Yamaha DJXIIB Owner's Manual

User Manual: Yamaha DJXIIB Owner's Manual

Open the PDF directly: View PDF .
Page Count: 93

Cover
Packing List
How to Use the Manual
What is the DJX-IIB?
Contents
Panel Controls
Setting Up (Power supply connections)
Switching On the Power
Data Backup & Initialization
100 Tips to be a DJ!
Appendix

Owner's Manual

SPECIAL MESSAGE SECTION

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.

WARNING: Do not place this product in a position where anyone

could walk on, trip over ,or roll anything over power or connecting

cords of any kind. The use of an extension cord is not recom-

mended! IF you must use an extension cord, the minimum wire size

for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG

number ,the larger the current handling capacity. For longer exten-

sion cords, consult a local electrician.

This product should be used only with the components supplied or;

a cart, rack, or stand that is recommended by Yamaha. If a cart, etc.,

is used, please observe all safety markings and instructions that

accompany the accessory product.

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be correct at

the time of printing. However, 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 lev-

els 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.

Some Yamaha products may have benches and / or accessory

mounting ﬁxtures that are either supplied with the product or as

optional accessories. Some of these items are designed to be

dealer assembled or installed. Please make sure that benches are

stable and any optional ﬁxtures (where applicable) are well secured

BEFORE using.

Benches supplied by Yamaha are designed for seating only. No

other uses are recommended.

NOTICE:

Service charges incurred due to a 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 sincerely believe that our products and

the production 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 following:

Battery Notice:

This product MAY contain a small non-rechargeable 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 batteries. Some of

these may be rechargeable. Make sure that the battery being

charged is a rechargeable type and that the charger is intended for

the battery being charged.

When installing batteries, do not mix batteries with new, or with bat-

teries of a different type. Batteries MUST be installed correctly. Mis-

matches 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 regulated 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 considered 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 man-

ual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-BP (bottom)

PLEASE KEEP THIS MANUAL

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

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

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:

• 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-con-

nector. Doing so can result in lower sound quality, or possibly cause over-

heating 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 bat-

tery 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 bat-

teries with manganese batteries, or batteries from different makers, or dif-

ferent 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.

• When the batteries run out, or if the instrument is not to be used for a long

time, remove the batteries from the instrument to prevent possible leakage

of the battery ﬂuid.

• Keep batteries away from children.

• If the batteries do leak, avoid contact with the leaked ﬂuid. If the battery

ﬂuid should come in contact with your eyes, mouth, or skin, wash immedi-

ately with water and consult a doctor. Battery ﬂuid is corrosive and may

possibly cause loss of sight or chemical burns.

• 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. Also, be sure to set the

volumes of all components at their minimum levels and gradually raise the

volume controls while playing the instrument to set the desired listening

level.

• 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 inter-

nal components.

• 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 thin-

ners, 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 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

• Always save data to an external device such as the Yamaha MIDI data ﬁler

MDF3 frequently, in order to help prevent the loss of important data due to

a malfunction or user operating error.

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

Make sure to discard used batteries according to local regulations.

Yamaha cannot be held responsible for damage caused by improper

use or modiﬁcations to the instrument, or data that is lost or destroyed.

(4)-7

Congratulations on your purchase of the Yamaha DJX-IIB!

The DJX-IIB is a complete dance-music workstation that can be used both as a real-time performance

instrument and a powerful production tool. Its intuitive interface makes real-time operation easy for artists

with a DJ background.

Read this Owner’s Manual carefully while playing your new DJX-IIB in order to take full advantage of its

various features.

Packing List

● DJX-IIB

● Owner's Manual

● CD-ROM

(Installed at the factory.)

The illustrations and displays as shown in this owner’s manual are for instructional purposes only, and may be differ-

ent from your instrument.

How to Use the Manual

What is the DJX-IIB? ....................................................................................page 5

Introduces the various DJX-IIB features.

Panel Controls.....................................................................................page 8

Use this section to ﬁnd out about all of the buttons and controls of the DJX-IIB.

Setting Up.................................................................................page 12

Explains how to connect up the power adaptor and how to install batteries.

100 tips to be a DJ!................................................................page 14

This section guides the novice user step-by-step through 100 important and useful

tips in playing and creating great dance music. Like a game, each tip is a step up

toward the goal of becoming a master DJ.

Appendix .........................................................................page 70

This contains various important lists such as the Voice list, Preset Pat-

tern list, MIDI data format and MIDI implementation chart.

Troubleshooting.......................................................................page 70

If the DJX-IIB does not function as expected or you have some problem with

the sound or operation, consult this section before calling your Yamaha dealer

or service center. Most common problems and their solutions are covered

here in a very simple and easy-to-understand way.

Glossary.............................................................................................page 73

This section covers various important words and terms related to both the DJX-IIB

and to dance music in general.

Index............................................................................................................page 88

This section alphabetically lists virtually all topics, features, functions and operations with

their respective page numbers, letting you quickly and easily ﬁnd the information you need.

What is the DJX-II?

What is the DJX-IIB?

The new DJX-IIB is a digital DJ powerhouse!

If you’ve dreamed of creating and performing your own cutting-edge, phat ‘n’ funky dance music,

you’ve come to the right place... The DJX-IIB is a fully digital DJ machine — a revolutionary new

instrument that blends the reliability and clean sound of digital with stunningly powerful and

easy-to-use analog-like controls.

No music knowledge or experience required!

If you’ve got great music in your head, but haven’t had the training to bring it out to the real

world, here’s your chance! You don’t need to know about chords, or how to read and play melo-

dies — all you need is a good sense of rhythm, and the DJX-IIB can even help you develop that,

too!

Let the DJX-IIB show you how to become a master DJ!

Whether you’re a complete beginner or a turntable and mixing genius, the DJX-IIB can help you

fully master the instrument. With the “100 Tips” section, you’re guided step-by-step through 100

tips and trade secrets the pros use in playing and creating great dance music. Like a game, each

tip is a step up toward the goal of becoming a master DJ.

Now let’s take a look at the individual features and functions of the DJX-IIB

● Pattern Player ........................................................................................page 14

The DJX-IIB features a total of 70 dynamic rhythm patterns, perfect for your DJ performance.

Each pattern has 10 different variations.

● Scratch Pad ...........................................................................................page 26

This awesome feature puts a virtual turntable at your ﬁngertips, letting you scratch your own

accents, beats and instrument hits — just like a real DJ! With a huge selection of 73 special

Scratch “kits” to choose from, you can ﬂy in turntable scratches, arpeggios, sound effects, and

vocal soundbites — all while the rhythm is playing!

● Powerful Effects ....................................................................................page 20

The DJX-IIB gives you a ton of amazing sonic control features, including a wide variety of stun-

ning effects that can be manipulated in real time. Use the special Scratch Pad and the knobs to

tweak, warp and mangle your sound as you play.

● Audio bpm .............................................................................................page 62

If you’ve got a favorite beat on CD or vinyl, you can easily sync it up to the DJX-IIB! The DJX-IIB

“hears” the beat (from a connected CD player, MD player, etc.) and automatically locks into the

rhythm by auto-adjusting the bpm of the DJX-IIB’s pattern.

● MIDI Compatibility for Even Greater DJ Performance Power ...........page 65

Grow your own patterns! With MIDI, you can connect a MIDI device (such as a computer or

sequencer) to the DJX-IIB, and send patterns you’ve created on the sequencer to the DJX-IIB as

pattern data. Then wail away with your new patterns on the DJX-IIB!

Packing List...................................................4

How to Use the Manual.................................4

What is the DJX-IIB?.....................................5

Contents .............................................................6

Panel Controls....................................................8

Top Panel.......................................................8

Changing the Scratch Pad CD...................10

Rear Panel & Connections.........................11

Setting Up (Power supply connections) ........12

Switching On the Power..................................13

Data Backup & Initialization............................13

100 Tips to be a DJ! 14

Chapter 1

Pattern Player Basics.............. 14

Tip 1 Work out with the Patterns! ................................ 14

Tip 2 Switch between Banks..........................................15

Tip 3 Mixing Main and Fill-in Patterns........................ 16

Tip 4 Exploring other Patterns...................................... 16

Tip 5 Come down on the “one”!................................... 18

Tip 6 Keep the bpm steady! ...........................................19

Chapter 2

Live Effector Basics .................20

Tip 7 What is the Live Effector? ....................................20

Tip 8 Distortion .............................................................21

Tip 9 Auto Pan ............................................................... 21

Tip 10 Ring Modulation ..................................................21

Tip 11 Flanger ..................................................................21

Tip 12 Phaser.................................................................... 22

Tip 13 Slice ....................................................................... 22

Tip 14 Delay .....................................................................22

Tip 15 Echo ......................................................................23

Tip 16 Lo-Fi......................................................................23

Tip 17 Wah....................................................................... 23

Chapter 3

Isolator Basics ........................24

Tip 18 Tweak the sound just right! ................................. 24

Chapter 4

Filter Basics ............................25

Tip 19 Cutoff and Resonance.......................................... 25

Chapter 5

Scratch Pad Clinic ....................26

Tip 20 Work out on the Scratch Pad! ............................. 26

Tip 21 Quarter-note scratching....................................... 27

Tip 22 Eighth-note scratching......................................... 28

Tip 23 Sixteenth-note scratching .................................... 28

Tip 24 Shuffle feel ............................................................29

Tip 25 Triggering drum loops from the

Scratch Pad ........................................................... 29

Tip 26 Scratch Pad arpeggios .......................................... 30

Tip 27 Scratch Pad sound effects .................................... 30

Tip 28 Scratch low, scratch high... .................................. 30

Tip 29 Stop the turntable ................................................ 31

Tip 30 Give the Scratch Pad a new face!......................... 31

Tip 31 CD-ROM goodies ................................................ 31

Chapter 6

Part Mixer Basics ................... 32

Tip 32 What is a Part?...................................................... 32

Tip 33 Take the console and remix the Parts!................ 32

Tip 34 Extra texture!........................................................ 33

Chapter 7

Crossfader Basics ................... 34

Tip 35 Work the Crossfader!........................................... 34

Tip 36 Mute the Pattern .................................................. 34

Tip 37 Crossfader cuts..................................................... 35

Chapter 8

Intermediate

Techniques ............................. 36

Tip 38 Transpose the key................................................. 36

Tip 39 Change the bpm................................................... 37

Tip 40 Reset to the default bpm...................................... 37

Tip 41 Fade in, fade out................................................... 38

Tip 42 Travel light! .......................................................... 38

Tip 43 Tweak the cutoff................................................... 39

Tip 44 Wah-wah scratching ............................................ 39

Tip 45 Warped vinyl and a cheap turntable!.................. 40

Tip 46 Scratch Drum Loops in sync ............................... 40

Tip 47 Mute the Scratch .................................................. 40

Chapter 9

Pattern Player Power Tips ....... 41

Tip 48 Hitting a new Pattern and Variation

— at the same time! ............................................. 41

Tip 49 Hitting a new Pattern, Bank and Variation

— at the same time! ............................................. 41

Tip 50 Break to a new Pattern!........................................ 42

Tip 51 One-bar Patterns — all in a row! ........................ 43

Chapter 10

Crossfader Power Tips ............ 44

Tip 52 Quick Crossfader scratching ............................... 44

Tip 53 Long Crossfader scratching ................................. 44

Tip 54 Pattern loop vs. scratch loop ............................... 44

Chapter 11

Using the BPM/TAP button....... 45

Tip 55 Tap out the beat! .................................................. 45

Tip 56 Start with a tap... .................................................. 45

Chapter 12

The Outside World................... 46

Tip 57 Expanding your DJ setup..................................... 46

Tip 58 Mute the speakers ................................................ 46

Contents

Chapter 13

More Pattern Player Power Tips

...47

Tip 59 Creative Fill-in 1................................................... 47

Tip 60 Creative Fill-in 2................................................... 47

Tip 61 Playing intros and transitions..............................47

Tip 62 Playing intros and transitions, part 2 ..................47

Chapter 14

Live Effector Power Tips ......... 48

Tip 63 Distortion .............................................................48

Tip 64 Auto Pan ............................................................... 48

Tip 65 Ring Modulation ..................................................49

Tip 66 Flanger ..................................................................49

Tip 67 Phaser.................................................................... 49

Tip 68 Slice ....................................................................... 49

Tip 69 Delay .....................................................................50

Tip 70 Delay fill-in ...........................................................50

Tip 71 Echo ......................................................................51

Tip 72 Lo-Fi......................................................................51

Tip 73 Wah....................................................................... 51

Chapter 15

Isolator and Filter Power Tips ..52

Tip 74 Isolator to the max! .............................................. 52

Tip 75 Dark mixes and deep grooves

— cut the Cutoff! .................................................53

Chapter 16

Scratch Pad Power Tips ...........54

Tip 76 Scratching triplets.................................................54

Tip 77 Scratch on an intro!.............................................. 55

Tip 78 Spin around and stop!.......................................... 55

Tip 79 Instrumental dropout ..........................................56

Tip 80 More Part mixing .................................................56

Chapter 17

Advanced Techniques ..............58

Tip 81 Delay fill-in and fader cut .................................... 58

Tip 82 Fade the scratch in and out!.................................58

Tip 83 Bored? Add some chords... and scratching!....... 59

Tip 84 Down and out!...................................................... 59

Tip 85 One-hand Effector control! ................................. 60

Tip 86 Instant reset! .........................................................61

Tip 87 Hit the Part on the “one”!.................................... 61

Tip 88 Check the bpm .....................................................61

Chapter 18

DJ Performance

Master Class ...........................62

Tip 89 Cut in with a scratch and hit the next

Variation ............................................................... 62

Tip 90 Auto-adjusting the bpm....................................... 62

Tip 91 Creative Fill-in 3................................................... 63

Tip 92 Crossfader cut-in — Scratch plus effect.............. 63

Tip 93 Crossfader cut-in — Scratch plus Delay .............63

Tip 94 Outro -tro -tro -tro .............................................. 64

Tip 95 Upside down, inside out!..................................... 64

Tip 96 Taking the pulse ................................................... 64

Tip 97 Sync applications

— using the DJX-IIB as the master..................... 65

Tip 98 Sync applications

— using the DJX-IIB as the slave........................ 66

Tip 99 Get more Patterns!............................................... 67

Tip 100 Create your own Patterns!.................................. 68

Appendix 70

Troubleshooting.............................................. 70

Error Message List.......................................... 71

Specifications.................................................. 72

Glossary........................................................... 73

Pattern List ...................................................... 75

Voice List ......................................................... 76

Drum Kit List.................................................... 78

MIDI Data Format............................................. 81

MIDI Implementation Chart............................. 87

Index................................................................. 88

P01

◆

Be careful! Avoid pressing three or more panel buttons simultaneously. Doing so can

cause the DJX-IIB to behave erratically.

Panel Controls

Top Panel

This is the DJX-IIB!

Panel Controls

qSTANDBY/ON switch ................................13

Press to toggle the power on or off. (Power is on when

the switch is pressed in.)

wMASTER VOLUME.....................................13

This determines the overall volume of the DJX-IIB.

eDEMO button

This is used to play the Demo songs that showcase the

sophisticated capabilities of the DJX-IIB.

Press this button to start/stop the Demo songs.

To select one of the Demo songs, hold the button

down and simultaneously turn the scratch pad.

rLIVE EFFECTOR section................... 20, 48

The DJX-IIB has a wide variety of built-in effects that

affect the entire sound of the DJX-IIB and can be

manipulated in real time. Use the SELECT button to

call up one of the ten effects, then work the knobs to

change the depth and amount of the effect.

tPATTERNPLAYER buttons .......................14

Press these buttons to trigger the various patterns of

the DJX-IIB. The pattern starts immediately, as soon

as its button is pressed.

yA/B BANK button......................................15

Each of the DJX-IIB’s patterns has 10 different varia-

tions. Use this button to switch between banks, then

use the ﬁve PATTERN PLAYER buttons to play the

desired pattern — giving you 10 different patterns to

work with!

uPATTERN button .......................................16

This button lets you select the desired pattern. Simul-

taneously hold the button down and rotate the Scratch

Pad “CD.”

iBPM/TAP button....................................... 45

This is used to change the bpm (tempo) of the selected

pattern.

Each pattern of the DJX-IIB has been programmed

with a default or standard bpm (tempo); however, you

can change the bpm to any value between 32 and 280

beats per minute.

This button also determines whether the DJX-IIB will

use its own internal clock or whether it will use MIDI

clock received from the MIDI IN connector.

oKEY SHIFTER button............................... 36

This convenient button lets you change the overall

pitch of the DJX-IIB to match the music on your CDs

or vinyl, or to create chord changes. You can change

the key of the pattern by pressing this button while the

pattern is playing.

!0 ISOLATOR knobs............................... 24, 52

Use these knobs to change the timbre or tone of the

sound, adjusting the level of each frequency range:

Low, Mid, and High. Turning each knob to the right

boosts the level at that frequency, while turning it to

the left cuts it.

!1 AUDIO BPM COUNTER button, knob......62

The DJX-IIB has a powerful and convenient function

that lets you synchronize external audio (such as from

a CD or MD) with the patterns of the DJX-IIB. Hold

down this button while playing the connected audio

device. The DJX-IIB monitors the beat from the

audio, and automatically locks into the rhythm by

auto-adjusting the bpm of the DJX-IIB’s pattern. The

extracted bpm value is indicated in the display.

The SENSE knob is used to adjust the input level of

the external audio source.

!2 PATTERN STOP button ............................14

This button stops playback of the Patterns and Scratch

loops. Start the DJX-IIB’s patterns by pressing one of

the PATTERN PLAYER buttons and stop them by

pressing the PATTERN STOP button.

!3 SCRATCH PAD..........................................26

This amazing feature emulates a real turntable. Turn-

ing or rocking the CD back and forth lets you play var-

ious turntable scratches, as well as loops, hits, and

other special sound effects. Select the desired Scratch

sound or effect by pressing the SCRATCH button.

The CD “platter” can be changed as desired. (See page

10.)

!4 SCRATCH button......................................26

The Scratch Pad has a total of 74 different presets/

functions. Use this button to select the desired preset.

The preset number is always indicated in the small

display next to the SCRATCH button.

!5 LOOP button............................................ 29

Pressing this button (to turn Loop on) lets you vary

the Scratch effect in different ways, depending on the

selected Scratch preset.

!6 FILTER knobs........................................... 25

These adjust the ﬁlter cutoff and ﬁlter resonance of

each part of the pattern. For the RESONANCE knob,

turning to the right increases the effect. For the CUT-

OFF knob, turning to the right raises the frequency.

!7 Fader......................................................... 34

This determines the level balance between the pattern

and scratch sounds.

!8 Display

This shows important information on certain settings

and values of the DJX-IIB.

Panel Controls

Changing the Scratch Pad CD

Included with the DJX-IIB is a special CD-ROM disc. The disc normally serves as a “platter”

for the Scratch Pad function. Since special software is included on the disk, you will need to

remove the disc to install the software.

If you have a CD with a particular design that you like, you can replace the included CD-

ROM disc with a disc of your choice. To change the disc, follow the instructions below.

• The DJX-IIB does not read audio or other data from the Scratch Pad CD or CD-ROM. It

merely functions as a physical “platter” for controlling the Scratch Pad, and provides

added decoration. Feel free to install your own CD for different decoration if you like!

• Make sure to treat the included CD-ROM disc with care and be very careful not to damage

it (especially during removal), since the reverse side of the disc contains important data.

Yamaha cannot be responsible for any loss of data resulting from mishandling of the disc.

(Normal use of the disc as a Scratch Pad will not damage the disc.)

1Remove the indicated screw with a screwdriver.

2Remove the CD-ROM disk.

3Place the desired audio CD (or CD-ROM) on the

Scratch Pad.

4Replace and tighten the screw.

■ About the included CD-ROM

The included CD-ROM contains the following data:

DJX-II/IIB Premium CD-ROM

• Live Movie at DJX Satellite

• DJX-II/IIB Function Guide — a fun way to get to know the DJX-IIB and its features!

• Pattern Launcher Application — for loading new Patterns to the DJX-IIB!

• Extra Patterns — a selection of specially programmed new Patterns you can load to your DJX-IIB!

Panel Controls

Rear Panel & Connections

CD MD

Refer to page 13.

A standard pair of stereo headphones

can be plugged in here for private prac-

tice or late-night playing. The internal

stereo speaker system is automatically

shut off when a pair of headphones is

plugged into the PHONES jack.

