* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

ADVARSEL!

LithiumbatteriEksplosionsfare ved fejlagtig hndtering. Udskiftning m kun ske med batteri af samme fabrikat og type. Levr det brugte batteri tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Anvnd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvnt batteri enligt fabrikantens instruktion.

VAROITUS

Paristo voi rjht, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.

(lithium caution)

NEDERLAND / THE NETHERLANDS
Dit apparaat bevat een lithium batterij voor geheugen back-up. This apparatus contains a lithium battery for memory back-up. Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 Gooi de batterij niet weg, maar lever hem in als KCA. Do not throw away the battery. Instead, hand it in as small chemical waste.

(lithium disposal)

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, re 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 immediately and have it inspected by qualied 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 qualied Yamaha service personnel. Use the specied adaptor (PA-3B 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.

Appendix

Function Index..110 About the Included CD-ROM.112 Specifications..114 Error Messages..114 Troubleshooting..115 FM Tone Generation..116 MIDI Data Format..124 MIDI Implementation Chart..144 Rhythm Track Instrument List.145 Pattern List...146

Chapter 16

Speed Tips for Power Users. 90
Tip 69 Tip 70 Tip 71 Using [SHIFT] with the [DATA] knob for leaps and bounds!.. 90 Using [SHIFT] to hold a setting.. 91 Gang-editing a group of Steps. 91

Chapter 17

Real World Tips..92
Tip 72 Tip 73 Tip 74 Tip 75 Tip 76 Tip 77 Tip 78 Tip 79 Adjusting the Gate Time with the [DATA] knob... 92 Adjusting the pitch with the [DATA] knob. 92 Changing the pitch with the keyboard. 93 Stutter fill-in 1... 94 Stutter fill-in 2... 94 Stutter fill-in 3... 95 Assigning Patterns for your gig. 95 Chord progressions with Pattern Assign. 95

Chapter 18

Master Class 1 Onstage.96
Tip 80 Tip 81 Tip 82 Tip 83 Tip 84 Tip 85 Tip 86 Sync the DX200 to your sequencer. 96 Changing the MIDI channels.. 97 Loopfactory setup with the SU200. 98 Loopfactory sync system with the AN200. 99 Loopfactory sampling.. 100 Full DJ system turntable and all!.. 101 Loopfactory megasetup with MIDI Thru. 101

How to Use This Manual

How to USE a manual? Sounds a bit obvious, we admit. (Open it and read it.) But here goes:
Go straight to the Quick Start Guide.
This tells you simply and in no uncertain terms how to set up your new DX200 and get sound out of it.
Work through the 93 Tips.
These are practical, no-nonsense applications that get you actually USING the machine. If this is your rst tone generator or synthesizer, re up the DX200, open up the manual to Tip 1, and go from there. Think of it as a game the more tips you complete, the better you know the machine, and the sooner you can reach your goal of becoming a true synth wizard. Pay particularly close attention to the Power Hints scattered throughout theyre great for further exploration. If you have years of experience with synthesizers and know all about cutoff frequency, resonance, algorithms, modulators, LFOs, EGs, and MIDI and you even dream in hexadecimal skim through the tips anyway. Theres bound to be some interesting and helpful stuff here, no matter what your level of expertise. If you need some pertinent info quickly, check the Tech Talk boxes.
Refer to the Appendix when necessary.
Lots of helpful, convenient information in this section, too. If something doesnt work as expected, go to Troubleshooting (page 115). If you want a clear, concise explanation of how the synthesizer of the DX200 works, see FM Tone Generation (page 116). If youre not sure where to go for help but youve got a key word in mind, check the Contents (page 6) or look through the Function Index (page 110).

1 While youre editing the Voice of a Pattern, press the [SHOW VALUE] button.
2 Simply turn the knob of the parameter whose value youd like to see.
For example, to see the Portamento Time value thats been set for the Voice, turn the [PORTAMENTO] knob.
Display ashes and indicates the currently set value for the parameter (in this case, Portamento).
Naturally, Show Value can be used with all Voice-related buttons as well. For example, to see the current setting of the NOISE OSC TYPE, press the NOISE OSC [TYPE] button.
LED next to button ashes to indicate current setting.
For buttons that have multiple parameters (such as LFO [DETAIL] or FREE EG [MODE]), press the button repeatedly to call up the desired parameter.

