounding patches, increasing the
curve to "Pos 1" and decreasing the level to "4"
usually improves the clarity.
Altering levels here allows you to trim the
audio volume fader and results in "cleaner"
audio.

Vol. 5 No. Z/ AFTERTOUCH

MIDI Feedback
And Other
Horrors. By
Michael
Babcock.

TOP!STOP!STOP!STOP!STOP!STOP!STOP!
andtheregoesthatredlightagain ...
Ron can't make it stop, and he has to. The
most innocent of gestures and we are buried
with exploding cascades of repetitious notes.
Feedback?! Shades of amateur engineering at
a rock concert sound check-the Sorcerer's
Ap.prentice in sound, no brooms or buckets,
compressed to 700 milliseconds.
Click. (Ron got it to stop.) Blink. Stupor.
What happened?
Welcome to the non-standard world of what
we thought was a perfectly good MIDI cable.
Yeah, folks. Feedback.
Ron had caught a great riff on the sequencer
of his Prophet VS synthesizer, and had decided
to do some program changing from his AtariST-based sequencer. So he grabbed the MIDI
cords he bought specially yesterday for this
occasion (on special), patched the OUT of the
Atari to the IN of the VS, patched the IN of the
Atari to the OUT of the VS, and turned on
both machines.
Instant sonic Sorcerer's Apprentice.
Ron has encountered two standardization
sins. One is on the Atari, the other is in his new
MIDI cables. Both problems arise because MIDI
doesn't use all S pins in the DIN connector.
The MIDI specification uses a S-pin connector to do a job that requires only 3 pins because
at the time MIDI was born, S-pin DIN connectors were cheap and available, and there was
already a little experience using this type of
cable for synchronizing instruments. So the
specification calls for using only the middle
three pins on the connector. What about the
outside pins?
Atari's response on the ST was to reduce
component count (save money) by putting the
MIDI IN and MIDI OUT signals on its two
sockets where they belong, and putting the
MIDI THRU signals on the (unused) outer pins
of the ST's MIDI OUT socket-no separate
MIDI THRU socket. That system seems safe

AFTERTOUCH/Vol. 5 No.2

enough, since a true MIDI cable doesn't use the
outer pins at all-the THRU signal simply goes
nowhere. And if you really want the Atari's
MIDI THRU signal, an easy, pleasant Saturday
project builds you one. (If you're not into building, three audio DIN-to-RCA adapter cables
and several RCA female-to-female adapters will
do it.)
The manufacturer of Ron's new so-called
MIDI cables also did something contrary to
MIDI spec. Rather than leave the outer pins
unconnected to any wires in the cable, this
manufacturer wired the left two pins together
and the right two pins together. (I've speculated
as to why and haven't come up with anything
convincing.)
The combination of Atari ST MIDI OUT I
THRU and a cable with outer pins wired
together gave Ron a weird signal path. Any
MIDI signal passing from VS MIDI OUT to
Atari ST MIDI IN should stop at the Atari, unless you have connected to the Atari MIDI
THRU. What must NOT happen in this
hookup is to allow a MIDI signal to flow into
the Atari MIDI IN and get onto the Atari MIDI
OUT line. THRU yes; OUT no. But Ron's
cable has shorted the Atari MIDI OUT and
MIDI THRU together, and sent note information back to the MIDI IN on the VS. The VS
both plays the note and sends that note to the
VS's sequencer-which dutifully sends it to
MIDI OUT, to the Atari ... We now have a
feedback loop, using a MIDI hookup that is entirely normal and legal.
What's supposed to happen? Let's look at the
MIDI spec:
Cables shall have a maximum length of fifty
feet (lS meters), and shall be terminated on
each end by a corresponding S-pin DIN male
plug, such as the SWITCHCRAFT
OSGMSM. The cable shall be shielded
twisted pair, with the shield connected to pin
2 at both ends.

