Yamaha Djx Owners Manual

Djx-Owners-Manual yamaha-djx-owners-manual-133822

DJX(PSR-D1) Owner's Manual DJX_E

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Yamaha Corporation PSRD1-DJX Owner's Manual djx_e Yamaha Corporation - PSRD1-DJX - Owner's Manual

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2

Model

Serial No.

Purchase Date

SPECIAL MESSAGE SECTION (U.S.A.)

This product utilizes batteries or an external power

supply (adapter). DO NOT connect this product to

any power supply or adapter other than one

described in the manual, on the name plate, or

specifically recommended by Yamaha.

This product should be used only with the compo-

nents supplied or; a cart, rack, or stand that is

recommended by Yamaha. If a cart, etc., is used,

please observe all safety markings and instruc-

tions that accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is be-

lieved to be correct at the time of printing. How-

ever, Yamaha reserves the right to change or

modify any of the specifications without notice or

obligation to update existing units.

This product, either alone or in combination with

an amplifier and headphones or speaker/s, may be

capable of producing sound levels that could

cause permanent hearing loss. DO NOT operate

for long periods of time at a high volume level or

at a level that is uncomfortable. If you experience

any hearing loss or ringing in the ears, you should

consult an audiologist. IMPORTANT: The louder

the sound, the shorter the time period before

damage occurs.

NOTICE:

Service charges incurred due to lack of knowledge

relating to how a function or effect works (when

the unit is operating as designed) are not covered

by the manufacturer’s warranty, and are therefore

the owners responsibility. Please study this

manual carefully and consult your dealer before

requesting service.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both

user safe and environmentally friendly. We sin-

cerely believe that our products and the produc-

tion methods used to produce them, meet these

goals. In keeping with both the letter and the spirit

of the law, we want you to be aware of the follow-

ing:

Battery Notice:

This product MAY contain a small non-recharge-

able battery which (if applicable) is soldered in

place. The average life span of this type of battery

is approximately five years. When replacement

becomes necessary, contact a qualified service

representative to perform the replacement.

This product may also use “household” type bat-

teries. Some of these may be rechargeable. Make

sure that the battery being charged is a recharge-

able type and that the charger is intended for the

battery being charged.

When installing batteries, do not mix old batteries

with new, or with batteries of a different type.

Batteries MUST be installed correctly. Mismatches

or incorrect installation may result in overheating

and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any

battery. Keep all batteries away from children.

Dispose of used batteries promptly and as regu-

lated by the laws in your area. Note: Check with

any retailer of household type batteries in your

area for battery disposal information.

Disposal Notice:

Should this product become damaged beyond

repair, or for some reason its useful life is consid-

ered to be at an end, please observe all local,

state, and federal regulations that relate to the

disposal of products that contain lead, batteries,

plastics, etc. If your dealer is unable to assist you,

please contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the bottom of the

product. The model number, serial number, power

requirements, etc., are located on this plate. You

should record the model number, serial number,

and the date of purchase in the spaces provided

below and retain this manual as a permanent

record of your purchase.

92-BP PLEASE KEEP THIS MANUAL

3

• Do not use the instrument near other electrical products such as televi-

sions, radios, or speakers, since this might cause interference which can

affect proper operation of the other products.

• Do not place the instrument in an unstable position where it might acci-

dentally fall over.

• Before moving the instrument, remove all connected adaptor and other cables.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint

thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.

Also, do not place vinyl, plastic or rubber objects on the instrument, since

this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and

do not use excessive force on the buttons, switches or connectors.

• Use only the stand/rack specified for the instrument. When attaching the

stand or rack, use the provided screws only. Failure to do so could cause

damage to the internal components or result in the instrument falling over.

• Do not operate the instrument for a long period of time at a high or uncom-

fortable volume level, since this can cause permanent hearing loss. If you

experience any hearing loss or ringing in the ears, consult a physician.

■SAVING USER DATA

• Save all data to an external device such as the Yamaha MIDI Data Filer

MDF3, in order to help prevent the loss of important data due to a mal-

function or user operating error.

Yamaha cannot be held responsible for damage caused by improper use or modi-

fications to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

Make sure to discard used batteries according to local regulations.

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

• Do not open the instrument or attempt to disassemble the internal parts

or modify them in any way. The instrument contains no user-serviceable

parts. If it should appear to be malfunctioning, discontinue use immedi-

ately and have it inspected by qualified Yamaha service personnel.

• Do not expose the instrument to rain, use it near water or in damp or wet

conditions, or place containers on it containing liquids which might spill

into any openings.

• If the AC adaptor cord or plug becomes frayed or damaged, or if there is

a sudden loss of sound during use of the instrument, or if any unusual

smells or smoke should appear to be caused by it, immediately turn off

the power switch, disconnect the adaptor plug from the outlet, and have

the instrument inspected by qualified Yamaha service personnel.

• Use the specified adaptor (PA-5B, PA-5C or an equivalent recommended

by Yamaha) only. Using the wrong adaptor can result in damage to the

instrument or overheating.

• Before cleaning the instrument, always remove the electric plug from the

outlet. Never insert or remove an electric plug with wet hands.

• Check the electric plug periodically and remove any dirt or dust which

may have accumulated on it.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the

instrument or other property. These precautions include, but are not limited to, the following:

• Do not place the AC adaptor cord near heat sources such as heaters or

radiators, and do not excessively bend or otherwise damage the cord,

place heavy objects on it, or place it in a position where anyone could

walk on, trip over, or roll anything over it.

• When removing the electric plug from the instrument or an outlet, always

hold the plug itself and not the cord.

• Do not connect the instrument to an electrical outlet using a multiple-

connector. Doing so can result in lower sound quality, or possibly cause

overheating in the outlet.

• Unplug the AC power adaptor when not using the instrument, or during

electrical storms.

• Always make sure all batteries are inserted in conformity with the +/-

polarity markings. Failure to do so might result in overheating, fire, or

battery fluid leakage.

• Always replace all batteries at the same time. Do not use new batteries

together with old ones. Also, do not mix battery types, such as alkaline

batteries with manganese batteries, or batteries from different makers, or

different types of batteries from the same maker, since this can cause

overheating, fire, or battery fluid leakage.

• Do not dispose of batteries in fire.

• Do not attempt to recharge batteries that are not intended to be charged.

• If the instrument is not to be in use for a long time, remove the batteries

from it, in order to prevent possible fluid leakage from the battery.

• Keep batteries away from children.

• Before connecting the instrument to other electronic components, turn off

the power for all components. Before turning the power on or off for all

components, set all volume levels to minimum.

• Do not expose the instrument to excessive dust or vibrations, or extreme

cold or heat (such as in direct sunlight, near a heater, or in a car during the

day) to prevent the possibility of panel disfiguration or damage to the

internal components.

(4)-2

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock,

short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:

* The illustrations and LCD screens as shown in this owner’s manual are for in-

structional purposes only, and may be different from the ones on your instru-

ment.

Congratulations on your purchase of the Yamaha DJX!

You now own a portable keyboard that combines advanced func-

tions, great sound and exceptional ease-of-use in a highly compact

package. Its outstanding features also make it a remarkably expres-

sive and versatile instrument.

Read this Owner’s Manual carefully while playing your new DJX in

order to take full advantage of its various features.

4

Main Features

Other powerful features include:

• Exceptionally realistic and dynamic sounds with 284

voices, utilizing digital recordings of actual instruments.

• Dual voice and Split voice modes that let you layer two

voices together or assign two voices to separate sections of

the keyboard

• Four high-quality effects — Reverb, Chorus, DSP, and

Arpeggiator — each with a variety of different types.

• 100 pattern styles, each with different Lead In/Out and

Beat A/B sections. All styles also have their own four Break

Out patterns. The DJX also gives you convenient control

over pattern Styles — including BPM (Tempo) and inde-

pendent Pattern Volume.

• Powerful song recording operations for recording and

playing back complete compositions (three User songs are

available). Up to six tracks can be recorded to a song,

including a special chord track for style pattern.

• Performance Setup, for automatically calling up an

appropriate voice for playing with the selected style. Plus,

there are 16 User Performance Setup memory spaces that

let you save your custom panel settings for instant recall.

• Touch response for maximum expressive level control

over the voices.

• Convenient footswitch control over various functions —

including sustain, start/stop, and more.

• GM (General MIDI) compatibility and full GM voice set.

• Large custom LCD gives you easy, at-a-glance confirma-

tion of all important settings, as well as chord and note

indications.

• Comprehensive MIDI functions that let you integrate the

DJX into a MIDI music system, for sequence recording and

other advanced applications.

• Built-in, high-quality stereo amplifier/speaker system.

4

Real-time Controls

The DJX is equipped with an amazing set of real-time

performance controls, that let you “tweak” the sound

of various instrument parts — as you play!

• Control Knobs

These five knobs let make various dynamic

changes to the voices and patterns.

• ASSIGN knob

Included in the control knobs is a special ASSIGN

knob that can be assigned to control any one of

a variety of functions.

• RIBBON CONTROLLER

This expressive control can also be assigned to

control any one of a variety of functions.

• Part Select (PART CONTROL)

Use this to select the Part you want to use with

the control knobs or RIBBON CONTROLLER.

• Part On/Off (PART CONTROL)

This function lets you alternately mute and un-

mute specific instrument parts of the pattern as

it’s playing.

• PITCH BEND wheel

Use this to raise and lower the pitch of the voice

as you play.

Digital Sampling

This function lets you record your own sounds to be

played from the keyboard. Up to twelve different

samples can be recorded. Simple editing functions,

such as setting the end point and looping, are also

provided.

5

Contents

PANEL CONTROLS AND

TERMINALS 6

• Front Panel ................................... 6

• Rear Panel .................................... 7

SETTING UP 8

POWER REQUIREMENTS ..................... 8

TURNING ON THE POWER ................. 8

ACCESSORY JACKS .............................9

Quick Guide 10

Step 1 The DJX —

Take it for a spin! .............. 10

Step 2 Using the Keyboard .......... 12

Step 3 Demo Song/Voice/Style ... 14

Step 4 Digital Sampling ............... 16

Step 5 Function Parameters ......... 18

Step 6 Assigning Various Controls to

the ASSIGN Knob, RIBBON

CONTROLLER, and

Footswitch ........................ 20

PANEL DISPLAY INDICATIONS 22

PLAYING VOICES — THE VOICE

MODE 24

PLAYING A VOICE — MAIN VOICE ... 25

• About Panel Voices and

GM Voices .................................. 26

• Drum Kit Voice Chart

(voices 141 - 155) ...................... 26

Function Parameters — Main Voice .. 27

TRANSPOSE AND TUNING ................ 28

Transpose ........................................ 28

Tuning ............................................. 29

PLAYING TWO VOICES —

DUAL VOICE ....................................... 29

Function Parameters — Dual Voice ... 30

PLAYING TWO VOICES —

SPLIT VOICE ........................................ 31

Function Parameters — Split Voice .... 32

ADDITIONAL VOICE FUNCTIONS —

VOICE SET, TOUCH SENSITIVITY, AND

PITCH BEND RANGE ........................... 33

Function Parameters —

Voice Set, Touch Sensitivity and

Pitch Bend Range ............................. 33

EFFECTS 34

REVERB ................................................ 34

CHORUS .............................................. 35

DSP ..................................................... 36

ARPEGGIATOR .................................... 37

Function Parameters — Effects .......... 37

• Effect Types ................................ 38

SONG PLAYBACK —

THE SONG MODE 40

SELECTING AND PLAYING A SONG ... 40

CHANGING THE BPM (TEMPO) .........41

ABOUT THE BEAT DISPLAY ................. 42

ADJUSTING THE SONG VOLUME ....... 43

PATTERNS — THE STYLE MODE 44

SELECTING A STYLE AND PLAYING

THE PATTERN ......................................44

PATTERN CONTROLS ..........................47

PATTERN SECTIONS (BEAT A, BEAT B

AND BREAK OUTS) .............................48

CHANGING THE BPM (TEMPO) .........48

ADJUSTING THE PATTERN VOLUME

..... 49

FINGERING .........................................50

BEAT REVERSE ..................................... 52

PART ON/OFF ..................................... 52

• About the Parts .......................... 53

SETTING THE PATTERN SPLIT POINT

....54

Function Parameter —

Pattern Split Point ............................. 55

PERFORMANCE SETUP 56

PERFORMANCE SETUP — USER .........56

Recording a User Performance

Setup ................................................56

Recalling a User Performance

Setup ................................................57

• Selecting a User Bank ................. 57

PERFORMANCE SETUP — PRESET ...... 58

Selecting a Preset Performance

Setup ................................................58

THE KNOBS 59

USING THE KNOBS .............................59

• About CUTOFF and

RESONANCE .............................. 62

• About GROOVE ..........................62

ASSIGN KNOB ....................................63

ASSIGN Knob Parameters .................64

RIBBON CONTROLLER 66

USING THE RIBBON CONTROLLER ....66

RIBBON CONTROLLER Parameters ... 67

• How the RIBBON CONTROLLER

works .........................................68

DIGITAL SAMPLING 69

ABOUT DIGITAL SAMPLING ............... 69

RECORDING A SAMPLE AND

PLAYING IT .........................................70

• Guidelines for sampling ..............71

• Trigger Level ...............................71

• Sampling memory capacity ........ 73

• Deleting a sample ...................... 74

• Recording additional samples .....74

SAMPLE EDITING ................................ 75

Setting the End Point ........................ 75

Creating Loops ................................. 78

• About the resolution settings ...... 79

SONG RECORDING 80

RECORDING A USER SONG —

REALTIME RECORDING ...................... 81

• Additional Operations ................ 84

RECORDING A USER SONG —

STEP RECORDING ............................... 85

Recording Notes ...............................86

• Additional Operations ................ 88

Replacing a Note or Rest .................. 89

Entering Velocity Curves ................... 90

Velocity Curve Chart ......................... 90

CLEARING A SONG .............................91

MIDI FUNCTIONS 92

WHAT IS MIDI? ................................... 92

Channel Messages ............................ 93

System Messages .............................. 93

CONNECTING TO A PERSONAL

COMPUTER .........................................94

• MIDI Terminals ........................... 94

FUNCTION PARAMETERS — MIDI ..... 95

USING BULK DUMP SEND/

SAMPLING SEND TO SAVE DATA ....... 97

Saving Bulk Data/Sampling Data ...... 97

Loading Bulk Data/Sampling Data ....99

USING INITIAL SETUP SEND

WITH A SEQUENCER ........................100

Sending Initial Setup Data .............. 100

TROUBLESHOOTING ........................102

DATA BACKUP & INITIALIZATION .... 103

VOICE LIST ........................................ 104

DRUM KIT LIST ................................. 108

STYLE LIST ........................................ 111

MIDI IMPLEMENTATION CHART ...... 112

SPECIFICATIONS ............................... 115

INDEX ............................................... 116

6

PANEL CONTROLS AND TERMINALS

Front Panel

1 MASTER VOLUME dial

This determines the overall volume of the DJX.

2

OVERALL, DEMO START buttons (▲, ▼, +, -)

These are for selecting the various “overall” functions

and setting their values. (See page 22.) They are

also used to play the Demo songs. (See pages 14,

40.) In the Digital Sampling function, these are used

to select and set the sample editing parameters. (See

page 75.)

3 FUNCTION button

This selects the Function mode. (See page 18.)

4 SONG button

This selects the Song mode. (See page 40.)

5 STYLE button

This selects the Style mode. (See pages 15, 44.)

6 VOICE button

This selects the Voice mode. (See pages 14, 25.)

7 Numeric keypad, +/- buttons

These are for selecting songs, voices, and styles. (See

pages 40, 25, and 44.) They are also used for

making various settings, such as:

• Selecting and changing the Function param-

eters (page 18)

• Setting note values and other settings for the

Step Record function (page 86)

8 DIGITAL SAMPLING section — RECORD

button and INPUT LEVEL knob

These two controls are used for the Digital Sampling

functions. (See page 69.)

9 Knobs — CUTOFF, RESONANCE, GROOVE,

ASSIGN, BASS BOOST

These controls allow you to make expressive, dy-

namic, real-time changes to various aspects of the

voices and styles. (See page 59.)

0 RIBBON CONTROLLER

This assignable control allows you to make expres-

sive, dynamic, real-time changes to various aspects of

the voices and styles. (See page 66.)

! PART CONTROL button

This turns the Part Control function on and off. (See

page 59.)

@ PATTERN CONTROL button

When the Style mode is selected, this alternately

enables or disables keyboard control over the pattern

chords. (See page 45.)

# SYNC-START button

This turns the Sync-Start function on and off. (See

page 46.)

$ START/STOP button

When the Style mode is selected, this alternately

starts and stops the pattern. (See pages 45, 47.) In

the Song mode, this alternately starts and stops song

playback. (See page 41.)

000

001 142

VOICE

MEASURE

STYLE

DDDJX

DEMO START

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

1@ # $ % ^ *e

&

8

9

0!

2

3456

7

q

( )

7

% LEAD IN/LEAD OUT button

When the Style mode is selected, this is used to

control the Lead In and Lead Out functions. (See

pages 46, 47.)

^ BEAT A/B (BREAK OUT) buttons

When the Style mode is selected, these are used to

change pattern sections and control the Break Out

function. (See page 48.)

& RECORD button

This is used for selecting and enabling the recording

functions: Song (pages 82, 85) and Performance

Setup (page 56).

* PERFORMANCE SETUP / SONG MEMORY

buttons

When the Style mode is selected, these are used to

select the Performance Setup registrations (pages 57,

58). When the Song mode is selected, these are used

to select specific tracks (pages 82, 86).

( ARPEGGIATOR button

This turns the Arpeggiator effect on and off. (See

page 37.)

) REVERB button

This turns the Reverb effect on and off. (See page

34.)

q DUAL button

This turns the Dual mode on and off. (See page 29.)

PANEL CONTROLS AND TERMINALS

Rear Panel

1 DC IN 10-12V jack

This is for connection to a PA-5B/5C AC power

adaptor. (See page 8.)

2 PHONES/AUX OUT jack

This is for connection to a set of stereo headphones

or to an external amplifier/speaker system. (See page

9.)

3 FOOT SWITCH jack

This is for connection to an optional FC4 or FC5

Footswitch. The footswitch is generally used to

control sustain, but it can conveniently be set to

control one of a variety of functions instead. (See

pages 9, 21.)

IN OUT

MIDI

FOOT SWITCH

PHONES/

AUX OUT

DC IN 10-12V MIC

LINE IN

1 2 3 4 5 6

4 MIDI IN, OUT terminals

These are for connection to other MIDI instruments

and devices. (See page 94.)

5 LINE IN jack

This is used with the Digital Sampling functions, and

is for connection to and recording of an external

audio source (line level), such as a CD player or

cassette deck. (See pages 9, 70.) (Connector: mono,

1/4” phone jack.)

6 MIC jack

This is used with the Digital Sampling functions, and

is for connection to a microphone for recording

acoustic audio. (See pages 9, 70.) (Connector:

mono, 1/4” phone jack.)

w

w PITCH BEND wheel

This is used for raising or lowering the

pitch of the voices as you play. It

affects only the voices played in the

PERFORMANCE section of the key-

board. The pitch range of the wheel

can also be set (see page 33).

e STAND BY/ON switch

8

SETTING UP

This section contains information about setting up your DJX for playing. Make

sure to read this section carefully before using the instrument.

■ When the Batteries Run Down

When the batteries run low and the battery

voltage drops below a certain level, the DJX may

not sound or function properly. As soon as this

happens, replace them with a complete set of

six new batteries.

• Never mix old and new batteries or different types of

batteries (e.g., alkaline and manganese).

• To prevent possible damage from battery leakage, remove

the batteries from the instrument if it is not to be used for a

long time.

BATTERIES 1.5V

x

6

POWER REQUIREMENTS

Although the DJX will run either from an op-

tional AC adaptor or batteries, Yamaha recom-

mends use of the more environmentally safe AC

adaptor. Follow the instructions below according

to the power source you intend to use.

Never interrupt the power supply (e.g. remove the batteries or

unplug the AC adaptor) during any DJX record operation!

Doing so can result in a loss of data.

Using an AC Power Adaptor

To connect your DJX to a wall socket, you will

need the optionally available Yamaha PA-5B/5C

Power Adaptor. Use of other AC adaptors could

result in damage to the instrument, so be sure to

ask for the right kind. Connect one end of the

adaptor to the DC IN 10-12V jack on the rear

panel of your DJX, and the other end to a

suitable electrical outlet.

• Use ONLY a Yamaha PA-5B/5C AC Power Adaptor (or other

adaptor specifically recommended by Yamaha) to power your

instrument from the AC mains. The use of other adaptors may

result in irreparable damage to both the adaptor and the DJX.

• Unplug the AC Power Adaptor when not using the DJX, or

during electrical storms.

Using Batteries

■ Inserting Batteries

Turn the instrument upside-down and remove

the battery compartment lid. Insert six 1.5-volt

size “D” (SUM-1, R-20 or equivalent) batteries as

shown in the illustration, making sure that the

positive and negative terminals are properly

aligned, and replace the lid.

TURNING ON THE POWER

With the AC power adaptor connected or with

batteries installed, simply press the power switch

until it locks in the ON position. When the

instrument is not in use, be sure to turn the

power off. (Press the switch again so that it

pops up.)

Even when the switch is in the “STAND BY” position, electricity

is still flowing to the instrument at the minimum level. When

you are not using the DJX for a long time, make sure you

unplug the AC power adaptor from the wall AC outlet, and/or

remove the batteries from the instrument.

9

IN OUT

MIDI

■ Using the MIDI Terminals

• Make sure that the footswitch plug is properly connected to

the FOOT SWITCH jack before turning on the power.

• Do not press the footswitch while turning the power on.

Doing this changes the recognized polarity of the footswitch,

resulting in reversed footswitch operation.

SETTING UP

ACCESSORY JACKS

■ Using Headphones

For private practicing and playing without

disturbing others, connect a set of stereo head-

phones to the rear panel PHONES/AUX OUT

jack. Sound from the built-in speaker system is

automatically cut off when you insert a head-

phone plug into this jack.

■ Using a Footswitch

This feature lets you use an optional footswitch

(Yamaha FC4 or FC5) to control a variety of

functions. (See page 21.)

■ Connecting a Keyboard Amplifier or Stereo

System

Though the DJX is equipped with a built-in

speaker system, you can also play it through an

external amplifier/speaker system. First, make

sure the DJX and any external devices are turned

off, then connect one end of a stereo audio

cable to the LINE IN or AUX IN jack(s) of the

other device and the other end to the rear panel

PHONES/AUX OUT jack on the DJX.

The DJX also features

MIDI terminals,

allowing you to

interface the DJX with

other MIDI instru-

ments and devices.

(For more informa-

tion, see page 94.)

MIDI instrument

To prevent damage to the speakers, set the volume of the

external devices at the minimum setting before connecting

them. Failure to observe these cautions may result in electric

shock or equipment damage.

■ Using the MIC and LINE IN jacks

These are for recording an external audio source

in the Digital Sampling functions (page 70).

The MIC jack is for connection to a microphone

for recording vocals and acoustic instruments.

The LINE IN jack is for connecting to and record-

ing a line level signal, such as that of a CD player

or cassette deck.

CD player, etc.

PHONES/

AUX OUT

Stereo system

PHONES/

AUX OUT

FOOT SWITCH

Never connect a line level signal (CD player, cassette deck,

electronic instrument, etc.) into the MIC input jack! Doing this

could damage the DJX and its Digital Sampling functions.

MIC

LINE IN

10

Can’t wait to get going? Here’s all you need to lay down the beat and

start jamming on your new DJX! Just follow the numbers...

Step 1 The DJX — Take it for a spin!

Sure, the DJX is ready to play right out of the box — but we urge you to

take the time to read this short, easy-to-understand section. If you’ve

never even touched an electronic keyboard before, following the steps in

this section will make you a master of the DJX in virtually no time at all!

Plus, it will give you the tools to explore and use the advanced functions

in your music. Enjoy!

Unless you enjoy reading manuals, you’re probably

eager to start playing your new DJX right now.

If so, this next section is for you!

6A special Beat Reverse key lets

you break up the beat and hit

the top of the measure. Play

the key repeatedly and stutter

the rhythm a bit!

• Want to find out more? See page 52.

Give it some juice...

Give it some juice...

1Plug in the adaptor, and turn on the power.

Work out on the knobs!

Work out on the knobs!

3These three knobs give you dynamic, real-time

control over the pattern. Try ‘em out!

• Want to find out more? See page 59.

Start it up!

Start it up!

2Start the pattern by pressing the START/STOP

button. You can also start the pattern by

pressing any one of the keys in the PATTERN

section of the keyboard.

• Want to find out more? See page 45.

Cut loose on the ribbon!

Cut loose on the ribbon!

4Slide your finger along the RIBBON

CONTROLLER and hear how the

sound changes. There are tons of

things you can assign to this, too!

• Want to find out more? See page 66.

Mix up the beats!

Mix up the beats!

5Play around with the BEAT A and BEAT B

buttons, and get the rhythm to flow.

Shake it up and turn it ‘round!

Shake it up and turn it ‘round!

GROOVE knob

Change the “feel” or timing of

the pattern. Turn this to give it

some swing, make it laid-

back... or just play it straight.

ASSIGN knob

You call the shots with this

knob... Assign it to control

dynamics, tempo/pitch, or any

one of a variety of functions!

BASS BOOST knob

Pump up the bass of the

entire DJX sound with

this knob!

Quick

Guide

Quick

Guide

11

7With the PART ON/OFF keys,

you’re an instant maestro of

mix. Check the name of the

Part (instrument) over each

key, then press it to turn the

Part off and on. The Parts

that are currently turned on

are shown by darkened keys

in the display.

• Want to find out more? See page 52.

Drop Parts out, fly Parts in!

Drop Parts out, fly Parts in!

Tweak the voice —

while you play!

Tweak the voice —

while you play!

9Turn the two voice-related knobs for

some wild effects, while you play

the voice from the PERFORMANCE

section of the keyboard.

• Want to find out more? See page 59.

Pick your own Parts!

Pick your own Parts!

10

You can select different Parts to be

controlled with the voice-related knobs

(in step 9 above) by pressing one of

the PART SELECT keys. The selected

Part is shown as a darkened key in the

display.

• Want to find out more? See page 60.

Play the wheel!

Play the wheel!

11

The highly expressive PITCH BEND wheel rounds

out the DJX’s set of amazing power tools! Play the

keyboard, and bend the pitch up by moving the

wheel up with your left thumb. Bring the pitch

down by moving the wheel down. Let go of the

wheel, and the pitch naturally snaps back to normal!

• Want to find out more? See page 7.

Arpeggiator magic!

Arpeggiator magic!

8First, press the ARPEGGIATOR button to turn the

function on. Then, hold down two or three keys

at the same time in the PERFORMANCE section

of the keyboard, and let the Arpeggiator work

its magic!

• Want to find out more? See page 37.

CUTOFF knob

Just like on vintage analog synthe-

sizers, this knob lets you sweep the

cutoff frequency of the filter as you

play the keyboard. Turn it to the

right to “open up” the filter for a

brighter sound, and turn it to the

left to “shut down” the filter.

RESONANCE knob

Set this to determine how much the CUTOFF knob

affects the sound. Turn it to the right for maximum

filter effect, and to the left for more subtle filter

changes.

000

001 142

VOICE

MEASURE

STYLE

DDDJX

DEMO START

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

12

Step 2 Using the Keyboard

The keyboard of the DJX is far different (and more powerful!) than any you’ve ever seen.

Let’s take a look...

Each time you turn on the DJX, the keyboard is “split” into the following functions:

What do these keys do?

Part Select

These keys let you select

specific Parts for control

with the knobs and the

RIBBON CONTROLLER.

(See page 60.)

Part On/Off

These keys let you mute/un-

mute specific Parts of a

pattern before or during

playback. (See page 52.)

Pattern

These keys let you instantly

change the chords of the

pattern. (See page 50.)

Performance

These keys are for normal

playing of the selected

voice (or voices).

A special DJX Demo voice (#000) is automatically selected each time you turn on the power. This

voice has a huge variety of sounds, with each key playing a different sound — percussion, drum

loops, scratch, special FX, human voice and many others!

To hear the DJX Demo voice properly across the entire keyboard, make sure that Part Control,

Pattern Control and Sync-Start are off. (See page 13.)

z Enter the Voice mode.

x Select voice #000.

c Play different keys and listen to the variety of sounds.

000

001 142

VOICE

MEASURE

STYLE

DDDJX

Db1 — B1 C2 — Ab2 A2 — Ab3 A3 — C6

Beat Reverse Key

(See page 52) Part Select Keys

Part On/Off Keys

Pattern Keys

Performance Keys

Scratch (H)

Scratch (L)

Come On 1

Come On 2

GetUp!

Go!!

Uhh

Yeah...

FMTB1

BLJ Trill

FMTB2

Omen-FX

Reverse

Signal

Turntable

Huea

Hiuhu

Yo-Kurt

Ohh 1

Ohh 2

One More Time

Uhh+Hit

Analog Kit 3

091bpmC4

096bpmC4

102bpmC4

103bpmC4

106bpmC4

134bpmC4

135bpmC4

137bpmC4

138bpmC4

160bpmC4

095bpmC4

144bpmC4

110bpmC4

114bpmC4

Samba137

C1 C2 C3 C4 C5 C6

Using the DJX’s Multi-function Keyboard

Using the DJX’s Multi-function Keyboard

Special DJX Demo Voice

Special DJX Demo Voice

Indicates Part Control and Pattern Control are both on.

13

Step 2 Using the Keyboard

Other keyboard settings are available depending on the on/off settings of Part Control and Pattern

Control. (You can turn these on and off with the PART CONTROL and PATTERN CONTROL buttons.)

When Part Control is off:

Turn Part Control off by pressing the PART CONTROL button.

When Pattern Control is off:

Turn Pattern Control off by pressing the PATTERN CONTROL button.

When Part Control and Pattern Control are both off:

Turn Part Control off by pressing the PART CONTROL button; turn Pattern Control off by pressing the

PATTERN CONTROL button. In this condition, you can play the entire keyboard normally.

C1 — Ab2 A2 — C6

Pattern Keys Performance Keys

C1 — B1 C2 — Ab2 A2 — C6

Part Select Keys

Part On/Off Keys

Performance Keys

Entire keyboard (C1 — C6) is used for Performance.

More keyboard settings

Beat Reverse Key

(See page 52)

14

Step 3 Demo Song/Voice/Style

The DJX features a total of 284 high-quality

voices. Let’s try a few of them out...

x Stop the song.

ALL

001 144

MEASURE

SONG

1 62 3 4 5

P

_

TRANCE

DEMO START

z Simultaneously press both OVERALL

▲

/

▼

buttons.

The DJX has three Demo songs that showcase the authentic voices

and dynamic patterns of the instrument.

zEnter the Voice mode.

xSelect a voice.

cPlay the keyboard.

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

002

VOICE

STYLE

TalkBox

Want to find out more? See page 25.

Panel voices ........... 1 - 140 (140 voices)

141 - 155 (15 drum kit voices)

GM voices .............. 156 - 283 (128 voices)

Sampling voice ...... 284

Panel Voice List

Want to find out more? See page 41.