The DJX-IIB also features MIDI ter-

minals, allowing you to interface the

DJX-IIB with other MIDI instruments

and devices. (For more information,

see page 65.)

• Connect the AC adaptor

(PA-5B, PA-5C or other

adaptor speciﬁcally rec-

ommended by Yamaha)

to the power supply jack.

See page 12 for details.

The LINE OUT jacks are used to send the DJX-IIB output to

a keyboard ampliﬁer, stereo sound system, mixing console,

or tape recorder.

• Connect the DJX-IIB to external equipment only after

turning off power for all devices. 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.

Connect an external audio device (such

as a CD player or MD player) to the

AUDIO BPM IN terminal, and play back

the desired audio passage. The audio

can be used with the Audio bpm Counter

function, in which the DJX-IIB reads the

tempo of the audio and synchronizes the

pattern rhythm to it.

• Do not listen with the headphones

at high volume for long periods of

time. Doing so may cause hearing

loss.

Ampliﬁer

Setting Up (Power supply connections)

Although the DJX-IIB will run either from an optional AC adaptor or batteries, Yamaha rec-

ommends use of the more environmentally safe AC adaptor. Follow the instructions below

according to the power source you intend to use.

The batteries should be considered an auxiliary power source for data backup (page13).

■ Using An Optional AC Power Adaptor • • • • • • • • • • • • •

1Make sure that the STANDBY/ON switch of the DJX-IIB is

set to STANDBY.

2Connect the AC adaptor (PA-5B, PA-5C or other adaptor

speciﬁcally recommended by Yamaha) to the power sup-

ply jack.

3Plug the AC adaptor into an AC outlet.

To disconnect the adaptor: Set the STANDBY/ON switch to STANDBY,

then unplug the adaptor from the AC outlet, and then disconnect it from

the DJX-IIB power supply jack.

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

ommended 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-IIB.

• Unplug the AC Power Adaptor when not using the DJX-IIB, or during electrical storms.

■ Using Batteries• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

For battery operation the DJX-IIB requires six 1.5V SUM-1, “D” size, R-20 or equivalent bat-

teries. When the batteries need to be replaced, the volume may be reduced, the sound may be

distorted, and other problems may occur. When this happens, turn the power off and replace

the batteries.

Replace the batteries as follows:

1Open the battery compartment cover located on the instrument’s

bottom panel.

2Insert the six new batteries, being careful to follow the polarity

markings on the inside of the compartment.

3Replace the compartment cover, making sure that it locks ﬁrmly

in place.

• When the batteries run down, replace them with a complete set of six new batteries.

NEVER mix old and new batteries.

• Do not use different kinds of batteries (e.g. alkaline and manganese) at the same time.

• 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.

• Plugging or unplugging the AC

power adaptor while the batteries

are installed will reset the DJX-

IIB to the defaults.

• If you play the DJX-IIB with the

volume at its maximum level

when the batteries are used, the

life of the batteries will be shorter.

Use a coin or a slotted

screwdriver to unlock

the cover

Once you've set up your DJX-IIB, try turning the power on.

Make sure your sound system's main level/volume control(s) and the DJX-IIB volume con-

trol are turned all the way down prior to turning the power on.

0J'.

Set the MASTER VOLUME

knob to "min."

Turn the power ON by pressing the

STANDBY/ON switch.

Press the STANDBY/ON switch

again to turn the power OFF.

• Even when the switch is in the “STANDBY” position, electricity is still ﬂowing to the instru-

ment at the minimum level. When you are not using the DJX-IIB 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.

Data Backup & Initialization

Except for the User Pattern data, all DJX-IIB panel settings are reset to their initial set-

tings whenever the power is turned on. The Use Pattern data is backed up (i.e.

retained in memory) as long as an AC adaptor is connected or a set of batteries is

installed.

All data can be initialized and restored to the factory preset condition by turning on

the power while holding the LOOP button. “Clr!” will appear brieﬂy on the display.

• All settings listeda bove, will be erased and/or changed when the data initialization procedure is

carried out.

• Carrying out the data initialization procedure will usually restore normal operation if the DJX-IIB

freezes or begins to act erratically for any reason.

C|r'.

Switching On the Power

1Work out with the Patterns!

Here’s where it all starts!

Hit one of the buttons in the PATTERN PLAYER section — and the Pattern starts immediately.

Hitting another button instantly switches to a different Pattern (actually, a variation on the main

Pattern).

Since the DJX-IIB starts the Pattern right away, be careful to press the key in time with the

rhythm

Practice this a while — there’s no better way to get your timing tight and develop a solid sense

of rhythm!

To stop the Pattern, press PATTERN STOP.

Pattern Player Basics

Start your DJ apprenticeship right here! The Patterns are the basic building blocks of the

DJX-IIB sound — they’re the rhythmic foundation for everything else on this dance machine.

Chapter 1

100 Tips to be a DJ!

This is NOT an owner’s manual! At least not an ordinary one. But, then again,

the DJX-IIB is no ordinary instrument. It’s packed with exciting, easy-to-use

dance music features that instantly sets it apart from run-of-the-mill conventional

instruments!

This collection of 100 hot tips shows you how to get the most out of your new DJX-

IIB in the shortest time possible. It’s like an expert DJ or mixer taking you by the

hand and showing you the ropes, sharing all the tricks and techniques you need to

be a master DJ yourself! It takes you from the

bare-bones basics, to advanced power tips that get

you mixing like a pro in no time!

So jump in!

◆ The Levels — Work your way up!

.................... Basic operations

............... Intermediate functions

......... Advanced tricks and techniques

... Power user features

This is NOT an owner’s manual! At least not an ordinary one. But, then again,

the DJX-IIB is no ordinary instrument. It’s packed with exciting, easy-to-use

dance music features that instantly sets it apart from run-of-the-mill conventional

instruments!

This collection of 100 hot tips shows you how to get the most out of your new DJX-

IIB in the shortest time possible. It’s like an expert DJ or mixer taking you by the

hand and showing you the ropes, sharing all the tricks and techniques you need to

be a master DJ yourself! It takes you from the

bare-bones basics, to advanced power tips that get

you mixing like a pro in no time!

So jump in!

Chapter 1 Pattern Player Basics

2Switch between Banks

Even though there are ﬁve buttons in the PATTERN PLAYER, you have a total of ten Patterns at your disposal — thanks

to the A/B BANK button.

Each Bank, A and B, has ﬁve Patterns. When the A/B BANK button lamp is off, you can play Patterns A1 to A5. When

the A/B BANK button lamp is on, you can play Patterns B1 to B5. Pressing the button doesn’t change the Pattern, it only

enables the Bank. So if you press the A/B BANK button by mistake, don’t worry — simply press it again, and you’re

back to the original bank, without any sound changes!

Try this example:

1 Start Pattern A1.

Press Pattern button 1.

2 Select Bank B.

Press the A/B BANK button. The A/B BANK button is on and Pattern button 1 ﬂashes. (The ﬂashing Pattern button indi-

cates Bank select standby.).

Notice that Pattern A1 is still playing. It will only change if you press another Pattern button..

3 Press Pattern button 3.

Now Pattern B3 is playing.

4 Select Bank A again.

The A/B BANK button is off and Pattern button 3 ﬂashes.

5 Press Pattern button 1.

Now you’re back to Pattern A1.

Flashes

3Mixing Main and Fill-in Patterns

Try mixing it up!

As you learned in Tip 2 above, each of the DJX-IIB’s Patterns has ten

different Variations. The main Patterns are played with buttons 1, 3,

and 5, while the ﬁll-in Patterns are played with buttons 2 and 4. (Fill-

in Patterns are usually used as dynamic breaks or transitions.)

In general, the higher the Variation number (A1 - A5, B1 - B5), the

busier or more complex the Patterns become.

Listen carefully to each Pattern — remember how each of them

sound — then play them one after another for your own special per-

formance!

4Exploring other Patterns

Try out some different patterns

To change the Pattern, hold down PATTERN and simultaneously turn the Scratch Pad.

Check the display to see what you’re selecting. The two numbers on the left indicate the current

Pattern number, and the numbers on the right indicate the new one. Turn the Scratch Pad clock-

wise to advance through the Pattern numbers; turn it clockwise to go back.

But wait! The new Pattern doesn’t actually start until you release PATTERN! Keep holding down

the button while the Pattern loops, then release PATTERN on the “one” downbeat (see Tip 5) — the

Pattern changes immediately!

Fill-in Patterns

Main Patterns

Chapter 1 Pattern Player Basics

q e

Flashes

01.03 p03

w e

p01

Current Pattern —

now playing. New Pattern — waiting

in standby.

The new Pattern is up and

playing!

● Exploring other Patterns

Category # Pattern Name Comment

TECHNO 01 Japan Beatz Experimental electronic madness — way cool!

05 Detroit Serious House music — from where it all started!

DISCOMANIA 11 Disco House London’s disco club scene.

CLUB VIBES 17 Hard House Harder than you might expect...

DRUM'N'BASS 34 Jazz D&B Straight from the heart of London — fast and stylish!

GANGSTA 50 Light Feel it ﬂow, a real Hip-hop cruiser from L.A.

52 Female Extra smooth ‘n’ silky R&B-style Hip-hop.

FUNKY HIP HOP 59 Club Funk Funk with a Hip-hop ﬂavor — real nice!

OLD SKOOL 62 Scratchin’ Really dark and hard Hip-hop — with a nice melody on Variation

10.

TRIP HOP 65 Deep Dark and heavy Trip-hop, atmospheric and dreamy.

5Come down on the “one”!

The key to great timing is knowing where the “one” is. And the “one” is the ﬁrst beat in a four-beat

Pattern. Another key to timing is feeling the downbeats (four downbeats to a Pattern). The DJX-IIB

makes this easy to do!

Check this out:

While the Pattern is playing, the dot in the bpm display ﬂashes rhythmically. (If the bpm display is

not shown, press BPM/TAP.)

Try hitting a different Pattern button on the “one” downbeat — when you’ve hit it right, you’ll feel it!

If you’re having trouble coming down on the “one,” here’s a handy hint that’ll help you keep time...

Double-up your count! This works especially well for slower rhythms — because even slight devi-

ations from the beat can put glitches in your groove!

For a four-beat measure, count two on every beat — like this: 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8.

Or count: “One-and-two-and-three-and-four-and...”

Try this technique while changing Patterns. Press a new PATTERN PLAYER button every bar, right

on the “one,” all the time counting out the beat like above. It’s a fool-proof way to master the

groove!

One Two Three Four

1 2Count: 3 4 5 6 7 8

1 - and( or: 2 - and 3 - and 4 - and )

Hit it here!

Chapter 1 Pattern Player Basics

6Keep the bpm steady!

Once you’ve started a Pattern, it's better to keep it playing at a steady bpm — unless you’re aiming

for special effects and sudden tempo changes.

Actually, the DJX-IIB takes care of this for you — automatically! If you change Patterns while a

Pattern is playing, the bpm setting stays the same. However, if you stop the Pattern and start a new

one, the bpm is automatically reset to best suit the newly selected Pattern.

01.03 01.03

While the Pattern is running... When the Pattern is stopped...

... and the bpm stays the same. ... and the bpm is set to best

suit the selected Pattern.

Chapter 2

Live Effector Basics

The effects of the DJX-IIB are more than just frosting on the cake — they’re powerful

tools that can completely transform the sounds and rhythms, and put a whole new spin

on your tracks!

7What is the Live Effector?

Here’s where you can really get down and dirty with your beats!

The Live Effector gives you a wide variety of real-time effects that let you mangle and munge the

sound in wild and exciting ways. All of the sounds of the DJX-IIB — the Patterns and the Scratches

(→ page 26) — are processed by these versatile sound shapers. You can turn the effects on and

off in time with the rhythm, and adjust a pre-programmed key effect parameter and the balance

(depth) of the effect in realtime as the Pattern plays.

q Start the Pattern.

w Select the desired effect, turn the Effect on,

and twist the knobs.

e Stop the Pattern.

Turns the effect ON or OFF.

Changes the sound of the effect.

(Each effect lets you control a different key

parameter.)

Changes the depth of the effect. When set

to "Dry," the effect cannot be heard.

When the effect is set to on, turning the

BALANCE knob may generate noise.

Press this to change the effect type.

When changing the effect type, the new

type is applied immediately from the next

note (with the exception of the Slice type).

• To keep the effect locked on:

Simultaneously hold the toggle

switch on and press SELECT.

To “unlock” the effect, turn the

effect on and off again.

A continuously lit LED indicates

that the effect is selected. When

the effect is turned on, the LED

ﬂashes in time with the Pattern.

• Doing too much at once?

Changing the effect type while the effect is on and a

Pattern is playing back and/or while you’re playing the

Scratch Pad can overload the processing power of

the DJX-IIB. This could affect the sound in different

ways, making the overall sound softer or changing

the sound of the effect in unexpected or undesirable

ways. For best results, stop the Pattern and/or stop

playing the Scratch Pad brieﬂy before changing the

effect type. Better yet, turn the effect off brieﬂy, then

change the type and turn it back on again as needed.

◆

Tech note:

You can change the effect type while the effect is on

in the "hold" condition; however, it cannot be changed

when holding down the toggle switch manually.

Chapter 2 Live Effector Basics

8Distortion

This popular effect lets you distort the sound — from a soft grunge to a full-on

metallic assault. Turn the CONTROL knob to the right for more crunch and

bite.

9Auto Pan

Get your sound moving in space! This effect shifts the sound in the stereo

image back and forth between hard left and hard right. Setting the CONTROL

knob toward max speeds up the panning so much, the sound seems to be

modulated — like on a synthesizer!

10 Ring Modulation

Here’s an ultracool effect straight out of analog synthesizers! The Ring Modu-

lator changes the sound dramatically by “overdriving” the oscillator — as set

with the CONTROL knob. This effect can completely destroy the original pitch

of the sound while generating a whole new set of pitches and harmonics, for a

massively dynamic metallic sound. Use the CONTROL knob to change the fre-

quency of the oscillator.

Use this sparingly! You’ll want to save this awesome, powerful effect for cer-

tain climactic parts of your performance — and then blow people away!

11 Flanger

This modulation-based effect produces a “swishing” or “tunneling” sound.

Changing the speed of the modulation with the CONTROL knob produces a

characteristic metallic, sweeping effect — much like a jet airplane taking off.

12 Phaser

The Phaser effect is similar to Flanger (in Tip 11 above), but more subtle — not

quite as dramatic. Phaser is good for adding a little bit of warm animation and

movement to the sound. Use the CONTROL knob to change the speed of the

modulation.

13 Slice

Chop up the beat, slice and dice — completely change the feel of the rhythm!

Use the CONTROL knob on this happening effect to change the “slice” patterns,

and come up with new rhythms on the ﬂy!

14 Delay

Delay is a popular effect that repeats the sound in rhythm. (There’s a related

Echo effect; see Tip 15 below.) And check this out — no rocket science needed!

The DJX-IIB automatically syncs the delay time to the current bpm, so you don't

even need to re-adjust the knob, even when the bpm is changed. Use the CON-

TROL knob to change the relative delay time to match the rhythmic effect you

want. The DJX-IIB syncs to note values — 16th, 8th, 4th, triplet, etc.

◆

Be careful — changing the delay time (by changing the CONTROL knob or

bpm) may result in some noise.

Chapter 2 Live Effector Basics

15 Echo

Like Delay (in Tip 14 above), Echo produces repeats of the sound for rhythmic

effect. However, the CONTROL knob is used to change the number of repeats

(also called “feedback”). Naturally, the DJX-IIB automatically syncs this effect

to the bpm of the Pattern.

16 Lo-Fi

Need to grunge up your sound, but Distortion is too nasty for you? This useful

effect lets you slap that retro, lo-rez sound onto your beats — just like they do

in hip-hop, trip-hop and other styles. Lo-Fi gives the sound just a little bit of

“dirt” — and lets you add a vintage analog-like touch to your performance.

17 Wah

Wah is a special moving ﬁlter effect that gives a funky feel to the sound. Use

the CONTROL knob to change the speed of the ﬁlter motion. Setting this toward

the maximum produces a trembling sound.

Chapter 3

Isolator Basics

More sonic control to you! The Isolator lets you tailor the sound just the way you want

it — phat and round, thin and edgy, or big and banging!

18 Tweak the sound just right!

Need a beeﬁer low end? Want to put some edge and shimmer in the top? Tweak these knobs to

your heart’s content, and get the sound just the way you want it! Try turning the Low and High

knobs of the Isolator a little bit to the right, and make the sound more punchy. Try other settings as

well to get the sound just right!

Each of these knobs boosts or cuts a general frequency band of the sound. Technically, the range

for each knob is -12dB to +12dB.

◆

Be careful with this, though — if the Master Volume is at or near the max, boosting these fre-

quencies can result in some nasty distortion!

◆

Helpful hint: Avoid boosting the level (when possible). For example, if you want to emphasize

the highs and lows, add a gentle mid cut instead.

Low Mid High

Boosted low end, slightly

crisper high end.

Very tinny sound — almost

no bass, very bright and brit-

tle high end.

Flat response — normal set-

tings.

Chapter 4

Filter Basics

Pump up the energy on the dance ﬂoor a serious notch or two with these powerful ﬁlter

tools!

19 Cutoff and Resonance

The CUTOFF and RESONANCE knobs control the ﬁlter effects. And what are “ﬁlter effects,” you

ask? Well, ﬁlters have been used for a long time with analog synthesizers, and in the right hands

they are capable of turning static, boring sounds into something really dynamic and animated.

Turn CUTOFF to the left and the sound becomes darker or “mufﬂed.” Turn CUTOFF to the right and

the sound becomes brighter. The RESONANCE knob controls how sharp the peak of the ﬁlter is.

Turn RESONANCE to the right and the ﬁlter peak becomes sharp and pronounced. Turn the RESO-

NANCE left and the ﬁlter becomes ﬂat.

Try tweaking CUTOFF while RESONANCE is at about 2 or 3 o'clock (see below). The ﬁlter becomes

sharper, and you can actually hear the ﬁlter peak moving according to the CUTOFF knob position.

There’s no way to adequately describe this effect in words — you just have to try it out for yourself,

and hear how awesome it can make your music sound!

Volume

Frequency (pitch) Frequency (pitch)

Volume

Cutoff frequency Resonance

BrighterDarker

These frequencies are

“passed” by the ﬁlter.

Chapter 5

Scratch Pad Clinic

The true mettle of a DJ is in his or her turntable work. That’s why the DJX-IIB has a

special Scratch Pad that lets you strut your stuff!

20 Work out on the Scratch Pad!

Step up to the turntable and work the platter like a real DJ! That’s what the Scratch Pad’s for!

Set the Crossfader to around the center, then rock the Scratch Pad back and forth. Now you’re

scratching!

Start a Pattern and work the Scratch Pad while the Pattern’s playing back — adding your own

rhythmic parts and accents to the mix!

No need for vinyl here — leave your records at home! The DJX-IIB has a whopping total of 73 spe-

cial Scratch “kits” that you can call up instantly and scratch right along with the Patterns!

To change the Scratch kit, hold down the SCRATCH button and simultaneously turn the Scratch

Pad. Check the Scratch display to see what you’re selecting.

Rock the Scratch Pad

back and forth with

your ﬁnger.

Set the Crossfader to around the center.

Indicates the Scratch

kit (function) number.

Chapter 5 Scratch Pad Clinic

● Scratch List

The Auto kit (0) automatically selects a kit to best match the currently selected pattern.

21 Quarter-note scratching

Now that you’ve tried out the Scratch Pad and some different Scratch sounds, let’s get started using

the Scratch Pad in real musical examples.

Quarter notes are the simplest to scratch in time with, since you simply scratch on every downbeat.

In this example, select P12 and start up V A1. Rock the pad forward (clockwise) on the ﬁrst down-

beat, then rock it back (counter-clockwise) on the second downbeat, and so on. Notice that the

scratch sound is actually a musical part that changes with the chords in the Pattern. Tap your foot

or your heel with the beats (count out loud if you want, too!), and try to hit each beat with a scratch!

Try different scratch “lengths” as well — for example, scratching forward for a short 1/8 turn, and

back for a long 1/2 turn. Stay on the beat!