Chapter 7 Nuts and Bolts

3 Press the [EXIT] button to return to normal operation.
All of the indicated controls can be used with the Show Value function. (Original Value, too. See Tip 22 below.)
Allows you to check the current value or setting of a Voice-related parameter, without changing the value or setting. Press the [SHOW VALUE] button, then turn the appropriate knob or press the appropriate button. The current value/setting is displayed. While Show Value is active, the Voice cannot be played and the Pattern controls cannot be used. Press the [EXIT] button to return to normal operation.
Trade Secrets Use Show Value to pick the brains of our programmers. Do you have a favorite Voice and would like to nd out its settings? Just call up Show Value and take a peek behind the curtain.

Original Value

If you tweak and turn the knobs on a Voice for any length of time, youre going to come up with a Voice thats VERY different from the one you started out with. And at some point in the editing process, you might wish you could take a peek at the original settings without erasing your new ones, of course just to see how far youve strayed. This is where the Original Value function can help. Similar to Show Value (in Tip 21 above), Original Value lets you view any of the originally programmed Voice-related settings simply by turning a knob or pressing a button.
1 While youre editing the Voice of a Pattern, hold down [SHIFT] and press the [ORIGINAL VALUE] button.
2 Turn the knob or press the button of the parameter whose value or setting youd like to see.
For example, to see the original Cutoff value thats been set for the Voice, turn the [CUTOFF] knob.
Display ashes and indicates the originally set value for the parameter (in this case, Cutoff).
Original Value can be used with all the same knobs and buttons as Show Value. For details, see Tip 21 above.
q Whats the difference between Original Value and Show Value? Show Value Lets you view the CURRENT settings of the Voice. Original Value Lets you view the ORIGINAL PRESET PROGRAMMED settings of the Voice. If you havent done any editing to a Voice, both of these will display the same values those of the currently selected Pattern.

Determines the Portamento time, or how long it takes to glide the pitch from one note to the next. Higher values result in a longer pitch glide time. Range 0 99
Chapter 11 Advanced Sound Shaping Controls

Selecting the Algorithm

Algorithm is one of the fundamental controls behind the FM Synthesis sound of the DX200. It determines how the basic sound-generating elements (operators) of the synthesizer are organized and combined. Without getting into too deep of a discussion of FM Synthesis (you can read more about that on page 116), selecting an Algorithm changes how the six operators are congured. Depending on the conguration, you can get a very pure, soft sound, or some extremely harsh metallic noise and just about everything in between.
1 Select and start one of the Patterns. 2 Press the ALGORITHM [TYPE] button. 3 Change the Algorithm Type.
Use the [DATA] knob to select different Algorithms. A total of 32 are available. You can also use the [TYPE] button to step through the Algorithms one-by-one.

Algorithm Type

Depending on the selected Algorithm, the Voice may sound mufed or go absolutely silent. If this happens, simply select a different Algorithm. Determines the combination of the six FM operators, and whether a particular operator is used as sound-generating carrier or as a sound-shaping modulator. (For more about Algorithms and FM Synthesis, see page 116.) To change the press the ALGORITHM [TYPE] button and use the [DATA] knob. Pressing [TYPE] repeatedly advances through the Algorithms. Range 1 32
Work with Modulator and the others The true power in the Algorithm control is how it affects and is affected by the other FM controls Modulator, Harmonic, FM Depth and Decay. All of these are interdependent, so tweak them together and listen carefully to hear how they interact. Better yet, explore Tips 42, 43 and 44 to nd out more about changing the FM sound.