No. Voice Name

0 DJX

SYNTH LEAD

1 Fuzzline

2 Talkbox

3 Acid Sync

4 Universe

5 Adrenaline

6 Fragile

7 Cut Glass

BASS LEAD

8 Killer S

9 Reso-X

10 Choppy

11 PhatMan

12 Organese

13 Happy Vibes

14 TriTouch

15 Sync

SQUARE LEAD

16 MC-Line

17 Alien

18 Psyche

19 Clanger

20 Square Lead 1

21 Square Lead 2

No. Voice Name

SAW LEAD

22 Break It

23 Scary

24 Move It

25 Robot Lead

26 Fat

27 Seq Ana

28 Stab

29 Pulse Saw

30

Sawtooth Lead 1

31

Sawtooth Lead 2

32 Bedtime

SYNTH PAD

33 Sequenza

34 Insomnia

35 Wave2001

36 Amber

37 Eerie

38 Trance Pad

RESONANCE BASS

39 Techno Bass

40 Kickin’B

41 Bassline

42 Nu Floor

43 Fish303

44 No.No.No

No. Voice Name

45 Nu Swing

46 Synth Bass

ANALOG BASS

47 Analog Bass

48 Dance Bass

49 Snap Bass

50 Old Mini

51 Power Bass

52 Dub Bass

53 Factory

54 Hyper

55 Kidz Bass

56 Techno

BASS

57 Acoustic Bass

58 Finger Bass

59 Pick Bass

60 Fretless Bass

61 Slap Bass

SCRATCH

62 Scratch

63 Killer DJ

SFX

64 FMTB 1

65 BLJ Trill

66 Omen-FX

No. Voice Name

67 Rave Pipe 1

68 Rave Pipe 2

69 FMTB 2

70 GtrChord

71 HiquiTB

72 Reverse

73 Signal

74 Aah

75 Turntable

HIT

76 Metal Hit

77 Sharp Hit

78 Mild Hit

HUMAN VOICE

79 Come On 1

80 Come On 2

81 GetUp!

82 Go!!

83 Huea

84 Hiuhu

85 Yo-Kurt

86 Oh Babe

87 Ohh 1

88 Ohh 2

89

One More Time

90 Uhh

No. Voice Name

91 Uhh+Hit

92 Yeah...

DRUM LOOP

93 091bpmC4

94 095bpmC4

95 096bpmC4

96 102bpmC4

97 103bpmC4

98 106bpmC4

99 110bpmC4

100 114bpmC4

101 134bpmC4

102 135bpmC4

103 137bpmC4

104 138bpmC4

105 144bpmC4

106 160bpmC4

107 Samba137

PIANO

108

Funky Electric Piano

109

DX Electric Piano

110 CP 80

111

Bell Electric Piano

112 Clavi

ORGAN

113 Jazz Organ 1

No. Voice Name

114 Jazz Organ 2

115 Rock Organ

116 Cheez Organ

117 16'+2' Organ

118 Dance Organ

119 MissU

120 R&B Organ

GUITAR

121 Octave Guitar

122 Clean Guitar

123 Muted Guitar

124

Overdriven Guitar

STRINGS

125 Strings

126 Marcato Strings

127 Synth Strings

128 StringPad

129 Pizzicato

BRASS

130 Techno Brass

131 Jump Brass

132 Brass Phase

133 Synth Brass

134 Bright Brass

135 Brass Tek

No. Voice Name

FLUTE

136 Ethnic Flute

137 Coco Flute

PERCUSSIVE

138 Claps-X

139 Rim-X

140 Tom-X

DRUM KITS

141 Standard Kit 1

142 Standard Kit 2

143 Room Kit

144 Rock Kit

145 Electronic Kit 1

146 Analog Kit 1

147 Dance Kit

148 Jazz Kit

149 Brush Kit

150 Symphony Kit

SPECIAL KITS

151 Analog Kit 2

152 Analog Kit 3

153 Electronic Kit 2

154 B900 Kit

155 DJX Kit

Playing back all three songs

Playing back all three songs

Selecting a voice

Selecting a voice

15

Step 3 Demo Song/Voice/Style

The PortaTone features 100 different styles in various music genres. With the Performance Setup

function, you can call up voice and other settings that best match the selected style. Each style

has been programmed with two Preset Performance Setups.

1Enter the Style mode.

2Select a style.

For a list of styles,

see below.

3Press one of the Performance Setup

buttons: Preset A or B.

Want to find out more? See page 44.

4Start the pattern and

play the keyboard.

002

VOICE

STYLE

TripHop

001

001 142

MEASURE

STYLE

Techno

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

Style List

No. Style Name

INTRODUCTION

1 Pop Techno

2 Trip Hop

3 Electro Beat

4 Goa

5 Hard Step 8th

6 Handbag 1

7 Romantic House

8 Ambient

9 Acid Jazz

10 Treach

11 Steppa

12 Struttin’

13 All That

14 Soulful

TECHNO

15 Tribal Techno

16 Gabba

17 Soft Gabba

18 Euro Techno

No. Style Name

19

Modern Detroit Techno

20

Vintage Detroit Techno

21

Modern Berlin Techno

22 Minimal Techno

23 Speed Garage

24 Acid Techno

25 Samba Techno

TRIP HOP

26 Funky Trip Hop

27 Pop Trip Hop

28 Vintage Trip Hop

ELECTRO

29 Plastic Electro

30 Cosmic Beat

31 Body Rock

32 Compilation

TRANCE

33 Trance

34 Psychodelic Trance

35 Relaxx

No. Style Name

36 Hypnotic

37 Dark Trance

DRUM’N’BASS

38 Drum’n’Bass

39 Hard Jungle

40 Soul 2001

DANCE FLOOR

41 Euro Dance

42 Euro Latin

43 Pop Reggae

44 Handbag 2

HOUSE

45 House

46 Acid House

47 Deep House

48 Progressive House

49 Tribal House

50 Vintage Chicago

51 Hard Floor

52 Hip House

No. Style Name

53 Club House

54 Dub House

ABSTRACT BEATS

55 Digital Rock

56 Underground

57 Chill Out

RAP

58 Bomb

59 Dance Hall

60 Hype

61 Money

62 Ragga

63 Shakin’

64 Tip

HARDCORE

65 Buggin’

66 Diesel

67 Hi Rolla

68 Homies

69 SuckaMC

No. Style Name

70 SupaBad

71 WestSide

OLD SKOOL

72 Beatbox

73 Delight

74 Flares

75 Funked Up

76 Jack

77 Old Skool

78 Party

79 Theque

FRESH

80 Chillin’

81 Dreamin’

82 EastSide

83 Grind

84 Hezee

85 Loc

No. Style Name

R & B

86 Bouncy

87 Do it up

88 Hump

89 Plush

90 Pow!

91 Skippin’

92 Solid

SLO JAMS

93 1stLuv

94 Cool

95 DaLadies

96 Daydream

97 Loverz

98 On Hit

99 Pushin’

100 Sultry

Selecting a style

Selecting a style

DEMO START

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

000

001 142

VOICE

MEASURE

STYLE

DDDJX

zx

2143

zx

16

Step 4 Digital Sampling

Yes, Digital Sampling is built into your new DJX — and it’s truly easy to use. Try it out!

zSet up the DJX for sampling.

Connect in one of the two ways shown

below.

xEnter the Sampling mode.

Press the RECORD button in the DIGITAL

SAMPLING section.

If you’re using a

microphone, plug it

into the MIC jack on

the rear panel.

If you’re using a CD player,

plug it into the LINE IN jack

on the rear panel. (DON’T

plug it into the MIC jack!

This could damage the DJX!)

100

RECORD

3

Sampling

cSet the sampling level.

Turn the INPUT LEVEL knob (while singing

into the microphone or playing the CD).

bSet sampling to standby.

Press the START/STOP button.

100

RECORD

3

Sampling

vPress a key on the keyboard.

Press middle C (C3) for this example. The

sound you record will be assigned to this key.

100

RECORD

3

Sampling

Join the sampling revolution!

Join the sampling revolution!

Make sure the “level meter” in the display

doesn’t go above this level:

17

Step 4 Digital Sampling

nStart recording.

Sing into the microphone or play the CD.

Sampling starts when the DJX receives the

signal. Sampling also automatically stops

after about three seconds.

mPlay the sample from the keyboard.

Try pressing and holding various keys on the

keyboard and listen to your new sample.

,Exit from the Sampling mode.

Press the RECORD (DIGITAL SAMPLING)

button again.

Voice #284 (“Sampled”) is automatically

selected for playing.

Want to find out more? See page 69.

100

3

Sampling

100

RECORD

3

Sampling

DEMO START

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

000

001 142

VOICE

MEASURE

STYLE

DDDJX

b

x,

c

RECORD indication stays lit

during actual sampling.

Microphone icon indicates

sample recording.

18

The DJX has a variety of settings in the Function parameters.

These give you detailed control over many of the DJX’s features. Here’s how to use them:

zPress the FUNCTION button.

Step 5 Function Parameters

xSelect a Function number.

For a list of functions, see page 19.

The Function number can be selected

while the “FUNCTION” indication is

flashing.

Enter the Function

number on the

numeric keypad.

the same time, the Function number (“F02”

in the example above) changes automatically

to the current value of the Function param-

eter.

Current value of the selected Function

parameter.

vUse the numeric keypad to change the

value or setting. For on/off settings, use

the +/- buttons.

Restoring the Default Value

If you’ve changed the parameter setting, you can

instantly restore the default setting by pressing both

+/- buttons simultaneously.

Negative values

To directly enter negative values (for those parameters

that have negative values), simultaneously hold down

the - button and press the desired number button.

F02

FUNCTION

STYLE

M.Octave

F00

FUNCTION

STYLE

M.Octave

F01

FUNCTION

STYLE

M.Octave

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

Press the FUNCTION button;

each press advances through

the numbers. Hold down the

button to continuously

advance through the numbers.

• Since the “FUNCTION” indication flashes for only a

couple of seconds, make sure to select the parameter

quickly after step 1 above.

cAfter “FUNCTION” in the display stops

flashing, change the value or setting.

After a couple of seconds, the “FUNCTION”

indication stops flashing and remains lit. At

bExit the Function mode.

Once you’ve made all desired settings, press

one of the other mode buttons (SONG,

STYLE, or VOICE).

Using the Function parameters

Using the Function parameters

19

Function

page

F01 M.Volume Main Voice Volume 27

F02 M.Octave Main Voice Octave 27

F03 M.Pan Main Voice Pan 27

F04 M.RevLvl Main Voice Reverb Send Level 27

F05 M.ChoLvl Main Voice Chorus Send Level 27

F06 M.DspLvl Main Voice DSP Effect Send Level 27

F11 D.Volume Dual Voice Volume 30

F12 D.Octave Dual Voice Octave 30

F13 D.Pan Dual Voice Pan 30

F14 D.RevLvl Dual Voice Reverb Send Level 30

F15 D.ChoLvl Dual Voice Chorus Send Level 30

F16 D.DspLvl Dual Voice DSP Effect Send Level 30

F17 D.Voice Dual Voice 30

F18 Dual Dual On/Off 30

F21 S.Volume Split Voice Volume 32

F22 S.Octave Split Voice Octave 32

F23 S.Pan Split Voice Pan 32

F24 S.RevLvl Split Voice Reverb Send Level 32

F25 S.ChoLvl Split Voice Chorus Send Level 32

F26 S.DspLvl Split Voice DSP Effect Send Level 32

F27 S.Voice Split Voice 32

F28 Split Split On/Off 32

F29 SplitPnt Split Point 32

F31 Reverb Reverb On/Off 38

Function Parameters List

Step 5 Function Parameters

Function

page

F32 RevType Reverb Type 38

F33 Chorus Chorus On/Off 38

F34 ChoType Chorus Type 38

F35 Dsp DSP On/Off 38

F36 DspType DSP Type 38

F37 Arpgator Arpeggiator On/Off 38

F38 ArpgType Arpeggiator Type 38

F41 UserBank Performance Setup User Bank 57

F51 PtrnSPnt Pattern Split Point 55

F61 USng1Clr User Song 1 Clear 91

F62 USng2Clr User Song 2 Clear 91

F63 USng3Clr User Song 3 Clear 91

F71 FootSw Footswitch 21

F72 VoiceSet Voice Set 33

F73 TouchSns Touch Sensitivity 33

F74 PBRange Pitch Bend Range 33

F81 RemoteCh Remote Channel 95

F82 KbdOut Keyboard Out 95

F83 PtrnOut Pattern Out 95

F84 Local Local On/Off 96

F85 ExtClock External Clock 96

F86 BulkSend Bulk Data Send 96,97

F87 InitSend Initial Data Send

96,100

F88 SmplSend Sampling Send 96,97

DEMO START

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

000

001 142

VOICE

MEASURE

STYLE

DDDJX

zx v

b

20

Step 6

Assigning Various Controls to the ASSIGN Knob,

zPress the OVERALL

▲

or

▼

button repeatedly

until the dark bar at the left of the display is

directly opposite “KNOB ASSIGN” or “RIB-

BON CONTROLLER ASSIGN.”

xChange the assignment for the selected

controller by using the OVERALL +/-

buttons.

ASSIGN Knob/RIBBON CONTROLLER Function List

* These functions can be assigned only to the RIBBON CONTROLLER.

** These functions are effective regardless of the Part Select setting. (See page 60.)

*** These Function parameters are effective only for the Main voice, regardless of the Part Select settings.

Description

This is the same parameter as controlled by the CUTOFF knob (page 61).

This is the same parameter as controlled by the RESONANCE knob (page 61).

This determines the depth of the Reverb effect. (See page 34.) Turning the

knob also automatically turns on Reverb, if it was originally turned off.

This determines the depth of the Chorus effect. (See page 35.)

This determines the depth of the DSP effect. (See page 36.)

This creates a vibrato-like pitch wavering effect.

This determines the “attack” of the sound — or, in other words, how long it

takes for the sound to reach full volume when a note is played. For certain

percussive sounds, this may have little or no audible effect.

This determines how long the sound sustains after a note is released. For

certain percussive sounds, this may have little or no audible effect.

This determines the position of the sound in the stereo image (left, center, or

right).

This determines the volume (level) of the sound.

This is the same parameter as controlled by the GROOVE knob (page 61).

This makes both subtle and dramatic changes in the Pattern by altering the

level of the individual notes. This affects the entire Pattern.

This determines the amount or strength of the level change in the Dynamics

parameter (#09, above). This affects the entire Pattern.

This determines both the tempo and the pitch of the entire DJX sound, affect-

ing all Parts of the Pattern and all voices.

This determines the speed of the Arpeggiator function. (See page 37.)

Function Name Display Name

Cutoff Frequency * Cutoff

Resonance * Resonanc

Reverb Send Level RevLevel

Chorus Send Level ChoLevel

DSP Send Level DspLevel

Modulation Mod

Attack Time Attack

Release Time Release

Pan Pan

Volume Volume

Groove * ** Groove

Dynamics ** Dynamics

Dynamics Strength ** Strength

Turntable ** Turntbl

Arpeggiator Speed *** ArpSpeed

Currently assigned control or function.

ASSIGN Knob and RIBBON CONTROLLER —

Changing the Assignment

ASSIGN Knob and RIBBON CONTROLLER —

Changing the Assignment

DEMO START

DEMO START

For more information on the

ASSIGN knob and RIBBON

CONTROLLER, see pages 63, 66.

014

001 142

VOICE

MEASURE

STYLE

Turntbl

Currently selected controller.

21

RIBBON CONTROLLER, and Footswitch

Function Name Display Name

Sustain Sustain

Arpeggiator Hold ArpgHold

Start/Stop StartStp

Lead In/Lead Out Ld InOut

Beat A Beat A

Beat B Beat B

Arpeggiator On/Off Arpgator

Dual On/Off Dual

Split On/Off Split

Reverb On/Off Reverb

Chorus On/Off Chorus

DSP On/Off Dsp

Tap Tap

Description

Damper pedal or sustain operation. Pressing the footswitch applies a natural

sustain to the keyboard-played voice.

When the Arpeggiator effect (page 37) is turned on, this lets you use the

footswitch to keep the Arpeggiator cycling, even when you take your fingers

from the keyboard or play different notes. Press and hold the footswitch for as

long as you want the Arpeggiator effect to be active.

When the Song mode or Style mode is active, this provides the same function

as the START/STOP button (see pages 41, 45). Each press of the footswitch

alternately starts and stops song or pattern playback.

When the Style mode is active, this provides the same function as the LEAD IN/

LEAD OUT button (see pages 46, 47). Pressing the footswitch twice while the

Pattern is playing back causes the Lead Out section to gradually slow down

(page 47).

When the Style mode is active, this provides the same function as the BEAT A

(BREAK OUT) button (see page 48).

When the Style mode is active, this provides the same function as the BEAT B

(BREAK OUT) button (see page 48).

When the Style mode is active, this provides the same function as the

ARPEGGIATOR button (and the Arpeggiator On/Off parameter, #37). (See page

37.)

This provides the same function as the DUAL button (and the Dual On/Off

parameter, #18). (See page 29.)

This provides the same function as the Split On/Off parameter, #28. (See page

31.)

This provides the same function as the REVERB button (and the Reverb On/Off

parameter, #31). (See page 34.)

This provides the same function as the Chorus On/Off parameter, #33. (See

page 35.)

This provides the same function as the DSP On/Off parameter, #35. (See page

36.)

This useful function lets you use the footswitch to tap out the BPM (Tempo) and

automatically start a selected song or pattern at that tapped speed. Simply tap

(press/release) the footswitch (four times for a 4/4 time signature), and the

song or pattern starts automatically at the BPM you tapped. The BPM can also

be changed during playback by tapping the footswitch twice at the desired

tempo.

Footswitch Function List

Assignment of the footswitch is done from Function parameter #71. (For instructions on using

the Function parameters, see page 18.) The default setting for the footswitch is #13 Tap.

STYLE

F71

FUNCTION

FootSw

STYLE

F13

FUNCTION

Tap

Footswitch Control — Changing the Assignment

Footswitch Control — Changing the Assignment

The DJX has a footswitch feature that can be used to control a variety of

functions and operations. By using your foot to conveniently control

these functions, you free your hands to concentrate on your performance.

22

PANEL DISPLAY INDICATIONS

The DJX features a large multi-function display that shows all important settings

for the instrument. The section below briefly explains the various icons and

indications in the display.

1 Mode indicators

These indicate the currently selected mode —

Voice, Style, Song, or Function — with the mode

name encircled in a rounded rectangle. When

“STYLE” or “SONG” appear without the rect-

angle, the corresponding mode is active in the

background.

In the first example, the Style mode is selected.

2 Overall functions bar indicator

The DJX has five Overall functions or controls.

The currently selected function is indicated by a

dark bar that appears next to its name (printed

on the panel).

3 Keyboard

When Part Control (page 59) is turned on, this

indicates the status of the PART SELECT and

PART ON/OFF keys. The lower octave in the

display corresponds to the PART SELECT keys;

the selected Part’s key is dark. The upper octave

in the display corresponds to the PART ON/OFF

keys; dark keys indicate the corresponding Part is

on.

4 Measure and BPM (Tempo)

These show the current measure during play-

back of a song or style, and the currently set

BPM (Tempo) value for the song or style.

In the second example, the Voice mode has

been selected, but the Style mode is still active

in the background. (This means that the style

controls are active and can be used to play the

currently selected style.)

8 Icon window

7 Song/Voice/Style name and number

6 Chord

5 Beat indicators

4 Measure and

BPM (Tempo)

3 Keyboard

2 Overall functions bar indicator

1 Mode indicators

9 Song track indicators

0 GM icon

000

001 142

VOICE

MEASURE

STYLE

m

1 62 3 4 5

DJX

0

0

STYLE

0

0

VOICE

STYLE

23

5 Beat indicators

These dark bars (one large, three small) flash in

sequence and in time with the song or style.

The large bar indicates the first beat of the

measure. (See page 42.)

6 Chord

When a user song (with chords) is being played

back, this indicates the current chord root and

type. It also indicates chords played in the

PATTERN section of the keyboard when the Style

mode and Pattern Control are on.

7 Song/Voice/Style name and number

This portion of the display indicates the name

and number of the currently selected song,

voice, or style. It also displays the name and

current value or setting of the Overall functions

and the Function parameters, as well as other

important operation messages.

PANEL DISPLAY INDICATIONS

8 Icon window

Depending on the mode or function selected,

this displays various symbols (icons) and other

messages to provide convenient, at-a-glance

information about the DJX operation. For

example, when a song or pattern is playing, this

displays the level of each instrumental track.

9 Song track indicators

In song recording and playback, these indicate

the status of the tracks. (See pages 82, 86.)

0 GM icon

This appears when a GM (General MIDI) voice is

selected. (See page 26.)

GM System Level 1

“GM System Level 1” is an addition to the MIDI standard which ensures that any GM-

compatible music data can be accurately played by any GM-compatible tone generator,

regardless of manufacturer. The GM mark is affixed to all software and hardware products

that support GM System Level 1. The DJX supports GM System Level 1.

24

PLAYING VOICES — THE VOICE MODE

The Voice mode features 270 authentic voices (including 128 General MIDI

voices), plus 15 special drum kits — all of which have been created with

Yamaha’s sophisticated AWM (Advanced Wave Memory) tone generation system.

The Voice mode gives you many powerful and versatile tools for playing and

enhancing these Voices.

The voices are divided into various instrument

categories, all of which are printed on the panel

for convenience. For a complete list of the

available voices, see page 104.

The Voice mode is actually divided into three

separate modes: Main, Dual and Split. In the

Main Voice mode (see page 25), you can play a

single voice over the entire range of the key-

board. The Dual Voice mode (page 29) allows

you to “layer” two different voices together for

rich, complex sounds. The Split Voice mode

(page 31) lets you set up two different voices for

playing from separate sections of the keyboard.

The DJX includes special Drum Kit voices —

#141 - #155 — that let you play various drum

and percussion sounds from the keyboard.

(Refer to the Drum Kit Voice chart on page 26.)

Symbols are also printed above the keyboard,

conveniently indicating which sounds are played

from which keys.

The DJX also has a special “Sampled” voice

#284, to which your own original samples can

be recorded. (See page 69.)

1 Select the Voice mode. (Press the VOICE button.)

2 Select a voice (with the numeric keypad).

You can also select a Dual voice and/or a Split voice:

Dual voice

1 Turn on the Dual voice. (Press the DUAL button.)

2 Select the Dual voice (from the Function mode).

Split voice

1 Turn on the Split voice (from the Function mode).

2 Select the Split voice (Function mode).

25

There are three ways to select voices: 1) directly entering the voice number

with the numeric keypad, 2) using the +/- keys to step up and down

through the voices, or 3) pressing the VOICE button to advance through

the voice numbers.

2Select the desired voice number.

Use the numeric keypad. The basic categories of voices and their numbers

are shown at the right side of the panel. A complete list of the available

voices is given on page 104.

Using the +/- keys

Press the + key to select the next voice number, and press the - key to

select the previous voice. Holding down either key continuously scrolls up

or down through the numbers. The +/- keys have a “wrap around” fea-

ture. For example, pressing the + key from voice #284 returns to voice

#000.

All two-digit voice numbers

can be selected without

entering an initial “0.”

However, when selecting

voice numbers 0 - 28, the

DJX pauses briefly before

actually calling up the voice.

(This pause allows for

entering three-digit voice

numbers, such as “235.”

Entering the numbers “2”

then “9” immediately calls

up voice #29, since there

are no voices #290 or

higher.)

If you want to immediately

call up voices #0 - #28,

enter one or two zeros

before the number; for

example, select voice #9 by

pressing “0,” “0,” then

“9.” Pressing only “0” does

not change the voice.

Using the numeric keypad

Enter the digits of the voice number as indicated on the panel. For ex-

ample, to select voice #42, press “4” on the numeric keypad, then “2.”

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

042

001 142

VOICE

MEASURE

STYLE

NuFloor

PLAYING VOICES — THE VOICE MODE

BWD

0

velocity

7 8

rest

9

3

FWD

1Select the Voice mode.

Press the VOICE button.

Indicates Voice mode is selected

000

VOICE

STYLE

DDDJX

PLAYING A VOICE — MAIN VOICE

PLAYING A VOICE — MAIN VOICE

26

Using the VOICE button

Press the VOICE button to select the next voice number. (This functions

exactly the same as the + button.)

Each voice is automatically

called up with the most

suitable octave range

setting. Thus, playing

middle C with one voice

may sound higher or lower

than another voice at the

same key.

3Play the selected voice.

To change to another voice, repeat step 2 above.

About Panel Voices and GM Voices

Keep in mind that the DJX has two separate sets of voices: Panel

voices and GM (General MIDI) Voices. The GM Voices can also be

used for optimum playback of GM-compatible song data. This

means that any GM song data (played from a sequencer or other MIDI device) will

sound just as the composer or programmer intended.

When a GM voice is selected, the General MIDI icon appears at the top left of the

display.

When you select a

voice, the DJX also

automatically calls up

various settings that

are appropriate for the

voice. [This is true

when Voice Set

(Function #72, page

33) is set to on — the

default setting.]

PLAYING VOICES — THE VOICE MODE

141

VOICE

STYLE

Std.Kit1

Drum Kit Voice Chart (voices 141 - 155)

When one of the 15 panel Drum Kit voices are selected you can

play different drums and percussion instruments on the keyboard.

No. Name LCD

DRUM KITS

141 Standard Kit 1 Std.Kit1

142 Standard Kit 2 Std.Kit2

143 Room Kit Room Kit

144 Rock Kit Rock Kit

145 Electronic Kit 1 ElctKit1

146 Analog Kit 1 AnlgKit1

147 Dance Kit DanceKit

148 Jazz Kit Jazz Kit

149 Brush Kit BrushKit

150 Symphony Kit SymphKit

SPECIAL KITS

151 Analog Kit 2 AnlgKit2

152 Analog Kit 3 AnlgKit3

153 Electronic Kit 2 ElctKit2

154 B900 Kit B900 Kit

155 DJX Kit DJX Kit

27

PLAYING VOICES — THE VOICE MODE

Function Parameters — Main Voice

The Function parameters provide additional settings for the Main voice.

These settings are especially useful when using a second voice in the

Dual or Split modes, since they let you change or enhance the sound of

the Main voice separate from the Dual or Split voice. These settings

include:

• Volume

• Octave

• Pan

• Reverb Send Level

• Chorus Send Level

• DSP Effect Send Level

Function Parameters

No. Parameter Name Display Name Range/Settings

F01 Main Voice Volume M.Volume 0 — 127

F02 Main Voice Octave M.Octave -2 — 2 (octaves)

F03 Main Voice Pan M.Pan -7 (full left) —

0 (center) —

7 (full right)

F04 Main Voice Reverb M.RevLvl 0 — 127

Send Level

F05 Main Voice Chorus M.ChoLvl 0 — 127

Send Level

F06 Main Voice DSP M.DspLvl 0 — 127

Effect Send Level

Description

This determines the volume of the Main voice, letting

you create an optimum mix with the Dual or Split

voice.

This determines the octave range for the Main voice.

Use this to set the most suitable range for the Main

voice when using the Split mode, or use it to create an

octave layer in the Dual mode.

This determines the pan position of the Main voice in

the stereo image.

This determines how much of the Main voice’s signal is

sent to the Reverb effect. (See page 34.) Higher values

result in a louder Reverb effect.

This determines how much of the Main voice’s signal is

sent to the Chorus effect. (See page 35.) Higher

values result in a louder Chorus effect.

This determines how much of the Main voice’s signal is

sent to the DSP effect. (See page 36.) Higher values

result in a louder DSP effect.

These settings are not saved

when you turn off the

power. If you wish to save

them, save them to a User

bank in the Performance

Setup feature (page 56).

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the

parameter number. After “FUNCTION” stops flashing, use the numeric

keypad or +/- buttons to change the setting. (For details, see page 18.)

28

PLAYING VOICES — THE VOICE MODE

DEMO START

Decreases Transpose

value

Increases Transpose

value

You can also adjust the tuning and change the transposition (key) of the

entire DJX sound with the Transpose and Tuning functions.

Transpose

Transpose determines the key of both the main voice and the pattern of the

selected style. It also determines the pitch of the songs. This allows you to

easily match the pitch of the DJX to other instruments or singers, or play in

a different key without changing your fingering. The Transpose settings

can be adjusted over a range of ± 12 semitones (± 1 octave).

1Select the Transpose function in the Overall menu.

Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary, until

“Transpos” appears in the display.

2Change the value.

Use the OVERALL +/- buttons to increase or decrease the Transpose value.

Holding down either button continuously increases or decreases the value. Restoring the

Default Transpose

Value

If you’ve changed the

Transpose setting, you

can instantly restore the

default setting of “00”

by pressing both

OVERALL +/- buttons

simultaneously (when

Transpose is selected in

the Overall menu).

Current Transpose value

Indicates Transpose is

selected

00

VOICE

STYLE

Transpos

DEMO START

TRANSPOSE AND TUNING

TRANSPOSE AND TUNING

The Transpose and Tuning

settings have no effect on

the Drum Kit voices (#141 -

#155).

29

DEMO START

PLAYING VOICES — THE VOICE MODE

Decreases Tuning

value

Increases Tuning

value

Tuning

Tuning determines the fine pitch setting of both the main voice and the

pattern of the selected style. It also determines the pitch of the songs. This

allows you to accurately match the tuning with that of other instruments.

The Tuning settings can be adjusted over a range of ± 100 (approx. ± 1

semitone).

1Select the Tuning function in the Overall menu.

Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary, until “Tun-

ing” appears in the display.

2Change the value.

Use the OVERALL +/- buttons to

increase or decrease the Tuning

value. Holding down either

button continuously increases or

decreases the value.

Restoring the

Default Tuning

Value

If you’ve changed the

Tuning setting, you can

instantly restore the

default setting of “00”

by pressing both

OVERALL +/- buttons

simultaneously (when

Tuning is selected in

the Overall menu).

Current Tuning value

Indicates Tuning is

selected

000

VOICE

STYLE

Tuning

DEMO START

The Dual Voice mode lets you create richly textured sounds by “layering”

two different voices together — one voice being the Main voice selected in

the normal way (page 25), and the other a Dual voice selected as described

below.

1Turn on the Dual Voice mode.

Press the DUAL button.

When you play the keyboard, both the currently selected Main and Dual

voices will be heard.

001 142

MEASURE

The Dual Voice mode

can also be turned on

and off with a con-

nected footswitch. (See

page 21.)

To turn the Dual mode off, press the DUAL

button again.

PLAYING TWO VOICES — DUAL VOICE

PLAYING TWO VOICES — DUAL VOICE

30

Function Parameters — Dual Voice

The Function parameters provide all settings for the Dual voice. Like the similar settings in the Main

Voice mode, these settings let you change or enhance the sound of the Dual voice separate from the

Main voice. These settings include:

• Volume

• Octave

• Pan

• Reverb Send Level

• Chorus Send Level

• DSP Effect Send Level

Function Parameters

No. Parameter Name Display Name Range/Settings

F11 Dual Voice Volume D.Volume 0 — 127

F12 Dual Voice Octave D.Octave -2 — 2 (octaves)

F13 Dual Voice Pan D.Pan -7 (full left) —

0 (center) —

7 (full right)

F14 Dual Voice Reverb D.RevLvl 0 — 127

Send Level

F15 Dual Voice Chorus D.ChoLvl 0 — 127

Send Level

F16 Dual Voice DSP D.DspLvl 0 — 127

Effect Send Level

F17 Dual Voice D.Voice 0 — 284

F18 Dual On/Off Dual on, off

Description

This determines the volume of the Dual voice, letting

you create an optimum mix with the Main voice.

This determines the octave range for the Dual voice.

Use this to create an octave layer with the Main voice.

This determines the pan position of the Dual voice in

the stereo image. For a spacious sounding effect, set

this value at or near -7, and set the Main Voice Pan

(page 27) at the opposite positive value.

