Yamaha Vintage DX7 Special Edition ROM Operation Manual Download

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5. Play the keyboard and then move the MODULATION

WHEEL toward "MAX". Notice it does not change the
sound; that's because you just turned OFF the Wheel's

effect.

Set this wheel

at maximum

NOTE You will now be asked to turn on the MODU-
LATION WHEEL effects and see how they can be
used to alter the sound of different voices.

Selectively turn ON and try the modulation

1. Press [MODULATION WHEEL-PITCH] and then

press the DATA ENTRY [ON] button to activate the

pitch modulation effect.

Then move slider up or press

this button to turn on the

modulation

2. Play the keyboard and operate the MODULATION

WHEEL.

AT THIS POINT YOU MAY OR MAY NOT HEAR THE

PITCH CHANGE IN A VIBRATO-LIKE FASHION.

THERE REMAIN SEVERAL VARIABLES WHICH WE

HAVE NOT YET DISCUSSED. The amount of pitch

modulation achieved with the wheel will depend not

only on the setting of the wheel itself, but also on the
set Range, and on the Pitch Modulation Sensitivity of

individual voices.

3. Set the MODULATION Wheel at maximum (notch in

the wheel toward the back of the instrument). Then
press [MODULATION WHEEL-RANGE] and use
the [DATA ENTRY] slider to set different values from
0 (no modulation) to 99 (maximum modulation) while

playing the keyboard. IF YOU DON'T HEAR THE
MODULATION, BE SURE YOU'RE HOLDING DOWN
THE KEYS FOR AT LEAST A FEW SECONDS.

And set this wheel to take

advantage of the maximum set

modulation

Then move this slider up to

achieve the maximum possible

range of modulation

And see this

IMPORTANT NOTE At this point it is still possible that

you won't hear any pitch modulation, even when the
wheel is at maximum and the [MODULATION
WHEEL-RANGE] is set to 99. This is because the

voice itself must first have been programmed to be
sensitive to pitch modulation.

4. If you don't hear pitch modulation with the "WHEEL

PITCH = ON", the Wheel at MAX, and the "WHEEL
RANGE = 99", leave these controls set, and try other
voices. Other voices may be programmed to be sensi-
tive to pitch modulation.
From this point, you can access other voices by press-

ing [MEMORY SELECT-INTERNAL] or [MEMORY
SELECT-CARTRIDGE]. Then press each voice selec-
tor button, [1] through [32], and move the MODULA-

TION WHEEL back and forth to test these voices.
When you find a voice that sounds interesting with
the pitch modulation, again press the [FUNCTION]

button and try moving the [DATA ENTRY] slider to

change the modulation RANGE so you can hear how
the wheel works at other than maximum available
range.

5. Now that you've explored the Modulation Wheel

PITCH modulation, try applying AMPLITUDE modu-
lation.

To work without confusing two types of modulation,
you'll want to turn ON only one effect at a time.
Therefore first turn OFF Pitch modulation by pressing
[MODULATION WHEEL-PITCH] and then DATA
ENTRY [OFF]. Then turn ON Amplitude modulation

by pressing [MODULATION WHEEL-AMPLITUDE]

and DATA ENTRY [ON].

NOTE Applying AMPLITUDE modulation makes
individual operators (voice sub-components) louder
and softer, which can affect the volume or the tone or

both, depending on the particular voice's internal

structure. Once again, the voice must be programmed
to be sensitive to the type of modulation. The voice we

have been using as an example, "E.PIANO 1 " is sensi-
tive to pitch modulation, but not to amplitude modula-

tion, so the wheel will not have any effect on the voice
with only amplitude modulation turned on. Try the
other voices to find one which is sensitive to amplitude
modulation; a saxophone voice would be a likely

choice.

6. In a similar fashion to step 5 above, turn OFF the

[MODULATION WHEEL-AMPLITUDE] and turn
ON the [MODULATION WHEEL- EG BIAS]. The
EG bias does not utilize LFO modulation, but instead
it varies the amplitude of any envelopes whose Modu-
lation Sensitivity is programmed to a value greater

than zero. As a result, you can use the MODULATION

Wheel (or any modulation controller such as the