Shifting Harmonics

Now that youve tried out a few different Algorithms (in Tip 41 above), tweak the FM sound some more with the Modulator controls. These give you enormous control over the sound of the DX200 Voices letting you add a rich spectrum of harmonics to the sound, and/or radically change the basic pitch.
1 Select a Pattern and enable the keyboard for playing the Voice. 2 Press the MODULATOR [SELECT] button to select one of the Modulator settings: 3, 2, 1, or ALL. 3 Now, tweak the [HARMONIC] knob.
Hear how the sound changes? Notice the change in pitch and the added harmonics you get when you twist the knob. If the sound doesnt seem to change much, try a different Modulator setting (in Step 2 above). Also try selecting a different Algorithm Type (Tip 41), and see what wild sounds you can generate with just these controls. Modulator Select

Hear the roll? And did you notice how the Rhythm tracks keep chugging along, while the Synth track spins its wheels? Try this function at various points in the Pattern the top, the end, the middle and listen to what happens. Just keep holding down [SHIFT], and press/hold the Start/Stop button at different points in playback. Keep in mind, Retrigger & Roll differs from Top in three important ways: 1) It only affects the Synth track. 2) It grabs and hits only a few notes depending where in the Pattern you press the button. 3) It automatically repeats the hits for you while you hold the button down. Youll nd that Retrigger & Roll is a slick way to break the rhythm up a bit, without losing the ow. Its also great for throwing hip, what-was-THAT? glitches and stutters into your tracks. Retrigger & Roll has three different settings. To change the setting: 1) Keep the Roll going (simultaneously hold down [SHIFT] and Start/Stop button). 2) Grab the DATA knob. Make sure you keep holding [SHIFT] and Start/ Stop and turn the knob to change the setting.

Retrigger & Roll

During Pattern playback, this stops the Synth track at the point of execution and loops one, two, or four notes (depending on the Roll type below). The Rhythm tracks are not affected. While a Pattern is playing, simultaneously hold [SHIFT] and press/hold the Start/Stop button. Roll Types Determines how many notes are used for Retrigger & Roll one, two, or four. The more notes used, the slower the roll effect. While the Pattern is playing and while holding down both [SHIFT] and the Start/Stop button, use the DATA knob to change the setting. Settings Lo (Lo) One note or step (corresponds to 16th notes). mid (Mid) Two notes (corresponds to two 16th notes, or half of a beat). However, when Beat (page 18) is set to 12, this becomes three notes. Hi (Hi) Four notes (corresponds to a full beat in a measure).
While the Pattern is cycling, hear how the different settings affect the sound. And try changing the settings in time with the Pattern as well. There are a lot of cool rhythmic tricks you can create just by hitting different settings on the beat.
Roll Types (in Utility) The default Roll setting can also be changed from the Utility parameters. Hold down [SHIFT] and press button [16], repeatedly if necessary, until roLL appears in the display. Use the [DATA] knob to change the setting. (Settings are same as above.)

Fine tempo changes The BPM value has an extremely ne resolution of 1/10 beats per minute for precise control over the tempo. Use this to set up very gradual speed changes. Speed up, slow down If your Song ts the conventional verse/chorus structure, you might want to play around with changing the BPM at the beginning of each section. For example, some artists make their choruses slightly faster than the verses, to generate more excitement each time the chorus comes. Other songs might benet from the completely opposite approach slowing down the chorus to make it sound more dramatic. Whichever approach you take, make sure to keep the changes consistent from section to section, and keep them small you want your listeners to FEEL the changes, not consciously HEAR them.

Song Edit BPM (Tempo)