This determines how much of the Dual voice’s signal is

sent to the Reverb effect. (See page 34.) Higher values

result in a louder Reverb effect for the Dual voice.

This determines how much of the Dual voice’s signal is

sent to the Chorus effect. (See page 35.) Higher values

result in a louder Chorus effect for the Dual voice.

This determines how much of the Dual voice’s signal is

sent to the DSP effect. (See page 36.) Higher values

result in a louder DSP effect for the Dual voice.

This determines the Dual voice. (See list on page 104.)

This turns the Dual Voice mode on/off. (This is the

same function as that of the DUAL button. It can also

be controlled by a connected footswitch; see page 21.)

• Dual Voice

• Dual On/Off

PLAYING VOICES — THE VOICE MODE

2Select the desired Dual voice and make other set-

tings for the voice (if desired) in the Function mode.

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the

parameter number. After “FUNCTION” stops flashing, use the numeric

keypad or +/- buttons to change the setting. (For details, see page 18.)

• For the Dual voice to be

heard properly, make sure

to:

* Select a different voice

(#17, Dual Voice).

* Set the volume to an

appropriate level (#11, Dual

Volume).

These settings are not saved

when you turn off the

power. If you wish to save

them, save them to a User

bank in the Performance

Setup feature (page 56).

3Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode but-

tons (SONG, STYLE, or VOICE).

31

PLAYING VOICES — THE VOICE MODE

In the Split Voice mode, you can assign two different Voices to opposite parts of the PERFORMANCE

section of the keyboard, and play one Voice with your left hand while your right plays another. For

example, you could play bass with the left hand and play piano with the right. The right-hand (or

upper) Voice is selected in the Main Voice mode (page 25), and the left-hand (or lower) Voice is

selected in the Split Voice mode, as described below.

Where the Split voice is actually played on the keyboard depends on the Part Control and Pattern

Control on/off settings. When both of these are off, the entire keyboard can be used for the Main and

Split voices. (For details, see page 13.)

1Turn the Split voice on in the Function parameters

(#28).

To do this, press the FUNCTION button, then use the numeric keypad to

select parameter number 28. After “FUNCTION” stops flashing, use the +/-

buttons to change the setting. (For details, see page 18.)

2Make other settings for the Split voice (if desired) in

the Function mode.

• For the Split voice to be

heard properly, make sure

to:

* Turn the following

functions off: Part Control

(page 59) and Pattern

Control (page 45).

* Set the volume to an

appropriate level (#21, Split

Volume).

* Set the octave to a

musically appropriate

setting (#22 Split Octave).

For example, a bass voice

might best be played with a

“-1” setting, while a strings

voice might sound best at

“1.”

* Set the desired Split Point

(#29). For most purposes,

however, the default Split

Point of “071” (Main voice

starts at middle C) is

suitable. (See the “Param-

eters” list below for details.)

These settings are not saved

when you turn off the

power. If you wish to save

them, save them to a User

bank in the Performance

Setup feature (page 56).

3Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode but-

tons (SONG, STYLE, or VOICE).

PLAYING TWO VOICES — SPLIT VOICE

PLAYING TWO VOICES — SPLIT VOICE

Main voice

Split point

Split voice

32

PLAYING VOICES — THE VOICE MODE

Function Parameters — Split Voice

The Function parameters provide all settings for the Split voice. Like the similar settings in the Main

Voice mode, these settings let you change or enhance the sound of the Split voice separate from the

Main voice. These settings include:

• Volume

• Octave

• Pan

• Reverb Send Level

• Chorus Send Level

• DSP Effect Send Level

Function Parameters

No. Parameter Name Display Name Range/Settings

F21 Split Voice Volume S.Volume 0 — 127

F22 Split Voice Octave S.Octave -2 —

2 (octaves)

F23 Split Voice Pan S.Pan -7 (full left) —

0 (center) —

7 (full right)

F24 Split Voice Reverb S.RevLvl 0 — 127

Send Level

F25 Split Voice Chorus S.ChoLvl 0 — 127

Send Level

F26 Split Voice DSP Effect S.DspLvl 0 — 127

Send Level

F27 Split Voice S.Voice 0 — 284

F28 Split On/Off Split on, off

F29 Split Point SplitPnt 000 — 127

Description

This determines the volume of the Split voice, letting

you create an optimum mix with the Main voice.

This determines the octave range for the Split voice.

Use this to set the most suitable range for the Split

(lower) voice.

This determines the pan position of the Split voice in

the stereo image. For a spacious sounding effect, set

this value at or near -7, and set the Main Voice Pan

(page 27) at the opposite positive value.

This determines how much of the Split voice’s signal is

sent to the Reverb effect. (See page 34.) Higher values

result in a louder Reverb effect for the Split voice.

This determines how much of the Split voice’s signal is

sent to the Chorus effect. (See page 35.) Higher values

result in a louder Chorus effect for the Split voice.

This determines how much of the Split voice’s signal is

sent to the DSP effect. (See page 36.) Higher values

result in a louder DSP effect for the Split voice.

This determines the Split voice. (See list on page 104.)

This turns the Split Voice mode on/off. This can also be

controlled by a connected footswitch. (See page 21.)

This determines the highest key for the Split voice and

sets the Split “point” — in other words, the key that

separates the Split (lower) and Main (upper) voices.

(The Split voice sounds up to and including the Split

Point key.) The default Split Point is 071 (B3). The

value can also be set directly by pressing the desired

key while this parameter is selected. While this is being

set, the keyboard does not produce any sound. After

setting this, make sure to select a different parameter

or exit the Function mode before playing the keyboard.

• The Split Point setting is related to and affected by

the Pattern Split Point setting. (See page 54.)

• In order to use the entire keyboard for the Split and

Main voices, turn the following functions off: Part

Control (page 59) and Pattern Control (page 45).

• Split Voice

• Split On/Off

• Split Point

33

PLAYING VOICES — THE VOICE MODE

Voice Set, Touch Sensitivity, and Pitch Bend Range are three important

voice-related parameters, and are found in the Function parameters.

When Voice Set (described in greater detail below) is set to on, you can

automatically call up a variety of voice-related settings that best suit the

selected voice.

Touch Sensitivity (also described below) gives you dynamic, expressive

control over the voices by letting you set how the volume of the DJX

responds to your playing strength.

Pitch Bend Range lets you set the amount of pitch change when using the

PITCH BEND wheel. (See page 7.)

No. Parameter Name Display Name Range/Settings

F72 Voice Set VoiceSet oFF, on

F73 Touch Sensitivity TouchSns 1 — 3

F74 Pitch Bend Range PBRange 1 — 12

(semitones)

Description

When this is set to on, selecting a voice also automatically

calls up special voice-related parameters and values that best

suit the voice. The parameters included in Voice Set are:

• Main Voice — Volume, Octave, Pan

• Dual Voice — Number, Volume, Octave, Pan,

Reverb Send Level, Chorus Send Level, DSP

Send Level

• Arpeggiator — Type, On/Off

Use the panel ARPEGGIATOR and DUAL buttons to turn the

respective functions on or off.

A setting of “1” results in limited touch response; this

setting produces a relatively narrow dynamic range, no

matter how lightly or strongly you play the keys. “2” lets

you play over a normal dynamic range (soft to loud), while

“3” is designed for playing very soft passages, giving you

slightly more detailed control in the soft volume range.

This determines the amount that pitch is raised or lowered

when using the PITCH BEND wheel. At the minimum

setting, moving the PITCH BEND wheel up or down

changes the pitch by a maximum of 1 semitone or half-step

in either direction. At the maximum setting of 12, pitch is

changed over a range of ± one octave (12 semitones). The

PITCH BEND wheel affects only the voices played in the

PERFORMANCE section of the keyboard.

Function Parameters — Voice Set, Touch Sensitivity and Pitch Bend Range

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the parameter number.

After “FUNCTION” stops flashing, use the numeric keypad or +/- buttons to change the setting.

(For details, see page 18.)

Function Parameters

ADDITIONAL VOICE FUNCTIONS — VOICE SET, TOUCH

SENSITIVITY, AND PITCH BEND RANGE

ADDITIONAL VOICE FUNCTIONS — VOICE SET, TOUCH

SENSITIVITY, AND PITCH BEND RANGE

34

EFFECTS

The Reverb effect reproduces the natural ambient “wash” of sound that

occurs when a instrument is played in a room or concert hall. A total of

eight different Reverb types simulating various different performance

environments are available.

1Turn on the Reverb effect.

Press the REVERB button.

Reverb can also be

turned on and off with

a connected footswitch

(page 21), or from

Function parameter

#31 (page 38).

2Set the desired Reverb Type (#32) in the Function

mode.

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the

parameter number. After “FUNCTION” stops flashing, use the numeric

keypad or +/- buttons to change the setting. (For details, see page 18.)

For a list of the Reverb Types, see page 39.

• The panel REVERB on/off

button affects only the

keyboard played voices. If

you want to turn off the

Reverb effect for the overall

DJX sound (including

accompaniment and

songs), set the Reverb Type

(#9, page 39) to “off.”

• These settings are not

saved when you turn off the

power. If you wish to save

them, save them to a User

bank in the Performance

Setup feature (page 56).

• Three additional Reverb

Types are available when

controlling the DJX from a

MIDI device. (For details,

see page 114.)

The DJX is equipped with a wide variety of effects that can be used to enhance

the sound of the voices. Four general categories of effects are provided — Re-

verb, Chorus, DSP, and Arpeggiator — and each category has many effect types

to choose from.

Application of the effects is also exceptionally flexible. All four effects can be used simultaneously, and

the degree of the Reverb, Chorus, and DSP effects can be adjusted independently for each of the

voices: Main, Dual, and Split.

001 142

MEASURE

Indicates that Reverb is on

REVERB

REVERB

1 Turn on the effect.

2 Set the effect type (Function mode).

3 Set the effect send level for the desired voices — Main, Dual, Split

(Function mode). (Not necessary for Arpeggiator.)

35

4Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode but-

tons (SONG, STYLE, or VOICE).

The Chorus effect lets you enhance the sound of a voice with through the

use of pitch modulation. Two basic types are provided: Chorus and

Flanger. Chorus produces a thicker, warmer, and more animated sound,

whereas Flanger creates a swirling, metallic effect. A total of four Chorus

types are available.

• The Chorus effect is

applied only to the key-

board-played voices.

• These settings are not

saved when you turn off the

power. If you wish to save

them, save them to a User

bank in the Performance

Setup feature (page 56).

• Three additional Chorus

Types are available when

controlling the DJX from a

MIDI device. (For details,

see page 114.)

2Set the Chorus Send Level for the desired voice(s).

The Main, Dual, and Split voices can each be set to have different amounts

of Chorus. Use the corresponding Chorus Send Level parameters in the

Function mode (Main: #05, Dual: #15, Split: #25) to control this. (See

pages 27, 30, 32.)

If the Chorus Send Level is

set to a value near or at

“000,” the Chorus effect

may not be heard.

3Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode but-

tons (SONG, STYLE, or VOICE).

EFFECTS

1Turn on the Chorus effect (#33) and set the Chorus

Type (#34) in the Function mode.

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the

parameter number. After “FUNCTION” stops flashing, use the numeric

keypad or +/- buttons to change the setting. (For details, see page 18.)

For a list of the Chorus Types, see page 39.

CHORUS

CHORUS

3Set the Reverb Send Level for the desired voice(s).

The Main, Dual, and Split voices can each be set to have different amounts

of Reverb. Use the corresponding Reverb Send Level parameters in the

Function mode (Main: #04, Dual: #14, Split: #24) to control this. (See

pages 27, 30, 32.)

If the Reverb Send Level is

set to a value near or at

“000,” the Reverb effect

may not be heard.

The Chorus effect can

also be turned on and

off with a connected

footswitch. (See page

21.)

36

The DSP effect section provides many reverb and chorus effects, plus a

wealth of other useful and dynamic effects for enhancing and changing the

sound of the voices. Included among these miscellaneous effects are

reverse gate reverb, phaser, rotary speaker, tremolo, echo, delay, distortion,

equalization, and wah. A total of thirty-three DSP types are available.

1Turn on the DSP effect (#35) and set the DSP Type

(#36) in the Function mode.

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the

parameter number. After “FUNCTION” stops flashing, use the numeric

keypad or +/- buttons to change the setting. (For details, see page 18.)

For a list of the DSP Types, see page 39.

• The DSP effect is applied

only to the keyboard-played

voices.

• These settings are not

saved when you turn off the

power. If you wish to save

them, save them to a User

bank in the Performance

Setup feature (page 56).

• Eighteen additional DSP

Types are available when

controlling the DJX from a

MIDI device. (For details,

see page 114.)

3Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode but-

tons (SONG, STYLE, or VOICE).

The DSP effect can

also be turned on and

off with a connected

footswitch. (See page

21.)

EFFECTS

2Set the DSP Send Level for the desired voice(s).

The Main, Dual, and Split voices can each be set to have different amounts

of DSP. Use the corresponding DSP Send Level parameters in the Function

mode (Main: #06, Dual: #16, Split: #26) to control this. (See pages 27, 30,

32.)

If the DSP Send Level is set

to a value near or at “000,”

the DSP effect may not be

heard.

DSP

DSP

37

Function Parameters — Effects

The Effect Function parameters provide all effect-related settings (with the exception of the Send

parameters in the Main, Dual, and Split sections). These settings include:

• Reverb On/Off

• Reverb Type

• Chorus On/Off

• Chorus Type

• DSP On/Off

• DSP Type

• Arpeggiator On/Off

• Arpeggiator Type

EFFECTS

The Arpeggiator effect lets you automatically create a variety of patterns

and arpeggios in the Main voice, simply by holding one or more keys in the

PERFORMANCE section of the keyboard. A total of sixteen different

Arpeggiator types are available.

The speed of the Arpeggiator depends on the BPM setting (page 41). The

speed can also be controlled as you play with the ASSIGN knob or RIBBON

CONTROLLER (when either of those controls are set to “Arpeggiator

Speed”; see pages 64 and 67).

1Turn on the Arpeggiator effect.

Press the ARPEGGIATOR button.

2Set the Arpeggiator Type (#38) in the Function

mode.

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the

parameter number. After “FUNCTION” stops flashing, use the numeric

keypad or +/- buttons to change the setting. (For details, see page 18.)

For a list of the Arpeggiator Types, see page 38.

• These settings are not

saved when you turn off the

power. If you wish to save

them, save them to a User

bank in the Performance

Setup feature (page 56).

• If keys are being held

when the Arpeggiator is

turned on, the Arpeggiator

effect begins only when

another key is pressed. If

keys are being held when

the Arpeggiator is turned

off, the Arpeggiator effect

continues until all keys are

released.

001 142

MEASURE

Indicates that Arpeggiator is on

3Exit the Function mode.

Once you’ve made all desired settings, press one of the other mode but-

tons (SONG, STYLE, or VOICE).

• The DJX also has an

Arpeggiator Hold

function that lets you

use a connected

footswitch to keep the

Arpeggiator cycling,

even when you take

your hands from the

keyboard. (See page

21.)

• The Arpeggiator

effect can also be

turned on and off with

a connected footswitch

(page 21), or from

Function parameter #37

(page 38).

ARPEGGIATOR

ARPEGGIATOR

38

■ Effect Types

EFFECTS

Function Parameters

No. Parameter Name Display Name Range/Settings

F31 Reverb On/Off Reverb on, off

F32 Reverb Type RevType (See “Reverb Type”

list below.)

F33 Chorus On/Off Chorus on, off

F34 Chorus Type ChoType (See “Chorus Type”

list below.)

F35 DSP On/Off Dsp on, off

F36 DSP Type DspType (See “DSP Type” list

below.)

F37 Arpeggiator On/Off Arpgator on, off

F38 Arpeggiator Type ArpgType (See “Arpeggiator

Type” list below.)

Description

This turns the Reverb effect on/off. (This is the same

function as that of the REVERB button. It can also be

controlled by a connected footswitch; see page 21.)

(See “Reverb Type” list below.)

This turns the Chorus effect on/off. This can also be

controlled by a connected footswitch. (See page

21.)

(See “Chorus Type” list below.)

This turns the DSP effect on/off. This can also be

controlled by a connected footswitch. (See page

21.)

(See “DSP Type” list below.)

This turns the Arpeggiator effect on/off. (This is the

same function as that of the ARPEGGIATOR button.

It can also be controlled by a connected footswitch;

see page 21.)

(See “Arpeggiator Type” list below.)

Arpeggiator Types

No. Name LCD Display

1 Techno-A Techno-A

2 Techno-B Techno-B

3 Techno-C Techno-C

4 Techno-D Techno-D

5 Dance/House DAHouse

6 Syncopation Syncopa

7 BaseLine BaseLine

8 Echo Echo

9 Techno echo TekkEcho

10 Sweep Sweep

11 Pulse Pulse

12 Up Up

13 Down Down

14 Up & Down (A) UpDownA

15 Up & Down (B) UpDownB

16 Random Random

Description

Typical Eurobeat techno pattern.

Typical UK techno pattern.

Typical Japanese techno pattern.

Typical German techno pattern.

Syncopated dance or house music pattern.

Syncopated pattern with extreme octave jumps.

Arpeggio pattern especially suited for bass. (Best with just one or two

notes.)

Two-measure pattern with echo effect.

Techno pattern with echo effect.

Two-measure pattern with extreme octave jumps.

Two-measure pattern with extreme octave jumps; works well with one

note held in lower octave (for bass pulse).

Arpeggio pattern of ascending notes (for all notes held).

Arpeggio pattern of descending notes (for all notes held).

Arpeggio pattern (version A) of ascending and descending notes (for all

notes held).

Arpeggio pattern (version B) of ascending and descending notes (for all

notes held).

Random arpeggio pattern (for all notes held).

39

EFFECTS

Reverb Types

No. Reverb Display

Type Name

1 Hall 1 Hall1

2 Hall 2 Hall2

3 Room 1 Room1

4 Room 2 Room2

5 Stage 1 Stage1

6 Stage 2 Stage2

7 Plate 1 Plate1

8 Plate 2 Plate2

9Off Off

Description

Concert hall reverb.

Small room reverb.

Reverb for solo instruments.

Simulated steel plate reverb.

No effect.

Chorus Types

No. Chorus Display

Type Name

1 Chorus 1 Chorus1

2 Chorus 2 Chorus2

3 Flanger 1 Flanger1

4 Flanger 2 Flanger2

5 Off Off

Description

Conventional chorus program

with rich, warm chorusing.

Pronounced three-phase

modulation with a slight metallic

sound.

No effect.

DSP Types

No. DSP Display

Type Name

1 Hall 1 Hall1

2 Hall 2 Hall2

3 Room 1 Room1

4 Room 2 Room2

5 Stage 1 Stage1

6 Stage 2 Stage2

7 Plate 1 Plate1

8 Plate 2 Plate2

9 Early Reflection 1 ER1

10 Early Reflection 2 ER2

11 Gate Reverb Gate1

12 Reverse Gate Gate2

13 Chorus 1 Chorus1

14 Chorus 2 Chorus2

15 Flanger 1 Flanger1

16 Flanger 2 Flanger2

17 Symphonic Symphony

18 Phaser Phaser

19 Rotary Speaker 1 Rotary1

20 Rotary Speaker 2 Rotary2

21 Tremolo 1 Tremolo1

22 Tremolo 2 Tremolo2

23 Guitar Tremolo Tremolo3

24 Auto Pan AutoPan

25 Auto Wah AutoWah

26 Delay Left - DelayLCR

Center - Right

27 Delay Left - Right DelayLR

28 Echo Echo

29 Cross Delay CrossDly

30 Distortion Hard D Hard

31 Distortion Soft D Soft

32 EQ Disco EQ Disco

33 EQ Telephone EQ Tel

34 Off Off

Description

Concert hall reverb.

Small room reverb.

Reverb for solo instruments.

Simulated steel plate reverb.

Early reflections only.

Gated reverb effect, in which the reverberation is quickly cut off for special effects.

Similar to Gate Reverb, but with a reverse increase in reverb.

Conventional chorus effect with rich, warm chorusing.

Pronounced three-phase modulation with slight metallic sound.

Exceptionally rich & deep chorusing.

Pronounced, metallic modulation with periodic phase change.

Rotary speaker simulation.

Rich Tremolo effect with both volume and pitch modulation.

Simulated electric guitar tremolo.

Several panning effects that automatically shift the sound position (left, right, front,

back).

Repeating filter sweep “wah” effect.

Three independent delays, for the left, right and center stereo positions.

Initial delay for each stereo channel, and two separate feedback delays.

Stereo delay, with independent feedback level settings for each channel.

Complex effect that sends the delayed repeats “bouncing” between the left and right

channels.

Hard-edge distortion.

Soft, warm distortion.

Equalizer effect that boosts both high and low frequencies, as is typical in most disco

music.

Equalizer effect that cuts both high and low frequencies, to simulate the sound heard

through a telephone receiver.

No effect.

40

SONG PLAYBACK — THE SONG MODE

1Select the Song mode.

Press the SONG button.

Indicates Song mode

is selected

ALL

SONG

P

_

TRANCE

Song name and number

The Song mode features six songs — three demo songs that have been created

using the rich and dynamic sounds of the DJX, and three User songs to which you

can record your own performance.

The demo songs are generally for your listening enjoyment; however, you can also play along with

them on the keyboard.

The User songs are “empty” and cannot be played until something has been recorded to them. (For

instructions on recording your own songs, see page 80.)

Song Playback Display

ALL

001 144

MEASURE

SONG

1 62 3 4 5

P

_

TRANCE

Current measure

number

When playing User songs (with

recorded Chord track), this displays

the name of the current chord.

“Level meters” show performance

data recorded to each track.

Indicates the tracks currently playing back. (These

can be alternately muted and sounded during

playback by pressing the corresponding SONG

MEMORY buttons.)

Song name

Song number; “All” indicates that all

songs will playback in order.

When Part Control is turned on,

this indicates the status of the PART

SELECT and PART ON/OFF keys.

(See page 60.)

SELECTING AND PLAYING A SONG

SELECTING AND PLAYING A SONG

1 Select the Song mode. (Press the SONG button.)

2 Select a song (with the numeric keypad).

3 Start (and stop) song playback (with the START/STOP button).

41

3Start the selected song.

Press the START/STOP button. As the song plays back, the measure num-

ber and chords are shown in the display.

4If you want to change to another song, repeat step

2 above.

5Stop the song.

Press the START/STOP button. If playback was started by pressing the

START/STOP button, the selected song stops automatically.

The BPM (Tempo) of song (and pattern) playback can be adjusted over a

range of 32 - 280 bpm (beats per minute).

1Select the BPM function in the Overall menu.

Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary, until “BPM”

appears in the display.

Current BPM value

Indicates BPM is

selected

144

SONG

BPM

SONG PLAYBACK — THE SONG MODE

2Select the desired song number.

Use the numeric keypad.

Song numbers can be selected in the same way as

with the voices (see page 25). You can use the

numeric keypad to directly enter the song number,

use the +/- keys to step up and down through the

songs, or press the SONG button to advance

through the song numbers.

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

DEMO START

CHANGING THE BPM (TEMPO)

CHANGING THE BPM (TEMPO)

• You can play along

with the song using the

currently selected

voice, or even select a

different voice for

playing along. Simply

call up the Voice mode

while the song is

playing back and select

the desired voice.

• Start/stop can also be

controlled by using a

connected footswitch.

(See page 21.)

42

DEMO START

Decreases BPM value

Increases BPM

value

2Change the value.

Use the OVERALL +/- buttons to increase or decrease the BPM value. Hold-

ing down either button continuously increases or decreases the value.

Restoring the Default BPM Value

Each song and style has been given a default or standard BPM. If you’ve

changed the BPM, you can restore the original default setting by pressing

both OVERALL +/- buttons simultaneously (when BPM is selected in the

Overall menu).

Also, the BPM (Tempo) of a song or style returns to the default setting

when selecting a different song or style. (The set BPM remains, however,

when switching styles during playback.) When you turn on the power of

the DJX, the BPM (Tempo) is automatically set to 142 bpm.

This section of the display provides a convenient, easy-to-understand

indication of the rhythm for song and style playback. The dark bars below

the name section in the display flash in time with the beat. The first dark

bar indicates the first beat of the measure, and the other bars flash in

sequence to indicate subsequent beats.

SONG PLAYBACK — THE SONG MODE

First beat of measure

ALL

SONG

P

_

TRANCE

Second beat

Third beat

Fourth beat

ABOUT THE BEAT DISPLAY

ABOUT THE BEAT DISPLAY

43

DEMO START

Decreases Song

Volume value

Increases Song

Volume value

The playback volume of the song can be adjusted. This volume control

affects only the song volume. The volume range is 000 - 127.

1Select the Song Volume function in the Overall

menu.

Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary, until

“SongVol” appears in the display.

2Change the value.

Use the OVERALL +/- buttons to increase or decrease the Song Volume

value. Holding down either button continuously increases or decreases the

value.

Restoring the Default Value

To restore the default Song Volume value (100), press both OVERALL +/-

buttons simultaneously (when Song Volume is selected in the Overall

menu).

Current Song Volume

value

Indicates Song

Volume is selected

100

001 105

MEASURE

SONG

1 62 3 4 5

SongVol

SONG PLAYBACK — THE SONG MODE

Song Volume cannot be

changed unless the Song

mode is active. (This

function becomes Pattern

Volume when the Style

mode is active.)

DEMO START

ADJUSTING THE SONG VOLUME

ADJUSTING THE SONG VOLUME

44

1Select the Style mode.

Press the STYLE button.

Indicates Style

mode is selected Style name and number

001

001 142

MEASURE

STYLE

Techno

PATTERNS — THE STYLE MODE

The Style mode provides a wealth of exciting, dynamic patterns — including

rhythms, beats, and instrumental parts — covering virtually the entire spec-

trum of dance and contemporary music!

A total of 100 different styles are available, in a variety of dance music genres. Each style is made

up of separate “sections” — Lead In, Beat A and B (with Break Outs), and Lead Out — letting you

call up different sections as you perform. Each style also has its own “companion” voice selection

— so that when you select a style, the best matching voice for that style is automatically called up.

The pattern features that are built into the styles give you the excitement of full instrumental

backing for your performance. They also make it possible to easily control the backing bass,

chords, and other phrases — just by playing single notes or chords in the PATTERN section of the

keyboard. (See pages 50.)

SELECTING A STYLE AND PLAYING THE PATTERN

SELECTING A STYLE AND PLAYING THE PATTERN

1 Select the Style mode. (Press the STYLE button.)

2 Select a style (with the numeric keypad).

3 Turn Pattern Control on (if it isn’t on already).

4 Start the pattern. (Press the START/STOP button or use the Sync-Start function.)

5 Stop the pattern. (Press one of these buttons: START/STOP, LEAD IN/LEAD OUT,

or SYNC-START.)

45

Style numbers can be selected in the same way as with the voices (see page

25). You can use the numeric keypad to directly enter the style number,

use the +/- keys to step up and down through the styles, or press the STYLE

button to advance through the style numbers.

Pressing the START/STOP button

The pattern starts playing immediately. The currently selected Beat A

or B section will play.

You can select the Beat A or B section by pressing the appropriate

button — BEAT A or BEAT B — before pressing the START/STOP

button. (The icon section of the display briefly shows the letter of the

selected section: “A” or “B.”)

001 142

MEASURE

Indicates selected section

(Beat A or B).

PATTERNS — THE STYLE MODE

Start/stop can also be

controlled by using a

connected footswitch.

(See page 21.)

2Select the desired style number.

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

4Start the pattern.

You can do this in one of the following ways:

Use the numeric keypad. The basic categories of

styles and their numbers are shown at the left of

the panel. A complete list of the available styles is

given on page 111.

3Turn Pattern Control on (if it isn’t on already).

If Pattern Control is off (“- - - -” appears in the Pattern Control section of

the icon window), press the PATTERN CONTROL button to turn it on.

Indicates Pattern Control is on.

001

001 142

MEASURE

STYLE

Techno

46

PATTERNS — THE STYLE MODE

Starting with a Lead In section

Each style has its own two- or four-measure Lead In section. Many of

the Lead In sections also include special chord changes and embel-

lishments to enhance your performance.

To start with a Lead In section:

1) Press the BEAT A or BEAT B button — to select which section

(A or B) is to follow the Lead In.

2) Press the LEAD IN button.

To actually start the Lead In section and pattern, press the

START/STOP button.

Once the Lead In section is finished, the icon section of the

display briefly shows the letter “A” or “B” to indicate that the

selected Beat section is currently playing.

001 142

MEASURE

Indicates Lead

In standby.

001 142

MEASURE

Indicates selected

section (Beat A or

B).

Lead In can also be

controlled by using a

connected footswitch.

(See page 21.)

Using Sync-Start

The DJX also has a Sync-Start function that allows you to start the

pattern by simply pressing a key on the keyboard. To use Sync-Start,

first press the SYNC-START button (the beat bars below the style

name all flash to indicate Sync-Start stand-by), then press any key on

the keyboard in the PATTERN section.

Pattern section

Sync-Start is automatically

set to standby when:

* The power is turned on.

* Part Control (page 59)

is turned on.

47

5Stop the pattern.

You can do this in one of three ways:

Pressing the START/STOP button

The pattern stops playing immediately.

Using a Lead Out section

Press the LEAD IN/LEAD OUT button. The pattern stops after the

Lead Out section is finished.

• Start/stop and Lead

Out can also be

controlled by using a

connected footswitch.

(See page 21.)

• To have the Lead Out

section gradually slow

down as it is playing,

press the LEAD IN/

LEAD OUT button twice

quickly.

Pressing the SYNC-START button

This immediately stops the pattern and automatically enables Sync-

Start, letting you re-start the pattern by simply playing a chord or key

in the PATTERN section of the keyboard.

PATTERNS — THE STYLE MODE

When the Style mode is active, the panel buttons below the display function as Pattern controls.

Pressing this button alternately enables

and disables the PATTERN section of the

keyboard. When Pattern Control is

turned off (disabled), the keyboard

cannot be used to change the chords of

the pattern.

Pressing this

button alternately

enables and

cancels the Sync-

Start function.

(See page 46.)

Pressing this

button alternately

starts and stops

pattern playback.

This controls

the Lead In

and Lead Out

sections.

(See pages

46, 47.)

Pressing this

button selects the

Beat A section, or

adds a Break Out

A section. (See

page 48.)

Pressing this button

selects the Beat B

section, or adds a

Break Out B

section. (See page

48.)

About the Beat Display

The dark bars underneath the style name in the display flash in time with the current tempo during playback

(or Sync-Start standby) of the pattern. The flashing bars provide a visual indication of both the tempo and

time signature of the pattern. (For more information, see page 42.)

PATTERN CONTROLS

PATTERN CONTROLS

48

PATTERNS — THE STYLE MODE

The BPM (Tempo) of song (and pattern) playback

can be adjusted over a range of 32 - 280 bpm

(beats per minute). For instructions on changing

the BPM (Tempo), see page 41.

Each style has been given a default or standard BPM

(Tempo). (For instructions on restoring the default BPM,

see page 42.) When pattern playback is stopped and a

different style is selected, the BPM returns to the default

setting of the new style. When switching styles during

playback, the last BPM setting is maintained. (This allows

you to keep the same BPM, even when changing styles.)

While the pattern is playing, you can add variation by pressing one of the

BEAT A/B (BREAK OUT) buttons. This automatically plays one of four Break

Out sections, and smoothly leads into the next section — even if it is the

same section.