No. Category

Name Scratch Name

0AUTO Auto

1 VINYL LAB Vinyl Lab 1

2Vinyl Lab 2

3Vinyl Lab 3

4Vinyl Lab 4

5Vinyl Lab 5

6Vinyl Lab 6

7Vinyl Lab 7

8Vinyl Lab 8

9Vinyl Lab 9

10 Vinyl Lab 10

11 HIP HOP

X-TRA Hip Hop X-tra 1

12 Hip Hop X-tra 2

13 Hip Hop X-tra 3

14 Hip Hop X-tra 4

15 Hip Hop X-tra 5

16 Hip Hop X-tra 6

17 Hip Hop X-tra 7

18 Hip Hop X-tra 8

19 Hip Hop X-tra 9

20 Hip Hop X-tra 10

21 BASIC DJ

TOOLS Basic DJ Tools 1

22 Basic DJ Tools 2

23 Basic DJ Tools 3

24 Basic DJ Tools 4

25 Basic DJ Tools 5

26 Basic DJ Tools 6

27 Basic DJ Tools 7

28 Basic DJ Tools 8

29 Basic DJ Tools 9

30 Basic DJ Tools 10

31 Basic DJ Tools 11

32 Basic DJ Tools 12

33 Basic DJ Tools 13

34 Basic DJ Tools 14

35 TECHNO

LOOPS Techno Loops 1

36 Techno Loops 2

37 Techno Loops 3

38 Techno Loops 4

39 Techno Loops 5

40 Techno Loops 6

41 HIP HOP

LOOPS Hip Hop Loops 1

42 Hip Hop Loops 2

43 Hip Hop Loops 3

44 Hip Hop Loops 4

45 Hip Hop Loops 5

46 Hip Hop Loops 6

47 Hip Hop Loops 7

48 Hip Hop Loops 8

No. Category

Name Scratch Name

49 DEEJAY

ARPEG-

GIOS

DeeJay Arpeggios 1

50 DeeJay Arpeggios 2

51 DeeJay Arpeggios 3

52 DeeJay Arpeggios 4

53 DeeJay Arpeggios 5

54 DeeJay Arpeggios 6

55 DeeJay Arpeggios 7

56 DeeJay Arpeggios 8

57 FILLS 'N

BREAKZ Fills 'n Breakz 1

58 Fills 'n Breakz 2

59 Fills 'n Breakz 3

60 Fills 'n Breakz 4

61 Fills 'n Breakz 5

62 Fills 'n Breakz 6

63 HITS &

SPECIAL

Hits & Special FX 1

64 Hits & Special FX 2

65 Hits & Special FX 3

66 Hits & Special FX 4

67 JAZZ PADS Jazz Pads 1

68 Jazz Pads 2

69 MYSTIC

PADS Mystic Pads 1

70 Mystic Pads 2

71 Mystic Pads 3

72 PITCH &

BPM Pitch & BPM

73 PART

MIXER Part Mixer

No. Category

Name Scratch Name

One Two Three Four

22 Eighth-note scratching

Once you’ve mastered quarter-note scratching, eighth notes are real easy! Just double up your

scratching and play two scratches (forward and back) on every beat!

For this example, call up P39 and play V B5. For your scratching, try out Scratch 01 and rock the

pad back and forth in short 1/8 turns.

23 Sixteenth-note scratching

Now let’s go a little bit faster. Since sixteenth notes are half the value of eighth notes, you’ll have to

play twice as fast! This means four scratches (forward-back-forward-back) on every beat.

For this exercise, call up P41 and play V A1. For an alternate scratch, try out Scratch 13 and (like in

Tip 22 above) work the pad in short 1/8 turns.

Slow down the bpm (Tip 39) if necessary — this will let you lock into the rhythm more easily.

One Two Three Four

Chapter 5 Scratch Pad Clinic

24 Shuffle feel

Here things get a bit tricky! But don’t worry — once you feel the rhythm, you’ll have no trouble

playing it!

Shufﬂe rhythms are a cornerstone of hip-hop music, and feature a heavy “swing” feel. Scratching

to this rhythm is tricky since the forward scratch and backward scratch are not even — you’ll have

to do one slower than the other!

To get you into this, select P36 and start V B1. Try locking into the hi-hat groove — that’s where

the shufﬂe is!

25 Triggering drum loops from the

Scratch Pad

A common DJ technique is to scratch a vinyl loop a couple of times, then let the rhythm play. On

the DJX-IIB, you can do the same thing!

Call up Scratch 01 and press the LOOP button (the lamp lights). Now, give the Scratch Pad a light

push or pull, and the drum loop starts!

To stop the drum loop, press LOOP again (or press PATTERN STOP).

One Two Three Four

26 Scratch Pad arpeggios

The Scratch Pad has so much more than just scratch sounds! For some examples of how musical

you can get with the Scratch Pad, check out the Arpeggiator kits.

Try this out! Select P29 and start V A3. Call up Scratch 49. Now the Scratch Pad plays arpeggi-

ated phrases in time with the rhythm. Mix the arpeggios in with the Pattern and create your own

sophisticated, multi-textured arrangements! You can keep the arpeggios playing indeﬁnitely —

even when the Scratch Pad is stopped — by pressing LOOP. Try working the Scratch Pad in differ-

ent ways — rotating the pad in full turns, and changing speed, too. Notice how the arpeggios get

higher or lower in pitch, depending on how fast you turn the pad!

27 Scratch Pad sound effects

The DJX-IIB’s Scratch Pad has a slew of special sound effects you can ﬂy into your tracks and give

your mixes a unique, dynamic touch.

Select Scratch 63. Turn the Scratch Pad clockwise to get one sound effect, and turn it counter-

clockwise to get a different sound!

28 Scratch low, scratch high...

The pitch of the Scratch Pad depends on how fast you scratch — just like a real turntable!

To get real low and grainy, turn the pad real slowly. For an edgy, high-pitched scratch, move the

pad fast. Play around with this, and experiment with different Scratch kits!

Chapter 5 Scratch Pad Clinic

29 Stop the turntable

You’ve heard the effect — where the whole track drops in pitch and slows down to a grinding halt!

Guess what — you can do the same thing on the DJX-IIB, and have ﬁngertip control over it, too!

Select Scratch 72. This assigns the Scratch Pad to control both pitch and bpm simultaneously.

Spin the pad counter-clockwise — and hear the pitch go down and the bpm slow down. Naturally,

the bpm value is shown in the display as well. Turning the pad continuously until the display shows

“- - - -” brings everything to a grinding halt — just like turning off the power on a turntable!

Press the LOOP button, and the “turntable” starts up again! The Pattern starts at low pitch and

bpm, and quickly works its way back up to speed. An awesome effect that cranks up the excite-

ment factor a couple more notches!

In a variation on this, try spinning the pad clockwise slowly a few turns to bring the pitch and speed

up, then press LOOP. This gives you a more gradual build-up.

30 Give the Scratch Pad a new face!

Sure, this tip doesn’t change the sound — but you CAN give the Scratch Pad a new look by swap-

ping discs!

If you’ve got a CD or CD-ROM disc with a design you like, you can easily attach it to the Scratch Pad

platter. For instructions on how to do this, see “Changing the Scratch Pad CD” on page 10.

31 CD-ROM goodies

The CD-ROM on the Scratch Pad actually contains a wealth of interesting and useful stuff for your

DJX-IIB! It’s compatible with both Windows 95/98 and Macintosh, and features the toys and tools

listed below.

DJX-II/IIB Premium CD-ROM

• Live Movie at DJX Satellite

• DJX-II/IIB Function Guide — a fun way to get to know the DJX-IIB and its features!

• Pattern Launcher Application — for loading new Patterns to the DJX-IIB!

• Extra Patterns — a selection of specially programmed new Patterns you can load to your

DJX-IIB!

108.5

---.-

Chapter 6

Part Mixer Basics

Now that you’ve got your rhythm chops up to speed and some DJ tricks up your sleeve,

it’s time to work on the Parts! This chapter gives you the keys to improvising interest-

ing arrangements and instrumental textures. Not to mention creating some slammin’

and smokin’ tracks!

32 What is a Part?

The DJX-IIB Patterns are made up of several different instrument Parts: Kick, Snare, Hi-Hat, Per-

cussion, Bass, and pitched Phrases. Each Part has its own unique function and sound within the

rhythm.

The Part Mixer puts you in the producer’s seat — it lets you throw Parts in and drop Parts out in

real time with the Scratch Pad, allowing you to arrange on the ﬂy!

Part Mixer is contained in the Scratch kits — just select Scratch 73. (If Scratch 00 is currently up,

simply hold down SCRATCH and turn the Scratch Pad back a “notch” to 73!)

33 Take the console and remix the Parts!

Step up to the mixer and start juggling the arrangement around! When the Part Mixer “kit” is called

up (see Tip 32 above), you can mute certain Parts by turning the pad counter-clockwise about 1/4

turn or 90°. Likewise, if you’ve taken Parts out, you can bring them back in by turning the pad back

clockwise by the same amount.

◆

Tech note The speciﬁc Parts that are muted and the order in which they are brought in and out

of the mix differs according to the selected Pattern.

BASS KICK SNARE HI-HAT PERCUSSION PHRASE1 PHRASE2 PHRASE3

BASS KICK SNARE PHRASE1HI-HAT PHRASE2PERCUSSION PHRASE3

BASS KICK SNARE PHRASE1HI-HAT PERCUSSION

BASS KICK SNARE HI-HAT PERCUSSION

BASS KICK SNARE

BASS KICK

Each 1/4 turn goes forward or back one “step”

in the Part Mix arrangement. Turning the pad

around a full 360° counter-clockwise instantly

takes the mix down to the minimum. Turning it

360° clockwise restores the maximum mix.

Maximum mix

Minimum mix

Chapter 6 Part Mixer Basics

◆

Helpful hint:

If you’ve muted several Parts, you can turn them all back on again instantly! Simply press LOOP —

do this on the “one” downbeat — and the whole rhythm kicks in at once!

34 Extra texture!

Work on your instrument textures. All the mixmasters and mixologists do it! Why? Because it

works like a charm!

Here’s a speciﬁc example to get you started. Select P05. Before starting the Pattern, spin the pad

counter-clockwise two full rotations. (Make sure Part Mixer is selected!) This takes the Part mix

down to the bare bones! Now, start V A1.

Let the Pattern carry on for a while. Then turn the pad clockwise 1/4 of the way to change the tex-

ture. Keep doing this, letting each instrument group play for a while before bringing in the next.

Also, try going back — turning the pad counter-clockwise to take Parts out of the mix. Then, when

you want to get all the Parts happening, simply press LOOP (as in the “Helpful hint” in Tip 33

above).

Experiment with this — on the example Pattern and others — and let your ears be the judge.

Above all, have fun! After all, this is the way the pros build up the sound.

BASS KICK SNARE PHRASE1HI-HAT PHRASE2PERCUSSION PHRASE3

BASS

Chapter 7

Crossfader Basics

The DJX-IIB has a feather-touch Crossfader — just like those found on real DJ mixers

— that lets you crossfade between your beats and your scratching!

35 Work the Crossfader!

This short-throw, feather-touch Crossfader gives you easy and fast control over the Pattern/Scratch

balance. The center spot has a lot of leeway and is very forgiving — just get the Crossfader some-

where near the middle and the level balance is equal. To hear only the Pattern, move the fader all

the way to the left; to hear only the Scratch, move it all the way to the right.

◆

Helpful hint:

Want to work the Crossfader the opposite way — with the Scratch Pad sound on the left and the

Pattern sound on the right? If you feel more comfortable with that arrangement, this operation’s

for you!

Simultaneously hold down the SCRATCH button and turn the power on. This reverses the opera-

tion of the Crossfader. To restore normal operation, simply turn the power off and back on again as

usual.

36 Mute the Pattern

Sometimes you’ll want to cut the Pattern out of the mix — maybe to work out on the Scratch Pad

for a while — then bring it back in instantly. The Crossfader is a great way to do this — fast and

easy!

Simply move the fader all the way to the right — preferably just before the “one” downbeat. To

bring the Pattern back in from the “one,” ﬂip the Crossfader back to the left and hit the Pattern but-

ton, all in one motion.

To hear only the Pattern, move the

fader all the way to the left. To hear only the Scratch, move

it all the way to the right.

Chapter 7 Crossfader Basics

37 Crossfader cuts

This is one of the most basic moves in the DJ’s collection of Crossfader techniques — cutting in

with a scratch.

Hit a Pattern and keep the Crossfader all the way to the left so that only the Pattern is heard. While

the Pattern is playing, work the Scratch Pad (even though you can’t hear it). Whip the fader to the

right and then back left quickly. If you do it right, you’ll get a brief hit of the scratch — without

interrupting the ﬂow of the rhythm!

Once you get the hang of it — and you think your scratching chops are up to it — try working the

Scratch Pad only when you ﬂick the Crossfader!

Chapter 8

Intermediate

Techniques

This chapter is a grab bag full of various tips that solidify your DJ chops and put you on

your way to really mastering the instrument! Take your time and get these down before

moving on to Chapter 9...

38 Transpose the key

The Key Shifter section of the DJX-IIB lets you take the pitch (or “key”) of the overall sound, and

transpose it up or down — instantly!

Believe it or not, changing the key of the overall sound makes subtle but fundamental changes to

the character of the sound as well. Use higher keys (+1 to +6) to make the sound more tense or

brighter, and use the lower keys (-1 to -5) to make the sound more relaxed and subdued.

To change the key, hold down the KEY SHIFTER button and simultaneously turn the Scratch Pad.

The amount of shift is shown in the display (-5 to 0 to +6, with 0 being normal pitch). Keep holding

down the button until the point at which you want to change key, then release it — the key changes

to the new setting instantly!

Key Shifter is especially convenient when you’re using the DJX-IIB with an external sound source,

such as CD or vinyl — letting you match the key of the Pattern to the key on the external source!

CD MD

Chapter 8 Intermediate Techniques

39 Change the bpm

Another sure-ﬁre way to stir things up is to play with the bpm. Turn up the bpm and turn up the

heat!

Press BPM/TAP once and turn the scratch pad. For you techies, the bpm range is 32.0 - 280.0. try

starting the Pattern at a slower-than-normal bpm, then gradually bring the bpm up in speed to get

the groove really happening!

◆

Be careful! If the Pattern is stopped and you turn the scratch pad past 280.0, “Sync” appears in

the display and the DJX-IIB goes into the Sync Mode (see page 66). To get out of this mode, simply

turn the scratch pad clockwise, until bpm values appear in the display again.

40 Reset to the default bpm

Want to get back to the original pre-programmed default bpm? Simply press and hold down BPM/

TAP — and the bpm of the currently selected Pattern is instantly reset to its original speed.

124.0

32.0 280.0 SYnc

Sync Mode (page 66).

(Only selectable when

Pattern is stopped.)

120.0

41 Fade in, fade out

Easy, but effective! Simply use the MASTER VOLUME dial to create your own smooth fade-ins and

fade-outs. One speciﬁc trick you can try is to fade out a Pattern down to silence, then quickly bring

MASTER VOLUME up to normal and burst in with a new Pattern!

42 Travel light!

Small and light, the DJX-IIB is made for the road! And with the two special hooks fastened onto the

bottom of the unit, just slap on a guitar strap — and you’re ready to go!

Chapter 8 Intermediate Techniques

43 Tweak the cutoff

Select P06 and start V A1. Set RESONANCE to about 2 or 3 o'clock, then slowly turn the CUTOFF

knob to create a slow sweeping effect. Twiddle the knob back and forth quickly and create a wah-

wah like trembling effect.

44 Wah-wah scratching

Here’s a cool effect you can use to funkify your tracks! It’s like running a turntable through a wah-

wah pedal. The settings suggested here work especially well with Scratch 01, but you may want to

experiment with other settings when using other Scratch kits.

Set RESONANCE to max then turn the CUTOFF knob back and forth between 7 and 10 o’clock while

playing the scratch sound. Try to keep the groove — both in your scratching and your knob turn-

ing!

q Start the Pattern.

w Set RESONANCE to

about 2 or 3 o’clock. e Turn the CUTOFF

knob.

r Stop the Pattern.

45 Warped vinyl and a cheap turntable!

A lot of dance styles call for a lo-ﬁ, analog sound. This simple trick lets you mimic the wow and

ﬂutter of a warped record — or a bad turntable!

Select Scratch 72 to call up the Pitch & bpm “kit” — this lets you speed up and slow down the Pat-

tern. While the Pattern is playing, move the Scratch Pad back and forth slowly and over a short dis-

tance — just enough to waver the pitch up and down a little. For even greater lo-ﬁ “realism,” try

using the Lo-Fi effect (Tip 16).

46 Scratch Drum Loops in sync

Here’s a real convenient feature! You’ll never have to worry about your Scratch Pad Drum Loops

drifting out of time — the DJX-IIB automatically matches up the bpm of the loops to the bpm of the

Pattern. (For information on playing Drum Loops, see Tip 25.)

However, the DJX-IIB can’t sync up your loops if you don’t play them on time! Be careful to turn

the Scratch Pad right on the beat — just as you did with the Patterns. If you don’t hit LOOP in

rhythm, just press it again to turn it off, then try again!

47 Mute the Scratch

The Scratch Pad is a sensitive little beast — even the slightest touch can put a scratch in your mix.

For those times you want to make sure the scratching stays out of the way of the Pattern, move the

Crossfader all the way to the left.

Chapter 9

Pattern Player

Power Tips

48 Hitting a new Pattern and Variation

— at the same time!

There will be times when you’ll want to change not only to a new Pattern, but to a speciﬁc Variation

— instantly and at the same time. Here’s the best way to do that!

First, simultaneously hold down PATTERN and turn the Scratch Pad to call up the new Pattern num-

ber. Remember to keep holding down PATTERN! Then — just at the “one” downbeat in the Pattern

— press the desired Pattern button. Both the Pattern number and the Variation number change

simultaneously.

49 Hitting a new Pattern, Bank and

Variation — at the same time!

Here’s a sophisticated twist to Tip 48 above — changing the Bank along with the Pattern and Varia-

tion!

First, simultaneously hold down PATTERN and turn the Scratch Pad to call up the new Pattern num-

ber. Remember to keep holding down PATTERN! Next, press the A/B BANK button. Finally (with-

out releasing the PATTERN button), press the desired PATTERN PLAYER button — just at the “one”

downbeat in the Pattern. The Pattern number, the Bank and the Variation number all change simul-

taneously!

01.03

P03

Flashes

Current Pattern —

now playing. New Pattern — waiting

in standby.

The new Pattern is up and

playing!

50 Break to a new Pattern!

One sure-ﬁre method to turn up the heat on the dance ﬂoor is to use a break or a drop-out just

before hitting a new Pattern! Here, we’ll try dropping everything out for a full measure (four beats).

While the ﬁrst Pattern is playing, count the beat in your mind and tap it out with your heel — to

make sure you’re locked into the groove! At the same time, call up the new Pattern by simulta-

neously holding down PATTERN and turning the Scratch Pad. Remember to keep holding down

PATTERN! Then — right on the “one” downbeat — press PATTERN STOP. Keep counting while

you hold the button — 1 - 2 - 3 - 4! Finally, on the next “one,” press the desired Pattern button.

Try this out with P08, V A4 as the ﬁrst Pattern (good for a four-beat intro!), and break to P09, V A1.

As always, timing is everything! Whether you break for one beat, two beats, or four — make sure

you come in with the next rhythm right on the “one”!

P08

08.09

P09

Flashes

Remember to keep holding

down PATTERN until you

press PATTERN STOP!

1 - 2 - 3 - 4!

Chapter 9 Pattern Player Power Tips

51 One-bar Patterns — all in a row!

Nearly all of the DJX-IIB’s Patterns change every bar (four beats). Some loop in two-bar patterns,

some loop every four bars. Some Patterns have more obvious changes than others (for example,

listen to P59, V A1), but all have some sort of musical or textural progression that make the music

ﬂow and breathe.

You can create a different kind of ﬂow by playing different Patterns in a row, each Pattern lasting

just one bar. Select P59, and play V A1, A2, A3, and A4 like this:

Repeat the above passage for about four or eight times, then switch to this:

See how easily this lets you create your own two- or four-bar variations! Try it out with some of the

other Patterns, too.

One Two Three Four One Two Three Four One Two Three Four One Two Three Four

Hit A1! Hit A2! Hit A4! Hit A3!

One Two Three Four One Two Three Four One Two Three Four One Two Three Four

Hit A5! Hit A4! Hit A5! Hit A2!

Chapter 10

Crossfader Power

Tips

52 Quick Crossfader scratching

Here’s a cool way to change the sound of a Pattern — and put your personal scratch touches on it — without disrupting

the ﬂow of the rhythm!