Determines the speed of Pattern playback (in beats per minute, or bpm), for the selected measure. First, select the measure by holding down [SHIFT] and using the [OCT <<]/ [OCT >>] buttons. Then, hold down [SHIFT] and press [BPM] ([TAP]), and use the DATA knob to set the value. Range 20.0 300.0 bpm A setting of ---- maintains the previous measures value (no change).
More Song editing features
In Tips 63 and 64 above, you learned how to enter Pattern numbers and BPM values to the measures of your Song. But thats not all you can do. In this Tip, well show you how to use the rest of the powerful Song editing features in your tunes. By the way, well keep these instructions to the bare-bones minimum. Read about these cool tools, then try using them in your own Songs and see what you come up with. Remember, the basic method is the same for all: 1) Enter the Song Edit mode. (In the Song mode, hold down [SHIFT] and press the [SONG] button.) 2) Select the desired measure. (Hold down [SHIFT] and use the [OCT <<]/[OCT >>] buttons.) 3) Play back the Pattern. (Press the Start/Stop button.) 4) Select the event type you want to edit. (See instructions for each event below.) 5) Set the value. (Use the DATA knob. In the case of Track Mute below, follow the relevant instructions.) Naturally, repeat Steps 2 - 5 as often as needed. Press [EXIT] when youre done editing. And dont forget to store your new creation. (See page 89.) Pattern (Described in Tip 63 above.)
To select: Press the [PATTERN SELECT] button.
Pitch Offset Just as with the similar Pattern control (Transpose; on page 36), this lets you change the playback pitch. By making different settings throughout various measures in the Song, you can program your own chord progressions, and have the Patterns change key.
To select: Hold down [SHIFT] and press the [KEYBOARD] button. Both the [KEYBOARD] button and the PITCH lamp ash, indicating Pitch Offset is selected.

To select: Press the [REVERSE] button. The [REVERSE] button lights, indicating Reverse is selected.
Track Mute Add some texture to your Song with this function. By recording Track Mute events you can have tracks drop in and out of your arrangements, for exciting dynamic changes.
To select and edit: Hold down [SHIFT] and press either the [SYNTH TRACK] or [RHYTHM TRACK] button. Then, press the appropriate Step button: [1] for the Synth track, and [2], [3], and [4] for the Rhythm tracks. The status for each track is shown in the display.
Indicates Synth track is on.
Indicates Rhythm track 1 is muted.
Range Reverse Press [REVERSE]. Settings Forward (For) Reverse (bAC))
Easier way Keep in mind there is an alternate way to select the various event types. You may nd it easier to remember AND easier to use! Simply hold down [SHIFT] and press [SONG] repeatedly. This toggles through all of the event settings in order: Pattern Select, Pitch Offset, BPM (Tempo), Beat, Swing, Gate Time, Reverse, and Track Mute.
Track Mute Hold [SHIFT] and press the [SYNTH TRACK] button or the [RHYTHM TRACK] button. Then, press [1], [2], [3], or [4] (for Synth track and Rhythm tracks 1 - 3). The mute on/ off status for each track is shown in the display.
Adding Patterns to your Song Insert Pattern
Naturally, you can add Patterns to your existing Songs by using the Insert Pattern function. This puts a new Pattern in the Song at the measure you specify. It doesnt matter whether youre in the Song mode or the Song Edit mode you can insert a Pattern from either.
1 First, select the measure you want to insert the Pattern to, by holding [SHIFT] and using the [OCT <<]/[OCT >>] buttons. 2 Call up the Insert Pattern function.
Hold down [SHIFT] and press [10] (INS/DEL PTN). You may have to press the button more than once to call up the inS (Insert Pattern) display.
3 Next, select the Pattern you want to add to your Song. Use the DATA knob. 4 Insert the selected Pattern.
The [10] button should be ashing. Press it once again (the button stops ashing and stays lit). At the Yn (Yes or no?) prompt, press it a third time to actually insert the Pattern to the selected measure, or press [EXIT] to cancel. Take a look at the illustration below and see what happens when you insert a Pattern.

Well, almost.

Editing the DX200 from a computer
If youve worked through most or all of the Tips in this book, you can rightfully consider yourself a master programmer and expert user of the DX200.
Actually, we hate to break it to you but youve only scratched the surface of the enormous sound-shaping potential of the DX200. This instrument is deep much, much deeper than just whats available on the front panel. However, you can have all that editing power and depth right at your ngertips with the DX200 Editor. The DX200 Editor is special software that works on your Macintosh or PC-compatible computer. It allows you to directly edit all of the DX200 Voice settings and parameters right from your computer. Its also extraordinarily intuitive, with a virtual front panel that gives you at-a-glance, full control over your DX200.
MIDI IN MIDI OUT MIDI OUT MIDI IN