Each style has four different Break Out sections that play in the following

conditions:

• Beat A → Beat A (Break Out “AA”)

• Beat A → Beat B (Break Out “AB”)

• Beat B → Beat A (Break Out “BA”)

• Beat B → Beat B (Break Out “BB”)

This function can also

be controlled by using a

connected footswitch.

(See page 21.)

001 142

MEASURE

This appears while

the Break Out

section is playing.

PATTERN SECTIONS (BEAT A, BEAT B AND BREAK OUTS)

PATTERN SECTIONS (BEAT A, BEAT B AND BREAK OUTS)

If you press the BEAT A or B

button, the Break Out will

begin immediately, and the

newly selected section (A or

B) will actually begin

playing from the top of the

next measure, unless the

BEAT A or B button is

pressed during the last beat

of the measure — in which

case the Break Out will

begin from the first beat of

the next measure.

CHANGING THE BPM (TEMPO)

CHANGING THE BPM (TEMPO)

49

The playback volume of the pattern can be adjusted. This volume control

affects only the pattern volume. The volume range is 000 - 127.

1Select the Pattern Volume function in the Overall

menu.

Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary, until

“PtrnVol” appears in the display.

DEMO START

2Change the value.

Use the OVERALL +/- buttons to increase or decrease the Pattern Volume

value. Holding down either button continuously increases or decreases the

value.

Restoring the Default

Value

To restore the default

Pattern Volume value

(100), press both OVERALL

+/- buttons simultaneously

(when Pattern Volume is

selected in the Overall

menu).

Pattern Volume cannot be

changed unless the Style

mode is active.

DEMO START

Decreases Pattern

Volume value

Increases Pattern

Volume value

100

STYLE

PtrnVol

Current Pattern Volume value

Indicates Pattern Volume is

selected

PATTERNS — THE STYLE MODE

ADJUSTING THE PATTERN VOLUME

ADJUSTING THE PATTERN VOLUME

50

PATTERNS — THE STYLE MODE

Using the key of C as an example, the chart below shows the types of

chords that can be recognized. When Part Control is turned on, the range

of the PATTERN section may be too narrow for proper recognition of all of

the following chords in all twelve keys. For best results when playing full

chords in the PATTERN section, turn Part Control off. (See page 59.)

* Notes enclosed in parentheses are optional; the chords will be recognized without them.

When Pattern Control is set to on (page 45), the DJX automatically creates

the backing tracks — drums, percussion, bass, chords, hits, and other

phrases — and changes the chords of the backing right along with you. All

you have to do is play single notes or chords in the PATTERN section of the

keyboard — and the DJX follows you!

Naturally, you can play full chords (like those shown in the chart below),

and the pattern will change harmonically in response. When you play

single notes, the DJX automatically produces chords that are based on the

root note you play and are best suited to the selected style.

C

Cm

7

C

( )

CM

( )

7

C

(9)

C

( )

(9)

6

Caug Cm

6

Cm

7

( )

Cm

b5

7

CmM

b5

7

Cm

( )

(9)

7

Cm

(9)

CmM

7

( )

CmM

(9)

7

( )

Cdim Cdim

7

C

(9)

7

( )

C

(13)

7

( )

C

(b9)

7

( )

C

(b13)

7

Csus

4

C

1+2+5

C

b5

7

C

6

( )

( )

CM

7(9) 7

CM

(#11)

( )

7

CM

b5

C

(b5)

( )

C

(#11)

7

C

(#9)

7

( )

C aug

7

Cm

7(11)

( )

( )

CM aug

7

( )

C sus

4

7

( )

Recognized Chords (root note: C)

• Playing full chords may

not change the pattern

chord as intended. For

example, playing major

seventh chords will not

change the chords of a

pattern that has minor and

dominant seventh phrases

and lines.

• Chords played in the

PATTERN section of the

keyboard are also detected

and played when the

pattern is stopped. In

effect, this gives you a “split

keyboard,” with bass and

chords in the left hand and

the normally selected voice

in the right.

For example, all single note chords in the Techno style (#001) are minor, all

chords for Trip Hop (#002) are minor 7th 11th, etc. This lets you quickly

and easily play the most musically useful and stylistically appropriate chord

changes — just by pressing a single key!

FINGERING

FINGERING

51

• Notes in parentheses can

be omitted.

• If you play any three

adjacent keys (including

black keys), the chord

sound will be cancelled and

only the rhythm instruments

will continue playing

(CHORD CANCEL function).

• Playing two same root

keys in the adjacent octaves

produces a pattern based

only on the root.

• A perfect fifth (1 + 5)

produces a pattern based

only on the root and fifth,

which can be used with

both major and minor

chords.

• The chord fingerings listed

are all in “root” position,

but other inversions can be

used — with the following

exceptions:

m7, m7

b

5, 6, m6, sus4,

aug, dim7, 7

b

5, 6(9),

m7(11), 1+2+5.

• Inversion of the 7sus4

chord are not recognized if

the 5th is omitted.

• The Pattern will some-

times not change when

related chords are played in

sequence (e.g. some minor

chords followed by the

minor seventh).

• Two-note fingerings will

produce a chord based on

the previously played chord.

Chord Name/[Abbreviation] Normal Voicing

Major [M] 1 - 3 - 5

Add ninth [(9)] 1 - 2 - 3 - 5

Sixth [6] 1 - (3) - 5 - 6

Sixth ninth [6(9)] 1 - 2 - 3 - (5) - 6

Major seventh [M7] 1 - 3 - (5) - 7 or

1 - (3) - 5 - 7

Major seventh ninth [M7(9)] 1 - 2 - 3 - (5) - 7

Major seventh add sharp eleventh [M7(#11)] 1 - (2) - 3 - #4 - 5 - 7 or

1 - 2 - 3 - #4 - (5) - 7

Flatted fifth [(b5)] 1 - 3 - b5

Major seventh flatted fifth [M7b5] 1 - 3 - b5 - 7

Suspended fourth [sus4] 1 - 4 - 5

Augmented [aug] 1 - 3 - #5

Major seventh augmented [M7aug] 1 - (3) - #5 - 7

Minor [m] 1 - b3 - 5

Minor add ninth [m(9)] 1 - 2 - b3 - 5

Minor sixth [m6] 1 - b3 - 5 - 6

Minor seventh [m7] 1 - b3 - (5) - b7

Minor seventh ninth [m7(9)] 1 - 2 - b3 - (5) - b7

Minor seventh add eleventh [m7(11)] 1 - (2) - b3 - 4 - 5 - (b7)

Minor major seventh [mM7] 1 - b3 - (5) - 7

Minor major seventh ninth [mM7(9)] 1 - 2 - b3 - (5) - 7

Minor seventh flatted fifth [m7b5] 1 - b3 - b5 - b7

Minor major seventh flatted fifth [mM7b5] 1 - b3 - b5 - 7

Diminished [dim] 1 - b3 - b5

Diminished seventh [dim7] 1 - b3 - b5 - 6

Seventh [7] 1 - 3 - (5) - b7 or

1 - (3) - 5 - b7

Seventh flatted ninth [7(b9)] 1 - b2 - 3 - (5) - b7

Seventh add flatted thirteenth [7(b13)] 1 - 3 - 5 - b6 - b7

Seventh ninth [7(9)] 1 - 2 - 3 - (5) - b7

Seventh add sharp eleventh [7(#11)] 1 - (2) - 3 - #4 - 5 - b7 or

1 - 2 - 3 - #4 - (5) - b7

Seventh add thirteenth [7(13)] 1 - 3 - (5) - 6 - b7

Seventh sharp ninth [7(#9)] 1 - #2 - 3 - (5) - b7

Seventh flatted fifth [7b5] 1 - 3 - b5 - b7

Seventh augmented [7aug] 1 - 3 - #5 - b7

Seventh suspended fourth [7sus4] 1 - 4 - (5) - b7

One plus two plus five [1+2+5] 1 - 2 - 5

Chord (C) Display

CC

C(9) C(9)

C6 C6

C6(9) C6(9)

CM7 CM7

CM7(9) CM7(9)

CM7(#11) CM7(#11)

C(b5) Cb5

CM7b5 CM7b5

Csus4 Csus4

Caug Caug

CM7aug CM7aug

Cm Cm

Cm(9) Cm(9)

Cm6 Cm6

Cm7 Cm7

Cm7(9) Cm7(9)

Cm7(11) Cm7(11)

CmM7 CmM7

CmM7(9) CmM7(9)

Cm7b5 Cm7b5

CmM7b5 CmM7b5

Cdim Cdim

Cdim7 Cdim7

C7 C7

C7(b9) C7(b9)

C7(b13) C7(b13)

C7(9) C7(9)

C7(#11) C7(#11)

C7(13) C7(13)

C7(#9) C7(#9)

C7b5C7b5

C7aug C7aug

C7sus4 C7sus4

C1+2+5 C

PATTERNS — THE STYLE MODE

52

PATTERNS — THE STYLE MODE

The DJX also has a special Beat Reverse key that lets you break up the pattern with stuttering

rhythmic effects and unusual syncopations. Pressing the key automatically resets the pattern to the

top of the measure (first beat).

1Select a style and start the pattern.

Do this in the normal way. (Need a refresher course? See page 44.)

2Turn Part Control on (if it isn’t on already).

Press the PART CONTROL button.

3Press the Beat Reverse key (C1).

Press the lowest key on the keyboard (C1) each time you want the pattern

to start again from the top. Press it repeatedly for stuttering effects and

rhythmic hits.

Indicates that Part

Control is on.

001

001 142

MEASURE

STYLE

Techno

This exciting feature effectively puts you in the producer’s chair — it lets you instantly and intuitively

mute and un-mute individual Parts of the pattern, simply by pressing keys in the PART ON/OFF

section of the keyboard.

BEAT REVERSE

BEAT REVERSE

PART ON/OFF

PART ON/OFF

53

Indicates Part Control (including

Part On/Off) is off.

PATTERNS — THE STYLE MODE

1Select a style and start the pattern.

Do this in the normal way. (Need a refresher course? See pages 44 - 46.)

2Turn Part Control on (if it isn’t on already).

Press the PART CONTROL button.

Indicates that Part Control is on.

001 142

MEASURE

3Press the appropriate keys to mute and un-mute the

desired Parts.

As the pattern is playing back, press the key in the PART ON/OFF section

that corresponds to the Part you want to mute/un-mute. (You can also

press several keys at once, to instantly mute/un-mute several Parts.)

• On certain patterns and

sections, not all of the Parts

may be available — in

other words, some of the

Parts may be “empty” and

not sound. For example,

Beat A of the “Acid” style

(#009) doesn’t have any

Percussion, Phrase 2, or

Phrase 3 Parts, so pressing

the corresponding keys will

have no effect; however, the

Beat B section of that style

does have the Percussion,

Phrase 2, and Phrase 3

Parts.

• If you’ve recorded a

pattern to the Chord track

of the User song (see page

80), the Part On/Off

function lets you easily mute

and un-mute specific

instrument Parts of the

pattern as it plays back.

To turn the Part On/Off function off, press the PART CONTROL button

again. (When Part Control is off, “- - - -” appears in the Part Control sec-

tion of the icon window.)

001 142

MEASURE

About the Parts

The actual instruments and musical backing used for

Phrases 1, 2 and 3 may differ widely depending on

the selected style. This applies to some of the other

Parts as well. For example, the Snare Part in some

patterns may not sound like a snare drum at all! (In

particular, “Kick,” “Snare,” and “Hi-hat” refer mainly

to those special elements of the rhythm — and not

necessarily the sounds.)

Each time Part Control is

turned off and on again, the

PART ON/OFF keys are reset

to the default (all Parts on).

54

PATTERNS — THE STYLE MODE

The Pattern Split Point determines the highest key for the pattern section.

The pattern can be played with the keys up to and including the Pattern

Split Point key.

This parameter can be set lower (but not higher) than the Split Point in the

Split mode. When set to different values, the two settings affect one

another in the following way:

• When the Split mode Split Point is set higher than the Pattern Split Point:

• When the Split mode Split Point is set to the same key as the Pattern Split Point:

The actual split points (of both the Split voice and the Pattern keys) change

according to the Part Control on/off setting. When Part Control is on, the

split points are as set. When Part Control is turned off, both the split points

drop one octave down, increasing the range of the Performance section.

The following examples illustrate how the split points change in each case.

• When Part Control is on:

• When Part Control is off:

Part Select keys

Part On/Off keys

Pattern keys

Split voice

Main voice

Pattern keys Split voice Main voice

SETTING THE PATTERN SPLIT POINT

SETTING THE PATTERN SPLIT POINT

Split mode Split PointPattern Split Point

Pattern Split Main

Split mode Split Point

Pattern Split Point

Split voice + Pattern section Main

Pattern Split Point = Split mode Split Point

55

Function Parameters

No. Parameter Name Display Name Range/Settings

F51 Pattern PtrnSPnt 000 — 127

Split Point

Description

This determines the highest key for the PATTERN

section and sets the pattern split “point” — in other

words, the key that separates the PATTERN section

and the PERFORMANCE section. (When Pattern

Control is turned on, the PATTERN section sounds

up to and including the Pattern Split Point key.) The

default Pattern Split Point is 068 (G#3). This cannot

be set higher than the Split Point in the Split mode

(page 32). While this is being set, the keyboard

does not produce any sound. After setting this,

make sure to select a different parameter or exit the

Function mode before playing the keyboard.

Function Parameter — Pattern Split Point

PATTERNS — THE STYLE MODE

Selecting and changing the Pattern Split Point:

Press the FUNCTION button, then use the numeric keypad to select parameter num-

ber 51. After “FUNCTION” stops flashing, use the numeric keypad or +/- buttons to

change the setting. (For details, see page 18.)

The value can also be set directly by pressing the desired key while this parameter is

selected. After setting this, make sure to select a different parameter or exit the

Function mode before playing the keyboard.

56

Four User banks each with four different settings — a total of sixteen — are available for your custom

settings. Each of the sixteen User Performance Setups can have different settings for the following

parameters:

Recording a User Performance Setup

1Make all desired settings for the DJX.

Virtually all DJX settings can be saved to a User button. Refer to the

list above for details.

2Select the PSU (Performance Setup) Record

mode.

Press the RECORD button, repeatedly if necessary, until “PSU User”

appears at the top of the display.

PERFORMANCE SETUP

3Select the desired bank.

Use the +/- buttons or the numeric keypad to select the desired User

bank number (1 - 4).

Performance Setup is a powerful and convenient Style mode function that lets

you instantly reconfigure virtually all settings of the DJX — with the touch of a

single button. Two types of Performance Setups are available: User and Preset.

001

RECORD

STYLE

PSU1User

RECORD indica-

tion flashes briefly.

• Main voice number

• All Main voice settings (Volume**, Octave, Pan**, Reverb

Send Level**, Chorus Send Level**, DSP Send Level**,

Cutoff*, Resonance*, Attack*, Release*, and Modulation*)

• Dual voice number

• All Dual voice settings (On/Off, Volume**, Octave,

Pan**, Reverb Send Level**, Chorus Send Level**, DSP

Send Level**, Cutoff*, Resonance*, Attack*, Release*, and

Modulation*)

• Split voice number

• All Split voice settings (On/Off, Split Point, Volume**,

Octave, Pan**, Reverb Send Level**, Chorus Send Level**,

DSP Send Level**, Cutoff*, Resonance*, Attack*, Release*,

and Modulation*)

• Reverb Type and On/Off

• Chorus Type and On/Off

• DSP Type and On/Off

• Arpeggiator Type , On/Off, and Speed*

• Style number, and style-related settings: Pattern Control

On/Off, Section (Beat A or B), Pattern Split Point, Track

settings (Part On/Off, Volume*, Pan*, Cutoff*, Resonance*,

Reverb Send Level*, Chorus Send Level*, DSP Send Level*,

Attack*, Release*, and Modulation*), Groove*, Dynamics*,

and Dynamics Strength

• Part Select (Knobs and Ribbon Controller)

• Overall menu settings: BPM (Tempo), Transpose, Tuning,

Pattern Volume, Ribbon Controller assignment, and Assign

Knob assignment

• Footswitch assignment

• Touch Sensitivity

• Pitch Bend Range

* Last settings made with the Knobs and the Ribbon

Controller are memorized.

** Last settings made in the Function mode, and with the

Knobs and Ribbon Controller are memorized.

PERFORMANCE SETUP — USER

PERFORMANCE SETUP — USER

57

PERFORMANCE SETUP

5Exit from the Record mode.

Press the RECORD button.

Recalling a User Performance Setup

Once you’ve recorded your settings to a User button, you can in-

stantly recall those settings any time you want.

1Call up the Style mode.

Press the STYLE button.

2Press the appropriate PERFORMANCE SETUP

USER button.

Press the USER button (1 - 4) corresponding to the desired settings.

001 142

MEASURE

Briefly appears to

indicate that

settings have been

saved to Perfor-

mance Setup User

button 1.

4Select the desired User number.

Press the corresponding USER PERFORMANCE SETUP button (1 - 4).

Doing this records the settings to the selected button.

001 142

MEASURE

Briefly appears to

indicate that

Performance

Setup User 1 is

active.

Selecting a User Bank

Before selecting a User Performance Setup (in step #2), you may want to select a different bank. To do this:

1) Select Function #41. (Press the FUNCTION button, then use the +/- buttons or the numeric keypad

to select #41.)

2) After the “FUNCTION“ indication stops flashing, select the desired bank number with the +/-

buttons or the numeric keypad.

58

Preset Performance Setups are used in a slightly different way than the User settings. First, select a

style, then select a Preset Performance Setup. The Preset A and B settings have been specially pro-

grammed at the factory to match the selected style. This means that you can select the style you

want, then choose a Preset that has the best suited voice, effect, and other settings for that style.

3Play the pattern.

Since both Sync-Start and Pattern Control are automatically set to On

when Preset Performance Setup is on, playing a key or chord in the

PATTERN section of the keyboard starts the pattern.

PERFORMANCE SETUP

Selecting a Preset Performance Setup

1Select a style.

Select one of the styles, as described in steps 1 - 2 on page 44.

2Press the appropriate PERFORMANCE SETUP

PRESET button.

Press the PRESET button (A, B) corresponding to the desired settings.

Briefly appears to

indicate that

Performance Setup

Preset A is active.

001 142

MEASURE

• Main voice number

• All Main voice settings (Volume, Octave, Pan,

Reverb Send Level, Chorus Send Level, and DSP

Send Level)

• Dual voice number

• All Dual voice settings (On/Off, Volume, Octave,

Pan, Reverb Send Level, Chorus Send Level, and

DSP Send Level)

• Split voice number

• All Split voice settings (On/Off, Split Point,

Volume, Octave, Pan, Reverb Send Level, Chorus

Send Level, and DSP Send Level)

• Reverb Type and On/Off

• Chorus Type and On/Off

• DSP On/Off

• Arpeggiator Type, On/Off, and Speed

• Style-related settings: Pattern Control On*,

Sync-Start On*, Section(Beat A or B)*, Pattern

Split Point*, Part On/Off, Groove, Dynamics, and

Dynamics Strength

• Part Select (Knobs and Ribbon Controller)

• Overall menu settings: Ribbon Controller

assignment and Assign Knob assignment

• Pitch Bend Range

* Set only when pattern is stopped.

PERFORMANCE SETUP — PRESET

PERFORMANCE SETUP — PRESET

59

THE KNOBS

The Control Knobs of the DJX give you enormously expressive control over vari-

ous parts of the sound. You can use the knobs to “tweak” the sound of any one

of the voices (Main, Dual, or Split) as you perform. Or you can use them to

change the sound of individual Parts of the pattern — in real time as the pattern

plays!

1 Turn Part Control on. (Press the PART CONTROL button.)

2 Select the Part you want to control. (Press one of the PART SELECT keys at the

lower end of the keyboard.)

3 Start the pattern. / Start the song.

4 Turn the knobs to change the sound as you play.

USING THE KNOBS

USING THE KNOBS

1If Part Control isn’t on, turn it on by pressing the

PART CONTROL button.

When you turn on the DJX, Part Control is automatically set to on — so you

may not need to do this step.

To find out whether Part Control is on or not, check the icon window in the

display. If Part Control is on, the icon will look like this:

If Part Control is off, the icon will look like this:

To turn Part Control on/off, press the PART CONTROL button.

001 142

MEASURE

001 142

MEASURE

60

2Select the Part you want to control.

Press one of the PART SELECT keys at the lower end of the keyboard (C#1 -

B1). Each of the keys corresponds to a different voice or part of the pattern

— letting you select the individual instrument sound you want to tweak

with the knobs.

The name of each Part is printed above each key:

The PART SELECT keys function differently when the Song mode is selected:

The key indicating the selected part is darkened in the display.

3Start the pattern. / Start the song.

Press the START/STOP button. For instructions on other ways to start the

pattern, refer to page 46.

THE KNOBS

Bass

Phrase 1

Phrase 2

Split Voice (page 31)

Phrase 3

Dual Voice (page 29)

Main Voice (page 25)

Percussion

Hi-hat

Snare

Kick

Song Track5

Song Track6

Split Voice (page 31)

Dual Voice (page 29)

Main Voice (page 25)

Song Track4

Song Track3

Song Track2

Song Track1

Indicates (Dual Voice) Part is selected.

61

Knob moves are strictly perfor-

mance features — they are not

transmitted via MIDI and cannot

be recorded to a User song.

4Turn the knobs to change the sound.

Turn the desired knob to the left for minimum (or negative) effect

and to the right for maximum (or positive). Each knob has a center

detent for the “0” or “12 o’clock” position, making it easy to “feel”

your way back to zero.

Here’s what each of the knobs do:

CUTOFF

Tweak this to create wah-wah and “swooshing” filter sweep effects in the

selected Part or voice. (Want to find out more? See the box on page 62.)

RESONANCE

Tweak this to set the level for the CUTOFF knob above. For most applications,

you’ll want to set this at a certain point, and tweak the CUTOFF knob. (Want

to find out more? See the box on page 62.)

GROOVE

Tweak this to change the “groove” or “feel” of the entire pattern. This affects

only the pattern Parts (Bass, Kick, Phrase 1, Snare, Hi-hat, Phrase 2, Percus-

sion, and Phrase 3) and not the voices. (Want to find out more? See the box

on page 62.)

ASSIGN

This is a “wild card” knob — it can be assigned to control any one of 12

different functions. To find out how you can use the ASSIGN knob, see page

63.

BASS BOOST

This is similar to the bass control on a stereo amplifier; it affects all Parts and

voices. To make the entire sound fatter with more bottom and depth, turn

the knob to the right. Turning it to the left cuts the bass and creates a

brighter, thinner sound. The BASS BOOST knob setting will also affect the

range and depth of the CUTOFF and RESONANCE knobs. (This is especially

true for the Bass Part or for “bassy” sounds.)

THE KNOBS

• Want to have even

more keys in the PER-

FORMANCE section of

the keyboard?

Try setting a lower Pattern

Split Point value. For

example, setting Pattern Split

Point to “47” would let you

use keys C2 and higher for

playing the voices. (See page

54.)

• Want to instantly call

up your favorite set-

tings?

Many of the settings men-

tioned above (even the

position of the GROOVE

knob!) can be memorized as

part of the Performance Setup

parameters. Once you create

a custom Performance Setup,

you can instantly call it up by

pressing the appropriate

PERFORMANCE SETUP

button. (For a list of memo-

rized settings and how to use

this function, see page 56.)

Minimum Maximum 0

62

About CUTOFF and RESONANCE

These are two filter controls found on many analog

synthesizers. The filter lets a certain part of the sound

(frequency range) of the sound be heard, while

muting all higher sounds. The graph below shows

how this works:

The cutoff frequency determines what frequency

range is “passed” or let through by the filter — it

determines what you hear. All higher frequencies are

muted. With the CUTOFF knob, you can adjust this

cutoff frequency; in other words, it lets you move the

frequency “hump” across the full range of frequen-

cies, like this:

Resonance lets you adjust the level or emphasis of the

filter. Turning the RESONANCE knob to the right

increases the volume of the resonant “peak” at and

around the cutoff frequency; turning it to the left

decreases the volume, like this:

What does this mean in terms of the sound? Setting

the RESONANCE knob to the right makes the Cutoff

effect stronger, or creates a wider tonal variation

when you move the CUTOFF knob. Setting RESO-

NANCE to the left makes Cutoff effect more “mel-

low,” or narrows the range of tonal variation.

Keep in mind that the effect of the CUTOFF and

RESONANCE knobs depend on each other’s settings

as well as the frequency of the sound to be controlled.

Depending on the position of the RESONANCE knob,

the CUTOFF knob may have no effect on the sound.

The reverse is also true.

About GROOVE

Musically, Groove determines the amount of “swing”

feel in the pattern. Technically, it slightly shifts the

timing of the pattern to produce different rhythmic

feels.

Depending on the position of the GROOVE knob,

certain Parts (such as Phrase 1, 2, and 3) may not

sound.

Volume

Frequency (pitch)

Cutoff frequency

High sounds

are muted.

These frequencies are “passed”

by the filter.

Volume

Frequency (pitch)

Cutoff

frequency

Lowers the

frequency

Raises the

frequency

Volume

Frequency (pitch)

Lowers the volume

of the filtered

frequencies

Raises the volume

of the filtered

frequencies

Resonance

THE KNOBS

63

ASSIGN KNOB

ASSIGN KNOB

The ASSIGN knob, as its name suggests, can be assigned to one of a wide

variety of functions — twelve in all — that are not available on the other

knobs.

1 Select KNOB ASSIGN in the Overall menu. (Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary.)

2 Select the Assign parameter. (Use the OVERALL +/- buttons.)

3 Use the ASSIGN knob in the same way as the other knobs. (Need a refresher

course? See “Fast Track,” page 59.)

1Select KNOB ASSIGN in the Overall menu.

Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary, until KNOB

ASSIGN is selected. (The dark bar at the left of the display should be

directly next to “KNOB ASSIGN” on the panel.)

2Select the Assign parameter.

Use the OVERALL +/- buttons to select the parameter to be controlled by

the ASSIGN knob.

• The default setting for the

ASSIGN knob is #09

Dynamics.

• Selecting a Part is not

necessary and has no effect

for the following param-

eters:

• Dynamics

• Dynamics Strength

• Turntable

• Arpeggiator Speed

These parameters are

already set to affect a

certain Part or Parts.

The following chart lists and briefly explains the parameters.

09

Dynamics

VOICE

STYLE

001 142

MEASURE

Indicates Knob Assign is selected.

DEMO START

THE KNOBS

64

12 Arpeggiator Speed ArpSpeed

ASSIGN Knob Parameters

No. Parameter Name Display Name

01 Reverb Send Level RevLevel

02 Chorus Send Level ChoLevel

03 DSP Send Level DspLevel

04 Modulation Mod

Description

This determines the depth of the Reverb effect. (See page 34.) Turning the

knob also automatically turns on Reverb, if it was originally turned off.

This determines the depth of the Chorus effect. (See page 35.) Turning the

knob also automatically turns on Chorus, if it was originally turned off.

This determines the depth of the DSP effect. (See page 36.) Turning the

knob also automatically turns on DSP, if it was originally turned off.

This creates a vibrato-like pitch wavering effect. When the knob is at the

12:00 position, there is no change in the sound. Turning it in either

direction produces modulation.

This determines the “attack” of the sound — or, in other words, how long it

takes for the sound to reach full volume when a note is played. For certain

percussive sounds, this may have little or no audible effect. Turning the

knob to the right produces longer (slower) attack times; turning it to the left

produces a shorter (quicker) attack.

This determines how long the sound sustains after a note is released. For

certain percussive sounds, this may have little or no audible effect. Turning

the knob to the right produces longer release times (more sustain); turning

it to the left produces a shorter release, resulting in a “clipped” sound.

This determines the position of the sound in the stereo image (left, center, or

right). (The center position is at 12:00; turning the knob in either direction

shifts the sound in the corresponding direction.)

This determines the volume (level) of the sound. The knob at full left (7:00)

corresponds to a volume of “0.” Full right corresponds to maximum

volume.

This makes both subtle and dramatic changes in the pattern by altering the

level of the individual notes. Turning the ASSIGN knob steps through a

variety of pre-programmed Dynamics settings (templates). Each template is

programmed to increase or accent the level of certain notes in a pattern and

decrease others. The effect of this parameter also depends on the Dynamics

Strength setting (#10, below). Dynamics affects the entire pattern; Part

Select has no effect.

When the knob is at the 12:00 position, there is no change in the sound.

Turning it in either direction changes the Dynamics template.

This determines the amount or strength of the level change in the Dynamics

parameter (#09, above). This affects the entire pattern; Part Select has no

effect.

This determines both the tempo and the pitch of the entire DJX sound,

affecting all Parts of the pattern and all voices. In effect, this is much like a

continuous speed control on a record turntable. When the knob is turned

all the way to the left (minimum), the pattern stops. The range of the effect

is -59% to 41.4%. For tempo, the absolute minimum is 32 bpm and the

maximum is 280 bpm. For pitch, the range is -800 cents to +600 cents.

Depending on the selected voice, there may be little change in the pitch.

The Turntable tempo value in the display changes as the knob is turned (see

illustration).

This determines the speed of the Arpeggiator function. (See page 37.)

05 Attack Time Attack

06 Release Time Release

07 Pan Pan

08 Volume Volume

09 Dynamics Dynamics

001 180

MEASURE

Shows current Turntable

value (in bpm).

THE KNOBS

10 Dynamics Strength Strength

11 Turntable Turntbl

Maximum Maximum

0 (no modulation)

0 (no change)

Changes Dynamics

template in steps.

Turning in either

direction produces

the same result.

Keep in mind that the assigned parameter may have little or no effect, depending on the selected song, style, or voice.

65

• Want to use another one of these param-

eters at the same time?

Remember that the same parameters are also

available on the RIBBON CONTROLLER. Simply

assign the desired parameter to the RIBBON

CONTROLLER. (See page 66.)

• Want to quickly switch among different

ASSIGN knob parameters?

Use the Performance Setup function to save the knob

assignment to one of the PERFORMANCE SETUP

buttons for instant recall. Keep in mind that other

important knob settings can also be saved. (See

page 56.)

On your own...

• Select voice #136 (“EthnicFl”). Select the Main Voice Part (with the PART SELECT keys) and try these

out:

• First, set the ASSIGN knob to control Attack, and set the knob to about 2:00. Notice how the abrupt

breathy attack of the sound has mellowed.

• Next, set the ASSIGN knob to control Release, and set the knob to about 3:00. Notice how the flute

has a far away reverberant sound, without the use of the Reverb effect.

• Select and play style #002 (TripHop). Select Percussion (with the PART SELECT keys), set the ASSIGN

knob to control Release, and try this out:

• Turn the knob to about 4:00 for a sustained electronic triangle sound.

• In this example, you can use both Dynamics and Dynamics Strength at the same time.

• Set the ASSIGN knob to control Dynamics Strength (#10). Then, set the RIBBON CONTROLLER to

control Dynamics (see page 67). Try pressing and holding down the RIBBON CONTROLLER in different

places while turning the ASSIGN knob to hear changes in the pattern.

THE KNOBS

66

RIBBON CONTROLLER

The RIBBON CONTROLLER is a wonderfully expressive and easy-to-use perfor-

mance controller. Once a sought-after feature found on vintage analog synthe-

sizers, it is rarely included on modern instruments — until now, with the new

DJX!

USING THE RIBBON CONTROLLER

USING THE RIBBON CONTROLLER

1 Select RIBBON CONTROLLER ASSIGN in the Overall menu. (Press one of the

OVERALL

▲

/

▼

buttons, repeatedly if necessary.)

2 Select the Ribbon Controller Assign parameter. (Use the OVERALL +/- buttons.)

3 Select a Part (with the PART SELECT keys) and start the pattern (with the START/

STOP button).