What pins do we attach to? What do we do with
the pins we don't use? Is a cable that does
MORE than what this paragraph says still a
MIDI cable? Some answers might come from
elsewhere in the MIDI spec. The diagrams help
some. They tell us that on both MIDI THRU
and MIDI OUT, pin 4 is connected (through a
220-ohm resistor) to a + 5 volt power source in
the machine, that pin 5 gets the MIDI signal,
pin 2 is grounded, and pins 1 and 3 are unused
and unconnected. (See Figure 1.)
On MIDI IN, pins 4 and 5 go almost directly
to a light-emitting diode (contained in a
component called an opto-isolator) such that
electrons must flow into pin 5, through the
light-emitting diode in the opto-isolator, and
back out of the machine through pin 4. Again
there are unconnected pins: pins 1 and 3 again,
and also pin 2. Repeat: pin 2 is unconnected-it
is not grounded.
So what we have is a MIDI signal's electron
flow (negative charges) passing from machine A
out pin 5, into machine B via pin 5, passing
through a light-emitting diode, back out of
machine B via pin 4, and back into maching A
via pin 5, ending up being pulled into the + 5
volt side of machine Ns power supply. (Interesting: machine B's light-emitting diode is run by
machine Ns circuits-there is no electrical contact! So how does the signal get through? Because inside machine B's MIDI IN opto-isolator,
a sensor picks up the emitted light from the
diode and sends a current on to the rest of
machine B. For a very short distance, the signal
is sent by light, not by wire; the two machines
are thus electrically isolated.)
And here's a subtle detail: the MIDI spec
doesn't mention it, but it is important that the
circular metal housing that surrounds the 5 pins
in the cable be not attached to the shield wire! The
cable shielding is attached to pin 2 at both ends
of the cable; pin two of MIDI OUT and MIDI
THRU are grounded, so the cable shield will
work. This shield wire does NOT have to carry
a return current (unlike the shield in common
consumer-grade audio cables). The pin-S wire
sends a signal to the light-emitting diode, and
the pin-4 wire completes the circuit back to the
sending machine. Note that the receiving
machine (MIDI IN) does not have pin 2 con-

nected. So there should be no connection between the grounds of the two machines! Butsuppose the cable connector's metal housing is
connected to the shield wire: Then, when the
cable is inserted into the MIDI sockets on the
two machines, the housings contact the
machines' metal chassis, creating an electrical
path between the grounds of the two machines.
And now the electrical isolation is broken, and
the likely consequence is hum, maybe RFI, and
even computer noise-noise from the MIDI data
signal itself. But that's another MIDI Mixup.
So how do you protect yourself?
Check your cables electrically. You can use a
test meter, set for resistance. If the meter jumps
to (nearly) 0 ohms, it means "there is an electrical path;" if the resistance remains high, it
means "there is no electrical path." (Any other
value means you have a weird cable!) You might
make something out of some wire and a flashlight (light means "electrical path"), or even an
oscillator-use your ingenuity. Touch one tester
wire to one pin of one connector (use an alligator clip if you have one.)
Now go the other connector with your other
tester wire, and touch each of the pins in that
connector, and the circular metal housing. You
should get these results::
• For the middle three pins (2, 4 & 5): each
pin should be connected ONLY to the
corresponding pin in the other connector-2 to 2, 4 to 4, and 5 to 5. NO
connection to pins 1 or 3, or the housing. (Check especially: no connection of
4 to 1, nor 5 to 3 nor 2 to the housing.)
• The circular metal housing shouldn't be
connected to anything.
• Pins 1 & 3: well ...
Well, what about pins 1 & 3? They shouldn't
be connected to 4 or 5. If they are unconnected
to anything, that's OK for MIDI. How about 1
to 1, and 3 to 3? It probably won't hurt anything, unless some manufacturer gets nervous
about unattached connector pins (worried
about RFI noise), and grounds them. Or unless
somebody wants to save a nickel and puts some
strange signal on them, such as MIDI THRU.
But this is where we came in. . ..

Vol. 5 No. 2/ AFfERTOUCH

C1
Presenting A
Cl Program
For Loading
Data From A
Cl Disk To A
DX7 II. By Jim
Smerdel & Tom
Darter.

HIS MONTH, we present a simple Cl program that can be used to load voice and
performance data from a Cl data disk to a DX7
II. (It is the companion to last month's program, which was designed to dump voice and
performance data from a DX7 II and save it to a
Cl data disk.) In order to use this program, you
must first put together a disk that will hold both
this program and the other system files needed
to operate the Cl. To prepare the disk, follow
these steps:
1) Boot up the computer with the DOS disk
in drive A. Put a blank disk in drive B and
format it, using the format command (as
follows-format b:/s).
2) The computer will prompt you from there,
and format the disk in drive B. A basic
form of DOS will be copied onto the disk.
3) Copy onto the disk the file
COMMAND.COM from the DOS disk
in drive A (use this command-copy
command.com b:).
4) Insert the MIDI Monitor disk in drive A.
5) Copy onto the disk the four BULK files
from the Monitor disk in drive A (use this
command-copy bulk•. • b:).

At this point, you still need to enter the program, using the DOS text editor of your choice.
Type it in just as it looks, and save it to your disk
as a text only file. Be sure to include the "BAT"
extension in the file name; this indicates that it
is a DOS batch file.
Once you have entered the program on the
disk, you are set. Put the disk in drive A (you
can boot the computer with this disk), and put a
data disk in drive B. Make MIDI connections
between the Cl and the DX7 II, and make sure
that the DX7's Device Number is set to 1.
The program is expecting to see three banks
of information from the DX7 II (Voice bank A,
Voice bank B, and Performance); however, you
don't have to send or receive all three banks. If
you want to skip a bank or banks, use a single
"x" as a placeholder. To run the program, type
in the file name (LD-DX7II.BAT) followed by