Select P50 and start V A1. Also, call up Scratch 01. While the Pattern is playing, try scratching along with the rhythm

— just to get in the groove. As you keep working the Scratch Pad, ﬂick the Crossfader on the beat, between hard left

and hard right, like this:

Flick it fast! Make sure the Pattern plays on the “one” and “three,” while your scratching comes down on the “two” and

“four” backbeats. And keep scratching even while only the Pattern is playing — so you stay in the pocket! Try other

variations on this, cutting in to a Pattern with short scratch ﬁlls and accents.

53 Long Crossfader scratching

This one’s going to take a bit of practice! Like Tip 52 above, try ﬂicking the Crossfader between the Pattern and your

scratching — but this time, hang with the scratch for one full bar!

That’s right — scratch for four beats, then come back in with the Pattern on the “one.” The reason this is tricky is

because you have to rely on your body and mind as the timekeeper until you ﬂick back to the Pattern.

◆

Helpful hints:

• Tap out the beat with your foot. Try to ﬂick the Crossfader back just before the “one.”

• Double-up the count for slower rhythms (see Tip 5).

• Try practicing your fader-ﬂicking without the Scratch Pad at ﬁrst. Then, when you’ve got it down, bring in the scratch!

54 Pattern loop vs. scratch loop

Try Tips 52 and 53 with a Drum Loop instead of a scratch! Since the DJX-IIB keeps the Drum Loop in sync with the

Pattern, you can switch seamlessly between the two — and create a ton of new rhythms!

Select one of the Drum Loops in the Scratch kits. Try to get a loop that complements the selected Pattern. Or, if you’re

after special effects and off-the-wall beats, call up a loop that intentionally clashes with the Pattern!

Start the Pattern with the Crossfader all the way left, and turn the Scratch Pad right on the “one” to start the Drum Loop.

Then, work the Crossfader like you did in Tips 53 and 54. Try some other rhythmic ﬂicks as well — like coming in with

the loop on beats 3 and 4, for example.

One Two Three Four

One Two Three Four One Two Three Four One Two Three Four One Two Three Four

Chapter 11

Using the BPM/TAP

button

55 Tap out the beat!

Change the bpm in real time! Tap the BPM/TAP button twice rhythmically, while the Pattern is run-

ning — and the bpm automatically changes to the tapped speed.

56 Start with a tap...

You can also get the Pattern going at whatever speed you like by simply tapping it out. Select a Pat-

tern, then instead of hitting one of the Pattern Player, tap the BPM/TAP button — four times, in

rhythm — and the Pattern starts automatically at the bpm you’ve tapped.

While you’re tapping, the display shows each of your four taps, then displays the resulting bpm.

◆

Tech note Only two taps are needed to start Pattern 42, since that Pattern is in 2/4 time.

BPM

120.0

The Pattern changes bpm

according to your tapping.

One Two Three Four

BPM BPM BPM BPM

The Pattern starts at the

bpm of your tapping.

Chapter 12

The Outside World

Here are a couple of tips that get you started interfacing the DJX-IIB with external gear.

Go for it, and get your sound out there!

57 Expanding your DJ setup

The DJX-IIB can easily do double-duty as part of a larger DJ setup. For example, you can connect

the LINE OUT jacks to two of the inputs of a DJ mixer. Hook up a turntable to the other channels of

the DJ mixer, and you’ve got a full dance production setup to rival the pros! This way you can play

the DJX-IIB as well as your favorite vinyl tracks, and mix and switch them with the controls on the

DJ mixer.

Naturally, you can also hook your DJX-IIB up to an MD recorder or cassette deck and record your

DJ performances to disk or tape.

58 Mute the speakers

If you’re routing the DJX-IIB’s sound to a DJ mixer or external

ampliﬁer/speaker system, you may want to cut off the sound of

the DJX-IIB’s built-in speakers. Easy! Simply insert a phone

plug into the PHONES jack — or hook up a set of stereo head-

phones for monitoring the DJX-IIB sound.

Naturally, even when the built-in speakers are muted in this

way, audio is still output through the LINE OUT jacks.

DJ mixer

Turntable

Ampliﬁer

LINE

OUT

PHONO

LINE

Chapter 13

More Pattern

Player Power Tips

59 Creative Fill-in 1

Select P35 and start with V A1. Then, hit the V A1 button in the following rhythm.

60 Creative Fill-in 2

Select P35 and start with V A1. Hit the V A2 button repeatedly in the following rhythm, then play the

V A3 button on the “one” to change the Pattern!

61 Playing intros and transitions

Sometimes it’s best to keep things simple! Here’s an effective but easy-to-use technique that’s

ideal for intros and transitions.

Select P39 and play V A1 to V A3 like this:

For this kind of trick, it’s best to have the bpm ﬁrmly in your memory before starting the Pattern.

For an even more interesting (or dangerous!) variation on this, try starting with bar 3 above (a tap

each beat). Even if your tapping is slower than the correct bpm, it still makes for a hip intro!

62 Playing intros and transitions, part 2

Here’s a cool variation on Tip 60 above. Use P39 for this again, and try it out — and try out some of

your own intro ideas, too!

One OneTwo Three Four

Start! Hit it here... ...and here!

One OneTwo Three Four

...and

here!

Start! Hit it

here... ...and

here! ...and here!

...and

here!

One OneTwo Three Four

One OneTwo Three Four Two

Chapter 14

Live Effector Power

Tips

63 Distortion

This little trick can kick your tracks into high gear! Use the Distortion effect selectively, applying it

only to certain beats in the Pattern, places you want to add an accent — such as on the 2nd or 3rd

beat of the bar. This gives you a massive, in-your-face sound — right on that all-important back-

beat — and takes the rhythm to a new level!

In a variation on this technique, bring in the Distortion repeatedly and rhythmically. This punches

new accents into the Pattern, and — with the right treatment — creates a completely new Pattern!

This technique works extremely well with some of the other effects, such as Ring Mod, Flanger, and

Phaser.

64 Auto Pan

Tweak the knob until you hit the “sweet spot” — the point at which auto panning syncs up to the

bpm and gives you the rhythmic effect you want.

◆

Tech tip:

The knob positions and the corresponding bpm readings shown here are approximate — let your

ears be the ﬁnal judge!

One Two Three Four

Release!This timing!

No modulation

Fast speed

for special

effects.

678910 11 1213

q 1 beat cycle

Knob

position

678910111213

bpm 55 70 90 110 125 145 160 195

w 2 beat cycle

Knob

position

56789

bpm 70 110 140 180 200

e 3 beat cycle

Knob

position

4567

bpm 60 105 165 210

r 4 beat cycle

Knob

position

bpm 80 140

Chapter 14 Live Effector Power Tips

65 Ring Modulation

As we pointed out in Tip 10, this effect is a powerful one, so you’ll want to save it for huge, in-your-

face intros, transitions and endings. Here’s how you can use Ring Modulation to build to an enor-

mous climax:

First, set the controls — CONTROL to min and BALANCE to max. Then, hold the effect on (or lock

it, as described in Tip 7), and simultaneously move the CONTROL knob toward max — very slowly.

Use the effect to build to a fever pitch, then — right at the climactic moment, just before the “one”

— turn the effect off and switch to a new Pattern or Variation.

66 Flanger

Tweak the knob until you hit the “sweet spot” — the point at which the Flanger’s modulation cycle

syncs up to the bpm and gives you the rhythmic effect you want. (See the illustration in Tip 64 for

details on how the knob settings relate to bpm.)

67 Phaser

Tweak the knob until you hit the “sweet spot” — the point at which the Phaser’s modulation cycle

syncs up to the bpm and gives you the rhythmic effect you want. (See the illustration in Tip 64 for

details on how the knob settings relate to bpm.)

68 Slice

The different rhythm feels that Slice creates depends on the Pattern you’ve selected as well as the

CONTROL knob setting. Experimentation is the key! Try different Patterns and see how they

morph when you change the CONTROL knob setting. Move the knob slowly, and ﬁnd your favorite

settings.

q w

Turn the knob

VERY slowly!

69 Delay

Clever use of Delay is a cornerstone in many different styles of dance music — especially dub. For

a dub ﬂavor, set the BALANCE knob to around 2 or 3 o'clock, and turn on the effect only for certain

beats. Play around with this — experiment and try to hit the “sweet spot,” the point where the

Delay locks into the groove and gives you the feel you want!

◆

Knob position and Delay time

The knob position determines the rhythmic division (in note values) of the Delay — automatically

synchronizing the Delay to the bpm.

70 Delay fill-in

Delay can be also used as a break or ﬁll-in to take you into the next Pattern. This takes a little bit of

practice and gives your rhythm chops a workout — but when you hit it right, it can really rock the

house!

Set both the CONTROL and BALANCE knobs to 12 o’clock. Select P38, and play V A1. Turn on the

effect right on the “four” and hit PATTERN STOP on the next “one.” Let the delay wind down, then

come in with V A3. Experiment with this a bit, hitting the effect a fraction of a second earlier or

stopping the Pattern later.

One Two Three Four

Release!

Try hitting the beat with

the effect at these points.

One Two Three Four One Two Three Four One Two Three Four One Two Three Four

Hit the effect

here... ...turn off the

pattern here...

...and break to

the new pattern

(V A3) !

Chapter 14 Live Effector Power Tips

71 Echo

Many styles of dance music use echo effects in surprising, unique ways. The DJX-IIB’s Echo effect

lets you use the popular 3/4 beat delay to build up dramatic rhythmic rolls and ﬁlls. It also gives

you some fascinating echo textures to use in transitions and endings.

Here’s a cool trick you can use in your own music! Select P25 and start up V A1 with only the Per-

cussion. (Use the Part Mixer to bring the mix down to the minimum; see page 32.) Set CONTROL

to about 2 o’clock and BALANCE to roughly 12 o’clock (center). Turn on the effect, then stop the

Pattern and let the Percussion repeats fade out. Just before the Percussion disappears, start the

Pattern with all the Parts on! (Press LOOP to turn all Parts on.)

72 Lo-Fi

Though you may have personal preferences of your own, Lo-Fi is often best when set to the

extreme settings — with CONTROL at max and BALANCE at wet.

To get an even more authentic AM radio sound, set the Isolator LOW and HIGH knobs to min. Work

these controls in rhythm, and try to bring the sound back to normal right on the “one” downbeat —

turning the effect off and bringing the LOW and HIGH knobs to center as quickly as you can!

73 Wah

Tweak the knob until you hit the “sweet spot” — the point at which the Wah’s modulation cycle

syncs up to the bpm and gives you the rhythmic effect you want. (See the illustration in Tip 64 for

details on how the knob settings relate to bpm.)

Chapter 15

Isolator and Filter

Power Tips

74 Isolator to the max!

Play the Isolator in real time! Get the Pattern running, then tweak the knobs to their extreme set-

tings for radical changes to the sound — on the ﬂy!

For example, try cutting back Low and Mid to zero, and bring High up to the max — for a really brit-

tle, tinny sound. Or try boosting Low to the max while taking Mid and High all the way down — for

a boomy, bass-only sound. Or go for the sound of an AM radio by setting Mid to max and cutting

Low and High.

Since the effect of the Isolator controls depends in part on the selected Pattern, you’ll need to do

some playing around. Stick to one Pattern and some of its variations, then experiment with the Iso-

lator to ﬁnd some hip settings.

For maximum dramatic effect, make these changes as quickly as you can, bringing the knobs up or

down instantly, if possible. Also, rhythm rules — so, make your moves on the downbeat, right in

time! Practice your moves and get them down so you can tweak the sound as you perform!

Brittle, tinny sound

Boomy, bass-only sound

AM radio sound

Chapter 15 Isolator and Filter Power Tips

75 Dark mixes and deep grooves — cut

the Cutoff!

Here’s a powerful trick to instantly darken up your tracks — if that’s what you’re after. It’s also

great for getting a phat, bottom-heavy sound!

First, set the Cutoff and Resonance to zero. Notice how all the high end disappears from the sound,

and all your left with is a pulsing bass! You can accentuate this effect even more by boosting the

Isolator Low knob to the maximum and setting Mid and High to the minimum.

From this starting point, try bringing up the Resonance. Then play with the Cutoff knob in time with

the rhythm for some stunning ﬁllter sweep effects. It’s a great way to fade in the other rhythm parts

— plus bring in some killer textures!

To bring things back to normal, turn the Cutoff and Resonance knobs to their center positions. Do

it on the “one”!

Chapter 16

Scratch Pad

Power Tips

76 Scratching triplets

The triplet feel is common to a lot of hip-hop music. Triplets are three notes played in the space of one beat (or other

note value). It’s a tricky rhythm to master, so we’ll give it to you in steps! For these exercises, select P51 and start V A5.

Also, call up Scratch 07.

First, try this straight eighth-note rhythm. While the Pattern is

playing, scratch up and down (forward and back) each beat. Tap

your foot and count the rhythm out while scratching!

Now, try out eighth-note triplets. Instead of two notes for each

beat, you’ll be scratching three notes. This is a bit difﬁcult, since

it may sound as if you’re ﬁghting the rhythm! Try to keep the

three scratches as even as possible. You may even want to try

scratching and counting without the Pattern — just to get used

to this tricky feel!

Let’s pick up the pace a bit with some sixteenth-note triplets. For this, you’ll probably want to slow down the bpm.

That’ll make it easier for you to master the feel! To start with, set the bpm to about 50, and practice the exercise below

until you’ve got it. Then bump the speed up about 5 bpm to 55, and try again. Keep doing this, increasing the speed a

little bit each time, until you’re comfortable scratching sixteenth notes at the normal bpm. Keep the scratches as even as

possible — no matter what the bpm!

Remember, this is just an exercise... Playing all sixteenth notes throughout the rhythm is bound to be boring! Try mix-

ing up your scratching — doing sixteenth notes for just one beat or less, and leaving spaces or putting in odd accents.

Keep in mind too that not all of the DJX-IIB Patterns lend themselves equally to triplet scratching. Some work well,

some are a bit hard to scratch to, and a few may not work with triplets at all! Select some different Patterns and try it

out for yourself, looking for what works and what doesn’t.

Scratch

(up/down):

Count:

Tap with

your foot:

1 - and 2 - and 3 - and 4 - and

Scratch

(up/down):

Count:

Tap with

your foot:

3 3 3 3

1 - 2 - 3 2 - 2 - 3 3 - 2 - 3 4 - 2 - 3

Scratch

(up/down):

Count:

3 3 3 3

1 - 2 - 3

1 - 2 1 - 2 1 - 2 1 - 2

2 - 2 - 3 1 - 2 - 3 2 - 2 - 3

Tap with

your foot:

3 3 3 3

1 - 2 - 3 2 - 2 - 3 1 - 2 - 3 2 - 2 - 3

Chapter 16 Scratch Pad Power Tips

77 Scratch on an intro!

Improvise on the Scratch Pad for a bar or two, then start the Pattern. To pull this off properly, you’ll

want to have the bpm ﬁrmly in your memory. Also, keep your scratching simple — doing that

helps you feel the rhythm and helps you lock into the coming Pattern!

◆

Helpful hint:

Try taking the bpm from the display. If the Pattern display is currently up, simply press BPM/TAP to

call up the bpm display. Then, tap your foot along with the ﬂashing dot, and scratch as you tap!

78 Spin around and stop!

Spinning the Scratch Pad and stopping on a downbeat is another hip item in the DJ’s bag of tricks!

Flick the Scratch Pad around on one downbeat and stop it on the next. Use this technique alone, or

with conventional back-and-forth scratching.

One Two Three Four

79 Instrumental dropout

Here’s a cool outro that’s like a fade-out — only much more interesting!

While the Pattern is running, select Scratch 73 (Part Mixer). Turn the Scratch Pad counter-clock-

wise slowly to take instruments out of the mix, one-by-one. After playing a couple of bars of only

the last instrument, hit PATTERN STOP right on the “one.”

◆

Tech note The speciﬁc Parts that are muted and the order in which they are brought in and out

of the mix differs according to the selected Pattern.

80 More Part mixing

Here’s another example of Part Mixer magic!

Select P31, and start up V A1. Let the full Pattern play for one bar, then cut out some parts on the

next bar. Repeat and alternate with some other Part Mixer settings, then change to V A3. Here’s

the recipe:

BASS KICK

BASS KICK SNARE

BASS KICK SNARE HI-HAT PERCUSSION

BASS KICK SNARE PHRASE1HI-HAT PERCUSSION

BASS KICK SNARE PHRASE1HI-HAT PHRASE2

PERCUSSION PHRASE3

Each 1/4 turn goes forward or back one “step” in the Part

Mix arrangement. Turning the pad around a full 360°

counter-clockwise instantly takes the mix down to the mini-

mum. Turning it 360° clockwise restores the maximum mix.

Maximum mix

Minimum mix

One Two Three Four One Two Three Four One Two Three Four One Two Three Four

Take it down to the

cymbal and bass —

180° counter-clock-

wise, or 1/2 turn.

Bring the whole mix

in again — press

LOOP.

Take it down to the

bass — 270°

counter-clockwise,

or 3/4 turn.

Chapter 16 Scratch Pad Power Tips

One Two Three Four One Two Three Four One Two Three Four One Two Three Four

Bring back the

whole mix —

press LOOP.

Cymbal and bass

only — 1/4 turn

counter-clock-

wise.

Whole mix —

press LOOP. Bass again — 3/4

turn counter-clock-

wise.

One Two Three Four

Finally, bring back

the whole mix again

(press LOOP), and

hit Variation A3 on

the “one”!

Chapter 17

Advanced Techniques

81 Delay fill-in and fader cut

Like Tip 69 above, this shows you another way to use Delay for a ﬁll-in — while you ﬂick the Cross-

fader to mute the Pattern.

First, select the Delay effect and set the CONTROL knob to about 1 o’clock and the BALANCE knob

to 12 o’clock. Select P47, and play V B5.

Let the Pattern play for one bar. On the “two” of bar 2, turn the effect on. Then, right on the “three”

downbeat, slap the Crossfader all the way right to cut the Pattern. If you’ve hit both of these right,

the Delay should continue the beat and start to fade out. Finally turn off the delay and ﬂick the

Crossfader back to center on the next “one” beat, to bring the Pattern back in.

82 Fade the scratch in and out!

Now for some mixing ﬁnesse! With the Crossfader set to the center, scratch along with the Pattern.

As you keep both the Pattern and the scratching happening, gradually — ever so slowly — move

the Crossfader to the left, and your scratching will be faded out.

Naturally, you can work in the opposite direction, too — to fade in the scratch sound:

One Two Three Four One Two Three Four One Two Three Four

Play V B5

Turn Delay

on here!

Flick the fader

right here!

Flick the fader back

on the "one"!

Start here... ...and slowly move to the left.

Start here... ...and slowly move to the right —

until you get to the center.

Chapter 17 Advanced Techniques

83 Bored? Add some chords...

and scratching!

While you’re scratching along with a repeating Pattern, sometimes it may feel as if the rhythm’s

going nowhere. And no amount of intense scratch work can keep the Pattern from getting old. The

best way to spice things up is with some key changes!

Try setting the Key Shifter to 2, and release the KEY SHIFTER button on the downbeat. Keep in

mind you can’t scratch while holding KEY SHIFTER, so try to make your key changes as close to the

“one” as you can — then get scratching again!

84 Down and out!

In Tip 29, you learned how to recreate the sound of a turntable grinding to a halt — here’s a varia-

tion on that trick. This slows down the speed of the Pattern without changing the pitch.

While the Pattern is running, simultaneously hold down the BPM/TAP button and turn the Scratch

Pad counter-clockwise to slow down the bpm gradually. After the bpm gets as slow as you want,

wait until the right downbeat, then press PATTERN STOP to stop the Pattern.

85 One-hand Effector control!

This technique may take a little practice and some digital dexterity — but once you’ve got it down

and are able to play in the pocket, you’re on your way to being a true DJ wizard!

Grab the Control knob with your foreﬁnger and thumb, and use your middle ﬁnger or ring ﬁnger to

ﬂick the effect switch on and off. This lets work the effect in rhythm — and still have your right

hand free to change Patterns and work the Scratch Pad. Or use your right hand to further mangle

the sound with the Isolator or Part Controller knobs!

As always, keep the rhythm steady — a master DJ is only as good as his time! However, this effec-

tively starts the same Pattern with all its original settings, including resetting the Key Shifter to “0”

— and puts you back at home base!