4 Use the RIBBON CONTROLLER to change the sound.

1Select RIBBON CONTROLLER ASSIGN in the Overall

menu.

Press one of the OVERALL

▲

/

▼

buttons, repeatedly if necessary, until RIB-

BON CONTROLLER ASSIGN is selected. (The dark bar at the left of the

display should be directly next to “RIBBON CONTROLLER ASSIGN” on the

panel.)

2Select the RIBBON CONTROLLER parameter.

Use the OVERALL +/- buttons to select the parameter to be controlled by

the RIBBON CONTROLLER.

• The default setting for the

RIBBON CONTROLLER is

#14 Turntable.

• Selecting a Part is not

necessary and has no effect

for the following param-

eters:

• Dynamics

• Dynamics Strength

• Turntable

• Arpeggiator Speed

These parameters are

already set to affect a

certain Part or Parts.

Indicates Ribbon Controller Assign is selected.

DEMO START

001 142

MEASURE

14

Turntbl

VOICE

STYLE

The RIBBON CONTROLLER can be assigned to any one of fifteen different parameters. These include

all the same parameters as can be used with the ASSIGN knob, plus the same parameters controlled

by the CUTOFF, RESONANCE, and GROOVE knobs.

67

The following chart lists and briefly explains the parameters. For more

information on the workings of the RIBBON CONTROLLER, see the box on

page 68.

RIBBON CONTROLLER Parameters

No. Parameter Name Display Name

01 Cutoff Frequency Cutoff

02 Resonance Resonanc

03 Reverb Send Level RevLevel

04 Chorus Send Level ChoLevel

05 DSP Send Level DspLevel

06 Modulation Mod

Description

This is the same parameter as controlled by the CUTOFF knob (page 61).

The mid point on the ribbon corresponds to the 12:00 position of the

CUTOFF knob.

This is the same parameter as controlled by the RESONANCE knob (page

61). The mid point on the ribbon corresponds to the 12:00 position of the

RESONANCE knob.

This is the same parameter as #01 in the ASSIGN knob parameters. (See

pages 34, 64.)

This is the same parameter as #02 in the ASSIGN knob parameters. (See

pages 35, 64.)

This is the same parameter as #03 in the ASSIGN knob parameters. (See

pages 36, 64.)

This is the same parameter as #04 in the ASSIGN knob parameters. (See

page 64.) However, unlike the ASSIGN knob (for which 12:00 corresponds

to no modulation), the RIBBON CONTROLLER affects modulation in this

way:

RIBBON CONTROLLER

This is the same parameter as #05 in the ASSIGN knob parameters. (See

page 64.)

This is the same parameter as #06 in the ASSIGN knob parameters. (See

page 64.)

This is the same parameter as #07 in the ASSIGN knob parameters. (See

page 64.) The mid point on the ribbon corresponds to the center pan

position.

This is the same parameter as #08 in the ASSIGN knob parameters. (See

page 64.)

This is the same parameter as controlled by the GROOVE knob (page 61).

The mid point on the ribbon corresponds to the 12:00 position of the

GROOVE knob.

This is the same parameter as #09 in the ASSIGN knob parameters. (See

page 64.)

This is the same parameter as #10 in the ASSIGN knob parameters. (See

page 64.)

This is the same parameter as #11 in the ASSIGN knob parameters. (See

page 64.) When the far left part of the ribbon (minimum) is held, the

Pattern stops.

This is the same parameter as #12 in the ASSIGN knob parameters. (See

page 64.)

07 Attack Time Attack

08 Release Time Release

09 Pan Pan

10 Volume Volume

11 Groove Groove

12 Dynamics Dynamics

13 Dynamics Strength Strength

14 Turntable Turntbl

15 Arpeggiator Speed ArpSpeed

0 (no modulation) Maximum

Keep in mind that the assigned parameter may have little or no effect, depending on the

selected song, style, or voice.

68

• Want to use another one

of these parameters at the

same time?

Remember that the same

parameters are also available

on the ASSIGN knob. Simply

assign the desired parameter to

the ASSIGN knob. (See page

63.)

• Want to quickly switch

among different RIBBON

CONTROLLER param-

eters?

Use the Performance Setup

function to save the RIBBON

CONTROLLER assignment to

one of the PERFORMANCE

SETUP buttons for instant recall.

Keep in mind that other impor-

tant settings can also be saved.

(See page 56.)

3Select a Part and start the pattern/song.

Do this in the same way as with the knobs:

1) Make sure Part Control is on. (Press the PART CONTROL

button, if necessary.)

2) Select a Part (with the PART SELECT keys at the lower end of

the keyboard).

3) Turn Part Control off (to free up more of the keyboard).

4) Start the pattern/song. (Press the START/STOP button.)

4Use the RIBBON CONTROLLER to change the

sound.

Touch the RIBBON CONTROLLER with one of your fingers, and move

it along the ribbon to change the sound of the selected Part.

The leftmost position on the ribbon corresponds to “0” or minimum,

and the rightmost to maximum. (For more information, see the

boxed section below.)

RIBBON CONTROLLER

“0” or minimum Maximum

How the RIBBON CONTROLLER works

The RIBBON CONTROLLER starts affecting the sound

the moment you touch it, and instantly changes the

sound according to where you put your finger on the

ribbon. It also automatically overrides the setting of

the knobs. When you take your finger from the

ribbon, the selected parameter instantly snaps back to

the default setting.

How the RIBBON CONTROLLER works and how it

relates to the knobs can best be explained by ex-

ample:

Let’s say that you’ve set the RIBBON CONTROLLER to

affect Cutoff.

01

Cutoff

VOICE

STYLE

Next, you turn the CUTOFF knob to about the 3:00 or

4:00 position, making the sound brighter. Leaving

the knob at that position maintains that bright sound.

Now, you touch the RIBBON CONTROLLER, and the

sound instantly changes according to where your

finger is on the ribbon — overriding the effect of the

knob.

Keeping your finger on the ribbon and moving it back

and forth changes the sound continuously. When you

release your finger from the ribbon, the sound

instantly reverts back to what it was when the

CUTOFF knob was set to 12:00 (center).

69

DIGITAL SAMPLING

What is sampling? Technically, sampling is

making a digital recording of a sound. The

sound could be your voice or an acoustic instru-

ment (taken from a microphone), or a recorded

sound (from a CD or cassette player). Once it is

recorded, the resulting “sample” can be edited

(for example, trimmed or looped) and can then

be played at various pitches from a keyboard.

In this section, the words

“sampling” and “recording”

are used interchangeably;

they refer to the same

process.

1 Set up the DJX for sampling. (Connect a microphone or line level source.)

2 Enter the Sampling mode (by pressing the RECORD button in the DIGITAL SAM-

PLING section).

3 Set the sampling level (with the INPUT LEVEL knob).

4 Press the key to which the new sample will be assigned.

5 Set sampling to standby. (Press the START/STOP button; sampling starts when

audio signal is received.)

6 Stop sampling (by pressing the START/STOP button).

7 Exit from the Sampling mode (by pressing the RECORD button again).

Sampling, of course, is a revolutionary new technology. But it’s much more

than that. In case you haven’t been paying attention, sampling is extraor-

dinarily popular and is an integral part of most cutting-edge music of

today. It’s also the most revolutionary way of making music — since

virtually anything can be sampled, and then digitally twisted and regurgi-

tated into new music.

With the built-in Digital Sampling features, the DJX makes it exceptionally

easy for you to use this groundbreaking technology in your own music!

The samples you create are automatically stored to voice #284

(“Sampled”), and can be played from the keyboard like any other voice —

and can be “tweaked” with the knobs, RIBBON CONTROLLER and PITCH

BEND wheel as well!

ABOUT DIGITAL SAMPLING

ABOUT DIGITAL SAMPLING

Sampling

Edit

Play

Keep in mind that the quality

of the sample may differ from

the original sound. In

particular, noise and distor-

tion may result (depending on

the pitch range) when using

the CUTOFF and RESONANCE

knobs.

70

DIGITAL SAMPLING

1Set up the DJX for sampling.

If you’re sampling your voice or an acoustic

instrument with a microphone, connect the

microphone to the MIC input jack on the rear

panel. If you’re sampling a line source, such as

a CD player, cassette deck, or electronic instru-

ment, connect it to the LINE IN input jack.

Never connect a line level

signal (CD player, cassette

deck, electronic instrument,

etc.) into the MIC input

jack! Doing this could

damage the DJX and its

Digital Sampling functions.

2Enter the Sampling mode.

Press the RECORD button (in the DIGITAL SAMPLING section).

This automatically cancels any other DJX operation or function, and enters

the Sampling mode. It also disables the MASTER VOLUME dial — the level

of the sound is controlled only from the INPUT LEVEL knob.

Normally, the trigger level (shown above) does not need to be set. How-

ever, you can change this setting if you want. For more information, see

the boxed section “Trigger Level” below.

If the trigger level is higher

than the input signal, the

signal will not be recorded.

(For more information, see

the boxed section “Trigger

Level”, on page 71.)

100

RECORD

Sampling

RECORD indication flashes.

3

Slowly turn this until level is

appropriate. Trigger level meter

Input level meter

The input level bars should be consis-

tently higher than the trigger level.

MIC

LINE IN

CD player, etc.

3Set the sampling level.

Talk or sing into the microphone (or play back the connected line level

source). As you do this, use the INPUT LEVEL knob to adjust the sampling

level. Slowly turn it to the right until the level is appropriate. The ”level

meter” in the display indicates the level of the signal.

RECORDING A SAMPLE AND PLAYING IT

RECORDING A SAMPLE AND PLAYING IT

71

Guidelines for sampling

DIGITAL SAMPLING

• Connections:

If you are using a microphone, make sure that it is

connected to the MIC jack and not the LINE IN jack.

Connecting a microphone to LINE IN will not damage

the DJX; however, it will be impossible to get a

recordable signal (the microphone level is too low).

• Sample start points:

Always record your sample as close to the intended

start point as possible, since this cannot be changed

later. For example, if you are sampling a four-beat

rhythmic phrase from a CD, cue up the selection

(and pause it) so that when you hit PLAY, the phrase

plays from the top of the measure.

The trigger level setting can help with this as well,

since it effectively puts sample recording on standby

until a strong enough signal (e.g., the first beat of

phrase) arrives to start recording. (See “Trigger

Level” below.)

• Avoiding feedback:

To avoid feedback, make sure that the microphone

is pointed away from the speakers and is placed

relatively distant from them.

• Proper levels:

In general, you’ll want to record the signal as “hot”

as possible — loud enough to record and be heard

properly, but soft enough to avoid clipping and

distortion. The level meter is a total of 8 bars in

height; try to keep the input level at a maximum of 7

bars.

Signal peaks that occasionally push the meter to “8”

may still result in a clean recording. However, you

should avoid letting the signal pin the meter to “8”

(unless you want a deliberately distorted recording).

Also, let your ears be the judge — if you hear

distortion in the signal, bring the input level down.

• Simultaneous MIC and LINE IN use:

Both the MIC and LINE IN inputs can be used

simultaneously for sampling. The key to mixing your

voice with a line input is in having an output control

on the line source (e.g., CD player) — in that way

you can adjust the balance of the line source with

your vocals, then use the INPUT LEVEL knob on the

DJX to control the overall level.

Level meter at “7.”

Trigger Level

Actually, the DJX does not start sampling immediately when the START/STOP button

is pressed (in step #5). Once the START/STOP button is pressed, the DJX waits for a

signal of a suitable level (set by the trigger level). When it hears such a signal, it

starts sampling.

To set the trigger level, use the +/- buttons of the numeric keypad. Press the +

button to raise the trigger level, and press the - button to lower it.

The higher the trigger level, the louder the signal must be to start (trigger) sampling.

You can instantly restore

the default trigger level

setting by pressing both

+/- buttons simulta-

neously.

BWD

0

velocity

7 8

rest

9

3

FWD

Trigger level meter

72

Since the first “a” is lower than the trigger

level, the DJX doesn’t actually start

sampling until the word “one.” If you

want the phrase to be sampled from the

first word, the trigger level should be set

lower.

4Press the key to which the new sample will be as-

signed.

Press the desired key on the keyboard.

If you press the START/STOP

button (to start sampling)

without first pressing a key,

a “Sel. Key” message briefly

appears, prompting you to

select a key.

5Set sampling to standby.

Press the START/STOP button. This does not actually start sample record-

ing — sampling starts when an audio signal is received.

With this new trigger level setting, the entire phrase will be sampled. Be careful,

however, not to set the trigger level too low, or else sampling may start from some

accidental or extraneous sound (such as breathing noises, touching the microphone,

etc.).

If you don’t manually stop

the sampling operation in

step #6 below, the DJX

automatically stops

sampling after about three

seconds (when half of the

available memory is used).

To better understand how trigger level

works, let’s look at a specific example —

sampling of the phrase “a one and a two.”

In this phrase, “one” and “two” are louder

than the other words.

a one and a two

New trigger level

Time

Volume

(level)

Sampling start point

a one and a two

Trigger level

Time

Volume

(level)

Sampling start point

Sampling standby:

During sampling:

3

Microphone icon

indicates sample

recording.

100

Sampling

RECORD

RECORD

indication stays lit

during actual

sampling.

DIGITAL SAMPLING

C3

3

The numbers at the bottom left of the display

indicate the octave of the selected key.

73

DIGITAL SAMPLING

6Stop sampling.

Press the START/STOP button to stop sampling. The amount of remaining

available recording time is shown in the display as a percentage (“100” is

the maximum):

062

RECORD

Sampling

Available recording

time (percentage).

Sampling memory capacity

The DJX has memory space for approximately 6 seconds of

sampling. Up to twelve separate samples can be recorded.

(For information on recording additional samples, see page 74.)

Listed below are some example percentage figures for remain-

ing available recording time, with the corresponding actual

time (in seconds).

When all twelve available samples have been recorded (even if

there is still available recording time), the following display

appears:

Mem Full

BankFull

Keep in mind that although a total of six seconds are available

for sampling, no one sample can be longer than three seconds.

(The DJX automatically stops sampling after three seconds.)

When there is no more available recording time, the following

display appears:

% Free Available Time (approx.)

100 6 seconds

80 4.8 “

75 4.5 “

50 3.0 “

25 1.5 “

10 0.6 “

7Exit from the Sampling mode.

Press the RECORD button (in the DIGITAL SAMPLING section) again. Voice

#284 (“Sampled”) is automatically selected for playing.

Turn the INPUT LEVEL knob to its minimum (or disconnect the MIC or LINE

IN input), and set the MASTER VOLUME dial appropriately for playing the

voice. Notice that the pitch and speed of the sample “follows” the key-

board: Playing keys lower than the original results in a lower pitch and

slower speed; playing higher keys results in higher pitch and faster speed.

Loss of power means loss

of samples!

As long as the AC adaptor

remains connected (or a

working set of batteries is

installed), the DJX retains

the sample data, even if the

STAND BY/ON switch is

turned off. However, if

power is interrupted for any

reason, all sample data will

be lost. (In this case, the

original factory samples are

automatically reloaded to

voice #284.) Make sure to

save any important

samples, by using the

Sampling Data Bulk Dump

function (page 97).

284

Sampled

VOICE

STYLE

C3

Pitch/speed of

sample goes down.

Pitch/speed of

sample goes up.

Original key

Make sure to stop sampling

immediately at the end of

the sound. Recording extra

unneeded sound decreases

the amount of available

memory for additional

samples.

74

Deleting a sample

You can easily delete any specific sample you’ve recorded. To do this:

1 Enter the Sampling mode.

Press the RECORD button (in the DIGITAL SAMPLING section).

2 Press the original key of the sample.

DIGITAL SAMPLING

Recording additional samples

The DJX has space for a total of twelve samples. Recording of additional samples is

very easy. Simply follow the same steps as you did in recording your first sample, but

select a different key in step #4.

Additional samples are mapped to the

keyboard so that there is equal space

between samples. For example, if you’ve

recorded one sample to C3, and then

recorded a new sample to A3, the samples

are mapped to the keyboard in this

fashion:

• Forgotten where all your samples are?

If you’ve recorded several samples, it may be hard to

keep track of which keys you’ve recorded them to. The

DJX lets you easily check where the original key of

each of your samples is.

Each original key is darkened in the display. Since

there is not enough room in the display to show the

entire keyboard, each octave is shown separately

(indicated by the number at the bottom). To step up or

down through the octaves, use the OVERALL +/-

buttons.

Second sample recorded at A3.

("Split point" between the

samples is half the distance

between the original keys.)

Range of first

sample

Range of second

sample

First sample

recorded at C3.

DEMO START

Displays the

next higher

octave.

Displays the next

lower octave.

3

Indicates original

keys of each sample.

Indicates currently

displayed octave.

BWD

0

velocity

7 8

rest

9

3

FWD

Delete?

YES

3 Delete the sample by pressing the +/FWD button.

At the “Delete?” prompt in the display, press the +/FWD button

to actually delete the sample.

“End” appears briefly in the display, before operation returns

If you’ve inadvertently pressed the key to a sample you wish to

keep, press the -/BWD button to cancel.

75

DIGITAL SAMPLING

The DJX also features some simple but powerful sample editing tools.

These include setting the end point for a sample, and creating sample

loops.

Setting the End Point

In this section, you’ll learn how to set the end point of a recorded sample.

The end point determines how much of a sample is played back each time

you press a key. Three different resolutions — Coarse, Mid, and Fine — are

provided to let you move around within the sample data when searching

for the desired or best end point.

Keep in mind that setting

the end point to a position

earlier than the actual end

of the sample does not

change the actual length of

the sample or delete any of

the sample’s data — it

simply changes how the

sample plays back.

1 Enter the Sampling mode.

2 Call up the Sample Editing functions. (Press the FUNCTION button.)

3 Select the desired sample (wave). (Play any key in the sample’s range.)

4 Set the sample for “one shot” play.

5 Adjust the end point. Use different editing resolutions if necessary.

6 Exit from the Sampling mode.

1Enter the Sampling mode.

Press the RECORD button (DIGITAL SAMPLING).

2Call up the Sample Editing functions.

Press the FUNCTION button.

The Sample Editing functions include:

Wave Sel

FUNCTION RECORD

• Wave Select

• Loop / One Shot

• End Point Coarse (1/16)

• End Point Mid (1/256)

• End Point Fine (1/4096)

You can select from among these by using the OVERALL

▲

/

▼

buttons.

SAMPLE EDITING

SAMPLE EDITING

The Sample Editing

functions cannot be selected

if samples have not yet

been recorded. (The error

message “No Data”

appears in the display.)

76

DIGITAL SAMPLING

3Select the desired sample (wave).

Play any key in the sample’s range. Once you’ve found the desired sample,

avoid playing any other keys and go on to step #4.

4Set the sample for “one shot” play.

The One Shot setting, as its name implies, lets the sample play back just

once each time a key is pressed. To set this:

1) Use the OVERALL

▲

/

▼

buttons to select the Loop / One Shot

function.

2) Use the OVERALL +/- buttons to change the setting if necessary.

(For One Shot, this should be set to “no.”)

5Adjust the end point.

The DJX has three different editing resolutions: Coarse, Mid, and Fine. By

using these three together, it is very easy to pinpoint the precise location

you want sample playback to stop. To do this:

1) Select the Coarse (1/16) editing resolution (with the OVERALL

▲

/

▼

buttons.)

A rough picture of the entire sample waveform appears at the bottom

right of the display:

Ep 1/16

FUNCTION RECORD

loop

FUNCTION RECORD

no

DEMO START

Single blocks are either periods of

silence or barely audible parts of

the waveform.

These represent

peaks in the

waveform.

Cursor. Use the OVERALL +/-

buttons to move this across the

waveform. In this example, the

cursor is at the very end of the

waveform.

77

DIGITAL SAMPLING

2) Move the cursor along the waveform by using the OVERALL +/

- buttons.

The cursor position determines the end point — the point at which

sample playback stops. Any sound after the cursor is not played.

Make sure to press and

release a key each time you

want to audition a new

cursor/end point setting.

Generally, it’s best to play the lower keys of the sample, since this

allows you to hear the sample played back slowly — making it easier

to spot the desired end point. If you can’t precisely pinpoint the

desired location, go on to step 4).

4) Select a more detailed resolution, and repeat steps 2) and 3)

above.

The best way to adjust the end point is to use the three resolutions in

their given order: 1) Coarse, 2) Mid, 3) Fine. Once you’ve gotten as

close to the desired end point as possible within Coarse, select Mid

(by using the OVERALL

▲

/

▼

buttons), then use the OVERALL +/-

buttons to move the cursor.

Here is our example waveform as seen in the Mid resolution:

3) Play the keyboard and listen to the edited sample.

Repeat this as often as necessary — playing a key, listening, and

continuing to move the cursor, adjusting the end point until you’re

satisfied.

Cursor is at the third peak in the

waveform. (Sample playback stops at

this newly selected point.)

This display is an enlargement of the block we selected in step 2). It

shows only the initial part of the third peak in our sample. (For more

details on the Coarse, Mid, and Fine resolutions, see the boxed

section “About the resolution settings“ on page 79.)

Notice also that the cursor has returned to the right (end) of the

waveform. This happens when selecting a different resolution for the

first time in an editing session.

78

DIGITAL SAMPLING

6Exit from the Sampling mode.

Press the RECORD button (DIGITAL SAMPLING) again. Your new end point

setting is automatically saved, and is called up each time you select the

sampled voice (#284).

To edit other samples in the voice, simply repeat the entire operation

above.

Creating Loops

Looping is one of the most exciting and useful applications of Digital

Sampling. Creating a loop allows you repeat the sample indefinitely,

simply by holding a key.

1Enter the Sampling mode.

Press the RECORD button (DIGITAL SAMPLING).

2Call up the Sample Editing functions.

Press the FUNCTION button.

3Select the desired sample (wave).

Play any key in the sample’s range. Once you’ve found the desired sample,

avoid playing any other keys and go on to step #4.

4Set the sample for “loop” play.

The Loop setting, as its name implies, lets the sample play back repeatedly

when a key is held. To set this:

1) Use the OVERALL

▲

/

▼

buttons to select the Loop / One Shot

function.

1 Enter the Sampling mode.

2 Call up the Sample Editing functions. (Press the FUNCTION button.)

3 Select the desired sample (wave). (Play any key in the sample’s range.)

4 Set the sample for “loop” play.

5 Adjust the end point. Use different editing resolutions if necessary.

6 Exit from the Sampling mode.

loop

FUNCTION RECORD

no

DEMO START

79

DIGITAL SAMPLING

2) Use the OVERALL +/- buttons to change the setting if necessary.

(For Loop, this should be set to “YES.”)

5Adjust the end point.

This operation is the same as in step #5 of “Setting the End Point” above.

6Exit from the Sampling mode.

Press the RECORD button (DIGITAL SAMPLING) again. Your new loop and

end point settings are automatically saved, and are called up each time you

select the sampled voice (#284).

To edit other samples in the voice, simply repeat the entire operation

above.

About the resolution settings

The Coarse (1/16) setting displays the entire recorded sample. The Mid (1/256) and Fine (1/4096) settings are

like successive 16-power microscopes that let you zoom in on a desired block — letting you precisely set the

end point.

Likewise, each block in Mid is

divided up into 16 blocks and

displayed as such in Fine resolu-

tion.

Each block in Coarse is divided up

into 16 blocks and displayed as

such in Mid resolution.

1/16

resolution

1/256

resolution

1/4096

resolution

80

SONG RECORDING

The DJX features powerful and easy-to-use song recording features that let you

record your keyboard performances — using up to six separate tracks — and

create your own complete, fully orchestrated compositions. Up to three User

songs can be recorded and saved. There are two record modes: Realtime and

Step.

Realtime recording is similar to using a tape

recorder; whatever you play on the keyboard is

recorded in real time as you play it. Also, when

you record subsequent parts to other tracks, you

can hear the previously recorded parts as you

record new ones.

Step recording allows you to enter notes indi-

vidually. As such, it is very similar to writing

down the notes on a sheet of music paper; each

note is entered one at a time.

Each method has its own advantages and uses.

Step recording is excellent for precision and for

entering notes whose placement, rhythmic

value, and velocity are fixed or consistent —

such as individual drum parts in a rhythm pat-

tern, or single notes in a syncopated bass part.

It also gives you precise control in recording fast

or complex passages that would be difficult or

impossible to record in real time. Realtime

recording on the other hand, is best for captur-

ing the natural “feel” of a performance, since it

allows you to record as you are playing and

simultaneously hear what you are recording.

Which method you use depends partly on the

type of music you wish to create and partly on

your own personal preference. You can even

use both methods in tandem. For example, you

could record a basic song guide to track 1 with

Realtime, then use Step to record your “preci-

sion” parts to other tracks (and perhaps even re-

record track 1, once all the other parts are in

place). Or you could program basic riffs and

patterns with Step first, then use Realtime to add

melodies and embellishments.

Keep in mind that all recording operations “replace” the data.

In other words, if you record to a track that already has

recorded data, all previous data in the track will be erased and

replaced by the newly recorded data.

Each press of the RECORD button cycles through

the three Record modes — Realtime, Step, and

PSU (Performance Setup) — before exiting back

to normal operation. (The PSU mode is unrelated

to Song recording; it is described on page 56.)

004

001 142-

MEASURE

RECORD

SONG

1

RealTime

004

001 142-

MEASURE

RECORD

SONG

1

Step

001

001 142-

MEASURE

RECORD

STYLE

PSU1User

81

1Make all desired DJX settings.

Before you actually start recording, you’ll need to make various settings for

the song — such as selecting a style, setting the BPM (Tempo), and select-

ing a voice. (See pages 44, 41, and 24.)

Selecting a style lets you use the sophisticated pattern features as part of

your song. In this way, you can simply play the chords, and the DJX auto-

matically creates the appropriate bass and chord backing. (For more

information on patterns, see page 44.)

If desired, also make other settings. Refer to the list above for settings that

can be recorded to a song.

SONG RECORDING

Data that can be recorded to the normal (melody)

tracks:

• Note on/off

• Velocity

• Main voice settings (Voice Number*, Volume*,

Octave, Pan*, Reverb Send Level, Chorus Send

Level, DSP Send Level)

• Dual voice settings (Voice Number*, Volume*,

Octave, Pan*, Reverb Send Level, Chorus Send

Level, DSP Send Level)

• Reverb on/off, Reverb Type*

• Chorus on/off, Chorus Type*

• DSP on/off, DSP Type*

• Arpeggiator on/off, Arpeggiator Type*,

Arpeggiator Speed*

• Sustain on/off

• BPM (Tempo)*, Time Signature* (if there is no

such data in the Chord track)

Data that can be recorded to the Chord track:

• Style number*

• Chord changes and timing

• Changing sections (Lead In, Beat A/B, etc.) and timing

• Pattern Volume*

• BPM (Tempo), Time Signature*

* These settings can only be recorded once at the beginning

of a song; other settings can be changed in the middle of a

song.

RECORDING A USER SONG — REALTIME RECORDING

RECORDING A USER SONG — REALTIME RECORDING

1 Make all desired DJX settings.

2 Select the Realtime Record mode. (Press the RECORD button.)

3 Select a User song for recording (with the numeric keypad).

4 Select a track number (with the SONG MEMORY buttons).

5 Start recording (by playing the keyboard or pressing the START/STOP button).

6 Stop recording. (When finished, press the START/STOP button.)

7 Listen to your new recording (by pressing the START/STOP button).

8 Record to other tracks as desired. (Repeat steps #4 - #7 above.)

9 Exit from the Record mode. (Press the RECORD button.)

82

2Select the Realtime Record mode.

Press the RECORD button, repeatedly if necessary, until “RealTime” appears

at the top of the display.

3Select a User song for recording.

Use the numeric keypad to select the desired song:

User 1 (004), User 2 (005), or User 3 (006).

User song numbers can be selected in the same way

as with the voices (see page 25). You can use the

numeric keypad to directly enter the song number,

use the +/- keys to step up and down through the

songs, or press the SONG button to advance

through the song numbers.

Realtime and Step recording

methods can be mixed in

the same song, but not the

same track.

SONG RECORDING

RECORD indication flashes briefly,

then stays lit to indicate record

standby.

004

001 142

-

MEASURE

RECORD

SONG

1

RealTime

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

4Select a track number.

Press the SONG MEMORY button corresponding to the desired track. (This

step is optional; the DJX automatically selects the first available track.

When there is no song data, track 1 is automatically selected.)

004

RECORD

SONG

User11

001 142

MEASURE

1CHORD

83

5Start recording.

When the “RECORD“ indication stops flashing and the beat bars and track

number start flashing, you can start recording simply by playing the key-

board (or by pressing the START/STOP button).

Recording to the Chord Track

A special Chord track is provided for recording pattern data. This is

automatically recorded to the Chord track (track 6). To select the

Chord track and turn on the Pattern Control, press the PATTERN

CONTROL button.

You can also simultaneously record one of the melody tracks (1 - 5)

and the Chord track (6).

SONG RECORDING

If Pattern Control has

already been turned on

before entering the Record

mode, the Chord track is

automatically selected.

If you want to rehearse your part before recording, press the SYNC-START

button to turn Sync-Start off. After rehearsing, press SYNC-START again to

return to the above condition.

If you wish to cancel recording at this point, press the RECORD button

again.

This function can also be

controlled by using a

connected footswitch. (See

page 21.)

004

RECORD

SONG

User11

Indicates Record

standby.

Flashing beat bars

indicate Sync-Start is on.

When recording the Chord track

With Sync-Start on, play the first chord of the song in the Pattern

section of the keyboard. The pattern starts automatically and you

can continue recording, playing other chords in time with the pat-

tern.

6Stop recording.

After you’ve finished playing the part, press the START/STOP button.

Pattern Section Performance Section

001 142

MEASURE

1CHORD

84

Additional Operations

Muting Tracks During Playback

While recording is enabled, you can selectively mute different tracks. This is useful for when you want to clearly

hear certain tracks, and not others, during recording. Muting can also be done “on the fly” during playback. To use

muting, press the corresponding SONG MEMORY button, repeatedly if necessary, until the desired track number in

the display is off.

Each press of a SONG MEMORY button (when playback is stopped) cycles through the following settings:

SONG RECORDING

Re-recording a Track

If you’ve made a mistake and wish to record a track over again:

Press the corresponding SONG MEMORY button, repeatedly if necessary, until the desired track number in

the display flashes (indicating record standby for that track). Since doing this turns Sync-Start off, press the

SYNC-START button to turn Sync-Start on again, then start recording (as explained in step #5 above).

Alternately, simply press the START/STOP button to start recording.

Clearing a Single Track

Use this operation to erase a single melody track without clearing the entire song (in the Song Clear operation, page

91). (This can only be used on a melody track.)

1) Press the RECORD button.

2) Select the desired track (with the corresponding SONG MEMORY button).

3) Press the START/STOP button once to start recording, and once again to stop (without playing any keys).

This erases previous data, and creates a blank track.

Track number flashes — Track will record.*

* Cannot be selected during playback.

Track number off — Track is muted.

Track number on — Track will play back.

001 142

MEASURE

1CHORD

7Listen to your new recording.

To play back the song from the beginning, simply press the START/STOP

button again. Playback stops automatically at the end of the song, or

when the START/STOP button is pressed again.

9Exit from the Record mode.

Press the RECORD button.

8Record to other tracks as desired.

To do this, simply repeat steps #4 - #7 above. Make sure that when you

press the SONG MEMORY button corresponding to the desired track, the

track number in the display flashes.

85

SONG RECORDING

2Select the Step Record mode.