AFTERTOUCH!Vol. 5 No.2

the names of the three files you want to send to
the DX7 from your data disk (be sure to put a
single space between each of the file names);
then, hit RETURN.

echo off
rem==============================

rem
rem
rem

AfterTouch Version
LD-DX7li.BAT SEPT 29, 1988
Written by Jim Smerdel, ver 1.0

rem=====::;::=;::=:;;;==================;:;::;;

rem===========~==================

rem

Check to see if all x's were entered?

rem=========:;:=================::;==
if not%!= = x goto notx
if not%2= =x goto notx
if not%3= =x goto notx
goto end!
:notx
rem =

tern

== =

= =

=:;;;:;::;:

== = = = =

= = ==

== ==

Check to see if the files exist on b: drive?

rem==============================

if% I = = x goto bank2
if not exist b:% I goto ckbank2
goto bank2
:ckbank2
echo • • •% I isn't on drive b, Ctrl +break to quit!, or to continue
pause

:bank2
if%2 = = x goto perf!
if not ex~t b: %2 goto ckperfl
goto perf!
:ckperfl
echo • • • %2 isn't on drive b, Ctrl +break to quit!, or to continue
pause
:perf!
if%3 = = x goto continue
if not exist b: %3 goto levck
goto continue
:levck
echo· '' %3 isn't on drive b, Ctrl +break to quit!, or to continue
pause
:continue

rem==========:;:::;;==================
rem
rem

insert file names into bulk transmit commands
and create temporary file= tempfile

rem======:;;:===============:::;::;;::;;;======
if% I = x goto bk2
echo pause •' 'Ready to send voices to bank 1-32 of the dx7ll>tempfile
echo tr dx 7_Lp_off(O), I> >tempfile
echo trdx7_Lrblok(0,0), l>>tempfile
echo tr ''b:%1", l>>tempfile
:bk2
if%2 = = x goto pfl
echo pause • • 'Ready to send voices to bank 32-64 of the dx7ll>>tempfile
echo tr dx 7_Lrblok(O, I), I> >tempfile

ET US HEAR FROM YOU! We want
AfterTouch to be an information network
for 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 or performance for the DX7 II, the TX81Z, or any of
the other members of the Yamaha family of FM
digital synthesizers and tone generators? How
about a patch for the SPX90 II multi-effects
processor, or a great voice edit or pattern for the
RX5? If so, send them in. If we use your material, we'll give you full credit plus $25.00 for
each item used.
Have you discovered a trick that increases the
musical flexibility of one of the Yamaha professional musical products? Send it in to our "Hot
Tips" column. If we use your tip, you'll receive
full credit plus a check for $25.00.
Have you developed a new approach to one of
the Yamaha professional musical products, or
have you discovered an important secret regarding their use? Put it on paper and send it to us.
Don't worry about your writing style-just get
the information down. If we decide to use your
material as a full article in AfterTouch, we'll
write it up, put your name on it, and send you a
check for $100.00. (An AfterTouch article
always covers at least one magazine pagewhich translates to at least four double-spaced
pages of typescript.)

By the way, we cannot assume liability for the
safe return of unused ideas, patches, or manuscripts. We will only be able to return unused
material if you enclose a self-addressed, stamped
envelope with your submission.
And, if you just have a question regarding the
use of Yamaha professional musical products,
send it along too. We'll do our best to answer it
in the pages of AfterTouch. (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.)
Receive AfterTouch Free Every Month!
YOU 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, just send us a request in a letter
or on a postcard. Include your name and mailing address, and be sure to sign your request (a
postal regulation); it lets us know that you really
want to receive AfterTouch.
When we receive your card or letter, we'll put
you on our permanent mailing list, and you will
receive twelve issues of AfterTouch absolutely
free! There is absolutely no obligation, and no
other strings attached.
(If you received this issue in the mail, you are
already on our permanent mailing list, so you
don't need to send in another card.)

C1
11

echo tr "b:%2 l> >ternpfile
:pfl
if%3 = = x goto nopfl
echo pause '"Ready to send Performance data to the dx711> >tempfile
echo tr "b:%3", 1> >tempfile
:nopfl
echo beep ' '' ' '' ''finished'' ' ' ' '' > >tempfile
,

rem==============================
rem

redirect commands from temporary file into bulk program.

AFTER,
TOUCH is a
monthly
informational
publication from
the DMI
Division of
Yamaha

Continued

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Yamaha Corporation After Touch Magazine Archive Feb 1989 Issue 02

Yamaha Corporation AfterTouch Magazine Archive Feb 1989 Issue aftertouch-1989-02 Yamaha Corporation - AfterTouch Magazine Archive - Feb 1989 Issue

Yamaha Corporation AfterTouch Magazine Archive Feb 1989 Issue aftertouch-1989-02 Yamaha Corporation - AfterTouch Magazine Archive - Feb 1989 Issue

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