Computer

MIDI interface

DX200 Editor

All the necessary software is contained in the included CD-ROM. For more information on installing the software to your particular computer, refer to page 112.
MIDI sequencer controls Start, Continue, Stop
This function gives you detailed control over how the DX200 handles MIDI sequencer control messages Start, Continue, and Stop. The major use for this minor function is to keep the DX200 from starting its own Patterns (or from starting a connected sequencer). This comes in handy when using the DX200 strictly as a tone generator in a larger MIDI system. For example, if you are using the song data on a sequencer to play the DX200s Voices, you wouldnt want the Patterns to play when you clicked PLAY. Similarly, there may be times when you want to play a Pattern on the DX200, yet want to avoid starting the sequencer at the same time. MIDI Control
Determines whether or not the DX200 receives and/or sends sequencer control (System Real Time) messages. The Start message (FA hexadecimal) tells a MIDI device to go to the beginning of its song and start playing. Continue (FB hexadecimal) is similar to Start, except that the device will play from the current location not necessarily the beginning. The Stop message (FC hexadecimal) tells the device to stop playing the song. Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if necessary, until m.CtL appears in the display, then use the [DATA] knob to make the desired setting. Settings on Messages both sent and received; full control both directions. out Messages sent, but not received; DX200 starts and stops connected device, but cannot be remotely controlled. in Messages received, but not sent; DX200 can be remotely controlled, but will not affect connected device. oFF Messages neither sent nor received; no control either direction.
1 With the DX200 properly connected in a MIDI system, call up the MIDI Control setting on the DX200.
Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if necessary, until m.CtL appears in the display.

2 Use the [DATA] knob to make the desired setting: On, Out, In, or Off.
See Tech Talk below for details on the settings.
Saving Patterns and Songs to a MIDI data ler
Another fantastic thing about MIDI is all the data storage options it gives you. With the use of a MIDI data ler (such as the Yamaha MDF3) or MIDI sequencing software (such as the included XGworks lite), you can save all your valuable Song and User Pattern data for future recall any time you need it. Plus, you can amass a whole librarys worth of Songs and Patterns on just a few oppy disks. The technological magic that makes this possible goes by the mundane name of Bulk Send. In this Tip, youll learn how to use Bulk Send to save your precious data. Then in Tip 93 below, youll learn how to load it all back to the DX200.
1 Set up the DX200 and the recording device.
DX200 Send and save your Song/Pattern data to the connected device. Yamaha MDF3, or computer with MIDI interface
Setting up the other device for recording data may involve some additional steps; refer to the relevant owners manual for details.
2 Call up the Bulk Send setting on the DX200.
Hold down [SHIFT] and press button [15] (MIDI BULK). Bulk Send
3 Select the type of data to be saved Pattern, Song, or All.
Continue to hold [SHIFT] and press button [15] repeatedly to select the desired type. To save all three data types, select ALL.
Allows you to save Pattern and/or Song data of the DX200 to a MIDI data ler or sequencer. Set up the DX200 and the recording device. Hold [SHIFT] and press button [15] (MIDI BULK), repeatedly if necessary, to select the desired data type. Start recording on the other device, then press [15] twice to send the data. Settings Pttn (Pattern) Sends only User Pattern data (up to 128 Patterns) via MIDI OUT. SonG (Song) Sends only Song data (up to 10 Songs) via MIDI OUT. ALL (All) Sends all three types of data above (Pattern, Song, System) via MIDI OUT.
4 Go back to the connected device and start recording.
This operation too may differ depending on your particular device. On most sequencing software (such as XGworks lite), this can be as simple as clicking the Record button.
5 Execute the Bulk Send operation.
Press the ashing [15] button once to enable Bulk Send, then once more to actually start the operation. (To cancel, press [EXIT].)

Chart of Algorithms

Modulator groups

Modulator Select = 1

Algorithm o o o o o o o o o Operator No. o o 5 6

Modulator Select = 2

Algorithm Operator No. 5 o o 6

Modulator Select = 3

Algorithm Operator No. o o o o o o o o o
o o o o o o o o o o o o o o

o o o o o o o o o

o o o o o o o

o o o o

o o o o o o o o o o o o o o o o o
o : controlled operator (When the Modulator Select (Tip 42) is set to ALL, all operators of 1 to 3 are controlled.)