Press the RECORD button, repeatedly if necessary, until “Step” appears at

the top of the display.

1Make all desired DJX settings.

This operation is the same as that of Realtime recording (page 81).

Realtime and Step recording

methods can be mixed in

the same song, but not the

same track.

Data that can be recorded to the normal (melody)

tracks:

• Note on/off

• Velocity**

• Main voice settings (Voice Number*, Volume*,

Octave, Pan*, Reverb Send Level*, Chorus Send

Level*, DSP Send Level*)

• Dual voice settings (Voice Number*, Volume*,

Octave, Pan*, Reverb Send Level*, Chorus Send

Level*, DSP Send Level*)

• Reverb on/off, Reverb Type*

• Chorus on/off, Chorus Type*

• DSP on/off, DSP Type*

• BPM (Tempo)*, Time Signature* (if there is no

such data in the Chord track)

Data that can be recorded to the Chord track:

• Style number*

• Chord changes and timing

• Changing sections (Lead In, Beat A/B, etc.) and timing

• Pattern Volume*

• BPM (Tempo), Time Signature*

* These settings can only be recorded once at the beginning

of a song; other settings can be changed in the middle of a

song.

** All notes are entered at the same velocity; however, this

can be changed in various ways with the Velocity Curve

function (page 90).

004

001 142

MEASURE

RECORD

SONG

1

Step

RECORD indication

flashes briefly, then

stays lit to indicate

record standby.

RECORDING A USER SONG — STEP RECORDING

RECORDING A USER SONG — STEP RECORDING

1 Make all desired DJX settings.

2 Select the Step Record mode. (Press the RECORD button.)

3 Select a User song for recording (with the numeric keypad).

4 Select a track number (with the SONG MEMORY buttons).

5 Start recording. (Enter notes and rests individually; see page 86.)

6 Listen to your new recording (by pressing the START/STOP button).

7 Record to other tracks as desired. (Repeat steps #4 - #6 above.)

8 Exit from the Record mode. (Press the RECORD button.)

86

SONG RECORDING

3Select a User song for recording.

This operation is the same as that of Realtime recording (page 82).

4Select a track number.

Press the SONG MEMORY button corresponding to the desired track. (This

step is optional; the DJX automatically selects the first available track.

When there is no song data, track 1 is automatically selected.)

Recording to the Chord Track

A special Chord track is provided for recording pattern data. This is

automatically recorded to the Chord track (track 6). To select the

Chord track and turn on the Pattern Control, press the PATTERN

CONTROL button.

004

001 101-

MEASURE

RECORD

SONG



CHORD

• Unlike Realtime Recording,

Step Recording only allows

you to record one track at a

time; the Chord track

cannot be recorded

simultaneously with another

track.

• If Pattern Control has

already been turned on

before entering the Record

mode, the Chord track is

automatically selected.

5Start recording.

When the RECORD indication stops flashing and the track number starts

flashing, you can start recording. Record each note (or chord) and rest

individually, as described below:

More than one note can be

recorded at a time;

however, only the last

pressed note appears in the

display.

Recording Notes

1) Select the desired position in the song (measure/beat) with

the +/- buttons. (Each press of the button moves one beat

forward or backward.)

2) Play the desired key or keys. (The note name is shown at the

top of display.)

When recording chords to the Chord track, make sure the

Pattern Control is on, then play the desired chord in the PAT-

TERN section of the keyboard.

87

The beat bars also indicate the current recording position (as the beat

of the measure).

The note is automatically entered and Step recording moves to the

next available position. For example, if a whole note is entered at the

beginning of measure 1, the next position is the beginning of mea-

sure 2.

As mentioned above, you can use the +/- keys to move backward and

forward in the track. When material has been recorded, this steps

through and sounds each note in succession.

BWD

0

velocity

7 8

rest

9

3

456

123

FWD

SONG RECORDING

q(96 Clicks) q(96 Clicks) q(96 Clicks) q(96 Clicks)

Measure (384 Clicks)

Beat Beat Beat Beat

Note value

Note name

Measure number Clicks

004

001 201-

MEASURE

RECORD

SONG

1

C3

Beat bars

Beat number

3) Select the note (time) value with the numeric keypad. (The

note value is shown as an icon in the display.)

For example, play middle C (C3), then press the “4” button (1/8

note).

88

SONG RECORDING

=+

Recording Triplets and Dotted Notes:

1) At the desired position, press the corresponding numeric keypad button

(“7” for dotted or “9” for triplets).

2) Press the numeric keypad button for the desired note value.

Additional Operations

Recording Chords and Sections to the Chord Track:

1) Play a chord in the PATTERN section of the keyboard. (The chord name

appears in the display.)

• The Lead In section

can only be recorded at

the beginning of a song.

• When a Lead Out

section is selected, no

further notes can be

recorded.

Enter chords in the normal fashion, as single notes or full chords. (See

page 50.)

2) Select a section by pressing the corresponding button.

When selecting a Lead In or Lead Out section, the length is fixed, and need

not be entered in step 3 below.

3) Select the note (time) value with the numeric keypad.

4) Enter additional chords by repeating steps 1 - 3 above. (Selecting a

section in step 2 is optional.)

Triplets are three notes

within a single beat —

in other words, one beat

is divided up into three

equal units. Each note

(or rest) of a triplet must

be entered separately.

Dotted notes extend the

length of a note by half

— in other words, the

length of a dotted

eighth note is an eighth

note plus a sixteenth

note.

74

+

4

+

9

3

FWDBWD

0

velocity

8

rest

7 9

3

Dotted note

Triplet

Three eighth-note triplets

(within a quarter-note beat).

Two eighth notes (within a

quarter-note beat).

RECORD

m

8

rest

4

+

Recording Rests:

1) Select the desired position in the song with the +/- buttons.

2) Press the “8” (rest) button in the numeric keypad.

3) If you want to record a dotted rest or triplet rest, press the appropriate

numeric keypad button (“7” for dotted or “9” for triplets).

4) Press the numeric keypad button (1 - 6) corresponding to the desired rest

value. (The specified rest value appears as an icon in the display.)

If you want to enter two

or more consecutive

beats of rest, you can

simply use the + button

to move forward in the

track (for as many beats

rest as desired). This

saves you the trouble of

repeatedly entering rests

when there are several

beats or measures of

silence between notes.

5) After recording the desired rest value(s), record the next note.

001 201

MEASURE

1

-

Rest value icon (eighth-note rest)

89

SONG RECORDING

This operation deletes

all previously recorded

notes that follow the

note to be replaced.

Make sure you wish to

delete any subsequent

notes before actually

replacing the selected

note or rest.

Replacing a Note or Rest

If you want to change a note or rest you’ve just recorded, you can easily

replace it with a new one. To do this:

1) Select the desired position in the song with the +/- buttons.

2) Press the new note on the keyboard (or the appropriate rest value

button on the numeric keypad).

3) Enter the new note value on the numeric keypad. (Enter dotted

note or triplet first, if desired.)

4) At the “Delete?” prompt press the + button. To cancel, press the -

button.

6Listen to your new recording.

You can listen to the entire step recorded track at any time by pressing the

START/STOP button. The track you are working on plays back (until

stopped), and returns to Step recording at the next position.

Keep in mind that this only plays the selected track. To hear all tracks of

the song, exit from Step Rec (press the RECORD button), then press the

START/STOP button to start song playback.

7Record to other tracks as desired.

To do this, simply repeat steps #4 - #6 above. Make sure that when you

press the SONG MEMORY button corresponding to the desired track, the

track number in the display flashes.

8Exit from the Record mode.

This operation is the same as step #9 of Realtime recording (page 84).

90

SONG RECORDING

Entering Velocity Curves

In Step recording, all notes are recorded at the same velocity or volume. To make a Step-recorded

track sound more natural or to create some dynamic changes in the track, use the Velocity Curve

function.

1) Select the first note to be affected by the Velocity Curve (by using the +/- buttons of the

numeric keypad). All subsequent notes will be velocity-transformed.

2) Simultaneously hold down the VELOCITY button (“0” in the numeric keypad) and press + or -

to select the desired Velocity Curve.

BWD

0

velocity

7 8

rest

9

3

FWD

3) At the “Change?” prompt,

press the + button (“YES”) to

actually enter the selected

Velocity Curve, or press the -

button to cancel the operation.

001 201

MEASURE

1

-

Selected Velocity Curve

appears as icon in the

display.

BWD

0

velocity

7 8

rest

9

3

FWD

Velocity Curve Chart

Mezzoforte

This sets all subsequent notes to a velocity

value of 80.

Forte

This sets all subsequent notes to a velocity

value of 100.

Fortissimo

This sets all subsequent notes to a velocity

value of 120.

Mezzopiano

This sets all subsequent notes to a velocity

value of 60.

Piano

This sets all subsequent notes to a velocity

value of 40.

Pianissimo

This sets all subsequent notes to a velocity

value of 20.

Crescendo 1

This creates a two-measure crescendo, starting

with the current velocity at the selected note

and ending with a velocity increase of 40.

Crescendo 2

This creates a two-measure crescendo, starting

with the current velocity at the selected note

and ending with a velocity increase of 20.

Crescendo 3

This creates a two-measure crescendo, starting

with the current velocity at the selected note

and ending with a velocity increase of 10.

Display Type/Description

Diminuendo 1

This creates a two-measure diminuendo,

starting with the current velocity at the selected

note and ending with a velocity decrease of 40.

Diminuendo 2

This creates a two-measure diminuendo,

starting with the current velocity at the selected

note and ending with a velocity decrease of 20.

Diminuendo 3

This creates a two-measure diminuendo,

starting with the current velocity at the selected

note and ending with a velocity decrease of 10.

Accent 1

This increases the velocity of notes at the top

(1st beat) of all measures by 30. (Display icon

represents two measures.)

Accent 2

This increases the velocity of notes at the top

and halfway points of all measures by 30.

(Display icon represents two measures.)

Triangle wave

This alternately and gradually increases and

decreases the velocity by 30 in the pattern of a

triangle wave. The wave repeats every two

measures throughout the track. (Display icon

represents two measures.)

Square wave

This alternately and abruptly increases and

decreases the velocity by 30 in the pattern of a

square wave. The wave repeats every two

measures throughout the track. (Display icon

represents two measures.)

Display Type/Description

You can specify a Velocity Curve in the middle of

a track BEFORE recording the notes that the

curve will affect. To do this, select the last note

of the track (by using the +/- buttons), then enter

the desired Velocity Curve. In this case, the

Velocity Curve is NOT applied to that last note,

but affects all subsequently entered notes.

91

The Song Clear operation (of the Function parameters) completely erases

all recorded data on all tracks of a selected User song. Use this operation

only when you’re sure you want to erase a song and record a new one.

1Select the Function mode.

Press the FUNCTION button.

2Select the Function parameter (61 - 63) correspond-

ing to the song you wish to clear.

While the “FUNCTION” indication is flashing, use the numeric keypad to

select the desired Function parameter number:

• 61 — Clear song #1 (“F61 USng1Clr”)

• 62 — Clear song #2 (“F62 USng2Clr”)

• 63 — Clear song #3 (“F63 USng3Clr”)

These parameter numbers

can be selected in the same

way as with the voices (see

page 25). You can use the

numeric keypad to directly

enter the number, use the

+/- keys to step up and

down through the param-

eters, or press the FUNC-

TION button to advance

through the parameter

numbers.

Since the “FUNCTION”

indication flashes for only a

couple of seconds, make

sure to select the parameter

quickly after step 1 above.

3Start the Song Clear operation.

After the “FUNCTION” indication stops flashing and the “Clr?” prompt

appears, press the + button to start the Song Clear operation.

4At the “Sure?” prompt, clear the selected song.

Press + to actually clear the corresponding song, or press - to cancel the

operation and return to step 3.

To exit from the Song Clear operation, press one of the other mode but-

tons: SONG, STYLE, or VOICE.

STYLE

F61

FUNCTION

USng1Clr

Flashes to indicate Function

parameter can be selected.

STYLE

YES

FUNCTION

#11Clr?

SONG RECORDING

STYLE

YES

FUNCTION

Sure?

BWD

0

velocity

7 8

rest

9

3

FWD

CLEARING A SONG

CLEARING A SONG

92

MIDI FUNCTIONS

Even though the DJX is enormously versatile and powerful on its own, it can also

be used effectively in any MIDI setup.

The DJX is MIDI-compatible, featuring MIDI IN and MIDI OUT terminals and pro-

viding a variety of MIDI-related controls. By using the MIDI functions you can

expand your musical possibilities. This section explains what MIDI is, and what it

can do, as well as how you can use MIDI on your DJX.

No doubt you have heard the terms “acoustic instrument” and “digital instrument.” In the world

today, these are the two main categories of instruments. Let’s consider an acoustic piano and a classi-

cal guitar as representative acoustic instruments. They are easy to understand. With the piano, you

strike a key, and a hammer inside hits some strings and plays a note. With the guitar, you directly

pluck a string and the note sounds. But how does a digital instrument go about playing a note?

As shown in the illustration above, in an electronic instrument the sampling note (previously recorded

note) stored in the tone generator section (electronic circuit) is played based on information received

from the keyboard. So then what is the information from the keyboard that becomes the basis for

note production?

For example, let’s say you play a “C” quarter note using the grand piano sound on the DJX keyboard.

Unlike an acoustic instrument that puts out a resonated note, the electronic instrument puts out

information from the keyboard such as “with what voice,” “with which key,” “about how strong,”

“when was it pressed,” and “when was it released.” Then each piece of information is changed into a

number value and sent to the tone generator. Using these numbers as a basis, the tone generator

plays the stored sampling note.

Acoustic guitar note production Digital instrument note production

Pluck a string and the body

resonates the sound.

Based on playing information from the keyboard, a

sampling note stored in the tone generator is

played through the speakers.

LR

Tone Generator

(Electronic circuit)

Sampling

Note

Playing the keyboard

Sampling

Note

The MIDI functions cannot be used in the Song mode.

WHAT IS MIDI?

WHAT IS MIDI?

93

MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic

musical instruments to communicate with each other, by sending and receiving compatible Note,

Control Change, Program Change and various other types of MIDI data, or messages.

The DJX can control a MIDI device by transmitting note related data and various types of controller

data. The DJX can be controlled by the incoming MIDI messages which automatically determine tone

generator mode, select MIDI channels, voices and effects, change parameter values and of course play

the voices specified for the various parts.

MIDI messages can be divided into two groups: Channel messages and System messages. Below is an

explanation of the various types of MIDI messages which the DJX can receive/transmit.

● Channel Messages

The DJX is an electronic instrument that can handle 16 channels. This is usually expressed as “it can

play 16 instruments at the same time.” Channel messages transmit information such as Note ON/OFF,

Program Change, for each of the 16 channels.

● System Messages

This is data that is used in common by the entire MIDI system. System messages include messages like

Exclusive Messages that transmit data unique to each instrument manufacturer and Realtime Mes-

sages that control the MIDI device.

The messages transmitted/received by the DJX are shown in the MIDI Implementation Chart on page

112.

Message Name DJX Operation/Panel Setting

Exclusive Message Reverb/chorus/DSP settings, etc.

Realtime Messages Clock setting

Start/stop operation

MIDI FUNCTIONS

Message Name DJX Operation/Panel Setting

Note ON/OFF Messages which are generated when the keyboard is played.

Each message includes a specific note number which corre-

sponds to the key which is pressed, plus a velocity value based

on how hard the key is stuck.

Program Change Voice number (along with corresponding bank select MSB/LSB

settings, if necessary).

Control Change Messages that are used to change some aspect of the sound

(modulation, volume, pan, etc.).

Voice number (with what voice) 156 (grand piano)

Note number (with which key) 60 (C3)

Note on (when was it pressed) and Timing expressed numerically (quarter note)

note off (when was it released)

Velocity (about how strong) 120 (strong)

Example of Keyboard Information

94

MIDI FUNCTIONS

MIDI Terminals

In order to exchange MIDI data between multiple devices,

each device must be connected by a cable.

The MIDI terminals of the DJX are located on the rear

panel.

MIDI IN ...........Receives MIDI data from another MIDI device.

MIDI OUT ....... Transmits the DJX’s keyboard information as MIDI

data to another MIDI device.

• Special MIDI cables (sold sepa-

rately) must be used for connecting

to MIDI devices. They can be

bought at music stores, etc.

• Never use MIDI cables longer than

about 15 meters. Cables longer

than this can pick up noise which

can cause data errors.

IN OUT

MIDI

By connecting your DJX’s MIDI terminals to a personal computer, you can

have access to a wide variety of music software.

When using a MIDI interface device installed in the personal computer,

connect the MIDI terminals of the personal computer and the DJX.

Use only special MIDI cables when connecting MIDI devices.

● Connect the MIDI terminals of the DJX to the MIDI terminals

of the personal computer.

Computer

(sequencer software)

Computer

(sequencer software)

● When using a MIDI interface with a Macintosh series com-

puter, connect the RS-422 terminal of the computer (modem or

printer terminal) to the MIDI interface, as shown in the diagram

below.

MIDI INMIDI OUT

MIDI OUTMIDI IN

DJX

MIDI IN

RS-422

MIDI OUT

DJX

MIDI

interface

When using a Macintosh

series computer, set the

MIDI interface clock setting

in the application software

to match the setting of the

MIDI interface you are

using. For details, carefully

read the owner’s manual for

the software you are using.

CONNECTING TO A PERSONAL COMPUTER

CONNECTING TO A PERSONAL COMPUTER

95

The Function parameters provide additional, more detailed MIDI settings

for the DJX. These settings include:

• Remote Channel

• Keyboard Out

• Pattern Out

The MIDI settings below are

saved even when the power

is turned off. However,

MIDI settings are NOT

included in the data saved

to the User banks in the

Performance Setup feature

(page 56).

• Local Control

• External Clock

• Bulk Dump Send

Function Parameters

No. Parameter Name Display Name Range/Settings

This determines how the DJX is controlled by a “remote” (external) MIDI keyboard.

Set this to one of the 16 channels (01 - 16) for using an external keyboard to remotely control the DJX

functions over the selected channel. (The remaining 15 channels can be used for multi-timbral

operation.)

When this is set to “off,” the DJX can be used as a full 16-channel multi-timbral sound source. The

default setting is “off.”

82 Keyboard Out KbdOut on, off

This determines whether the keyboard performance data of the DJX is transmitted or not.

When this is set to “off,” notes played on the DJX will not affect (not be transmitted to) the connected

MIDI device. When this is set to “on,” the following keyboard data is transmitted: Main voice part

over channel 1, Split voice part over channel 2, and Dual voice part over channel 11. The default

setting is “on.”

If both Keyboard Out and Local Control (#84 below) are set to “off,” neither the connected MIDI device nor

the DJX voices will sound when playing the keyboard.

83 Pattern Out PtrnOut on, off

This determines whether pattern data is transmitted via MIDI OUT or not.

When set to “on,” pattern data is transmitted over channels 3 - 10 (as listed below). The default

setting is “off.”

Pattern Transmit Channels:

Channel 3 — Hi-hat

Channel 4 — Percussion

Channel 5 — Bass

Channel 6 — Phrase 1

Channel 7 — Phrase 2

Channel 8 — Phrase 3

Channel 9 — Kick

Channel 10 — Snare

You can use Pattern Out in several ways. One useful

application would be to play all or selected parts on a

connected MIDI tone generator. In this way you could

reinforce the DJX sounds by layering (or substituting) with

the sounds of the tone generator. In a different application,

you could record the individual parts from each channel to

a sequencer, and use the comprehensive editing features of

the sequencer to re-arrange the pattern parts.

81 Remote Channel RemoteCh off, 01 - 16

MIDI FUNCTIONS

Selecting and changing the Function parameters:

Press the FUNCTION button, then use the numeric keypad to select the

parameter number. After “FUNCTION” stops flashing, use the numeric

keypad or +/- buttons to change the setting. (For details, see page 18.)

• Initial Setup Send

• Sampling Send

FUNCTION PARAMETERS — MIDI

FUNCTION PARAMETERS — MIDI

96

MIDI FUNCTIONS

84 Local Control Local on, off

This determines whether the keyboard is “connected” to the internal Voices of the DJX.

When set to “on,” the Voices respond to notes played from the keyboard. When set to “off,” the Voices

respond only to incoming MIDI data (via MIDI IN). The default setting is “on.” If you are routing the MIDI

OUT on the DJX to a sequencer and back to the MIDI IN, you may want to set this to “off” to avoid MIDI

“feedback.”

No. Parameter Name Display Name Range/Settings

85 External Clock ExtClock on, off

This determines whether the style and song playback functions are controlled by the DJX’s

internal clock (off) or by MIDI clock data from an external sequencer or computer (on).

This should be set to “on” when you want to have style or song playback follow the external device

(such as a rhythm machine or a sequencer). The default setting is “off.”

• When this is set to “on,” style playback CANNOT be controlled from the DJX panel controls.

• External Clock is automatically set to “off” when the Song mode is selected.

86 Bulk Dump Send BulkSend

This lets you save important DJX data and settings to another device (such as a sequencer,

computer, or MIDI data filer).

The saved settings are: User Performance Setup banks 1 - 4 and User Songs 1 - 3, which you can then

reload any time you need. For example, you can save data to floppy disk on a computer or a MIDI

data filer (such as the Yamaha MDF3), and have unlimited storage capability for your valuable DJX

data. (For detailed instructions, see the section “USING BULK DUMP SEND/SAMPLING SEND TO SAVE

DATA” on page 97.)

87 Initial Setup Send InitSend

This function lets you transmit the initial setup settings of the DJX to a sequencer and record

them as part of a song.

This ensures that when you playback the song, the DJX is instantly and automatically reconfigured to

the proper settings for the song. (For detailed instructions, see the section “USING INITIAL SETUP

SEND WITH A SEQUENCER” on page 100.)

88 Sampling Send SmplSend

This lets you save all user-sampled data of the “Sampled” voice (#284) to another device (such as

a sequencer, computer, or MIDI data filer).

This is similar to the Bulk Dump Send operation above, except it saves only sampled data. (For

detailed instructions, see the section “USING BULK DUMP SEND/SAMPLING SEND TO SAVE DATA” on

page 97.)

97

MIDI FUNCTIONS

Saving Bulk Data/Sampling Data

1First, set up the connected MIDI device for re-

cording the data.

The actual procedure may differ depending on your particular equip-

ment and software. For example, if you are using the Yamaha MDF3

MIDI Data Filer:

1) Make the appropriate MIDI connections.

2) Set up the MDF3 for recording MIDI data. (Refer to the

MDF3 Owner’s Manual.)

2On the DJX, select the Bulk Dump Send/Sam-

pling Send function.

Do this in the normal way:

1) Press the FUNCTION button.

2) Select the desired Function parameter with the numeric

keypad: #86 for Bulk Dump Send, or #88 for Sampling Send.

3At the “BulkSnd?”/“SmplSnd?” prompt above,

set the operation to standby.

Press the + button to start the operation.

The Bulk Dump Send/

Sampling Send functions

cannot be used in the

following conditions:

• While playing a pattern

• In the Song mode

• In one of the Recording

modes

• While calling up a

Performance Setup

• While receiving bulk/

sampling data

If you attempt the function

while in one of the above

conditions, “- - -” appears

in the display and the data

is not transmitted.

MDF3

MIDI INMIDI OUT

DJX

STYLE

F86

FUNCTION

BulkSend

STYLE

YES

FUNCTION

BulkSnd?

STYLE

F88

FUNCTION

SmplSend

STYLE

YES

FUNCTION

SmplSnd?

The actual operation steps for these two functions are identical. The Bulk Dump Send func-

tion saves User Performance Setup and User Song. The Sampling Send function saves only

user-sampled data (“Sampled” voice, #284).

USING BULK DUMP SEND/SAMPLING SEND TO SAVE DATA

USING BULK DUMP SEND/SAMPLING SEND TO SAVE DATA

98

MIDI FUNCTIONS

As the data is being sent, the display indicates the various stages of

data transmission until the operation is complete:

When the operation is completed, the following displays appear:

5Exit from the Bulk Dump Send/Sampling Send

operation.

To exit from Bulk Dump Send/Sampling Send, press one of the other

mode buttons: SONG, STYLE, or VOICE.

4At the “Sure?” prompt, start sending the data.

Press the + button to actually start transmitting the data, or press the

- button to cancel the operation and return to step 3. Keep in mind

that this operation could take several minutes to complete.

BWD

0

velocity

7 8

rest

9

3

FWD

Indicates User Song data is

being sent.

Indicates Sampling data is

being sent.

Indicates Performance Setup

User data is being sent.

Bulk Dump Send/Sampling

Send can be cancelled in

mid-operation by pressing

the - button.

STYLE

YES

FUNCTION

Sure?

STYLE

YES

FUNCTION

Send:Sng

STYLE

YES

FUNCTION

Send:PSU

STYLE

YES

FUNCTION

Wait

STYLE

YES

FUNCTION

End

STYLE

YES

FUNCTION

BulkSnd?

STYLE

YES

FUNCTION

SmplSnd?

STYLE

YES

FUNCTION

End

99

MIDI FUNCTIONS

Loading Bulk Data/Sampling Data

Once you’ve saved DJX data as described above, you can easily

reload the data back to the DJX.

1Set up the connected MIDI device for sending

the appropriate data.

The actual procedure may differ depending on your particular equip-

ment and software. For example, if you are using the Yamaha MDF3

MIDI Data Filer:

1) Make the appropriate MIDI connections.

2) Insert the appropriate floppy disk (containing the desired

data) into the MIDI Data Filer.

2Make sure that the DJX is set to the Style mode.

Make sure that the DJX is NOT set to the Song mode, and that it is

not in the middle of an operation, such as song recording or play-

back, pattern playback, Bulk Dump Send, etc.

3Start sending the data from the connected MIDI

device.

Send the data from the connected device. (Refer to the owner’s

manual of the device for details.)

The DJX automatically receives the data. As the data is being re-

ceived, the DJX display indicates the various stages of data reception

until the operation is complete:

MIDI OUTMIDI IN

MDF3

DJX

Indicates User

Song data is

being received.

Indicates

Sampling data is

being received.

Indicates

Peformance

Setup User data

is being received.

• When the DJX is receiving

bulk data/sampling data,

none of the panel controls

can be used.

• Bulk data and sampling

data cannot be loaded in

the following conditions:

• While playing a pattern

• In the Song mode

• In one of the Recording

modes

• While calling up a

Performance Setup

• While sending bulk/

sampling data

If you attempt the function

while in one of the above

conditions, “- - -” appears

in the display and the data

is not received.

F00

FUNCTION

STYLE

Rcv:PSU

F00

FUNCTION

STYLE

Rcv:Smpl

F00

FUNCTION

STYLE

Rcv:Sng

100

MIDI FUNCTIONS

When the operation is completed, the following display briefly ap-

pears (before returning to the original operation).

The most common use for the Initial Setup Send function is in recording a

song on a sequencer that is intended for playback with the DJX. Essentially,

this takes a “snapshot” of the DJX settings and sends that data to the

sequencer. By recording this “snapshot” at the start of the song (before

any actual performance data), you can instantly restore the necessary

settings on the DJX. Provided there is a pause in the song, you could also

do this in the middle of a song — for example, completely changing the

DJX settings for the next section of the song.

Sending Initial Setup Data

1First, set up the sequencer for recording.

The actual procedure may differ depending on your particular equip-

ment and software.

Ideally, you should leave two or more measures of silence (no perfor-

mance data) before the song begins. The Initial Setup data should

then be recorded to this space in the song.

2On the DJX, select the Initial Setup Send func-

tion.

Do this in the normal way:

1) Press the FUNCTION button.

2) Select parameter #87 (with the numeric keypad).

STYLE

YES

FUNCTION

End

STYLE

F87

FUNCTION

InitSend

USING INITIAL SETUP SEND WITH A SEQUENCER

USING INITIAL SETUP SEND WITH A SEQUENCER

The Initial Setup Send

function cannot be used in

the following conditions:

• While playing a pattern

• In the Song mode

• In one of the Recording

modes

• While receiving bulk/

sampling data

If you attempt the function

while in one of the above

conditions, “- - -” appears

in the display and the data

is not transmitted.

101

MIDI FUNCTIONS

3At the “InitSnd?” prompt above, set the opera-

tion to standby.

Press the + button.

4Start recording on the sequencer, then send the

Initial Setup data.

Start recording on the sequencer in the normal way, then — with as

little delay as possible — press the + button to actually start transmit-

ting the data.

An “End” message briefly appears in the display when the operation

is complete, followed by the “InitSnd?” prompt.

5Stop recording on the sequencer.

Stop recording on the sequencer in the normal way. Make sure that

any subsequently recorded performance data is recorded at least one

measure following the Initial Setup data.

6Exit from the Initial Setup Send operation.

To exit from Initial Setup Send, press one of the other mode buttons:

SONG, STYLE, or VOICE.

STYLE

YES

FUNCTION

Sure?

102

TROUBLESHOOTING

Problem Possible Cause and Solution

When the DJX is turned on or off, a popping

sound is temporarily produced.

This is normal and indicates that the DJX is receiving electrical

power.

There is no sound even when the keyboard is

played or when a song is being played back.

Check that nothing is connected to the PHONES/AUX OUT jack on

the rear panel. When a set of headphones is plugged into this

jack, no sound is output.

Make sure that the following settings are appropriate: Main Voice

Volume (#01, page 27), Dual Voice Volume (#11, page 30), and

Split Voice Volume (#21, page 32).

The selected voice does not sound properly, or

is too low in volume.

There is no sound when playing the keyboard. When setting the Split Point, the keyboard is used only to change

the value and does not produce any sound.

The sound of the voices or rhythms seems

unusual or strange.

The battery power is too low. Replace the batteries. (See page 8.)

The pattern does not play back even when

pressing the START/STOP button.

When External Clock (page 96) is set to “on,” style playback

CANNOT be controlled from the DJX panel controls.

There is no sound on either the DJX or the

connected MIDI device.

• If Local Control (Function #84, page 96) is set to “off,” the DJX

voices will not sound even when playing the keyboard.

• If Keyboard Out (Function #82, page 95) is set to “off,” the

connected MIDI device will not sound when playing the DJX

keyboard.

• Make sure that the Pattern Volume (page 49) is set to an

appropriate level.

• Make sure that the Pattern Split Point (#51, page 54) is set to an

appropriate value.

The pattern does not sound properly.

• Make sure that the Send Level parameter for the effect (and the

intended voice: Main, Dual, of Split) is set to an appropriate value.

(See pages 27, 30, 32)

• Make sure that the corresponding effect is turned on. (See pages

34, 35, 36)

The Reverb/Chorus/DSP cannot be heard

properly.

Not all of the voices seem to sound, or the

sound seems to be cut off.

The DJX is polyphonic up to a maximum of 32 notes. If a the Dual

voice or Split voice mode is being used and a style or song is

playing back at the same time, some notes/sounds of the Pad may

be omitted (or “stolen”) from the pattern or song. (See the note

on page 104.)

• If you are routing the MIDI OUT on the DJX to a sequencer and

back to the MIDI IN, you may want to set Local Control (page 96)

to “off” to avoid MIDI “feedback.”

• When using the pattern with a sequencer, set MIDI Echo (or the

relevant control) to “off.” (Refer to the owner’s manual of your

particular device and/or software for details.)

A strange “flanging” or “doubling” sound

occurs when using the DJX with a sequencer.

(This may also sound like a “dual” layered

sound of two voices, even when Dual is

turned off.)

There is a persistent “humming” or “buzzing”

sound.

Make sure that the power adaptor is not close to or resting on the

DJX panel.

