Yamaha Vintage DX7 Special Edition ROM Operation Manual Download

Page: 50 / 72

In this case, we do not want these two segments of

the voice (OP1-OP2 and OP3-OP6) to combine; we

want a "split" keyboard instead. (With another voice,
you might want the two voice segments to play to-

gether, complementing one another.) Since we don't

want the piano mixed with the clarinet, let's use the

keyboard level scaling feature to "roll off" the piano

(OP3-OP6).

10. If necesary press [OPERATOR SELECT] to set

operator 3 as current. Then press [BREAK POINT]

and use [DATA ENTRY] to set the break point as
shown below. Next press [OPERATOR SELECT] to

set operator 4 as current, and set its break point as
indicated in the chart. Operators 5 and 6 will not

need any level scaling because their effects will be
adequately contoured by operator 4 (through which
bath must travel).

OPERATOR

3
4

5
6

BREAKPOINT

A2
C3

(Doesn't matter)
(Doesn't matter)

11. Now that the break points are set, you'll need to

establish the curves for each of these operators.

Press [CURVE] and use [DATA ENTRY] to set oper-
ator 4 to a negative linear curve on the right side of

the break point. Remember you may have to press

[CURVE] once or twice to see the "R CURVE = ?"
display

12. Set operator 3 as the current operator, and then use

[DATA ENTRY] to set it to a -LIN Right curve.

13. Now set the depth of the right curves for operator 3

by pressing [DEPTH] once, to see the "R DEPTH =

?" display and adjusting [DATA ENTRY] to a value

of 99 (maximum roll off). Press [OPERATOR SE-

LECT] to set operator 4 as current, and set its depth

to 99 also.

You can now play the keyboard and observe how

the sound changes from the piano-like voice on the
bottom to the clarinet-like voice at the top. It's all one
voice, but the component "stacks" of carriers and
modulators are uniquely programmed and scaled to

produce two distinct sounds.

14. To obtain a slightly altered harmonic structure, you

may want to shift the pitch just a little bit for opera-
tor 4, the primary modulator in the piano portion of

the voice. You can do this by pressing [DETUNE]

and adjusting [DATA ENTRY] to suit your taste

while playing the piano-like sound on the lower

portion of the keyboard. We recommend starting

with a Detune value of + 3 for OP4.

15. The entire keyboard can be transposed if you like.

Press the [KEY TRANSPOSE] button and then

press the key which you want middle C to become.
Now play and see what happens. If you want to

transpose again, press [KEY TRANSPOSE] again

and press the new "middle C" key This transposes
both portions of the voice.
Suppose, however, that you just want to transpose

the piano portion of the voice. To do this, you do not

use the transpose feature. Instead, you change the
frequency ratios of the operators in that part of the
voice (operators 3, 4, 5 & 6).

16. Press [OPERATOR SELECT] as many times as

needed to set operator 3 as current. Then press
[OSCILLATOR FREQUENCY COARSE] and

you'll see the ratio is now set at 2.00. To transpose

an octave, double this ratio to 4.00. At this point, the
voice will seem to "change" because the modulator

frequencies have not yet been transposed, so the
modulation will, in fact, be producing a different

effect.

17. To "correct" and completely transpose the piano-like

sound, double the frequency ratio of each of opera-
tors 4, 5 and 6 by pressing [OPERATOR SELECT]

and adjusting [DATA ENTRY]. Operator 4 increases
from 2.00 to 4.00, operator 5 from 12.00 to 24.00,
and operator 6 from 4.00 to 8.00. Now play across

the keyboard and listen to what has happened... two

lead voices!

Programming velocity sensitivity

The output level of each operator can be programmed

to increase based on how rapidly a key is pressed down.
This is accomplished with the [KEY VELOCITY SEN-
SITIVITY] button. Since the maximum output level of
any operator is always 99, if an operator is already set to

99, it might seem that no further output can be achieved
using the velocity sensitivity. To get around this problem,
the DX7 is designed so that the nominal operator output
level decreases as you program the operator for more

key velocity sensitivity If an operator is programmed for
maximum key velocity sensitivity (7), and you play a
note very slowly, that operator will have a very low

output level; play the same note quickly, and the output

level will increase substantially

To illustrate this feature, lets program the piano-like

portion of the voice to get louder and more brilliant

when you press the keys faster. We'll do something

similar with the clarinet-like portion of the voice. (We'd

say "play harder," which is what we mean, but we don't

want to confuse this parameter with the After Touch
modulation that depends on the pressure you apply alter

the key "bottoms out.")

1. Press [KEY VELOCITY SENSITIVITY] and then

press [OPERATOR SELECT] as required to set oper-
ator 1 as the current operator.

and use (DATA ENTRY] to set OP1 like this