Left hand Right hand

Chapter 17 Advanced Techniques

86 Instant reset!

Once you’ve made a few changes to the Filter or Key Shifter settings, it’s not so easy to get back to

where you started! Often, you’ll want to be able to backtrack and instantly reset the Pattern to its

original sound and pitch. In such a case, the best and easiest way to return to home base is to re-

select the Pattern.

Hold down PATTERN and simultaneously turn the Scratch Pad clockwise so the the Pattern number

in the display advances one step (+1), and then turn it back again (-1) to return to the currently

selected Pattern. Finally, release PATTERN to start the Pattern again — preferably on the “one”

downbeat. Doing this fools the DJX-IIB into thinking you’ve selected a new Pattern! However, this

effectively starts the same Pattern with all its original settings, including resetting the Key Shifter to

“0” — and puts you back at home base!

87 Hit the Part on the “one”!

We said it before, we’ll say it again— make sure you keep it in the pocket! That means making all

your hits right on the beat, so that the whole rhythm grooves.

When using the Scratch Pad as a Part Mixer, changing Parts on the downbeat is a little bit tricky.

When you add Parts to the mix, you should perform your Scratch Pad move a fraction of a second

before the actual downbeat to make sure everything ﬂows smoothly and stays in the pocket. Sub-

tracting Parts from the mix (turning the pad counter-clockwise) is easier and more forgiving —

basically do it whenever you want, or wherever feels good!

88 Check the bpm

Need to know what the bpm of a certain track on CD or vinyl is? Here’s a convenient tool! Just tap

out the rhythm of the music as you listen to it, and the DJX-IIB displays the bpm for you — automat-

ically! (Make sure to turn down the MASTER VOLUME to keep the DJX-IIB Pattern from sounding.)

p36

p3636.37 36.36

Flashes

Current

Pattern

New Pattern

(in standby)

Current

Pattern

New Pattern

(in standby)

120.0

Chapter 18

DJ Performance

Master Class

Take it up to the next level! Use these advanced tips as a springboard to explore all the

amazing DJ possibilities — and become a true mixing virtuoso!

89 Cut in with a scratch and hit the

next Variation

Here’s some fancy ﬁnger work for you! This move will take some practice, but it’s a great way to

break for a beat with a scratch ﬁll-in and go onto another Variation.

On the “four” beat, ﬂick the Crossfader all the way right and play a scratch ﬁll-in. Then — on the

next “one” — simultaneously swing the Crossfader to the left and hit a new Variation button.

90 Auto-adjusting the bpm

Got a favorite beat on CD or vinyl that you want to sync to the DJX-IIB? This powerful function lets

you do just that!

The DJX-IIB “hears” the beat (from a connected external sound source) and automatically locks

into the rhythm by auto-adjusting the bpm of the currently playing Pattern.

To use this, connect a CD player or turntable and mixer (as shown), and play the source music.

Then, press and hold the AUDIO BPM COUNTER button and adjust the SENSE dial until the lamp

ﬂashes. The optimum setting is when the lamp ﬂashes only at each downbeat in the source music.

For best results, try narrowing in on the bpm roughly at ﬁrst by tapping it out (Tip 55), then using

the auto-adjust function.

Most dance music styles (such as techno or house) that have a prominent kick and bass sound

only on the downbeat are ideal for this function. Keep in mind, however, that some kinds of source

music may not work with this. If that’s the case, use the Tap function (Tip 55) to lock into the bpm.

CD MD

Chapter 18 DJ Performance Master Class

91 Creative Fill-in 3

Here’s a cool technique for stopping the Pattern and coming back in with the rhythm. Select P42

and start with V A1. Then, hit PATTERN STOP and the Variation as shown.

92 Crossfader cut-in — Scratch plus

effect

This requires a bit of tricky ﬁnger work... But it’s an effective to add some atmospheric ﬁll-ins to

your tracks!

Here’s the basic idea: Alternate between the Pattern and your scratching (with the Crossfader), and

apply the effect to only the scratch. The trick is to have your left hand do two things at once! Use

your 4th or 5th ﬁnger to ﬂick the Live Effector switch on and off, while your thumb swings the

Crossfader back and forth. Meanwhile, your right hand is busy doing the scratching! Try alternat-

ing bars — four beats of Pattern, then four beats of scratch.

93 Crossfader cut-in — Scratch plus

Delay

Try this variation on Tip 92 above. Delay works well as an effect for scratch ﬁll-ins, since it locks

into the bpm and gives you a clue to where the beat is — even when you can’t hear the Pattern!

Keep your scratching simple, and the Delay will guide you back to the “one.”

Once you feel comfortable with this technique, try scratching for two bars instead of one! Also, try

the Echo effect for some off-the-wall scratch effects.

One OneTwo Three Four

Start! Break here... ...and come back in

94 Outro -tro -tro -tro

Here’s another popular technique from the producer’s bag of tricks — ending with an echo!

Select the Delay or Echo effect. Then, on the very last beat (or last two beats) of the last bar of the

Pattern, switch and hold the effect on. Then press PATTERN STOP just before the “one” of the next

bar to stop the Pattern. Don’t forget to keep holding the effect on! The Delay or Echo hits just the

last notes of the rhythm and fades them out in a delayed repeat. Awesome!

95 Upside down, inside out!

Sometimes when you play certain Parts in a Pattern by themselves, it’s difﬁcult to hear where the

downbeat is. Especially in an intro. Your ears may fool you into hearing and expecting a com-

pletely different downbeat! Then, when the rest of the rhythm kicks in, it turns your feet (and whole

body!) around. Like with this tricky intro!

Select P19. Then set the Part Mixer (Scratch 73) so that the minimum mix will play. (To do this,

spin the Scratch Pad around counter-clockwise a couple of full turns.) Then start V A1. Let the

Bass play by itself for a few bars, and try to feel the downbeat. Don’t worry if you can’t — the other

Parts will cue you into it! Turn the pad 1/4 turn clockwise each time you want to bring in new Parts

to the mix. Do it gradually! Let the rhythm simmer for a while each time you bring in a Part or

Parts. At some point — probably when the Kick comes in — the beat turns around, and you can

ﬁnally “hear” the rhythm!

96 Taking the pulse

The DJX-IIB has a variety of bpm-related tools that help you get the proper bpm — such as tapping

it out (Tip 55) or capturing the bpm from an external source (Tip 90 above). Sometimes you may

ﬁnd it difﬁcult or impossible to get an accurate reading, however. In the end, the best tools are your

ears!

Use the AUDIO BPM COUNTER or Tap function to zero in (as close as possible) on the bpm of an

external source. Then, to ﬁne tune the bpm reading, start the Pattern Player on the “one” downbeat

of the source music. If the beats stay in sync for several bars, you’ve got the right bpm! If the

beats drift apart, try adjusting the bpm manually, re-starting the Pattern on the “one” each time.

Eventually, you’ll hone in on the proper bpm!

Chapter 18 DJ Performance Master Class

97 Sync applications — using the

DJX-IIB as the master

The advanced sync features of the DJX-IIB let you lock it together with the rhythm and bpm of

another device, such as a DJX-II, another DJX-IIB, or an external sequencer. No drift, no slipping

out of sync — the two devices stay perfectly in the same groove! This is just one of the enormous

advantages of digital-based music. Try syncing two turntables together, and you’ll see what we

mean!

Although this is really just one feature, we’ve divided it into two separate tips: using the DJX-IIB as

the master device, and using it as the slave (in Tip 98 below). If you’ve got a second device, try it

both ways!

When the DJX-IIB is used as the master, you can play the Patterns of the DJX-IIB and have

sequenced patterns and music on an external sequencer lock into the bpm of the DJX-IIB.

1 Set up the DJX-IIB and the external device.

Use a standard MIDI cable to connect the two devices as shown.

2 Set the external device to “external sync.”

For speciﬁc instructions on changing the sync setting, refer to the owner’s manual of the external

device.

3 Play the DJX-IIB.

When you start and stop the Patterns of the DJX-IIB, the songs or patterns on the external device

start and stop at the same time. Likewise, changing the bpm on the DJX-IIB automatically changes

the bpm of the external device. All playback operations function in perfect sync between the two

machines, with the DJX-IIB as the master.

MIDI INMIDI OUT

MIDI clock External sequencer

(RM1x, etc.)

98 Sync applications — using the

DJX-IIB as the slave

Here we’ll do the opposite of Tip 97 above. This sophisticated application lets you play sequenced

patterns and song data on an external sequencer and have the Patterns of the DJX-IIB lock into the

bpm of that device.

1 Set up the DJX-IIB and the external device.

Use a standard MIDI cable to connect the two devices as shown.

2 Set the DJX-IIB to “external sync.”

Simultaneously hold down BPM/TAP and turn the scratch pad clockwise, a couple of turns past the

maximum of 280.0, until “Sync” appears in the display.

3 Play the DJX-IIB.

When you start and stop the song or pattern on the external device, the Patterns of the DJX-IIB

start and stop at the same time. Likewise, changing the bpm on the external device automatically

changes the bpm of the DJX-IIB. All playback operations function in perfect sync between the two

machines, with the external device as the master and the DJX-IIB as the slave.

MIDI IN MIDI OUT

MIDI clock External sequencer

(RM1x, etc.)

SYnc

Indicates “external sync.”

Chapter 18 DJ Performance Master Class

99 Get more Patterns!

One of the great things about the DJX-IIB is how open-ended the system is! You can get additional

Patterns from the DJX Internet Site (www.yamahadjx.com), and — with the Pattern

Launcher software (on the included CD-ROM; see Tip 31) — load that Pattern data right into your

DJX-IIB!

Once new Pattern data is loaded, select one of the Patterns U1 - U5 to play the desired Pattern. (U1

- U5 appear only when User Pattern data has been loaded to the DJX-IIB.) Up to ﬁve Patterns can

be loaded at one time.

■ Connecting to a Personal Computer • • • • • • • • • • • • • • • • • • • • • • • • • • •

● When the computer has a MIDI interface installed, connect the MIDI OUT terminal of the

personal computer to the MIDI IN terminal of the DJX-IIB.

● When using a MIDI interface with a Macintosh series computer, connect the RS-422 termi-

nal of the computer (modem or printer terminal) to the appropriate MIDI interface, then

connect the MIDI OUT terminal on the MIDI interface to the MIDI IN terminal of the DJX-

IIB, as shown in the diagram below.

● When the computer has a USB interface, use the Yamaha UX256.

For details on using the Pattern Launcher software, refer to the online Help ﬁle in the software.

MIDI OUTMIDI IN

Pattern data

(Bulk data)

MIDI OUTMIDI IN

MIDI INMIDI OUT

MIDI IN

RS-422

MIDI OUT

MIDI

interface

Computer

(sequencer softwave)

MIDI OUTMIDI IN

MIDI INMIDI OUT

USB cable UX256

100 Create your own Patterns!

Roll your own! Yes, you can even create your own Patterns — for mangling, mucking about, and

mashing on the DJX-IIB!

Simply use a conventional MIDI sequencer software (such as XG Works) to record your original

Patterns as MIDI data — then import the data to the DJX-IIB using the special Pattern Launcher

software. Data for up to ﬁve Patterns (maximum of 85 KB) can be loaded to the DJX-IIB.

How to Create Your Own Pattern Data

As mentioned above, you can create your own original Pattern data (on an external MIDI sequencer or

a computer with sequencer software) and load it to the DJX-IIB with the Pattern Launcher software.

■ Connections • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Connect a MIDI keyboard and the DJX-IIB to the computer or sequencer as shown below. You’ll be

using the MIDI keyboard to enter data to the computer and play the sounds of the DJX-IIB.

■ Creating the Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

MIDI OUTMIDI IN

Pattern data

(Bulk data)

External keyboard

Computer

• Creating the data is a relatively simple procedure. How-

ever, make sure that you follow the instructions below

very carefully to ensure proper creation and loading of

the data.

● Recording the Parts

• Record each instrument Part over its own MIDI channel

as listed below. (The DJX-IIB’s internal tone generator

responds according to these channel assignments.) To

determine the speciﬁc voice used, insert appropriate

program changes for each Part. (Refer to the Voice List

on page 76 for program change numbers and voices.)

● Recording each Variation

• Make sure to record the Variations in the order listed

below. Also, enter a “marker meta-event” at the begin-

ning of each Variation exactly as shown.

◆

NOTE:

Timing indications in these instructions are based on a

resolution of 480 clocks per quarter note, and are

shown in a measure:beat:clock format. For example,

“1|1|000” indicates clock “000” of the ﬁrst beat of the

ﬁrst measure.

• Enter the following System Exclusive message at the

very beginning of the sequence (1|1|000), before any

other data:

F0, 43, 73, 6F, 30, 00, F7 (TG Reset)

• The ﬁrst measure (1|1|000 - 1|4|479) is reserved for

Initial Setup data. The second measure (2|1|000)

through to the end of Variation 10 is used for the actual

Pattern data. (See chart below.)

Part MIDI Ch.

Kick 9

Snare 10

Hi-Hat 11

Percussion 12

Bass 13

Phrase1 14

Phrase2 15

Phrase3 16

Chapter 18 DJ Performance Master Class

• The timings indicated in the chart below are for example

purposes only. The actual timing of the Variations and

the marker meta-events (starting with Variation 2)

depends on the length of the recorded Patterns. (The

length of each Pattern can be up to 256 measures.)

• Enter all voice and effect settings in the last three beats

of the Initial Setup area (1|2|000 - 1|4|479). Do not

include any note event data here.

• Start recording Variation 1 data from the second mea-

sure (2|1|000). The length of the data can be from 1 to

256 measures. All measures must be of one of the fol-

lowing time signatures: 2/4, 3/4, 4/4, or 5/4.

• Variation 2 begins from the top of the measure directly

following the last measure of Variation 1. In the chart,

this is listed as 4|1|000; however, the actual timing

depends on the length of Variation 1.

• The following charts indicate the valid MIDI events for

both the Initial Setup data and the Pattern data. Make

sure to NOT enter any events marked with a dash (—),

nor any events not listed here.

Channel Message

RPN & NRPN

System Exclusive

Timing Marker

Meta-

Event Contents

1|1|000

1|2|000

1|4|479

TG Reset

Initial Setup Events

2|1|000

3|4|479

1 Variation 1

2 bars Pattern

(up to 256 bars)

4|1|000

4|4|479

2 Variation 2

1 bar Pattern

(up to 256 bars)

5|1|000

5|4|479

3 Variation 3

1 bar Pattern

(up to 256 bars)

6|1|000

7|4|479

4 Variation 4

2 bars Pattern

(up to 256 bars)

8|1|000

9|4|479

5 Variation 5

2 bars Pattern

(up to 256 bars)

10|1|000

11|4|479

6 Variation 6

2 bars Pattern

(up to 256 bars)

12|1|000

12|4|479

7 Variation 7

1 bar Pattern

(up to 256 bars)

13|1|000

13|4|479

8 Variation 8

1 bar Pattern

(up to 256 bars)

14|1|000

15|4|479

9 Variation 9

2 bars Pattern

(up to 256 bars)

16|1|000

17|4|479

10 Variation 10

2 bars Pattern

(up to 256 bars)

Initial Setup

Source Pattern

Event Initial

Setup Pattern

Note Off — OK

Note On — OK

Program Change OK OK

Pitch Bend OK OK

Control #0 (Bank Select MSB) OK OK

Control #1 (Modulation) OK OK

Control #6 (Data Entry MSB) OK —

Control #7 (Master Volume) OK OK

Control #10 (Panpot) OK OK

Control #11 (Expression) OK OK

Control #32 (Bank Select LSB) OK OK

Control #38 (Data Entry LSB) OK —

Control #71 (Harmonic Content) OK OK

Control #72 (Release Time) OK —

Control #73 (Attack Time) OK —

Control #74 (Brightness) OK OK

Control #84 (Portamento Control) — OK

Control #91 (Reverb Send Level) OK OK

Control #93 (Chorus Send Level) OK OK

Control #100 (RPN LSB) OK —

Control #101 (RPN MSB) OK —

Event Initial

Setup Pattern

RPN (Pitch Bend Sensitivity) OK —

RPN (Fine Tuning) OK —

RPN (Null) OK —

Event Initial

Setup Pattern

TG Reset OK —

Sys Ex XG Parameter Change

(Effect1)

OK —

Reverb Type OK —

Chorus Type OK —

■ Saving and Loading the Sequence Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• Save the completed sequence data to your computer.

• Save the ﬁle using Standard MIDI File Format 0 and make sure that the ﬁle extension “.mid” is included in the name.

• Load the Pattern ﬁle to the DJX-IIB using the Pattern Launcher software. (Refer to the online Help ﬁle in the software

for speciﬁc operation instructions.)

■ About the User Pattern Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

As you create your own Patterns and use them with the DJX-IIB, keep in mind that these User Patterns differ from the

built-in preset Patterns of the DJX-IIB in the following ways:

• The Scratch Pad’s Auto kit (00) does not apply to the User Patterns. Select from any of the other kits (01 - 72) to use

the Scratch Pad with a User Pattern.

• The actual number of taps needed to tap start a Pattern (Tip 56) depends on the time signature of the User pattern. For

example, in the case of a Pattern created in 3/4 beet, tap the BPM/TAP button three times to start the Pattern.

• The FILTER knobs affect all Parts of User Patterns equally.

Appendix

Troubleshooting

PROBLEM POSSIBLE CAUSE/SOLUTION

The speakers produce a “pop” sound when-

ever the power is turned ON or OFF.

This is normal and is no cause for alarm.

When using a mobile phone, noise is pro-

duced.

Using a mobile phone in close proximity to the DJX-IIB may

produce interference. To prevent this, turn off the mobile

phone or use it further away from the DJX-IIB.

The volume is reduced or the sound is distort-

ed.

The batteries probably need to be replaced. Either replace all

six batteries, or use an AC power adaptor.

The sound quality has gotten progressively

worse.

The display goes blank and all panel controls

are reset.

There is no sound even when the scratch pad

is turned or when a pattern is being played

back.

Check that nothing is connected to the PHONES jack on the

rear panel. When a set of headphones is plugged into this jack,

no sound is output.

The panel buttons do not function. Check whether the MIDI bulk data is being transmitted/receiv-

ing or not. When the MIDI bulk data is being transmitted/re-

ceiving, all of the buttons other than the PATTERN STOP

button do not function.

The Pattern does not start even when the

PATTERN PLAYER button is pressed.

Check whether the BPM is set to “Sync” or not by pressing the

BPM/TAP button. When set to “Sync”, the external MIDI de-

vice can start the Pattern of the DJX-IIB and the DJX-IIB itself

cannnot start the Pattern.

None of the Scratch Pad sounds or functions

work.

Make sure that the DJX-IIB is not set to “external sync” (see

Tip 98). When “external sync” is on, the DJX-IIB Scratch Pad

cannot be used.

The sound is distorted or noisy. • Many of the DJX-IIB sounds have been deliberately pro-

cessed 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

knob is also at maximum) may result in distortion.

Appendix

Error Message List

ERROR MESSAGE DESCRIPTION

Err1 This appears when the MIDI reception buffer of the DJX-IIB has filled up, and pro-

cessing is not possible. Try decreasing the amount of data or increasing the interval

time and transmit the data once again.

Err2 This appears when a MIDI data reception error occurs, such as that caused by an

improper connection or by use of an excessively long MIDI cable.

Err3 This appears when the received bulk data contains illegal Pattern data. The illegal

data is automatically cleared.

C|r This appears briefly when initializing the DJX-IIB to the factory preset data, by simul-

taneously holding down the LOOP button and turning the power on. See page 13 for

details.

Appendix

Speciﬁcations

● PATTERNS Total 700 Preset Patterns and Variations

Preset 70 Patterns

User 5 Patterns.............. Up to 85 KB for all User

Patterns

Variation 10

● SCRATCH PAD

Preset 74 Kits ................... Includes Auto function

(00)

● VOICES

Preset 203 ........................ 180 Voices + 23 Drum

Kits (accessible only via

MIDI)

● POLYPHONY 32 notes max.

● EFFECTS

Live Effector 10 Presets............. Distortion, Auto Pan,

Ring Modulator, Flanger,

Phaser, Slice, Delay,

Echo, Lo-Fi, Wah

Reverb 11 Presets............. Accessible only via MIDI

Chorus 7 Presets............... Accessible only via MIDI

3 Bands Isolator

-12dB~+12dB

Key Shifter (Transpose)

-5~0~+6

BPM (Tempo) 32~280

Audio BPM Counter

● CONTROLLERS

Scratch Pad

ø=120mm.............. The CD-ROM can be

changed.