Some Parts do not seem to sound. Make sure that none of the Parts have been inadvertently turned off

with Part Control. (All of the relevant keys in the display should be

dark.)

The sound is distorted or noisy. • Many of the DJX sounds have been deliberately processed or

created with a “lo-rez” or “grunge” sound to suit certain styles of

music.

• Using the CUTOFF and RESONANCE knobs at or near the

maximum settings (especially when the MASTER VOLUME dial is

also at maximum) may result in distortion.

• If this applies to the “Sampled” voice (#284), you may have

recorded the sample(s) at too high a level. (See page 70.)

103

The ASSIGN knob and/or RIBBON CONTROLLER

do not seem to affect the selected Part.

The polarity of the footswitch is reversed. Make sure that the

footswitch plug is properly connected to the FOOT SWITCH jack

before turning on the power.

Problem Possible Cause and Solution

TROUBLESHOOTING

DATA BACKUP & INITIALIZATION

Except for the data listed below, all DJX panel settings are reset to their initial settings

whenever the power is turned on. The data listed below are backed up — i.e. retained in

memory — as long as an AC adaptor is connected or a set of batteries is installed.

• User Song Data • Split Point

• User Performance Setup Data • Pattern Split Point

• Performance Setup Bank Number • Footswitch Assign Function

• Touch Sensitivity • Sampling Voice Data

CLr

Backup

VOICE

STYLE

• This function completely

erases and replaces all User

Performance Setup data,

User Song data, and user-

sampled data (“Sampled”

voice, #284).

• If the DJX “crashes,”

hangs up or acts erratically

and no operations seem to

work, this function will

usually restore normal

operation.

Data Initialization

All data can be initialized and restored to the factory preset condition by turning on the

power while holding the highest (rightmost) white key on the keyboard. “CLr Backup” will

appear briefly on the display.

The sound of the voice changes from note to

note.

The AWM tone generation method uses multiple recordings

(samples) of an instrument across the range of the keyboard;

thus, the actual sound of the voice may be slightly different from

note to note.

The footswitch seems to produce the opposite

effect. For example, when using the footswitch

for sustain, pressing the footswitch cuts off the

sound and releasing it sustains the sounds.

The sound of certain Parts may change very little or not at all,

depending on the sound itself and the effect or parameter used.

GROOVE or Dynamics do not have any effect

on the Drum Loop voices.

This is normal. The Drum Loop voices are sampled rhythms;

GROOVE and Dynamics only affect pattern data.

Sample recording doesn’t work. Make sure the input cable is properly connected to the MIC or

LINE IN jack. (See page 70.)

Sample recording begins too soon or too late. Make sure that the trigger level is set appropriately. (See page

71.)

104

VOICE LIST

■ Maximum Polyphony

The DJX has 32-note maximum polyphony. This means that it can play

a maximum of up to 32 notes at once, regardless of what functions are

used. The patterns use a number of the available notes, so when a

pattern is played the total number of available notes for playing on the

keyboard is correspondingly reduced. The same applies to the Dual

Voice, Split Voice, and Song functions.

• The Voice List includes MIDI program change

numbers for each voice. Use these program

change numbers when playing the DJX via MIDI

from an external device.

• Some voices may sound continuously or have a

long decay after the notes have been released

while the sustain pedal (footswitch) is held.

Panel Voice List

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

0 0 123 48 DJX

SYNTH LEAD

1 0 115 84 Fuzzline

2 0 113 84 Talkbox

3 0 114 84 Acid Sync

4 0 113 83 Universe

5 0 112 84 Adrenaline

6 0 112 85 Fragile

7 0 112 83 Cut Glass

BASS LEAD

8 0 112 87 Killer S

9 0 118 87 Reso-X

10 0 117 87 Choppy

11 0 113 87 PhatMan

12 0 114 87 Organese

13 0 115 87 Happy Vibes

14 0 116 87 TriTouch

15 0 119 87 Sync

SQUARE LEAD

16 0 117 80 MC-Line

17 0 116 80 Alien

18 0 115 80 Psyche

19 0 114 80 Clanger

20 0 112 80 Square Lead 1

21 0 113 80 Square Lead 2

SAW LEAD

22 0 122 81 Break It

23 0 117 81 Scary

24 0 120 81 Move It

25 0 119 81 Robot Lead

26 0 116 81 Fat

27 0 115 81 Seq Ana

28 0 118 81 Stab

29 0 114 81 Pulse Saw

30 0 112 81 Sawtooth Lead 1

31 0 113 81 Sawtooth Lead 2

32 0 121 81 Bedtime

SYNTH PAD

33 0 112 90 Sequenza

34 0 112 94 Insomnia

35 0 112 95 Wave2001

36 0 113 91 Amber

37 0 112 89 Eerie

38 0 112 91 Trance Pad

RESONANCE BASS

39 0 113 38 Techno Bass

40 0 116 38 Kickin’B

41 0 114 38 Bassline

42 0 117 38 Nu Floor

43 0 115 38 Fish303

44 0 118 38 No.No.No

45 0 119 38 Nu Swing

46 0 112 38 Synth Bass

ANALOG BASS

47 0 112 39 Analog Bass

48 0 113 39 Dance Bass

49 0 114 39 Snap Bass

50 0 115 39 Old Mini

51 0 116 39 Power Bass

52 0 117 39 Dub Bass

53 0 118 39 Factory

54 0 119 39 Hyper

55 0 120 39 Kidz Bass

56 0 121 39 Techno

BASS

57 0 112 32 Acoustic Bass

58 0 112 33 Finger Bass

59 0 112 34 Pick Bass

60 0 112 35 Fretless Bass

61 0 112 36 Slap Bass

SCRATCH

62 0 112 120 Scratch

63 0 113 120 Killer DJ

SFX

64 0 123 16 FMTB 1

65 0 123 17 BLJ Trill

66 0 123 18 Omen-FX

67 0 123 19 Rave Pipe 1

68 0 123 20 Rave Pipe 2

69 0 123 21 FMTB 2

70 0 123 22 GtrChord

71 0 123 23 HiquiTB

72 0 123 24 Reverse

73 0 123 25 Signal

74 0 123 26 Aah

75 0 112 126 Turntable

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

105

VOICE LIST

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

HIT

76 0 114 55 Metal Hit

77 0 113 55 Sharp Hit

78 0 112 55 Mild Hit

HUMAN VOICE

79 0 123 0 Come On 1

80 0 123 1 Come On 2

81 0 123 2 GetUp!

82 0 123 3 Go!!

83 0 123 4 Huea

84 0 123 5 Hiuhu

85 0 123 6 Yo-Kurt

86 0 123 7 Oh Babe

87 0 123 8 Ohh 1

88 0 123 9 Ohh 2

89 0 123 10 One More Time

90 0 123 11 Uhh

91 0 123 12 Uhh+Hit

92 0 123 13 Yeah...

DRUM LOOP

93 0 123 32 091bpmC4

94 0 123 33 095bpmC4

95 0 123 34 096bpmC4

96 0 123 35 102bpmC4

97 0 123 36 103bpmC4

98 0 123 37 106bpmC4

99 0 123 38 110bpmC4

100 0 123 39 114bpmC4

101 0 123 40 134bpmC4

102 0 123 41 135bpmC4

103 0 123 42 137bpmC4

104 0 123 43 138bpmC4

105 0 123 44 144bpmC4

106 0 123 45 160bpmC4

107 0 123 46 Samba137

PIANO

108 0 112 4 Funky Electric Piano

109 0 112 5 DX Electric Piano

110 0 113 2 CP 80

111 0 114 5 Bell Electric Piano

112 0 112 7 Clavi

ORGAN

113 0 112 16 Jazz Organ 1

114 0 112 17 Jazz Organ 2

115 0 112 18 Rock Organ

116 0 113 16 Cheez Organ

117 0 118 16 16'+2' Organ

118 0 113 17 Dance Organ

119 0 114 17 MissU

120 0 115 17 R&B Organ

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

GUITAR

121 0 113 26 Octave Guitar

122 0 112 27 Clean Guitar

123 0 112 28 Muted Guitar

124 0 112 29 Overdriven Guitar

STRINGS

125 0 112 48 Strings

126 0 112 49 Marcato Strings

127 0 112 50 Synth Strings

128 0 113 50 StringPad

129 0 112 45 Pizzicato

BRASS

130 0 114 62 Techno Brass

131 0 113 62 Jump Brass

132 0 116 62 Brass Phase

133 0 112 62 Synth Brass

134 0 112 61 Bright Brass

135 0 115 62 Brass Tek

FLUTE

136 0 113 73 Ethnic Flute

137 0 112 73 Coco Flute

PERCUSSIVE

138 0 113 115 Claps-X

139 0 112 115 Rim-X

140 0 112 117 Tom-X

DRUM KITS

141 127 0 0 Standard Kit 1

142 127 0 1 Standard Kit 2

143 127 0 8 Room Kit

144 127 0 16 Rock Kit

145 127 0 24 Electronic Kit 1

146 127 0 25 Analog Kit 1

147 127 0 27 Dance Kit

148 127 0 32 Jazz Kit

149 127 0 40 Brush Kit

150 127 0 48 Symphony Kit

SPECIAL KITS

151 126 0 19 Analog Kit 2

152 126 0 20 Analog Kit 3

153 126 0 21 Electronic Kit 2

154 126 0 22 B900 Kit

155 126 0 23 DJX Kit

106

GM Voice List

VOICE LIST

PIANO

156 0 0 0 Acoustic Grand Piano

157 0 0 1 Bright Acoustic Piano

158 0 0 2 Electric Grand Piano

159 0 0 3 Honky-tonk Piano

160 0 0 4 Electric Piano 1

161 0 0 5 Electric Piano 2

162 0 0 6 Harpsichord

163 0 0 7 Clavi

CHROMATIC PERCUSSION

164 0 0 8 Celesta

165 0 0 9 Glockenspiel

166 0 0 10 Music Box

167 0 0 11 Vibraphone

168 0 0 12 Marimba

169 0 0 13 Xylophone

170 0 0 14 Tubular Bells

171 0 0 15 Dulcimer

ORGAN

172 0 0 16 Drawbar Organ

173 0 0 17 Percussive Organ

174 0 0 18 Rock Organ

175 0 0 19 Church Organ

176 0 0 20 Reed Organ

177 0 0 21 Accordion

178 0 0 22 Harmonica

179 0 0 23 Bandoneon

GUITAR

180 0 0 24 Acoustic Guitar (nylon)

181 0 0 25 Acoustic Guitar (steel)

182 0 0 26 Electric Guitar (jazz)

183 0 0 27 Electric Guitar (clean)

184 0 0 28 Electric Guitar (muted)

185 0 0 29 Overdriven Guitar

186 0 0 30 Distortion Guitar

187 0 0 31 Guitar Harmonics

BASS

188 0 0 32 Acoustic Bass

189 0 0 33 Electric Bass (finger)

190 0 0 34 Electric Bass (pick)

191 0 0 35 Fretless Bass

192 0 0 36 Slap Bass 1

193 0 0 37 Slap Bass 2

194 0 0 38 Synth Bass 1

195 0 0 39 Synth Bass 2

STRINGS

196 0 0 40 Violin

197 0 0 41 Viola

198 0 0 42 Cello

199 0 0 43 Contrabass

200 0 0 44 Tremolo Strings

201 0 0 45 Pizzicato Strings

202 0 0 46 Orchestral Harp

203 0 0 47 Timpani

ENSEMBLE

204 0 0 48 Strings Ensemble 1

205 0 0 49 Strings Ensemble 2

206 0 0 50 Synth Strings 1

207 0 0 51 Synth Strings 2

208 0 0 52 Choir Aahs

209 0 0 53 Voice Oohs

210 0 0 54 Synth Voice

211 0 0 55 Orchestra Hit

BRASS

212 0 0 56 Trumpet

213 0 0 57 Trombone

214 0 0 58 Tuba

215 0 0 59 Muted Trumpet

216 0 0 60 French Horn

217 0 0 61 Brass Section

218 0 0 62 Synth Brass 1

219 0 0 63 Synth Brass 2

REED

220 0 0 64 Soprano Sax

221 0 0 65 Alto Sax

222 0 0 66 Tenor Sax

223 0 0 67 Baritone Sax

224 0 0 68 Oboe

225 0 0 69 English Horn

226 0 0 70 Bassoon

227 0 0 71 Clarinet

PIPE

228 0 0 72 Piccolo

229 0 0 73 Flute

230 0 0 74 Recorder

231 0 0 75 Pan Flute

232 0 0 76 Blown Bottle

233 0 0 77 Shakuhachi

234 0 0 78 Whistle

235 0 0 79 Ocarina

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

107

SYNTH LEAD

236 0 0 80 Lead 1 (square)

237 0 0 81 Lead 2 (sawtooth)

238 0 0 82 Lead 3 (calliope)

239 0 0 83 Lead 4 (chiff)

240 0 0 84 Lead 5 (charang)

241 0 0 85 Lead 6 (voice)

242 0 0 86 Lead 7 (fifth)

243 0 0 87 Lead 8 (bass+lead )

SYNTH PAD

244 0 0 88 Pad 1 (new age)

245 0 0 89 Pad 2 (warm)

246 0 0 90 Pad 3 (polysynth)

247 0 0 91 Pad 4 (choir)

248 0 0 92 Pad 5 (bowed)

249 0 0 93 Pad 6 (metallic)

250 0 0 94 Pad 7 (halo)

251 0 0 95 Pad 8 (sweep)

SYNTH EFFECTS

252 0 0 96 FX 1 (rain)

253 0 0 97 FX 2 (soundtrack)

254 0 0 98 FX 3 (crystal)

255 0 0 99 FX 4 (atmosphere)

256 0 0 100 FX 5 (brightness)

257 0 0 101 FX 6 (goblins)

258 0 0 102 FX 7 (echoes)

259 0 0 103 FX 8 (sci-fi)

ETHNIC

260 0 0 104 Sitar

261 0 0 105 Banjo

262 0 0 106 Shamisen

263 0 0 107 Koto

264 0 0 108 Kalimba

265 0 0 109 Bagpipe

266 0 0 110 Fiddle

267 0 0 111 Shanai

PERCUSSIVE

268 0 0 112 Tinkle Bell

269 0 0 113 Agogo

270 0 0 114 Steel Drums

271 0 0 115 Woodblock

272 0 0 116 Taiko Drum

273 0 0 117 Melodic Tom

274 0 0 118 Synth Drum

275 0 0 119 Reverse Cymbal

SOUND EFFECTS

276 0 0 120 Guitar Fret Noise

277 0 0 121 Breath Noise

278 0 0 122 Seashore

279 0 0 123 Bird Tweet

280 0 0 124 Telephone Ring

281 0 0 125 Helicopter

282 0 0 126 Applause

283 0 0 127 Gunshot

VOICE LIST

Sampled Voice

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

284 111 0 0 Sampled

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

Voice Bank Select MIDI

Voice Name

Number MSB LSB Program

Change#

108

DRUM KIT LIST

• “<——” indicates that the drum sound is the same as “Standard Kit 1”.

• Each percussion voice uses one note.

• The MIDI Note # and Note are actually one octave lower than listed. For

example, in “141: Standard Kit 1”, the “Seq Click H” (Note# 36/Note C1)

corresponds to (Note# 24/Note C0).

• Key Off: Keys marked “O” stop sounding the instant they are released.

• Voices with the same Alternate Note Number (*1 … 4) cannot be played

simultaneously. (They are designed to be played alternately with each other.)