MIDI Data Format

1. Channel messages
1.1 Note on/note off These messages convey keyboard performance data. Range of note numbers transmitted and received = C-2.G8 Velocity range = 1.127 (Velocity is received only for note-on) 1.2 Control changes These messages convey control operation information for volume or pan etc. Their functions are differentiated by the control number (Ctrl#). 1.2.1 Bank Select This message selects the voice bank. Control# Parameter Data Range 0 Bank Select MSB 0.Bank Select LSB 0.127 The Bank Select data will be processed only after a Program Change is received, and then voice bank will change at that time. If you wish to change the voice bank as well as the voice, you must transmit Bank Select and Program Change messages as a set, in the following order: Bank Select MSB, LSB, and Program Change. 1.2.2 Modulation This message controls the depth of modulation. Control# 1 Parameter Modulation Data Range 0.127 Since this is a relative change parameter in Rhythm track, it species an increase or decrease relative to 64. Increasing this value will lengthen the release time that follows a note-off. 1.2.12 Attack Time This message adjusts the EG attack time that was specied by the sound data. Control# 73 Parameter Attack Time Data Range 0.127 0.64.127 (-64.0.+63) Synth Track only Rhythm Track only
Since this is a relative change parameter in Rhythm track, it species an increase or decrease relative to 64. Increasing this value will make the attack more gradual, and decreasing this value will make the attack sharper. 1.2.13 Brightness This message adjusts the cutoff frequency of the low pass lter specied by the sound data. Control# 74 Parameter Brightness Data Range 0.127 0.64.127 (-64.0.+63) Synth Track only Rhythm Track only

4. System Common Messages
4.1 Song Position Pointer 11110010 0vvvvvvv 0vvvvvvv F2H SONG POSITION LSB SONG POSITION MSB
<1-1> Parameter Base Address MODEL ID = 62 Parameter System Current Voice (H) : : : : : 31 : 3F 40 : 41 : 50 : Address (M) : 7F 00 : 7F 20 : 00 : : 7F 00 : 7F 00 : 7F Description (L) : : : 00 : : : : 00 System2 Current Voice Common 1 Current Voice Common 2 Current Voice FreeEG Current Voice Scene 1 Current Voice Scene 2 Current Voice Step Seq Pattern User Pattern Voice ( Common1 ) 1 : User Pattern Voice ( Common1 ) 128 User Pattern Voice ( Common2 ) 1 : User Pattern Voice ( Common2 ) 128 User Pattern Voice ( FreeEG ) 1 User Pattern Voice ( FreeEG ) 2 User Pattern Voice ( FreeEG ) 3 : User Pattern Voice ( FreeEG ) 9 : User Pattern Voice ( FreeEG ) 128 User Pattern Voice Scene-: User Pattern Voice Scene-User Pattern Voice Scene-: User Pattern Voice Scene-User Pattern Voice Step Seq 1 : User Pattern Voice Step Seq 128

User Voice ( Common1 )

User Voice ( Common2 )

User Voice ( FreeEG )

User Voice ( Scene-1 )

User Voice ( Scene-2 )

User Voice ( Step Seq )
(*1) The order of transmitting Current Voice Bulk Current Voice Scene 1 Current Voice Scene 2 Current Voice Common 2 Current Voice Common 1 The others can be transmitted in free order.
<1-2> MIDI Parameter Change table ( SYSTEM2 ) Address Size Data (H) (H) (H) 00 - 1 0A 1 0B 1 0C 1 0D 1 0E - 03 0F 1 TOTAL SIZE 09
Parameter NOT USED VELOCITY CURVE NOT USED NOT USED NOT USED NOT USED NOT USED 32 BULK RECEIVE BLOCK NOT USED