Filter Knobs

Cutoff, Resonance

Isolator KnobsLow, Mid, High

Live Effector Knobs

Control, Balance

Other Knobs Sense, Master Volume

Cross Fader 45mm

● DISPLAY

Multi Display 7-seg. LED x 4 digits

Scratch 7-seg. LED x 2 digits

Panel LED LED x 18

● DEMONSTRATION

3 songs

● AUXILIARY JACKS

MIDI MIDI IN.................. MIDI Clock In, Remote

Control, Tone Generator,

Bulk Receive

MIDI OUT.............. MIDI Clock Out

Audio PHONES

LINE OUT (L, R) ... RCA Pin

AUDIO BPM IN .....RCA Pin

● AMPLIFIERS 6W + 6W ............... (when using PA-5C

power adaptor)

● SPEAKERS 8cm x 2 ................. Bass Reﬂex, 6 liters

Enclosure x 1

● POWER SUPPLY

Adaptor PA-5B, PA-5C

Batteries 6 x “D” size or SUM-1 or R-20

● POWER CONSUMPTION

20W

● DIMENSIONS (W x D x H)

334 x 334 x 126 mm

(13-1/8" x 13-1/8" x 4-15/16")

● WEIGHT 3.5kg (7 lbs., 11 oz.)

● SUPPLIED ACCESSORIES

Owner’s Manual x 1

CD-ROM x 1.......... For Windows and

Macintosh (installed on

the panel)

● OPTIONAL ACCESSORIES

Headphones HPE-150, HPE-3

* Speciﬁcations and descriptions in this owner’s manual are for information

purposes only. Yamaha Corp. reserves the right to change or modify prod-

ucts or speciﬁcations at any time without prior notice. Since speciﬁcations,

equipment or options may not be the same in every locale, please check

with your Yamaha dealer.

Appendix

Glossary

Audio bpm Counter.................................Tips 90, 96

This powerful function lets you synchronize external audio

(such as from a CD, MD, or vinyl record) with the Patterns

of the DJX-IIB. The DJX-IIB monitors the beat from the

audio, and automatically locks into the rhythm by auto-

adjusting the bpm of the DJX-IIB’s Pattern.

bpm.............................Tips 39, 40, 55, 56, 88, 90, 96

Abbreviation for “beats per minute.” Obviously, a rhythm

playing at 120 bpm would have two beats every second. The

bpm value determines the speed of the rhythm — the

higher the bpm, the faster the rhythm. This is also called

“tempo.”

Filter .............................................Tips 19, 43, 44, 75

Filters were originally used to process sound on analog syn-

thesizers. The DJX-IIB uses the same basic ﬁlter setup to

process the sound. More than just “process,” the ﬁlter is

capable of radically altering and completely changing the

character of the sound! The ﬁlter is controlled by the CUT-

OFF and RESONANCE knobs in the Filter section.

Isolator ...............................................Tips 18, 74, 75

The Isolator section provides three separate controls —

Low, Mid, and High — for adjusting the tone or timbre of

the sound. Like the Bass and Treble controls on a stereo

ampliﬁer, these let you tailor the sound just the way you like

to hear it.

key ........................................................... Tips 38, 83

The word “key” refers to the basic pitch of a piece of music.

There are twelve keys: C, Db (or C#), D, Eb (or D#), E, F, F#

(or Gb), G, Ab (or G#), A, Bb (or A#), and B. On the DJX-

IIB, you can change the key by using the Key Shifter.

(Knowing the names of the keys isn’t important. On the

DJX-IIB, you change the number — the amount by which

the key is shifted.)

Changing keys (also called “transposing”) adds variety to

the music. It also is capable of changing the character of a

piece, making the music brighter and more upbeat, or

darker and more subdued.

Live Effector................................Tips 7 - 17, 63 - 73

Effects are used to process the sound and change it in vari-

ous ways. In modern recording studios, almost every

recorded sound is processed in some way. On the DJX-IIB,

the Live Effector section provides ten different, high-quality

effects — the same effects used by the pros in creating hot

tracks.

All of the DJX-IIB sounds — the Pattern and Scratch Pad

— are processed by these effects. A toggle switch lets you

turn the effect on and off in time with the rhythm, and spe-

cial CONTROL and BALANCE knobs let you tweak the

effects as the Pattern plays.

Loop................................................... Tips 25, 46, 54

A loop is a (usually) short audio passage or phrase that is

repeated indeﬁnitely, or “looped.” Originally used with tape

recorders (tape loops), loops have inﬁltrated the world of

sampling and music making in general. Sometimes loops

are used to create sustained sound. More commonly (and

especially on the DJX-IIB), loops are mainly for rhythmic

phrases — drum and percussion rhythms, arpeggiator

phrases, etc. The DJX-IIB Patterns are made up entirely of

loops.

The Scratch Pad also has a special LOOP button that lets

you loop certain rhythm phrases, and have them stay in

sync with the Patterns.

Glossary

Appendix

MIDI....................................................... Tips 97 - 100

MIDI (Musical Instrument Digital Interface) allows elec-

tronic instruments of various types and manufacturers to

“communicate” with each other. At the most basic level,

MIDI allows you to play one instrument’s sounds from the

controls or keyboard of another instrument. More sophisti-

cated uses included synchronizing two or more instruments

together, exchanging data between compatible devices, or

having a whole studio’s worth of keyboards, synthesizers,

samplers, and rhythm machines controlled from a single

computer.

Naturally, the DJX-IIB is MIDI compatible, and can be used

effectively in any of the above scenarios. You can sync two

DJX-IIBs together (or the DJX-II), and have the bpm’s of

both machines lock for synchronized playback. With the

special Pattern Launcher software and a computer, you can

even load new and original Patterns to the DJX-IIB!

Part ....................................... Tips 32 - 34, 79, 80, 87

The DJX-IIB Patterns contain up to eight separate instru-

ment Parts — each of which has its own special function

and sound within the rhythm. Speciﬁcally the Parts are:

Kick, Snare, Hi-Hat, Percussion, Bass, and Phrases 1 -3.

Depending on the Pattern, each Part may have a completely

different sound. For example, the Bass Part on one Pattern

might be an soft acoustic upright bass, while on another

Pattern it may be a buzzy synthesizer bass.

By using the powerful Part Mixer function with the Scratch

Pad (see Tips 32 - 34), you can change the arrangement of

the Parts on the ﬂy, as the Pattern is playing!

Pattern................ Tips 1 - 6, 48 - 51, 59 - 62, 99, 100

Patterns are the basic building blocks of the DJX-IIB sound.

Each Pattern is a discrete musical/rhythmic passage, that

loops (or repeats) continuously. The Patterns contain dif-

ferent instrumental Parts — such as bass, kick drum, snare

drum, hi-hat, percussion, and (depending on the Pattern)

other pitched instruments such as guitar, organ, strings, etc.

Each main Pattern has ten Variations, which can be used

together for greater variety in performance.

Different Patterns have different lengths, but all are based

on four-beat lengths called “measures.” In other words, a

Pattern may be eight beats long (two measures) or sixteen

beats long ( four measures), but all Patterns cycle around a

basic count of “1-2-3-4.” The key to developing good

rhythm and using the Patterns musically involves knowing

this four-beat count and feeling it in your body!

scratch, scratching ......Tip 20 - 31, 44 - 47, 52 - 54,

76 - 80, 82, 83, 89, 92, 93

This comes from turntable playing, in which the DJ rocks

the record back and forth with the needle down, creating a

scratching-like noise. On the DJX-IIB, scratching is done

with the Scratch Pad.

Tap ............................................... Tips 55, 56, 88, 96

The DJX-IIB has a convenient Tap function that allows you

to change or set the bpm of the instrument simply by tap-

ping out a steady rhythm on the BPM/TAP button. This

can be used to automatically start a Pattern at the tapped

speed, or it can be used to instantly change the bpm of a

currently playing Pattern.

Variation ........................................ Tips 3, 48, 49, 89

Each of the 70 Patterns of the DJX-IIB actually contains ten

separate Patterns, called “Variations.” Each Variation, as its

name implies, is a different version of the basic Pattern

rhythm. There are two types of Variations, main and ﬁll-in.

Main Variations are used for the constant rhythm of the

music, while ﬁll-in Variations are usually used as dynamic

breaks and transitions. In general, the higher the Variation

number, the busier or more complex the rhythm becomes.

Appendix

Pattern List

Pattern

No. Category Name Pattern Name

TECHNO

Berlin Techno

01 Japan Beatz

02 Detroit 2000

03 Parade Beat

04 French Techno

05 Detroit

UNDERGROUND

Acid Techno

07 German Underground

08 Loop Techno

DISCOMANIA

UK Disco

10 US Disco

11 Disco House

CLUB VIBES

Dub House

13 Dark House

14 Chicago House

15 Ibiza

16 Progressive House

17 Hard House

TRANCE TRAXX

Hard Trance

19 Acid Trance

20 Euro Trance

21 Goa

22 Dream Trax

23 Eurobeat

ELEKTRO

EMPIRE

Elektro Beat

25 Breakdance

26 Elektromix

27 Technolectro

GARAGE

London Underground

29 Speed Garage

30 UK Garage

DRUM’n’BASS

Jungle Beatz

32 Breakbeat

33 Hard Step 8th

34 Jazz D&B

HIP HOP

Hard Hip Hop

36 Hardcore

37 Pop

38 Rock Hop

SPACE HOP

Futuristic

40 Cosmic

41 Universal

SWING HOP

Live

43 Miami

44 Jazzy

45 Los Angeles

46 Mechanical

GANGSTA

Psyco

48 Bangin'

49 Smooth

50 Light

51 R&B

52 Female

INTELLIGENT

Soul

54 Busy

55 Laid Back

56 Landscape

FUNKY HIP HOP

Cool

58 Jam'n

59 Club Funk

60 Hard Funk

OLD SKOOL

80's

62 Scratchin'

63 Breakz

64 Beat Street

TRIP HOP

Deep

66 Ambient

67 Dreamy

68 Grunge

69 Dark

Pattern

No. Category Name Pattern Name

Appendix

Voice List

Bank Select MIDI

Program

Change# Voice Name

MSB LSB

HYPER MIX

0 123 96 DJX-IIB

KEYBOARD

0 112 4 Funky EP

0 0 1 Bright Piano

0 0 7 Clavi

0 0 9 Glocken

0 0 11 Vibes

0 0 12 Marimba

ELECTRIC PAD

0 112 17 Jazz Organ

0 112 18 Rock Organ

0 113 16 Cheez Organ

0 114 17 Miss U

0 115 17 R&B Organ

0 0 17 Perc Organ

SYNTH PAD

0 112 90 Sequenza

0 112 94 Insomnia

0 112 95 Wave 2001

0 113 91 Amber

0 112 91 Trance

0 0 89 Warm Pad

0 0 90 Poly Synth Pad

0 0 92 Bowed Pad

0 0 94 Halo Pad

0 0 95 Sweep Pad

ACOUSTIC PAD

0 112 48 Strings 1

0 112 50 Syn Strings

0 113 50 String Pad

0 0 48 Strings 2

0 0 49 Strings 3

0 0 52 Choir Aah

GUITAR

0 113 26 Octave

0 112 27 Clean 1

0 113 27 60's Clean

0 112 28 Muted

0 0 26 Jazz

0 0 27 Clean 2

0 0 30 Dist.

0 112 30 Dist.5th

SYNTH LEAD

0 115 84 Fuzz line

0 113 84 Talkbox

0 114 84 Acid Sync

0 112 84 Adrenaline

0 112 85 Fragile

0 112 83 Cut Glass

0 0 82 Calliope Lead

BASS LEAD

0 112 87 Killer S

0 118 87 Reso-X

0 117 87 Choppy

0 115 87 Happy Vibes

0 116 87 Tri Touch

0 119 87 Sync

0 0 87 Bass&Lead

SQUARE LEAD

0 116 80 Alien

0 115 80 Psyche

0 112 80 Square Lead1

0 113 80 Square Lead2

0 0 80 Square Lead3

SAW LEAD

0 122 81 BreakIt

0 117 80 MC-Line

0 117 81 Scary

0 120 81 MoveIt

0 119 81 Robot Lead

0 116 81 Fat

0 115 81 Seq Ana

0 118 81 Stab

0 112 81 Saw Lead1

0 113 81 Saw Lead2

0 0 81 Saw Lead3

ACOUSTIC LEAD

0 112 73 Coco Flute

0 112 61 Bright Brass

0 114 62 Techno Brass

0 113 62 Jump Brass

0 0 56 Trumpet

0 0 59 Mute. Trumpet

0 0 61 Brass Section

0 0 62 Synth Brass1

0 0 63 Synth Brass2

0 0 65 Alto Sax

0 0 73 Flute

RESONANCE BASS

0 113 38 Techno Bass

0 116 38 Kickin'B

0 114 38 Bassline

0 117 38 NuFloor

0 115 38 Fish303

0 119 38 NuSwing

0 112 38 Synth Bass1

0 0 38 Synth Bass2

ANALOG BASS

0 112 39 Analog Bass

0 114 39 Snap Bass

0 115 39 Old Mini

0 116 39 Power Bass

0 117 39 Dub Bass

0 118 39 Factory

0 119 39 Hyper

0 120 38 Hard-Syn

0 120 39 Dist-Syn

0 121 39 Techno

0 113 39 Blip Bass

0 118 38 H-Bass

0 121 38 Sin Bass

0 122 38 OB Bass

0 122 39 Sub Osc

0 0 39 Syn Bass

BASIC BASS

0 112 33 Finger Bass

0 112 34 Pick Bass

Bank Select MIDI

Program

Change# Voice Name

MSB LSB

• The Voices of the DJX-IIB listed below cannot be selected directly from the

DJX-IIB panel. However, you can select them and play them from a connect-

ed MIDI device, such as a MIDI keyboard, sequencer or MIDI-equipped com-

puter.

Voice List

Appendix

0 112 35 Fretless

0 0 32 Aco. Bass

0 0 35 Fretless

SCRATCH

0 123 80 Scratch 1F

0 123 81 Scratch 1B

0 123 82 Scratch 2F

0 123 83 Scratch 2B

0 123 84 Scratch 3F

0 123 85 Scratch 3B

0 123 86 Scratch 4F

0 123 87 Scratch 4B

SFX

0 123 56 Reverse

0 112 126 Turntble

0 0 96 Rain

0 0 101 Goblins

0 0 102 Echoes

HIT

0 113 55 Sharp Hit

0 113 115 Claps-X

0 0 113 Agogo

HUMAN VOICE

0 123 0 Ain't Going Out (1)

0 123 1 Ain't Going Out (2)

0 123 2 Beat

0 123 3 Clap Your Hands

0 123 4 Club

0 123 5 Com On

0 123 6 DJ

0 123 7 Feel The Bass (1)

0 123 8 Feel The Bass (2)

0 123 9 Feel The Bass (3)

0 123 10 Huhh

0 123 11 Kickin'It

0 123 12 Massive

0 123 13 MoveIt

0 123 14 My Flow Is Tight (1)

0 123 15 My Flow Is Tight (2)

0 123 16 My Flow Is Tight (3)

0 123 17 OK

0 123 18 Peace

0 123 19 Play That Beat (1)

0 123 20 Play That Beat (2)

0 123 21 Play That Beat (3)

0 123 22 Respect Is Due (1)

0 123 23 Respect Is Due (2)

0 123 24 Respect Is Due (3)

0 123 25 Scratchin'

0 123 26 The House

0 123 27 Uuh!

0 123 28 What's Going Down (1)

0 123 29 What's Going Down (2)

0 123 30 What's Going Down (3)

0 123 31 Wow

0 123 32 Yeah What's Up (1)

0 123 33 Yeah What's Up (2)

0 123 34 Yeah What's Up (3)

0 123 35 Yo Baby (1)

Bank Select MIDI

Program

Change# Voice Name

MSB LSB

0 123 36 Yo Baby (2)

0 123 40 I am Your DJ (robot) (1)

0 123 41 I am Your DJ (robot) (2)

0 123 42 I am Your DJ (robot) (3)

0 123 48 Rock The House (robot) (1)

0 123 49 Rock The House (robot) (2)

0 123 50 Rock The House (robot) (3)

0 123 44 Feel The Vibe (robot) (1)

0 123 45 Feel The Vibe (robot) (2)

0 123 46 Feel The Vibe (robot) (3)

0 123 52 The Real Bass (robot) (1)

0 123 53 The Real Bass (robot) (2)

0 123 54 The Real Bass (robot) (3)

DRUM LOOP

0 123 68 Drum Loop T1

0 123 69 Drum Loop T2

0 123 70 Drum Loop T3

0 123 71 Drum Loop T4

HOP LOOP

0 123 64 Drum Loop H1

0 123 65 Drum Loop H2

0 123 66 Drum Loop H3

0 123 67 Drum Loop H4

HYPER DRUM KIT

127 0 5 Analog Kit1

127 0 8 Analog Kit2

127 0 10 Analog Kit3

127 0 13 Analog Kit1D

127 0 14 Analog Kit2D

127 0 12 RhBox Kit

127 0 9 Hard Kit

127 0 11 Break Kit

127 0 6 Dance Kit

127 0 4 Electronic Kit1

126 0 0 Electronic Kit2

126 0 1 B900 Kit

126 0 2 DJX Kit

126 0 3 BD Kit

126 0 4 SD Kit

126 0 5 HH Kit

126 0 6 Human Kit

126 0 7 Scratch Kit

BASIC DRUM KIT

127 0 0 Standard Kit1

127 0 1 Standard Kit2

127 0 2 Room Kit

127 0 3 Rock Kit

127 0 7 Jazz Kit

Bank Select MIDI

Program

Change# Voice Name

MSB LSB

Appendix

Drum Kit List

• : Same as Standard Kit1.

• : Same as the kit to the immediate left.

• The Keyboard Note Numbers (#) and Note names shown in this list apply to

all kits, with the exception of Voice #190 (Electronic Kit2), #191 (B900 Kit),

#192 (DJX Kit), #196 (Human Kit) and #197 (Scratch Kit).

• In order to properly hear Voices #190 (Electronic Kit2), #191 (B900 Kit), and

#192 (DJX Kit), play notes on the keyboard one octave lower than indicated.

• In order to properly hear Voices #196 (Human Kit) and #197 (Scratch Kit),

play notes on the keyboard one octave higher than indicated.

• Key Off & Alternate Assign : These are applicable only for kits whose Bank

MSB#=127.