141 142 143 144 145

127 127 127 127 127

00000

0181624

MIDI Key

Alternate

Standard Kit 1 Standard Kit 2 Room Kit Rock Kit Electronic Kit 1

Note# Note off

Assign

25 C#013C#-1 3 Surdo Mute <—— <—— <—— <——

26 D 0 14 D -1 3 Surdo Open <—— <—— <—— <——

27 D#015D#-1 Hi-Q <—— <—— <—— <——

28 E 0 16 E -1 Whip <—— <—— <—— <——

29 F 0 17 F -1 4 Scratch H <—— <—— <—— <——

30 F#018F#-1 4 Scratch L <—— <—— <—— <——

31 G 0 19 G -1 Finger Snap <—— <—— <—— <——

32 G#020G#-1 Click <—— <—— <—— <——

33 A 0 21 A -1 Metronome Click <—— <—— <—— <——

34 A#022A#-1 Metronome Bell <—— <—— <—— <——

35 B 0 23 B -1 Seq Click L <—— <—— <—— <——

36 C 1 24 C 0 Seq Click H <—— <—— <—— <——

37 C#125C#0 Brush Tap <—— <—— <—— <——

38 D 1 26 D 0 OBrush Swirl <—— <—— <—— <——

39 D#127D#0 Brush Slap <—— <—— <—— <——

40 E 1 28 E 0 OBrush Swirl W/Attack <—— <—— <—— Reverse Cymbal

41 F 1 29 F 0 OSnare Roll <—— <—— <—— <——

42 F#130F#0 Castanet <—— <—— <—— Hi Q

43 G 1 31 G 0 Snare H Soft Snare H Soft2 <—— SD Elec M Snare L

44 G#132G#0 Sticks <—— <—— <—— <——

45 A 1 33 A 0 Bass Drum L Bass Drum L2 <—— <—— Bass Drum H

46 A#134A#0 Open Rim Shot Open Rim Shot2 <—— <—— <——

47 B 1 35 B 0 Bass Drum M <—— <—— Bass Drum H3 BD Rock

48 C 2 36 C 1 Bass Drum H Bass Drum H 2 <—— BD Rock BD Rock 2

49 C#237C#1 Side Stick <—— <—— <—— <——

50 D 2 38 D 1 Snare L Snare L2 SD Room L SD Rock SD Elec M

51 D#239D#1 Hand Clap <—— <—— <—— <——

52 E 2 40 E 1 Snare H Hard Snare H Hard2 SD Room H SD Rock Rim SD Elec H

53 F 2 41 F 1 Floor Tom L <—— Room Tom 1 Rock Tom 1 E Tom 1

54 F#242F#1 1 Hi-Hat Closed <—— <—— <—— <——

55 G 2 43 G 1 Floor Tom H <—— Room Tom 2 Rock Tom 2 E Tom 2

56 G#244G#1 1 Hi-Hat Pedal <—— <—— <—— <——

57 A 2 45 A 1 Low Tom <—— Room Tom 3 Rock Tom 3 E Tom 3

58 A#246A#1 1 Hi-Hat Open <—— <—— <—— <——

59 B 2 47 B 1 Mid Tom L <—— Room Tom 4 Rock Tom 4 E Tom 4

60 C 3 48 C 2 Mid Tom H <—— Room Tom 5 Rock Tom 5 E Tom 5

61 C#349C#2 Crash Cymbal 1 <—— <—— <—— <——

62 D 3 50 D 2 High Tom <—— Room Tom 6 Rock Tom 6 E Tom 6

63 D#351D#2 Ride Cymbal 1 <—— <—— <—— <——

64 E 3 52 E 2 Chinese Cymbal <—— <—— <—— <——

65 F 3 53 F 2 Ride Cymbal Cup <—— <—— <—— <——

66 F#354F#2 Tambourine <—— <—— <—— <——

67 G 3 55 G 2 Splash Cymbal <—— <—— <—— <——

68 G#356G#2 Cowbell <—— <—— <—— <——

69 A 3 57 A 2 Crash Cymbal 2 <—— <—— <—— <——

70 A#358A#2 Vibraslap <—— <—— <—— <——

71 B 3 59 B 2 Ride Cymbal 2 <—— <—— <—— <——

72 C 4 60 C 3 Bongo H <—— <—— <—— <——

73 C#461C#3 Bongo L <—— <—— <—— <——

74 D 4 62 D 3 Conga H Mute <—— <—— <—— <——

75 D#463D#3 Conga H Open <—— <—— <—— <——

76 E 4 64 E 3 Conga L <—— <—— <—— <——

77 F 4 65 F 3 Timbale H <—— <—— <—— <——

78 F#466F#3 Timbale L <—— <—— <—— <——

79 G 4 67 G 3 Agogo H <—— <—— <—— <——

80 G#468G#3 Agogo L <—— <—— <—— <——

81 A 4 69 A 3 Cabasa <—— <—— <—— <——

82 A#470A#3 Maracas <—— <—— <—— <——

83 B 4 71 B 3 OSamba Whistle H <—— <—— <—— <——

84 C 5 72 C 4 OSamba Whistle L <—— <—— <—— <——

85 C#573C#4 Guiro Short <—— <—— <—— <——

86 D 5 74 D 4 OGuiro Long <—— <—— <—— <——

87 D#575D#4 Claves <—— <—— <—— <——

88 E 5 76 E 4 Wood Block H <—— <—— <—— <——

89 F 5 77 F 4 Wood Block L <—— <—— <—— <——

90 F#578F#4 Cuica Mute <—— <—— <—— Scratch Push

91 G 5 79 G 4 Cuica Open <—— <—— <—— Scratch Pull

92 G#580G#4 2 Triangle Mute <—— <—— <—— <——

93 A 5 81 A 4 2 Triangle Open <—— <—— <—— <——

94 A#582A#4 Shaker <—— <—— <—— <——

95 B 5 83 B 4 Jingle Bell <—— <—— <—— <——

96 C 6 84 C 5 Bell Tree 1 <—— <—— <—— <——

Keyboard

Note# Note

Voice#

Bank MSB#

Bank LSB#

Program Change#

Drum Kit List

109

146 147 148 149 150

127 127 127 127 127

00000

25 27 32 40 48

MIDI Key

Alternate

Analog Kit 1 Dance Kit Jazz Kit Brush Kit Symphony Kit

Note# Note off

Assign

25 C#013C#-1 3 <—— <—— <—— <—— <——

26 D 0 14 D -1 3 <—— <—— <—— <—— <——

27 D#015D#-1 <—— <—— <—— <—— <——

28 E 0 16 E -1 <—— <—— <—— <—— <——

29 F 0 17 F -1 4 <—— <—— <—— <—— <——

30 F#018F#-1 4 <—— <—— <—— <—— <——

31 G 0 19 G -1 <—— <—— <—— <—— <——

32 G#020G#-1 <—— <—— <—— <—— <——

33 A 0 21 A -1 <—— <—— <—— <—— <——

34 A#022A#-1 <—— <—— <—— <—— <——

35 B 0 23 B -1 <—— <—— <—— <—— <——

36 C 1 24 C 0 <—— <—— <—— <—— <——

37 C#125C#0 <—— <—— <—— <—— <——

38 D 1 26 D 0 O<—— <—— <—— <—— <——

39 D#127D#0 <—— <—— <—— <—— <——

40 E 1 28 E 0 OReverse Cymbal Reverse Cymbal <—— <—— <——

41 F 1 29 F 0 O<—— <—— <—— <—— <——

42 F#130F#0 Hi Q Hi Q <—— <—— <——

43 G 1 31 G 0 SD Elec H2 SD Analog 2 <—— Brush Slap L <——

44 G#132G#0 <—— <—— <—— <—— <——

45 A 1 33 A 0 Bass Drum H BD Analog 2 <—— <—— Bass Drum L3

46 A#134A#0 <—— SD Analog Open Rim <—— <—— <——

47 B 1 35 B 0 BD Analog 1L BD Analog 3 <—— <—— Gran Casa

48 C 2 36 C 1 BD Analog 1H BD Analog 4 BD Jazz BD Jazz Gran Casa Mute

49 C#237C#1 Analog Side Stick 1 Analog Side Stick 1 <—— <—— <——

50 D 2 38 D 1 SD Analog 1H SD Analog 3 SD Jazz L Brush Slap H Marching SD M

51 D#239D#1 <—— <—— <—— <—— <——

52 E 2 40 E 1 SD Analog 1L SD Analog 4 SD Jazz H Brush Tap Marching SD H

53 F 2 41 F 1 Analog Tom 1 Analog Tom 1 Jazz Tom 1 Brush Tom 1 Jazz Tom 1

54 F#242F#1 1 Analog HH Closed1 Dance HH Closed1 <—— <—— <——

55 G 2 43 G 1 Analog Tom 2 Analog Tom 2 Jazz Tom 2 Brush Tom 2 Jazz Tom 2

56 G#244G#1 1 Analog HH Closed2 Dance HH Closed2 <—— <—— <——

57 A 2 45 A 1 Analog Tom 3 Analog Tom 3 Jazz Tom 3 Brush Tom 3 Jazz Tom 3

58 A#246A#1 1 Analog HH 1 Open HH Open2 <—— <—— <——

59 B 2 47 B 1 Analog Tom 4 Analog Tom 4 Jazz Tom 4 Brush Tom 4 Jazz Tom 4

60 C 3 48 C 2 Analog Tom 5 Analog Tom 5 Jazz Tom 5 Brush Tom 5 Jazz Tom 5

61 C#349C#2 Analog Cymbal Analog Cymbal <—— <—— Hand Cym.L Open

62 D 3 50 D 2 Analog Tom 6 Analog Tom 6 Jazz Tom 6 Brush Tom 6 Jazz Tom 6

63 D#351D#2 <—— <—— <—— <—— Hand Cym. L Closed

64 E 3 52 E 2 <—— <—— <—— <—— <——

65 F 3 53 F 2 <—— <—— <—— <—— <——

66 F#354F#2 <—— <—— <—— <—— <——

67 G 3 55 G 2 <—— <—— <—— <—— <——

68 G#356G#2 Analog Cowbell Analog Cowbell <—— <—— <——

69 A 3 57 A 2 <—— <—— <—— <—— Hand Cym. H Open

70 A#358A#2 <—— <—— <—— <—— <——

71 B 3 59 B 2 <—— <—— <—— <—— Hand Cym. H Closed

72 C 4 60 C 3 <—— <—— <—— <—— <——

73 C#461C#3 <—— <—— <—— <—— <——

74 D 4 62 D 3 Analog Conga H Analog Conga H <—— <—— <——

75 D#463D#3 Analog Conga M Analog Conga M <—— <—— <——

76 E 4 64 E 3 Analog Conga L Analog Conga L <—— <—— <——

77 F 4 65 F 3 <—— <—— <—— <—— <——

78 F#466F#3 <—— <—— <—— <—— <——

79 G 4 67 G 3 <—— <—— <—— <—— <——

80 G#468G#3 <—— <—— <—— <—— <——

81 A 4 69 A 3 <—— <—— <—— <—— <——

82 A#470A#3 Analog Maracas Analog Maracas <—— <—— <——

83 B 4 71 B 3 O<—— <—— <—— <—— <——

84 C 5 72 C 4 O<—— <—— <—— <—— <——

85 C#573C#4 <—— <—— <—— <—— <——

86 D 5 74 D 4 O<—— <—— <—— <—— <——

87 D#575D#4 Analog Claves Analog Claves <—— <—— <——

88 E 5 76 E 4 <—— <—— <—— <—— <——

89 F 5 77 F 4 <—— <—— <—— <—— <——

90 F#578F#4 Scratch Push Scratch Push <—— <—— <——

91 G 5 79 G 4 Scratch Pull Scratch Pull <—— <—— <——

92 G#580G#4 2 <—— <—— <—— <—— <——

93 A 5 81 A 4 2 <—— <—— <—— <—— <——

94 A#582A#4 <—— <—— <—— <—— <——

95 B 5 83 B 4 <—— <—— <—— <—— <——

96 C 6 84 C 5 <—— <—— <—— <—— <——

Keyboard

Note# Note

Voice#

Bank MSB#

Bank LSB#

Program Change#

DRUM KIT LIST

110

141 151 152 153 154 155

127 126 126 126 126 126

000000

0 1920212223

MIDI Standard Kit 1 Analog Kit 2 Analog Kit 3 Electronic Kit 2 B900 Kit DJX Kit

Note# Note

25 C#013C#-1 Surdo Mute <—— <—— <——

26 D 0 14 D -1 Surdo Open <—— <—— <——

27 D#015D#-1 Hi-Q <—— <—— <——

28 E 0 16 E -1 Whip <—— <—— <——

29 F 0 17 F -1 Scratch H <—— <—— <——

30 F#018F#-1 Scratch L <—— <—— <——

31 G 0 19 G -1 Finger Snap <—— <—— <——

32 G#020G#-1 Click <—— <—— <——

33 A 0 21 A -1 Metronome Click <—— <—— <——

34 A#022A#-1 Metronome Bell <—— <—— <——

35 B 0 23 B -1 Seq Click L <—— <—— <——

36 C 1 24 C 0 Seq Click H <—— <—— <——

37 C#125C#0 Brush Tap <—— <—— <——

38 D 1 26 D 0 Brush Swirl <—— <—— <——

39 D#127D#0 Brush Slap <—— <—— <——

40 E 1 28 E 0 Brush Swirl W/Attack <—— <—— <——

41 F 1 29 F 0 Snare Roll <—— <—— <——

42 F#130F#0 Castanet <—— <—— <——

43 G 1 31 G 0 Snare H Soft SD T8 1 SD T9 1 <——

44 G#132G#0 Sticks <—— <—— <——

45 A 1 33 A 0 Bass Drum L BD Analog BD Analog <——

46 A#134A#0 Open Rim Shot <—— <—— <——

47 B 1 35 B 0 Bass Drum M BD T8 2 BD Jungle 4 <——

48 C 2 36 C 1 Bass Drum H BD T8 3 BD T9 1 BD T8 2 BD Jungle 4 BD T9 Distortion

49 C#237C#1 Side Stick T8 Side Stick T9 Side Stick BD T8 2Long BD T8 2Long BD T9 4

50 D 2 38 D 1 Snare L SD T8 3L SD T9 4L BD T8 3 BD Jungle 1 BD T8 Low Long

51 D#239D#1 Hand Clap <—— <—— SD T8 1 BD Jungle 2 BD T8 4

52 E 2 40 E 1 Snare H Hard SD T8 3M SD T9 4H SD T8 3M BD T8 2Cont BD Hard Distortion

53 F 2 41 F 1 Floor Tom L T8 Tom 1 T9 Tom 1 SD T8 4 BD Jungle 5 BD Jungle 6

54 F#242F#1 Hi-Hat Closed T8 HH 1 Closed1 T9 HH 1 Closed1 SD T8 5 BD HipHop1 SD T8 6

55 G 2 43 G 1 Floor Tom H T8 Tom 2 T9 Tom 2 T8 Conga 1 BD HipHop2 SD Snap Hi

56 G#244G#1 Hi-Hat Pedal T8 HH 1 Closed2 T9 HH 1 Closed2 T8 Cowbell SD Jungle 1 SD T9 4

57 A 2 45 A 1 Low Tom T8 Tom 3 T9 Tom 3 T8 Conga 2 SD Jungle 2 SD brutal

58 A#246A#1 Hi-Hat Open T8 HH 1 Open 1 T9 HH 1 Open 2 T8 Maracas SD Jungle 3 SD Snap Lo

59 B 2 47 B 1 Mid Tom L T8 Tom 4 T9 Tom 4 T8 Conga 3 SD Jungle 4 SD Elect.2

60 C 3 48 C 2 Mid Tom H T8 Tom 5 T9 Tom 5 T8 Conga 4 SD HipHop1 SD T9 4

61 C#349C#2 Crash Cymbal 1 <—— <—— T8 Side Stick SD HipHop2 SD noisy scratch

62 D 3 50 D 2 High Tom T8 Tom 6 T9 Tom 6 T8 Clave SD HipHop3 SD T8 3

63 D#351D#2 Ride Cymbal 1 <—— <—— T8 Clap SD Elect.1 HH MS Closed

64 E 3 52 E 2 Chinese Cymbal <—— <—— <—— SD Elect.2 HH MS Open

65 F 3 53 F 2 Ride Cymbal Cup <—— <—— T8 Tom 1 SD Elect.3 T9 HH 2 Hard Closed

66 F#354F#2 Tambourine <—— <—— T8 HH 1 Closed1 SD Elect.4 T9 HH 2 Hard Open

67 G 3 55 G 2 Splash Cymbal <—— <—— T8 Tom 2 SD T8 3M T8 HH 2 Closed

68 G#356G#2 Cowbell <—— <—— T8 HH 1 Closed2 SD 78 T8 HH 2 Open

69 A 3 57 A 2 Crash Cymbal 2 <—— <—— T8 Tom 3 HH 1 Closed HH FX1

70 A#358A#2 Vibraslap <—— <—— T8 HH 1 Open HH 2 Closed HH FX2

71 B 3 59 B 2 Ride Cymbal 2 <—— <—— T8 Tom 4 HH 2 Open T9 HH 3 Closed

72 C 4 60 C 3 Bongo H <—— <—— Analog Cymbal HH 3 Closed T9 HH 3 Open

73 C#461C#3 Bongo L <—— <—— <—— HH 78 Open T6 HH Closed

74 D 4 62 D 3 Conga H Mute <—— <—— <—— HH 4 Closed T6 HH Open

75 D#463D#3 Conga H Open <—— <—— BD T9 1 HH 4 Open HH Nat Closed

76 E 4 64 E 3 Conga L <—— <—— BD T9 3n PC Snap HH Nat Open

77 F 4 65 F 3 Timbale H <—— <—— BD Jungle 4 PC Tamb2 HH FX3

78 F#466F#3 Timbale L <—— <—— T9 HH 1 Open 2 BD Jungle 4Long HH FX4

79 G 4 67 G 3 Agogo H <—— <—— SD T9 1L BD Analog HH T9Low Closed

80 G#468G#3 Agogo L <—— <—— SD T9 2 Hit 1L HH T9Low Open

81 A 4 69 A 3 Cabasa <—— <—— SD T9 1M Hit 1M HH Metal Closed

82 A#470A#3 Maracas <—— <—— SD T9 3 Hit 1H HH Metal Open

83 B 4 71 B 3 Samba Whistle H <—— <—— SD T9 1H Hit 2L CBD

84 C 5 72 C 4 Samba Whistle L <—— <—— SD T9 4L Hit 2M CSD

85 C#573C#4 Guiro Short <—— <—— T9 Side Stick Hit 2H Analog Claves

86 D 5 74 D 4 Guiro Long <—— <—— SD T9 4M Hit Brass 1 Pulse L

87 D#575D#4 Claves <—— <—— T9 Clap SCR 1L Pulse M

88 E 5 76 E 4 Wood Block H <—— <—— SD T9 4H SCR 1M Pulse H

89 F 5 77 F 4 Wood Block L <—— <—— T9 Tom 1 SCR 1H Analog BD

90 F#578F#4 Cuica Mute <—— <—— T9 HH 1 Closed1 SCR 2L Analog Tom

91 G 5 79 G 4 Cuica Open <—— <—— T9 Tom 2 SCR 2M Analog SD

92 G#580G#4 Triangle Mute <—— <—— T9 HH 1 Closed2 SCR 2H Pulse&Noise

93 A 5 81 A 4 Triangle Open <—— <—— T9 Tom 3 SCR 3L Reverse Pulse&Noise

94 A#582A#4 Shaker <—— <—— T9 HH 1 Open 2 SCR 3M Analog Snaps 1

95 B 5 83 B 4 Jingle Bell <—— <—— T9 Tom 4 SCR 3H Noise Echo

96 C 6 84 C 5 Bell Tree 1 <—— <—— T9 Crash 1 SCR 4L Reverse BD

97 C#685C#5 Bell Tree 2 Bell Tree 2 T9 Ride SCR 4M Reverse Percussion

98 D 6 86 D 5 Bell Tree 3 Bell Tree 3 T9 Crash 2 SCR 4H Analog Snaps 2

99 D#687D#5 BD T8 2 BD T8 2 BD T8 2 SCR 6L Analog Claps

100 E 6 88 E 5 SD T8 4 SD T8 4 SD T8 4 SCR 6ML Reverse Claps

101 F 6 89 F 5 SD T8 3H SD T8 3H SD T8 3H SCR 6MH

102 F#690F#5 T8 HH 2 Closed1 T8 HH 2 Closed1 T8 HH 2 Closed1 SCR 6H

103 G 6 91 G 5 T8 Cowbell T8 Cowbell T8 Cowbell SCR 7L

104 G#692G#5 T8 HH 2 Closed2 T8 HH 2 Closed2 T8 HH 2 Closed2 SCR 7ML

105 A 6 93 A 5 T8 Tambourine T8 Tambourine T8 Tambourine SCR 7MH

106 A#694A#5 T8 HH 2 Open T8 HH 2 Open T8 HH 2 Open SCR 7H

107 B 6 95 B 5 T8 Guiro T8 Guiro T8 Guiro Hit Brass 2

108 C 7 96 C 6 Metal Metal Metal Analog Cymbal

Keyboard

Note# Note

Voice#

Bank MSB#

Bank LSB#

Program Change#

DRUM KIT LIST

DJX Special Drum Kit List

• Rows shaded in black “ ” (for kits #141, #154, and #155) indicate

that no percussion sounds have been assigned to the corresponding

notes; hence, no sound results when playing those notes.

• In this list, the Keyboard Note# and Note values shown are applicable

when the Main Voice Octave setting (Function #02) is set to “-1.” This

is the default setting for voices #141 (Standard Kit 1) through #152

(Analog Kit 3). However, the Main Voice Octave setting for voices #153

(Electronic Kit 2), #154 (B900 Kit), and #155 (DJX Kit) is “0”; to hear these

voices properly, play the keys one octave lower than they are listed in this

chart. For example, to hear “Reverse BD” in voice #155, play C5 (and

not C6 as listed).

111

Style Style Name

Number

INTRODUCTION

1 Pop Techno

2 Trip Hop

3 Electro Beat

4 Goa

5 Hard Step 8th

6 Handbag 1

7 Romantic House

8 Ambient

9 Acid Jazz

10 Treach

11 Steppa

12 Struttin’

13 All That

14 Soulful

TECHNO

15 Tribal Techno

16 Gabba

17 Soft Gabba

18 Euro Techno

19

Modern Detroit Techno

20

Vintage Detroit Techno

21

Modern Berlin Techno

22 Minimal Techno

23 Speed Garage

24 Acid Techno

25 Samba Techno

TRIP HOP

26 Funky Trip Hop

Style Style Name

Number

Style Style Name

Number

Style Style Name

Number

51 Hard Floor

52 Hip House

53 Club House

54 Dub House

ABSTRACT BEATS

55 Digital Rock

56 Underground

57 Chill Out

RAP

58 Bomb

59 Dance Hall

60 Hype

61 Money

62 Ragga

63 Shakin’

64 Tip

HARDCORE

65 Buggin’

66 Diesel

67 Hi Rolla

68 Homies

69 SuckaMC

70 SupaBad

71 WestSide

OLD SKOOL

72 Beatbox

73 Delight

74 Flares

75 Funked Up

27 Pop Trip Hop

28 Vintage Trip Hop

ELECTRO

29 Plastic Electro

30 Cosmic Beat

31 Body Rock

32 Compilation

TRANCE

33 Trance

34 Psychodelic Trance

35 Relaxx

36 Hypnotic

37 Dark Trance

DRUM’N’BASS

38 Drum’n’Bass

39 Hard Jungle

40 Soul 2001

DANCE FLOOR

41 Euro Dance

42 Euro Latin

43 Pop Reggae

44 Handbag 2

HOUSE

45 House

46 Acid House

47 Deep House

48 Progressive House

49 Tribal House

50 Vintage Chicago

76 Jack

77 Old Skool

78 Party

79 Theque

FRESH

80 Chillin’

81 Dreamin’

82 EastSide

83 Grind

84 Hezee

85 Loc

R & B

86 Bouncy

87 Do it up

88 Hump

89 Plush

90 Pow!

91 Skippin’

92 Solid

SLO JAMS

93 1stLuv

94 Cool

95 DaLadies

96 Daydream

97 Loverz

98 On Hit

99 Pushin’

100 Sultry

STYLE LIST

112

MIDI IMPLEMENTATION CHART

YAMAHA [Portable Keyboard] Date:15-APR-1998

Model: DJX(PSR-D1) MIDI Implementation Chart Version: 1.0

Function Transmitted Recognized Remarks

Basic Default 1 - 16 1 - 16 *1

Channel Changed 1 - 16 1 - 16 *1

Default 3 3

Mode Messages X X

Altered ************** X

Note 0 - 127 0 - 127

Number : True voice ************** 0 - 127

Velocity Note ON O 9nH, v=1 - 127 O 9nH, v=1 - 127

Note OFF O 9nH, v=0 O 9nH, v=0 or 8nH

After Key’s X X

Touch Ch’s X X

Pitch Bender O O

Control Change 0, 32 O O Bank Select

1 O O Modulation

7, 10 O O

11 X *2 O Expression

6, 38 O *2 O Data Entry

64 O O Sustain

71 - 74 O O Sound Controller

84 X *2 O Portamento Control

91, 93, 94 O O Effect Depth

96, 97 X O Data Inc, Dec

100, 101 X *2 O RPN LSB, MSB

120 X O All Sound Off

121 X O Reset All Controllers

Program O 0 - 127 O 0 - 127

Change : True # **************

System Exclusive O *3 O *3

System : Song Position X X

: Song Select X X

Common : Tune X X

System : Clock O O *4

Real Time : Commands O *5 O *5

Aux : Local ON/OFF X X

: All Notes OFF X O (123 - 127)

Messages : Active Sense O O

: Reset X X

Mode 1: OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes

Mode 3: OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No

113

NOTE:

*1 By default (factory settings) the DJX ordinarily functions as a 16-channel

multi-timbral tone generator, and incoming data does not affect the panel

voices or panel settings. However, the MIDI messages listed below do affect

the panel voices, pattern, and songs.

• MIDI Master Tuning

• System exclusive messages for changing the Reverb Type, Chorus Type,

and DSP Type.

The Remote Channel can be designated by using Function parameter #81.

The messages received over the set channel are handled in the same way as

key data received from the DJX itself. The following messages can be

received over the designated channel set in this Function parameter; all other

messages will be ignored.

• Note ON

• Note OFF

• Control change : Bank select MSB, LSB (Main Voice Only), Modulation,

Volume, Expression, Sustain, All sound off, All note off

• Program Change (Main Voice Only)

• Pitch Bend

*2 Messages for these control change numbers cannot be transmitted from the

DJX itself. However, they may be transmitted when playing the pattern or

using the Arpeggiator.

*3 Exclusive

<GM System ON> F0H, 7EH, 7FH, 09H, 01H, F7H

• This message automatically restores all default settings for the instrument,

with the exception of MIDI Master Tuning.

<MIDI Master Volume> F0H, 7FH, 7FH, 04H, 01H, llH, mmH, F7H

• This message allows the volume of all channels to be changed simulta-

neously (Universal System Exclusive).

• The values of “mm” is used for MIDI Master Tuning. (Values for “ll” are

ignored.)

<MIDI Master Tuning>

F0H, 43H, 1nH, 27H, 30H, 00H, 00H, mmH, llH, ccH, F7H

• This message simultaneously changes the tuning value of all channels.

• The values of “mm” and “ll” are used for MIDI Master Tuning.

• The default value of “mm” and “ll” are 08H and 00H, respectively. Any

values can be used for “n” and “cc.”

MIDI IMPLEMENTATION CHART

<Bulk Dump>

• This is used for saving (recording) User data (User songs, User Perfor-

mance Setup, and Sampling data).

<Internal Clock, External Clock> (Receive Only)

F0H, 43H, 73H, 01H, 02H, F7H (Internal Clock)

F0H, 43H, 73H, 01H, 03H, F7H (External Clock)

• These messages control the clock setting for the pattern.

<Reverb Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 00H, mmH, llH, F7H

• mm : Reverb Type MSB

• ll : Reverb Type LSB

Refer to the Effect Map (page 114) for details.

<Chorus Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 20H, mmH, llH, F7H

• mm : Chorus Type MSB

• ll : Chorus Type LSB

Refer to the Effect Map (page 114) for details.

<DSP Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 40H, mmH, llH, F7H

• mm : DSP Type MSB

• ll : DSP Type LSB

Refer to the Effect Map (page 114) for details.

<DRY Level> F0H, 43H, 1nH, 4CH, 08H, 0mH, 11H, llH, F7H

• ll : Dry Level

• 0m : Channel Number

*4 It is possible to switch between External and Internal Clock.

*5 When the pattern is started, an FAH message is transmitted. When pattern

is stopped, an FCH message is transmitted. When the clock is set to

External, both FAH (pattern start) and FCH (pattern stop) are recognized.

No MIDI messages can be received or transmitted in the Song mode.

114

* If the received value does not contain an effect type in the TYPE LSB, the LSB will be directed to

TYPE 0.

* Panel Effects are based on the “(Number) Effect Name”.

* By using an external sequencer, which is capable of editing and transmitting the system exclusive

messages and parameter changes, you can select the Reverb, Chorus and DSP effect types which

are not accessible from the DJX panel itself. When one of the effects is selected by the external

sequencer, “ - ” will be shown on the display.

■ Effect map

REVERB

CHORUS

DSP

TYPE TYPE LSB

MSB 00 01 02 08 16 17 18 19 20

000 NO EFFECT

001 (1)HALL1 (2)HALL2

002 ROOM (3)ROOM1 (4)ROOM2

003 STAGE (5)STAGE1 (6)STAGE2

004 PLATE (7)PLATE1 (8)PLATE2

005...127 NO EFFECT

TYPE TYPE LSB

MSB 00 01 02 08 16 17 18 19 20

000...064 NO EFFECT

065 CHORUS (2)CHORUS2

066 CELESTE (1)CHORUS1

067 FLANGER (3)FLANGER1 (4)FLANGER2

068...127 NO EFFECT

TYPE TYPE LSB

MSB 00 01 02 08 16 17 18 19 20

000 NO EFFECT

001 (1)HALL1 (2)HALL2

002 ROOM (3)ROOM1 (4)ROOM2

003 STAGE (5)STAGE1 (6)STAGE2

004 PLATE (7)PLATE1 (8)PLATE2

005 DELAY L,C,R (26)DELAY L,C,R

006 (27)DELAY L,R

007 (28)ECHO

008 (29)CROSS DELAY

009

(9)EARLY REFLECTION1 (10)EARLY REFLECTION2

010 (11)GATE REVERB

011 (12)REVERSE GATE

012...019 NO EFFECT

020 KARAOKE

021...063 NO EFFECT

064 THRU

065 CHORUS

(14)CHORUS2

066 CELESTE (13)CHORUS1

067 FLANGER

(15)FLANGER1

(16)FLANGER2

068 SYMPHONIC (17)SYMPHONIC

069 ROTARY SPEAKER

(19)ROTARY SPEAKER1

070 TREMOLO (21)TREMOLO1

071 AUTO PAN (24)AUTO PAN

(20)ROTARY SPEAKER2

(22)TREMOLO2

(23)GUITAR TREMOLO

072 (18)PHASER

073 DISTORTION

074 OVERDRIVE

075 AMP SIMULATION

(30)DISTORTION HARD (31)DISTORTION SOFT

076 3BAND EQ (32)EQ DISCO (33)EQ TEL

077 2BAND EQ

078 AUTO WAH (25)AUTO WAH

079...127 THRU

MIDI IMPLEMENTATION CHART

115

Keyboards

• 61 standard-size keys (C1 - C6), with Touch

Response

Display• Large multi-function LCD display

Setup • Stand by/ON

• Master Volume : MIN - MAX

Panel Controls

• OVERALL (▲▼ , +,-), FUNCTION, SONG, VOICE,

STYLE, [0]-[9], [+](YES/FF), [-](NO/BWD)

Demo Song

• 3 songs

Voice • 140 panel voices + 15 Drum Kits + 128 GM Voices +

Special DJX Demo Voice + Sampled Voice

• Polyphony : 32

• Voice Set

• Dual Voice Mode

• Split Voice Mode

Pattern

• 100 styles

• Pattern Control : PATTERN CONTROL, SYNC-START,

START/STOP, LEAD IN/LEAD OUT, BEAT A/B (BREAK

OUT)

• Beat Indicator

• Pattern Volume

Part Control

• Beat Reverse

• Part Select

Style Mode : Bass, Kick, Phrase 1, Snare,

Hi-hat, Phrase 2, Percussion, Phrase 3, Main

Voice, Split Voice, Dual Voice

Song Mode : Track 1, 2, 3, 4, 5, 6, Main

Voice, Split Voice, Dual Voice

• Part On/Off

Bass, Kick, Phrase 1, Snare, Hi-hat, Phrase 2,

Percussion, Phrase 3

Realtime Controls

• Knobs : CUTOFF, RESONANCE, GROOVE, ASSIGN,

BASS BOOST

• RIBBON CONTROLLER

• PITCH BEND wheel

Performance Setup

• Preset A and B

• User (4 setups x 4 banks)

Overall controls

• BPM (Tempo)

• Transpose

• Tuning

• Pattern/Song Volume

• Ribbon Controller Assign

• Knob Assign

Effects • Reverb : 8 types

• Chorus : 4 types

• DSP : 33 types

• Arpeggiator : 16 types

Song • 3 Preset Demo Songs + 3 User Songs

• Song Clear

Recording

• Song User Song : 3 Songs

Real Time Recording/Step Recording

Recording Tracks : SONG MEMORY 1, 2, 3,

4, 5, 6/CHORD

• PSU (Performance Setup)

User : 4 setups x 4 banks

Digital Sampling

• 12 Samples

• Memory : 128 Kbyte (about 6 seconds)

• Editing : Loop, End Point

MIDI • Transmit Settings

• Receive Settings

• Local Control

• Clock

• Bulk Send/Receive

• Sampling Send/Receive

• Initial Send

Auxiliary jacks

• PHONES/AUX OUT, DC IN 10-12V, MIDI IN/OUT,

FOOT SWITCH, MIC, LINE IN

Amplifier

• 6.0 W + 6.0 W

Speakers

• 12 cm x 2

Power Consumption

• 20 W (when using PA-5C power adaptor)

Power Supply

• Adaptor : Yamaha PA-5B/5C AC power adaptor

• Batteries : Six “D” size, SUM-1, R-20 or equivalent

batteries

Dimensions (W x D x H)

• 933 x 370 x 138 mm

(36- 3/4” x 14-9/16” x 5-7/16”)

Weight• 6.8 kg (15 lbs.)

Supplied Accessories

• Owner’s Manual

Optional Accessories

• Headphones : HPE-150, HPE-3

• AC power adaptor : PA-5B/5C

• Footswitch : FC4, FC5

• Keyboard stand : L-2L, L-2C

* Specifications and appearance subject to change without

notice.

SPECIFICATIONS

116

INDEX

Misc.

+/- keys ................................................. 25

A

AC adaptor.............................................. 8

accessory jacks ........................................ 9

amplifier/stereo system, using an external ...

9

ARPEGGIATOR button ........................... 37

Arpeggiator ........................................... 37

Arpeggiator Hold .................................. 21

Arpeggiator Speed .......................... 64, 67

Arpeggiator types.................................. 38

ASSIGN Knob ........................................ 63

Attack ............................................. 64, 67

B

BASS BOOST knob ................................ 61

Bass (Part) ....................................... 52, 60

batteries .................................................. 8

BEAT A/B ............................................... 48

beat display ........................................... 42

beat indicators ...................................... 23

Beat Reverse key .................................... 52

BPM (Tempo) ........................................ 41

Break Out .............................................. 48

Bulk Dump Send ................................... 97

C

Chord Name ......................................... 51

chord track...................................... 83, 88

Chorus .................................................. 35

Chorus types ......................................... 39

clearing, song ....................................... 91

clock ..................................................... 96

cutoff .............................................. 61, 62

CUTOFF knob ....................................... 61

D

Demo songs .......................................... 14

DEMO START buttons ........................... 14

Digital Sampling ................................... 69

display indications ................................. 22

dotted notes ......................................... 88

Drum Kit Voice Chart ............................ 26

Drum Kit voices ................................... 108

DSP ....................................................... 36

DSP types .............................................. 39

DUAL button ......................................... 29

Dual voice ............................................. 29

Dual Voice (Part) ................................... 60

Dynamics ........................................ 64, 67

Dynamics Strength .......................... 64, 67

E

effects ................................................... 34

End point .............................................. 75

F

footswitch ............................................. 21

FUNCTION button ................................ 18

Function parameters ............................. 18

G

GM (General MIDI) voices ............. 26, 106

Groove .................................................. 61

GROOVE knob ...................................... 61

H

headphones ............................................ 9

Hi-hat (Part) .................................... 52, 60

I

Initial Setup Send .......................... 96, 100

Initialization ........................................ 103

INPUT LEVEL knob................................. 70

K

Keyboard out ........................................ 95

Kick (Part) ....................................... 52, 60

knob ..................................................... 59

KNOB ASSIGN....................................... 63

L

Lead In, Lead Out............................ 46, 47

LINE IN jack ............................................ 7

loading bulk data .................................. 99

Local control ......................................... 96

Loop ..................................................... 78

M

Main voice ............................................ 25

Main Voice (Part) ................................... 60

MIC jack .................................................. 7

MIDI ..................................................... 92

MIDI channels ....................................... 95

MIDI Implementation Chart ................ 112

MIDI terminals ...................................... 94

MIDI, about .......................................... 92

mode indicator...................................... 22

Modulation ..................................... 64, 67

N

numeric keypad .................................... 25

O

OVERALL buttons .............................. 6, 22

Overall indicator.................................... 22

P

pan ........................................... 27, 30, 32

PART CONTROL button ......................... 59

Part On/Off ........................................... 52

PART ON/OFF keys ................................ 52

part select ............................................. 60

PART SELECT keys .................................. 60

pattern .................................................. 44

pattern control ................................ 45, 47

PATTERN CONTROL button................... 45

PATTERN keys ........................................ 50

Pattern Out ........................................... 95

pattern sections..................................... 48

Pattern Split Point ................................. 54

Pattern Volume ..................................... 49

pattern, playing .................................... 44

Percussion (Part).............................. 52, 60

PERFORMANCE keys ............................. 12

Performance Setup ................................ 56

Performance Setup, Preset..................... 58

Performance Setup, User ....................... 56

PHONES / AUX OUT jack......................... 9

Phrase 1 (Part) ................................. 52, 60

Phrase 2 (Part) ................................. 52, 60

Phrase 3 (Part) ................................. 52, 60

Pitch Bend............................................... 7

Pitch Bend Range .................................. 33

Preset Performance Setup ...................... 58

PSU (Performance Setup) ...................... 56

Q

Quick Guide .......................................... 10

R

RECORD button .................................... 80

RECORD button (DIGITAL SAMPLING) .. 70

recording .............................................. 80

recording, Performance Setup ............... 56

recording, Realtime ............................... 81

recording, song ..................................... 80

recording, Step ..................................... 85

Release ............................................ 64, 67

RESONANCE knob .......................... 61, 62

rests ...................................................... 88

Reverb ................................................... 34

REVERB button ...................................... 34

Reverb types ......................................... 39

RIBBON CONTROLLER .......................... 66

RIBBON CONTROLLER ASSIGN ............. 66

S

Sampling............................................... 69

Sampling Send ...................................... 97

saving bulk data .................................... 97

saving data............................................ 97

sections (pattern) .................................. 48

Snare (Part) ..................................... 52, 60

Song Clear ............................................ 91

SONG MEMORY buttons................. 82, 86

song recording ...................................... 80

Song Volume......................................... 43

songs, recording ................................... 80

songs, selecting and playing.................. 40

Specifications ...................................... 115

Split Point ............................................. 32

Split voice ............................................. 31

Split Voice (Part) .................................... 60

STAND BY/ON switch .............................. 8

START/STOP button .................. 41, 45, 47

Style List ................................................ 15

styles, selecting ..................................... 44

sustain................................................... 21

Sync-Start ............................................. 46

T

tap ........................................................ 21

Tempo (BPM) ........................................ 41

Touch Sensitivity ................................... 33

track................................................ 40, 84

tracks, muting ................................. 40, 84

tracks, re-recording ............................... 84

Transpose .............................................. 28

triplets ................................................... 88

Troubleshooting .................................. 102

Tuning .................................................. 29

turntable ......................................... 64, 67

U

User Performance Setup ........................ 56

User songs............................................. 81

V

velocity curves ....................................... 90

Voice List ............................................. 104

Voice Set ............................................... 33

voices, Drum Kit .................................. 108

voices, GM .......................................... 106

voices, panel ....................................... 104

voices, selecting and playing ................. 25

volume ...................................... 27, 30, 32

117

Limited Warranty

90 DAYS LABOR 1 YEAR PARTS

Yamaha Corporation of America, hereafter referred to as Yamaha, warrants to the original consumer of a product included in the categories listed below,

that the product will be free of defects in materials and/or workmanship for the periods indicated. This warranty is applicable to all models included in

the following series of products:

PSR SERIES OF PORTATONE ELECTRONIC KEYBOARDS

If during the first 90 days that immediately follows the purchase date, your new Yamaha product covered by this warranty is found to have a defect in

material and/or workmanship, Yamaha and/or its authorized representative will repair such defect without charge for parts or labor.

If parts should be required after this 90 day period but within the one year period that immediately follows the purchase date, Yamaha will, subject to

the terms of this warranty, supply these parts without charge. However, charges for labor, and/or any miscellaneous expenses incurred are the consumers

responsibility. Yamaha reserves the right to utilize reconditioned parts in repairing these products and/or to use reconditioned units as warranty

replacements.

THIS WARRANTY IS THE ONLY EXPRESS WARRANTY WHICH YAMAHA MAKES IN CONNECTION WITH THESE PRODUCTS.

ANY IMPLIED WARRANTY APPLICABLE TO THE PRODUCT, INCLUDING THE WARRANTY OF MERCHANT ABILITY IS

LIMITED TO THE DURATION OF THE EXPRESS WARRANTY. YAMAHA EXCLUDES AND SHALL NOT BE LIABLE IN ANY

EVENT FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES.

Some states do not allow limitations that relate to implied warranties and/or the exclusion of incidental or consequential damages. Therefore, these

limitations and exclusions may not apply to you.

This warranty gives you specific legal rights. You may also have other rights which vary from state to state.

CONSUMERS RESPONSIBILITIES

If warranty service should be required, it is necessary that the consumer assume certain responsibilities:

1. Contact the Customer Service Department of the retailer selling the product, or any retail outlet authorized by Yamaha to sell the product for assistance.

You may also contact Yamaha directly at the address provided below.

2. Deliver the unit to be serviced under warranty to: the retailer selling the product, an authorized service center, or to Yamaha with an explanation of

the problem. Please be prepared to provide proof purchase date (sales receipt, credit card copy, etc.) when requesting service and/or parts under

warranty.

3. Shipping and/or insurance costs are the consumers responsibility.* Units shipped for service should be packed securely.

*Repaired units will be returned PREPAID if warranty service is required within the first 90 days.

IMPORTANT: Do NOT ship anything to ANY location without prior authorization. A Return Authorization (RA) will be issued that has a

tracking number assigned that will expedite the servicing of your unit and provide a tracking system if needed.

4. Your owners manual contains important safety and operating instructions. It is your responsibility to be aware of the contents of this manual and to

follow all safety precautions.

EXCLUSIONS

This warranty does not apply to units whose trade name, trademark, and/or ID numbers have been altered, defaced, exchanged removed, or to failures

and/or damages that may occur as a result of:

1. Neglect, abuse, abnormal strain, modification or exposure to extremes in temperature or humidity.

2. Improper repair or maintenance by any person who is not a service representative of a retail outlet authorized by Yamaha to sell the product, an

authorized service center, or an authorized service representative of Yamaha.

3. This warranty is applicable only to units sold by retailers authorized by Yamaha to sell these products in the U.S.A., the District of Columbia, and

Puerto Rico. This warranty is not applicable in other possessions or territories of the U.S.A. or in any other country.

Please record the model and serial number of the product you have purchased in the spaces provided below.

Model___________________________ Serial #________________________________ Sales Slip #________________________________

Purchased from____________________________________________________________ Date______________________________________

(Retailer)

YAMAHA CORPORATION OF AMERICA

Electronic Service Division

6600 Orangethorpe Avenue

Buena Park, CA 90620

KEEP THIS DOCUMENT FOR YOUR RECORDS. DO NOT MAIL!

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions con-

tained in this manual, meets FCC requirements. Modifications not

expressly approved by Yamaha may void your authority, granted

by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/

or another product use only high quality shielded cables. Cable/s

supplied with this product MUST be used. Follow all installation

instructions. Failure to follow instructions could void your FCC

authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with

the requirements listed in FCC Regulations, Part 15 for Class “B”

digital devices. Compliance with these requirements provides a

reasonable level of assurance that your use of this product in a

residential environment will not result in harmful interference with

other electronic devices. This equipment generates/uses radio

frequencies and, if not installed and used according to the instruc-

tions found in the users manual, may cause interference harmful

to the operation of other electronic devices. Compliance with FCC

regulations does not guarantee that interference will not occur in

all installations. If this product is found to be the source of inter-

ference, which can be determined by turning the unit “OFF” and

“ON”, please try to eliminate the problem by using one of the

following measures:

Relocate either this product or the device that is being affected by

the interference.

Utilize power outlets that are on different branch (circuit breaker

or fuse) circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the an-

tenna. If the antenna lead-in is 300 ohm ribbon lead, change the

lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results,

please contact the local retailer authorized to distribute this type

of product. If you can not locate the appropriate retailer, please

contact Yamaha Corporation of America, Electronic Service Divi-

sion, 6600 Orangethorpe Ave, Buena Park, CA90620

The above statements apply ONLY to those products distributed

by Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

For details of products, please contact your nearest Yamaha or the

authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha

ou au distributeur le plus proche de vous figurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Nie-

derlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

CENTRAL & SOUTH AMERICA

MEXICO

Yamaha de Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 686-00-33

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-853-1377

ARGENTINA

Yamaha Music Argentina S.A.

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-371-7021

EUROPE

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Claviers

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

AFRICA

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

ASIA

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 2737-7688

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Cosmos Corporation

#131-31, Neung-Dong, Sungdong-Ku, Seoul

Korea

Tel: 02-466-0021~5

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

16-28, Jalan SS 2/72, Petaling Jaya, Selangor,

Malaysia

Tel: 3-717-8977

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

Blk 202 Hougang, Street 21 #02-01,

Singapore 530202

Tel: 747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

10F, 150, Tun-Hwa Northroad,

Taipei, Taiwan, R.O.C.

Tel: 02-2713-8999

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320, Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

17-33 Market Street, South Melbourne, Vic. 3205,

Australia

Tel: 3-699-2388

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

HEAD OFFICE Yamaha Corporation, Electronic Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-3273[PK] 13

ITALY

Yamaha Musica Italia S.P.A.,

Home Keyboard Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN

Yamaha-Hazen Electronica Musical, S.A.

Jorge Juan 30, 28001, Madrid, Spain

Tel: 91-577-7270

PORTUGAL

Valentim de Carvalho CI SA

Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras,

Portugal

Tel: 01-443-3398/4030/1823

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Office

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

Warner Music Finland OY/Fazer Music

Aleksanterinkatu 11, P.O. Box 260

SF-00101 Helsinki, Finland

Tel: 0435 011

NORWAY

Norsk filial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen, F.R. of

Germany

Tel: 04101-3030

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha de Panama S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, Panamá

Tel: 507-269-5311