Voice # 198 199 200 201 189 180 188 202 181 186

Bank MSB# 127 127 127 127 127 127 127 127 127 127

Bank LSB# 0 0 0 0 0 0 0 0 0 0

Program # 0 1 2 3 4 5 6 7 8 9

Keyboard MIDI Key

off

Alternate

assign

Standard Kit1 Standard Kit2 Room Kit Rock Kit Electronic

Kit1 Analog Kit1 Dance Kit Jazz Kit Analog Kit2 Hard Kit

Note# Note Note# Note

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 O Brush Swirl

39 D#127D#0 Brush Slap

40 E 1 28 E 0 O

Brush Swirl W/Attack

Reverse Cymbal

41 F 1 29 F 0 O Snare 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 SD Elec H2 SD Analog 2 SD T8 1 SD Hard 1

44 G#132G#0 Sticks

45 A 1 33 A 0 Bass Drum L Bass Drum L2 Bass Drum H Bass Drum H BD Analog 2 BD Analog BD Hard 1

46 A#134A#0 Open Rim Shot

Open Rim Shot2

SD Analog Open Rim

SD Hard 2

47 B 1 35 B 0 Bass Drum M Bass Drum H3 BD Rock BD Analog 1L BD Analog 3 BD T8 2 BD Hard 2

48 C 2 36 C 1 Bass Drum H Bass Drum H 2 BD Rock BD Rock 2 BD Analog 1H BD Analog 4 BD Jazz BD T8 3 BD Hard 3

49 C#237C#1 Side Stick

Analog Side Stick 1

T8 Side Stick

50 D 2 38 D 1 Snare L Snare L2 SD Room L SD Rock SD Elec M SD Analog 1H SD Analog 3 SD Jazz L SD T8 3L SD Hard 3

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 SD Analog 1L SD Analog 4 SD Jazz H SD T8 3M SD Hard 4

53 F 2 41 F 1 Floor Tom L

Room Tom 1

Rock Tom 1 E Tom 1 Analog Tom 1

Jazz Tom 1

T8 Tom 1

Hard Tom 1

54 F#242F#1 1 Hi-Hat Closed

Analog HH Closed1

Dance HH Closed1

T8 HH 1 Closed1

55 G 2 43 G 1 Floor Tom H

Room Tom 2

Rock Tom 2 E Tom 2 Analog Tom 2

Jazz Tom 2

T8 Tom 2

Hard Tom 2

56 G#244G#1 1 Hi-Hat Pedal

Analog HH Closed2

Dance HH Closed2

T8 HH 1 Closed2

57 A 2 45 A 1 Low Tom

Room Tom 3

Rock Tom 3 E Tom 3 Analog Tom 3

Jazz Tom 3

T8 Tom 3

Hard Tom 3

58 A#246A#1 1 Hi-Hat Open

Analog HH 1 Open

HH Open2

T8 HH 1 Open 1

59 B 2 47 B 1 Mid Tom L

Room Tom 4

Rock Tom 4 E Tom 4 Analog Tom 4

Jazz Tom 4

T8 Tom 4

Hard Tom 4

60 C 3 48 C 2 Mid Tom H

Room Tom 5

Rock Tom 5 E Tom 5 Analog Tom 5

Jazz Tom 5

T8 Tom 5

Hard Tom 5

61 C#349C#2 Crash Cymbal 1 Analog Cymbal

62 D 3 50 D 2 High Tom

Room Tom 6

Rock Tom 6 E Tom 6 Analog Tom 6

Jazz Tom 6

T8 Tom 6

Hard 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 Analog Cowbell

69 A 3 57 A 2 Crash Cymbal 2

70 A#358A#2 Hand Clap 1

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 Analog Conga H

75 D#463D#3 Conga H Open Analog Conga M

76 E 4 64 E 3 Conga L Analog 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 Analog Maracas

83 B 4 71 B 3 O Samba Whistle H

84 C 5 72 C 4 O Samba Whistle L

85 C#573C#4 Guiro Short

86 D 5 74 D 4 O Guiro Long

87 D#575D#4 Claves Analog Claves

88 E 5 76 E 4 Wood Block H

89 F 5 77 F 4 Wood Block L

90 F#578F#4 Scratch Push

91 G 5 79 G 4 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 Hand Clap 2

96 C 6 84 C 5 Hand Clap 3

97 C#685C#5 Bell Tree 2

98 D 6 86 D 5 Bell Tree 3

99 D#687D#5 BD T8 2

100 E 6 88 E 5 SD T8 4

101 F 6 89 F 5 SD T8 3H

102 F#690F#5

T8 HH 2 Closed1

103 G 6 91 G 5 T8 Cowbell

104 G#692G#5

T8 HH 2 Closed2

105 A 6 93 A 5 T8 Tambourine

106 A#694A#5 T8 HH 2 Open

107 B 6 95 B 5 T8 Guiro

108 C 7 96 C 6 Metal

Appendix

Drum Kit List

Voice # 198 182 187 185 183 184 190

Bank MSB# 127 127 127 127 127 127 126

Bank LSB# 0 0 0 0 0 0 0

Program # 0 10 11 12 13 14 0

Keyboard MIDI Key

off

Alternate

assign

Standard Kit1 Analog Kit3 Break Kit RhBox Kit Analog Kit1D Analog Kit2D Electronic Kit2

Note# Note Note# Note

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 O Brush Swirl

39 D#127D#0 Brush Slap

40 E 1 28 E 0 O

Brush Swirl W/Attack

Reverse Cymbal

41 F 1 29 F 0 O Snare Roll

42 F#130F#0 Castanet Hi Q

43 G 1 31 G 0 Snare H Soft SD T9 1 SD Break 1 SD RhBox 1 SD Elec H2 SD T9 Dist 1

44 G#132G#0 Sticks

45 A 1 33 A 0 Bass Drum L BD Analog BD Break 1 BD RhBox 1 BD Ana Dist 3 BD Analog

46 A#134A#0 Open Rim Shot SD Break 2 SD RhBox 2

47 B 1 35 B 0 Bass Drum M BD Jungle 4 BD Break 2 BD RhBox 2 BD Ana Dist 1 BD Jungle 4

48 C 2 36 C 1 Bass Drum H BD T9 1 BD Break 3 BD RhBox 3 BD Ana Dist 2 BD T9 Dist 1 BD T8 2

49 C#237C#1 Side Stick T9 Side Stick Analog Side Stick 1 Analog Side Stick 1 T9 Side Stick BD T8 2Long

50 D 2 38 D 1 Snare L SD T9 4L SD Break 3 SD RhBox 3 SD Ana Dist 1 SD T9 Dist 4L BD T8 3

51 D#239D#1 Hand Clap SD T8 1

52 E 2 40 E 1 Snare H Hard SD T9 4H SD Break 4 SD RhBox 4 SD Ana Dist 2 SD T9 Dist 4H SD T8 3M

53 F 2 41 F 1 Floor Tom L T9 Tom 1 Analog Tom 1 Hard Tom 1 Hard Tom 1 SD T8 4

54 F#242F#1 1 Hi-Hat Closed T9 HH 1 Closed1 RhBox HH Closed 1 Ana HH Clsd Dist 1 T9 HH 1 Clsd Dist 1 SD T8 5

55 G 2 43 G 1 Floor Tom H T9 Tom 2 Analog Tom 2 Hard Tom 2 Hard Tom 2 T8 Conga 1

56 G#244G#1 1 Hi-Hat Pedal T9 HH 1 Closed2 RhBox HH Closed 2 Ana HH Clsd Dist 2 T9 HH 1 Clsd Dist 2 T8 Cowbell

57 A 2 45 A 1 Low Tom T9 Tom 3 Analog Tom 3 Hard Tom 3 Hard Tom 3 T8 Conga 2

58 A#246A#1 1 Hi-Hat Open T9 HH 1 Open 2 Rh Box HH Open Ana HH Opn Dist T9 HH 1 Opn Dist 2 T8 Maracas

59 B 2 47 B 1 Mid Tom L T9 Tom 4 Analog Tom 4 Hard Tom 4 Hard Tom 4 T8 Conga 3

60 C 3 48 C 2 Mid Tom H T9 Tom 5 Analog Tom 5 Hard Tom 5 Hard Tom 5 T8 Conga 4

61 C#349C#2 Crash Cymbal 1 Rh Box Cymbal Analog Cymbal T8 Side Stick

62 D 3 50 D 2 High Tom T9 Tom 6 Analog Tom 6 Hard Tom 6 Hard Tom 6 T8 Clave

63 D#351D#2 Ride Cymbal 1 T8 Clap

64 E 3 52 E 2 Chinese Cymbal T9 HH Half Open

65 F 3 53 F 2 Ride Cymbal Cup T8 Tom 1

66 F#354F#2 Tambourine T8 HH 1 Closed1

67 G 3 55 G 2 Splash Cymbal T8 Tom 2

68 G#356G#2 Cowbell Analog Cowbell T8 HH 1 Closed2

69 A 3 57 A 2 Crash Cymbal 2 T8 Tom 3

70 A#358A#2 Hand Clap 1 T8 HH 1 Open

71 B 3 59 B 2 Ride Cymbal 2 T8 Tom 4

72 C 4 60 C 3 Bongo H Analog Cymbal

73 C#461C#3 Bongo L

74 D 4 62 D 3 Conga H Mute Analog Conga H

75 D#463D#3 Conga H Open Analog Conga M BD T9 1

76 E 4 64 E 3 Conga L Analog Conga L BD T9 3n

77 F 4 65 F 3 Timbale H BD Jungle 4

78 F#466F#3 Timbale L T9 HH 1 Open 2

79 G 4 67 G 3 Agogo H SD T9 1L

80 G#468G#3 Agogo L SD T9 2

81 A 4 69 A 3 Cabasa SD T9 1M

82 A#470A#3 Maracas Analog Maracas SD T9 3

83 B 4 71 B 3 O Samba Whistle H SD T9 1H

84 C 5 72 C 4 O Samba Whistle L SD T9 4L

85 C#573C#4 Guiro Short T9 Side Stick

86 D 5 74 D 4 O Guiro Long SD T9 4M

87 D#575D#4 Claves Analog Claves T9 Clap

88 E 5 76 E 4 Wood Block H SD T9 4H

89 F 5 77 F 4 Wood Block L T9 Tom 1

90 F#578F#4 Scratch Push T9 HH 1 Closed1

91 G 5 79 G 4 Scratch Pull T9 Tom 2

92 G#580G#4 2 Triangle Mute T9 HH 1 Closed2

93 A 5 81 A 4 2 Triangle Open T9 Tom 3

94 A#582A#4 Shaker T9 HH 1 Open 2

95 B 5 83 B 4 Hand Clap 2 T9 Tom 4

96 C 6 84 C 5 Hand Clap 3 T9 Crash 1

97 C#685C#5 Bell Tree 2 Bell Tree 2 T9 Ride

98 D 6 86 D 5 Bell Tree 3 Bell Tree 3 T9 Crash 2

99 D#687D#5 BD T8 2 BD T8 2

100 E 6 88 E 5 SD T8 4 SD T8 4

101 F 6 89 F 5 SD T8 3H SD T8 3H

102 F#690F#5 T8 HH 2 Closed1 T8 HH 2 Closed1

103 G 6 91 G 5 T8 Cowbell T8 Cowbell

104 G#692G#5 T8 HH 2 Closed2 T8 HH 2 Closed2

105 A 6 93 A 5 T8 Tambourine T8 Tambourine

106 A#694A#5 T8 HH 2 Open T8 HH 2 Open

107 B 6 95 B 5 T8 Guiro T8 Guiro

108 C 7 96 C 6 Metal Metal

Appendix

Drum Kit List

Voice # 191 192 193 194 195 196 197

Bank MSB# 126 126 126 126 126 126 126

Bank LSB# 0 0 0 0 0 0 0

Program # 1 2 3 4 5 6 7

Keyboard MIDI Key

off

Alternate

assign

B900 Kit DJX Kit BD Kit SD Kit HH Kit Human Kit Scratch Kit

Note# Note Note# Note

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 BD1 SD1 HH1 Ain'tGoingOut(1)

37 C#125C#0 BD2 SD2 HH2 Ain'tGoingOut(2)

38 D 1 26 D 0 O BD3 SD3 HH3 Beat

39 D#127D#0 BD4 SD4 HH4 ClapYourHands

40 E 1 28 E 0 O BD5 SD5 HH5 Club

41 F 1 29 F 0 O BD6 SD6 HH6 ComOn

42 F#130F#0 BD7 SD7 HH7 DJ

43 G 1 31 G 0 BD8 SD8 HH8 FeelTheBass(1)

44 G#132G#0 BD9 SD9 HH9 FeelTheBass(2)

45 A 1 33 A 0 BD10 SD10 HH10 FeelTheBass(3)

46 A#134A#0 BD11 SD11 HH11 Huhh

47 B 1 35 B 0 BD12 SD12 HH12 Kickin'It

48 C 2 36 C 1 BD Jungle 4 BD00 T9 Distortion BD13 SD13 HH13 Massive Scratch1-F

49 C#237C#1 BD T8 2Long BD04 T9 BD14 SD14 HH14 MoveIt Scratch1-R

50 D 2 38 D 1 BD Jungle 1 BD09 T8 Low Long BD15 SD15 HH15 MyFlowIsTight(1) Scratch2-F

51 D#239D#1 BD Jungle 2 BD28 T8 BD16 SD16 HH16 MyFlowIsTight(2) Scratch2-R

52 E 2 40 E 1 BD T8 2Cont BD47 Hard Distortion BD17 SD17 HH17 MyFlowIsTight(3) Scratch3-F

53 F 2 41 F 1 BD Jungle 5 BD55 Jungle BD18 SD18 HH18 OK Scratch3-R

54 F#242F#1 1 BD HipHop1 SD00 T8 BD19 SD19 HH19 Peace Scratch4-F

55 G 2 43 G 1 BD HipHop2 SD03 higher BD20 SD20 HH20 PlayThatBeat(1) Scratch4-R

56 G#244G#1 1 SD Jungle 1 SD12 T9 4 BD21 SD21 HH21 PlayThatBeat(2) Scratch L

57 A 2 45 A 1 SD Jungle 2 SD23 brutal BD22 SD22 HH22 PlayThatBeat(3) SCR 1M

58 A#246A#1 1 SD Jungle 3 SD24 high metal BD23 SD23 HH23 RespectIsDue(1) SCR 2M

59 B 2 47 B 1 SD Jungle 4 SD31 Elect.2 BD24 SD24 HH24 RespectIsDue(2) SCR 3M

60 C 3 48 C 2 SD HipHop1 SD43 T9 4 BD25 SD25 HH25 RespectIsDue(3) SCR 4M

61 C#349C#2 SD HipHop2 SD47 noisy scratch BD26 SD26 HH26 Scratchin' SCR 6ML

62 D 3 50 D 2 SD HipHop3 SD49 T8 3 BD27 SD27 HH27 TheHouse SCR 7ML

63 D#351D#2 SD Elect.1 HH00 MS Closed BD28 SD28 HH28 Uuuuugh TurnTable

64 E 3 52 E 2 SD Elect.2 HH00 MS Open BD29 SD29 HH29 What'sGoingDown(1)

65 F 3 53 F 2 SD Elect.3 HH06 T9 Hard Closed BD30 SD30 HH30 What'sGoingDown(2)

66 F#354F#2 SD Elect.4 HH06 T9 Hard Open BD31 SD31 HH31 What'sGoingDown(3)

67 G 3 55 G 2 SD T8 3M HH07 T8 Closed BD32 SD32 HH32 Wow

68 G#356G#2 SD 78 HH07 T8 Open BD33 SD33 HH33 YeahWhat'sUp(1)

69 A 3 57 A 2 HH 1 Closed HH08 FX1 Closed BD34 SD34 HH34 YeahWhat'sUp(2)

70 A#358A#2 HH 2 Closed HH08 FX1 Open BD35 SD35 HH35 YeahWhat'sUp(3)

71 B 3 59 B 2 HH 2 Open HH19 T9 Closed BD36 SD36 HH36 YoBady(1)

72 C 4 60 C 3 HH 3 Closed HH19 T9 Open BD37 SD37 HH37 YoBady(2)

73 C#461C#3 HH 78 Open HH29 T6 Closed BD38 SD38 HH38 IamYourDJ(robot)(1)

74 D 4 62 D 3 HH 4 Closed HH29 T6 Open BD39 SD39 HH39 IamYourDJ(robot)(2)

75 D#463D#3 HH 4 Open HH31 Nat Closed BD40 SD40 HH40 IamYourDJ(robot)(3)

76 E 4 64 E 3 PC Snap HH31 Nat Open BD41 SD41 HH41 RockTheHouse(robot)(1)

77 F 4 65 F 3 PC Tamb2 HH37 FX2 Closed BD42 SD42 HH42 RockTheHouse(robot)(2)

78 F#466F#3 BD Jungle 4Long HH37 FX2 Open BD43 SD43 HH43 RockTheHouse(robot)(3)

79 G 4 67 G 3 BD Analog HH40 T9Low Closed BD44 SD44 HH44 FeelTheVibe(robot)(1)

80 G#468G#3 Hit 1L HH40 T9Low Open BD45 SD45 HH45 FeelTheVibe(robot)(2)

81 A 4 69 A 3 Hit 1M HH52 T8Metal Closed BD46 SD46 HH46 FeelTheVibe(robot)(3)

82 A#470A#3 Hit 1H HH52 T8Metal Open BD47 SD47 HH47 TheRealBass(robot)(1)

83 B 4 71 B 3 O Hit 2L HH56 T9Filt. Closed BD48 SD48 HH48 TheRealBass(robot)(2)

84 C 5 72 C 4 O Hit 2M HH56 T9Filt. Open BD49 SD49 HH49 TheRealBass(robot)(3)

85 C#573C#4 Hit 2H PC00G# Clave BD50 SD50 HH50

86 D 5 74 D 4 O Hit Brass 1 PC02C Pulse SD51

87 D#575D#4 SCR 1L PC02C# Pulse SD52

88 E 5 76 E 4 SCR 1M PC02D Pulse SD53

89 F 5 77 F 4 SCR 1H PC02D# BD SD54

90 F#578F#4 SCR 2L PC02E Tom SD55

91 G 5 79 G 4 SCR 2M PC02F SD SD56

92 G#580G#4 2 SCR 2H PC02F# Pulse&Noise SD57

93 A 5 81 A 4 2 SCR 3L PC02G Pulse&Noise SD58

94 A#582A#4 SCR 3M PC02G# Snaps SD59

95 B 5 83 B 4 SCR 3H PC02A Noise Echo SD60

96 C 6 84 C 5 SCR 4L PP Perc.C3 SD61

97 C#685C#5 SCR 4M PP Perc.F3 SD62

98 D 6 86 D 5 SCR 4H PP Snaps SD63

99 D#687D#5 SCR 6L PP Claps Bb2 SD64

100 E 6 88 E 5 SCR 6ML PP Claps C3 SD65

101 F 6 89 F 5 SCR 6MH SD66

102 F#690F#5 SCR 6H SD67

103 G 6 91 G 5 SCR 7L SD68

104 G#692G#5 SCR 7ML SD69

105 A 6 93 A 5 SCR 7MH SD70

106 A#694A#5 SCR 7H SD71

107 B 6 95 B 5 Hit Brass 2

108 C 7 96 C 6 Analog Cymbal

Appendix

Decimal Hexadecimal Binary

0 00 0000 0000

1 01 0000 0001

2 02 0000 0010

3 03 0000 0011

4 04 0000 0100

5 05 0000 0101

6 06 0000 0110

7 07 0000 0111

8 08 0000 1000

9 09 0000 1001

10 0A 0000 1010

11 0B 0000 1011

12 0C 0000 1100

13 0D 0000 1101

14 0E 0000 1110

15 0F 0000 1111

16 10 0001 0000

17 11 0001 0001

18 12 0001 0010

19 13 0001 0011

20 14 0001 0100

21 15 0001 0101

22 16 0001 0110

23 17 0001 0111

24 18 0001 1000

25 19 0001 1001

26 1A 0001 1010

27 1B 0001 1011

28 1C 0001 1100

29 1D 0001 1101

30 1E 0001 1110

31 1F 0001 1111

32 20 0010 0000

33 21 0010 0001

34 22 0010 0010

35 23 0010 0011

36 24 0010 0100

37 25 0010 0101

38 26 0010 0110

39 27 0010 0111

40 28 0010 1000

41 29 0010 1001

42 2A 0010 1010

43 2B 0010 1011

44 2C 0010 1100

45 2D 0010 1101

46 2E 0010 1110

47 2F 0010 1111

48 30 0011 0000

49 31 0011 0001

50 32 0011 0010

51 33 0011 0011

52 34 0011 0100

53 35 0011 0101

54 36 0011 0110

55 37 0011 0111

56 38 0011 1000

57 39 0011 1001

58 3A 0011 1010

59 3B 0011 1011

60 3C 0011 1100

61 3D 0011 1101

62 3E 0011 1110

63 3F 0011 1111

Decimal Hexadecimal Binary

64 40 0100 0000

65 41 0100 0001

66 42 0100 0010

67 43 0100 0011

68 44 0100 0100

69 45 0100 0101

70 46 0100 0110

71 47 0100 0111

72 48 0100 1000

73 49 0100 1001

74 4A 0100 1010

75 4B 0100 1011

76 4C 0100 1100

77 4D 0100 1101

78 4E 0100 1110

79 4F 0100 1111

80 50 0101 0000

81 51 0101 0001

82 52 0101 0010

83 53 0101 0011

84 54 0101 0100

85 55 0101 0101

86 56 0101 0110

87 57 0101 0111

88 58 0101 1000

89 59 0101 1001

90 5A 0101 1010

91 5B 0101 1011

92 5C 0101 1100

93 5D 0101 1101

94 5E 0101 1110

95 5F 0101 1111

Decimal Hexadecimal Binary

96 60 0110 0000

97 61 0110 0001

98 62 0110 0010

99 63 0110 0011

100 64 0110 0100

101 65 0110 0101

102 66 0110 0110

103 67 0110 0111

104 68 0110 1000

105 69 0110 1001

106 6A 0110 1010

107 6B 0110 1011

108 6C 0110 1100

109 6D 0110 1101

110 6E 0110 1110

111 6F 0110 1111

112 70 0111 0000

113 71 0111 0001

114 72 0111 0010

115 73 0111 0011

116 74 0111 0100

117 75 0111 0101

118 76 0111 0110

119 77 0111 0111

120 78 0111 1000

121 79 0111 1001

122 7A 0111 1010

123 7B 0111 1011

124 7C 0111 1100

125 7D 0111 1101

126 7E 0111 1110

127 7F 0111 1111

Decimal Hexadecimal Binary

• Other messages not listed above include: 144-159(decimal)/9nH/1001 0000-

1001 1111(binary) denotes the Note On Message for each channel (1-16).

176-191/BnH/1011 0000-1011 1111 denotes the Control Change Message

for each channel (1-16). 192-207/CnH/1100 0000-1100 1111 denotes the

Program Change Message for each channel (1-16). 240/FOH/1111 0000 de-

notes the start of a System Exclusive Message. 247/F7H/1111 0111 denotes

the end of a System Exclusive Message.

• aaH (hexidecimal)/0aaaaaaa (binary) denotes the data address. The address

contains High, Mid, and Low.

• bbH/0bbbbbbb denotes the byte count.

• ccH/0ccccccc denotes the check sum.

• ddH/0ddddddd denotes the data/value.

Many MIDI messages listed in the MIDI Data Format are expressed

as decimal numbers, binary numbers or hexadecimal numbers.

Hexadecimal numbers may include the letter “H” as a suffix. Also, “n”

can freely be defined as any whole number.

To enter data/values, refer to the table below.

MIDI Data Format

Appendix

MIDI Data Format

■ Channel/Mode/Realtime Messages

o : available

MIDI Events Status byte 1st Data byte 2nd Data byte MIDI

Status Data (HEX) Parameter Data (HEX) Parameter Transmitted Recognized

Key Off 8nH (n:channel no.) kk Key no. (0 - 127) vv Velocity (0 - 127) x o

Key On 9nH kk Key no. (0 - 127) vv Key On :vv=1 - 127

Key Off :vv=0 xo

Control Change BnH 0 (00H) Bank Select MSB 0

126, 127

(00H)

(7FH) Normal

Drum kit xo

32 (20H) Bank Select LSB xo

1 (01H) Modulation 0 - 127 (...7FH) x o

6 (06H) Data Entry MSB 0 - 127 (...7FH) xo

38 (26H) Data Entry LSB 0 - 127 (...7FH) x

7 (07H) Main Volume 0 - 127 (...7FH) x o

10 (0AH) Panpot 0 - 127 (...7FH) x o

11 (0BH) Expression 0 - 127 (...7FH) x o

64 (40H) Sustain (Damper) 0 - 127 (...7FH) x o

71 (47H) Harmonic Content 0 - 127 (...7FH) x o

72 (48H) Release Time 0 - 127 (...7FH) x o

73 (49H) Attack Time 0 - 127 (...7FH) x o

74 (4AH) Brightness 0 - 127 (...7FH) x o

84 (54H) Portamento Control 0 - 127 (...7FH) x o

91 (5BH) Effect1 Depth

(Reverb Send Level) 0 - 127 (...7FH) xo

93 (5DH) Effect3 Depth

(Chorus Send Level) 0 - 127 (...7FH) xo

96 (60H) Increment 0 - 127 (...7FH) xo

97 (61H) Decrement 0 - 127 (...7FH)

100 (64H) RPN LSB 0 - 127 (...7FH) xo

101 (65H) RPN MSB 0 - 127 (...7FH)

Mode Message BnH 120 (78H) All sound off 0 xo

121 (79H) Reset all controllers 0 xo

123 (7BH) All note off 0 xo

124 (7CH) All note off 0 xo

125 (7DH) All note off 0 xo

126 (7EH) MONO 0 - 16 (...10H) x o

127 (7FH) POLY 0 xo

Program Change CnH pp Voice number

(0 - 127) - - xo

Pitch Bend Change EnH cc LSB dd MSB x o

RealTime Message F8H MIDI Clock - - oo

FAH Start - - oo

FCH Stop - - oo

FEH Active Sensing - - xo

MIDI Data Format

Appendix

■ System Exclusive Messages

Universal System Exclusive o : available

XG standard

Bulk dump

Others

MIDI Event Data Format Transmitted Recognized

MIDI Master Volume F0H 7FH 7FH 04H 01H l l mm F7H x o

ll mm Volume (mm = 0 - 7f, ll = Ignored)

F0H 7FH XN 04H 01H l l mm F7H

XN when N is received N=0-F,whichever is received.

X = Ignored

ll mm Volume (mm = 0 - 7f, ll = Ignored)

MIDI Event Data Format Transmitted Recognized

XG Parameter Change F0H 43H 1nH 4CH hh mm l l dd ... F7H x o

hh mm ll Address

dd Data

Bulk Dump F0H 43H 0nH 4CH aa bb hh mm l l dd ... dd cc F7H x o

0n Device Number (0 - f (receive))

aa bb Byte Count (aa << 7) + bb

hh mm ll Address

dd Data

MIDI Event Data Format Transmitted Recognized

User Pattern Data

Bulk Dump F0H 43H 73H 6FH 06H 07H aa bb cc dd hh mm ll [BULK DATA] sum F7H x o

6FH Model ID

06H Bulk ID

07H Bulk No.

aa ByteCount MSB

bb ByteCount LSB

cc Data size (MSB)

dd Data size (LSB)

hh Address High

mm Address Mid

ll Address Low

[BULK DATA] User Pattern data (1byte,2byte....7byte,MSBdata)

sum Check Sum = 0-sum (BULK DATA)

MIDI Event Data Format Transmitted Recognized

Master Tune F0H 43H 1n 27H 30H 00H 00H mm ll cc F7H x o

1n Device Number (0 - f (receive))

mm ll cc (mm << 4) + ll (1step/1cent), cc = Ignored

TG RESET F0H 43H 73H 6FH 30H 00H F7H x o

Appendix

MIDI Data Format

■ MIDI Parameter Change Table

MIDI PARAMETER CHANGE TABLE (EFFECT)

* Between MIDI messages and panel operation(Live Effector), the last message will take priority.

■ Effect Map

REVER BLOCK

If the received value does not contain an effect type in the TYPE LSB, the LSB will be directed to TYPE LSB 0.

CHORUS BLOCK

If the received value does not contain an effect type in the TYPE LSB, the LSB will be directed to TYPE LSB 0.

VARIATION BLOCK

If the received value does not contain an effect type in the TYPE LSB, the LSB will be directed to TYPE LSB 0.

Address

(H) Size

(H) Data

(H) Parameter Transmitted Recognized Description Default

2 1 0 2 00-7F REVERB TYPE MSB x o Refer to “MIDI Effect Map.” 01 (=HALL1)

00-7F REVERB TYPE LSB 00 : basic type 00

2 1 20 2 00-7F CHORUS TYPE MSB x o Refer to “MIDI Effect Map.” 41 (=CHORUS1)

00-7F CHORUS TYPE LSB 00 : basic type 00

2 1 40 2 00-7F VARIATION TYPE MSB x o* Refer to “MIDI Effect Map.” 00 (=DJ DISTORTION)

00-7F VARIATION TYPE LSB 00 : basic type 00

Type MSB Type LSB

DEC 00 16 17 19

001 HALL 1 HALL 2

002 ROOM ROOM 1 ROOM 2

003 STAGE STAGE 1 STAGE 2

004 PLATE PLATE 1 PLATE 2

005...127

Type MSB Type LSB

DEC 00 02 08 17

001...064 NO EFFECT

065 CHORUS CHORUS 2

066 CELESTE CHORUS 1

067 FLANGER FLANGER 1 FLANGER 2

068...127 NO EFFECT

Type MSB Type LSB

DEC 00

001 DJ DISTORTION

002 DJ FLANGER

003 DJ PHASER

004 DJ DELAY

005 DJ ECHO

006 DJ RING MOD

007 DJ SLICE

008 DJ AUTO PAN

009 DJ WAH

010 DJ LO-FI

MIDI Data Format

Appendix

■ About MIDI remote control

About MIDI IN channel and DJX-IIB parts

The individual Parts of the DJX-IIB respond to incoming data over the MIDI channels as listed below.

MIDI IN channel

Data received over channel 4 (Remote) is used to control the various panel controls of the DJX-IIB.

About MIDI remote control

Remote Control Data

channel

---- Reserved ----

Remote

---- Reserved ----

Pattern Kick

Pattern Snare

Pattern Hi-Hat

Pattern Percussion

Pattern Bass

Pattern Phrase 1

Pattern Phrase 2

Pattern Phrase 3

Functions Panel Operation MIDI Data Format

Scratch Pad Scratch Pad function selection ** = Scratch Kit Number

Bank Select MSB (B3H, 00H, 00H)

Bank Select LSB (B3H, 20H, 02H)

Program Change (C3H, **H)

Scrach Pad rocking

Clockwise

Counterclockwise

Overall Pitch Control

Pitch Control

Volume

** = Note On (7FH), Note Off (00H)

Note (93H, 5FH, **H)

Note (93H, 60H, **H)

Breath Controller MSB (B3H, 02H)

Breath Controller LSB (B3H, 22H)

Pitch Bend(E3H)

Volume (B3H, 07H)

LOOP on/off

Loop off

Loop on Sustain (B3H, 40H, 00H)

Sustain (B3H, 40H, 7FH)

Fader FADER position Expression (B3H, 0BH, **H) **= 00 - 7FH)

Pattern Pattern Variation selection

BANK A1

BANK A2

BANK A3

BANK A4

BANK A5

BANK B1

BANK B2

BANK B3

BANK B4

BANK B5

** = Note On (7FH), Note Off (00H)

Note (93H, 48H, **H)

Note (93H, 49H, **H)

Note (93H, 4AH, **H)

Note (93H, 4BH, **H)

Note (93H, 4CH, **H)

Note (93H, 4DH, **H)

Note (93H, 4EH, **H)

Note (93H, 4FH, **H)

Note (93H, 50H, **H)

Note (93H, 51H, **H)

Pattern number selection Bank Select MSB (B3H, 00H, 00H)

Bank Select LSB (B3H, 20H, 01H)

Program Change (C3H, **H) ** = Pattern Number

Preset: 00H - 45H

User: 46H - 4AH

PART MIXER setting

BASS+KICK

PHRASE1+2+3

KICK+HI-HAT

BASS

KICK

SNARE

PHRASE1

HI-HAT

PHRASE2

PERC

PHRASE3

TOGGLE

** = Note On (7FH), Note Off (00H)

—

Note (93H, 3FH, **H)

Note (93H, 40H, **H)

Note (93H, 41H, **H)

Note (93H, 42H, **H)

Note (93H, 43H, **H)

Note (93H, 44H, **H)

Note (93H, 45H, **H)

Note (93H, 46H, **H)

—

Filter Knobs CUTOFF knob

RESONANCE knob Brightness (B3H, 4AH, **H)

Harmonic Content (B3H, 47H, **H) **= 00 - 7FH)

Appendix

MIDI Data Format

Live Effector ON/OFF switch

Hold/On

Hold/Off Soft Pedal (B3H, 43H, 7FH)

Soft Pedal (B3H, 43H, 00H)

Effect Type selection

DISTORTION

AUTO PAN

RING MOD

FLANGER

PHASER

SLICER

DELAY

ECHO

LO-FI

WAH

Bank Select MSB (B3H, 00H, 00H)

Bank Select LSB (B3H, 20H, 04H)

Program Change (C3H, 00H)

Program Change (C3H, 01H)

Program Change (C3H, 02H)

Program Change (C3H, 03H)

Program Change (C3H, 04H)

Program Change (C3H, 05H)

Program Change (C3H, 06H)

Program Change (C3H, 07H)

Program Change (C3H, 08H)

Program Change (C3H, 09H)

CONTROL knob

BALANCE knob Effect4 Depth (B3H, 5EH, **H)

Effect5 Depth (B3H, 5FH, **H) **= 00H - 7FH

Key Shifter KEY SHIFTER setting

-5

-4

-3

-2

-1

** = Note On (7FH), Note Off (00H)

Note (93H, 24H, **H)

Note (93H, 25H, **H)

Note (93H, 26H, **H)

Note (93H, 27H, **H)

Note (93H, 28H, **H)

Note (93H, 29H, **H)

Note (93H, 2AH, **H)

Note (93H, 2BH, **H)

Note (93H, 2CH, **H)

Note (93H, 2DH, **H)

Note (93H, 2EH, **H)

Note (93H, 2FH, **H)

BPM setting Scratch Pad rocking General Purpose Controller

Absolute tempo value MSB (B3H, 10H, mmH)

Absolute tempo value LSB (B3H, 30H, llH)

Relative tempo value MSB (B3H, 11H, mmH)

Relative tempo value LSB (B3H, 31H, llH)

Other buttons PATTERN button

BPM/TAP button

KEY SHIFTER button

PATTERN STOP button

Channel Pressure (D3H, 01H)

Channel Pressure (D3H, 03H)

Channel Pressure (D3H, 04H)

Channel Pressure (D3H, 05H)

Functions Panel Operation MIDI Data Format

Appendix

YAMAHA [ DJ-GEAR ] Date :17-MAR-2000

Model DJX-IIB MIDI Implementation Chart Version : 1.0

Transmitted Recognized Remarks

Function...

Basic Default x 1 - 16

Channel Changed x 1 - 16

Default x 3

Mode Messages x x

Altered ************** x

Note x0 - 127

Number : True voice ************** 0 - 127

Velocity Note ON x o 9nH,v=1-127

Note OFF x o 9nH,v=0 or 8nH

After Key's x x

Touch Ch's x x

Pitch Bend x o

0,32 x o Bank Select

1 x o Modulation wheel

6,38 x o Data Entry

7,10 x o

Control 11 x o Expression

64 x o Sustain

Change 71-74 x o Sound Controller

91,93 x o Effect Depth

96,97 x o RPN Inc,Dec

100,101 x o RPN LSB,MSB

84 x o Portamento Control

Prog x o 0 - 127

Change : True # **************

System Exclusive x o *

: Song Pos. x x

Common : Song Sel. x x

: Tune x x

System : Clock o o

Real Time: Commands o o

Aux :All Sound OFF x o(120,126,127)

:Reset All Cntrls x o(121)

:Local ON/OFF x x

Mes- :All Notes OFF x o(123-125)

sages:Active Sensing x o

:Reset x x

Notes: * For details, see "MIDI Data Format" on page 83.

Mode 1 : OMNI ON , POLY Mode 2 : OMNI ON ,MONO o : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF,MONO x : No

MIDI Implementation Chart

Appendix

AC adaptor.......................................................................... 12

AUDIO BPM COUNTER .............................................. 9, 62

AUDIO BPM IN jack.................................................... 11, 62

Auto Pan........................................................................ 21, 48

Balance (Live Effector) ....................................................... 20

Bank................................................................................. 9, 15

Bass ................................................................................ 32, 68

bpm ..............................................................19, 37, 45, 61, 62

bpm, auto-adjust................................................................. 62

bpm, tapping....................................................................... 45

Control (Live Effector) ....................................................... 20

Crossfader ....................................................26, 34, 35, 44, 63

Cutoff....................................................................... 25, 39, 53

data backup......................................................................... 13

Delay.............................................................................. 22, 50

Demo..................................................................................... 9

Display................................................................................... 9

Distortion...................................................................... 21, 48

Drum Kit List................................................................ 78, 79

Echo............................................................................... 23, 51

effects....................................................................5, 20, 48, 73

endings (outro)................................................................... 64

Error Message List .............................................................. 71

ﬁll-in.............................................................16, 47, 50, 58, 63

ﬁlter ......................................................................9, 25, 53, 73

Flanger........................................................................... 21, 49

Glossary............................................................................... 73

High (Isolator).............................................................. 24, 52

Hi-Hat ........................................................................... 32, 68

HOLD.................................................................................. 20

initialization.........................................................................13

intro................................................................................47, 55

Isolator .....................................................................24, 52, 73

key ..................................................................................36, 59

Key Shifter........................................................................9, 36

kick .................................................................................32, 68

kits (Scratch Pad).................................................................26

knob ...................................................9, 20, 24, 25, 39, 48, 52

LINE OUT jacks ............................................................11, 46

Live Effector...................................................................20, 48

Lo-Fi...............................................................................23, 51

Loop (Scratch Pad)........................................9, 29, 40, 44, 73

Low (Isolator) ................................................................24, 52

Mid (Isolator) ................................................................24, 52

MIDI ............................................................65, 66, 67, 68, 69

MIDI Data Format ..............................................................81

MIDI Implementation Chart..............................................87

Part .................................................................................32, 74

Part Mixer ......................................................................32, 56

Pattern............................................................................14, 74

Pattern Launcher .................................................................68

Pattern List...........................................................................75

Pattern Player.......................................................................14

Pattern Stop .....................................................................9, 14

Patterns, creating your own ................................................68

Percussion......................................................................32, 68

Phaser.............................................................................22, 49

PHONES..............................................................................11

Phrase.............................................................................32, 68

Pitch & bpm.........................................................................40

Resonance ......................................................................25, 73

Ring Modulation ...........................................................21, 49

Scratch Pad...........................................................9, 10, 26, 55

scratch, scratching ...............................................................74

Index

Appendix

Sense .................................................................................... 62

sequencer................................................................. 65, 66, 67

Slice................................................................................ 22, 49

Snare.............................................................................. 32, 68

Speciﬁcations ...................................................................... 72

Sync ................................................................8, 37, 40, 65, 66

transpose ............................................................................. 36

Variation.............................................................................. 74

Voice List ............................................................................. 76

Volume ...................................................................... 9, 13, 38

Wah................................................................................ 23, 51

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained 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 equip-

ment generates/uses radio frequencies and, if not installed and used

according to the instructions found in the users manual, may cause inter-

ference 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 interference,

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 antenna. 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 Corpora-

tion of America, Electronic Service Division, 6600 Orangethorpe Ave,

Buena Park, CA90620

The above statements apply ONLY to those products distributed by

Yamaha Corporation of America or its subsidiaries.

FCC INFORMATION (U.S.A.)

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

Entsorgung leerer Batterien (nur innerhalb Deutschlands)

Leisten Sie einen Beitrag zum Umweltschutz. Verbrauchte Batterien oder

Akkumulatoren dürfen nicht in den Hausmüll. Sie können bei einer Sam-

melstelle für Altbatterien bzw. Sondermüll abgegeben werden. Informieren

Sie sich bei Ihrer Kommune.

(class B)

(battery)

OBSERVERA!

Apparaten kopplas inte ur växelströmskällan (nätet) sá länge som den ar

ansluten till vägguttaget, även om själva apparaten har stängts av.

ADVARSEL: Netspæendingen til dette apparat er IKKE afbrudt, sálæenge

netledningen siddr i en stikkontakt, som er t endt — ogsá selvom der or

slukket pá apparatets afbryder.

VAROITUS: Laitteen toisiopiiriin kytketty käyttökytkin ei irroita koko laitetta

verkosta.

(standby)

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 PROD-

UCTS. 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 fail-

ures 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!

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-3273

Yamaha PK CLUB (Portable Keyboard Home Page)

http://www.yamaha.co.jp/english/product/pk/

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

Niederlassung 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.

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

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

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

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

ITALY

Yamaha Musica Italia S.P.A.,

Home Keyboard Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha-Hazen Electronica Musical, S.A.

Ctra. de la Coruna km. 17, 200, 28230

Las Rozas (Madrid) Spain

Tel: 91-201-0700

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

F-Musiikki Oy

Kluuvikatu 6, P.O. Box 260,

SF-00101 Helsinki, Finland

Tel: 09 618511

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

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Music Gulf FZE

LB21-128 Jebel Ali Freezone

P.O.Box 17328, Dubai, U.A.E.

Tel: 971-4-81-5868

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

1461-9, Seocho Dong, Seocho Gu, Seoul, Korea

Tel: 02-3486-0011

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-703-0900

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.

11 Ubi Road #06-00, Meiban Industrial Building,

Singapore

Tel: 65-747-4374

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

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 Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

NORTH AMERICA

CENTRAL & SOUTH AMERICA

EUROPE

AFRICA

MIDDLE EAST

ASIA

OCEANIA

[PK] 19

M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

V563330 00?PO???.?-01A0 Printed in Malaysia

Yamaha DJXIIB Owner's Manual

Navigation menu

Versions of this User Manual:

Views

Navigation