Description

DX,normal,Soft1,Soft2,Easy,Wide,Hard,
1-32, 33-64, 65-96, 97-127
Default (H) -01 -----00 --
<1-3> MIDI Parameter Change table ( Current Voice Common 1 ) Address Size Data Parameter High Mid Low (H) (H) (H) 00 - 01 Distortion : Off/On 00 - 64 Distortion : Drive 00 - 03 Distortion : AMP Type 22 - 3C Distortion : LPF Cutoff 00 - 64 Distortion : Out Level 01 - 7F Distortion : Dry/Wet 04 - 28 2-Band EQ Low Freq 34 - 4C 2-Band EQ Low Gain 0E - 36 2-Band EQ Mid Freq 34 - 4C 2-Band EQ Mid Gain 0A 1 0A - 78 2-Band EQ Mid Resonance(Q) 0B 1 reserve 0C - 7F Filter Cutoff 0D - 74 Filter Resonance(Q) 0E - 05 Filter Type 0F - 7F Filter Cutoff Scaling Depth 00 - 63 Filter Cutoff Modulation Depth 34 - 4C Filter Input Gain 00 - 7F FEG Attack 00 - 7F FEG Decay 00 - 7F FEG Sustain 00 - 7F FEG Release 00 - 7F FEG Depth 00 - 7F FEG Depth Velocity Sense reserve 00 - 0F Noise OSC Type 1A - 7F Mixer Voice Level 1B - 7F Mixer Noise Level 1C - 7F Modulator 1 Harmonic 1D - 7F Modulator 2 Harmonic 1E - 7F Modulator 3 Harmonic 1F - 7F Modulator 1 FM Depth 00 - 7F Modulator 2 FM Depth 00 - 7F Modulator 3 FM Depth 00 - 7F Modulator 1 EG Decay 00 - 7F Modulator 2 EG Decay 00 - 7F Modulator 3 EG Decay 00 - 7F AEG Attack 00 - 7F AEG Decay 00 - 7F AEG Sutain 00 - 7F AEG Release Total Size 29

Preset Bank 2 (Bank MSB=63, LSB=1, Pgm#65-128)
No. P193 P194 P195 P196 P197 P198 P199 P200 P201 P202 P203 P204 P205 P206 P207 P208 P209 P210 P211 P212 P213 P214 P215 P216 P217 P218 P219 P220 P221 P222 P223 P224 P225 P226 P227 P228 P229 P230 P231 P232 P233 P234 P235 P236 P237 P238 P239 P240 P241 P242 P243 P244 P245 P246 P247 P248 P249 P250 P251 P252 P253 P254 P255 P256 Pgm# Pattern Name Driver Big Punch Big Step BreakDance Port Fuzz Syn Pick Body Ge Ge Ge Hip Pick Retro Jam Funk Hop Basic Bass Tomic Bass Data Bass Claviphunk Hexadron Bunglemon Stabber Tribe Vibe New York Puffy Wind Clouds Sqotesue Reex Ambernecta Devastated Reborn Aquarium Breathing WorkGarage Frettin Artoo Cowbelly Electro FX FX Track Guillemot Ruler Impetus Fritenite Octans Bossa New Delhi Vela Tock Jixtuken Blue Reection Turmoil ZOOM Diazepam Dubby Effect Boom FX Bass Face Darker T Mach Man Flicker Flash Back Reticulum Sagitta Perseus Auriga Libra Grus ambient breaks 2 Group BPM 88 39
User Bank (Bank MSB=63, LSB=2, Pgm#1-64)
No. U001 U002 U003 U004 U005 U006 U007 U008 U009 U010 U011 U012 U013 U014 U015 U016 U017 U018 U019 U020 U021 U022 U023 U024 U025 U026 U027 U028 U029 U030 U031 U032 U033 U034 U035 U036 U037 U038 U039 U040 U041 U042 U043 U044 U045 U046 U047 U048 U049 U050 U051 U052 U053 U054 U055 U056 U057 U058 U059 U060 U061 U062 U063 U064 Pre.# Pattern Name Psy Trance HouseParty Bombay Claviphunk Dyammaka Comp Pluck Bossa Call Tomic Bass SolidHouse Percussive Spacecraft Tock Elec Pulse Dino Bang Tech Spacy Keys Ethnectric Scratches Driver Bass Face Elec Rezz Two Three Wicked Syn Pick Nosebleed Building Delhi Jam Warning Puppet Aquarium Grus Floaty Life Line Psy Seq Clouds Pingpong Barbarossa Lyla Angel City Calcutta DJ DX Frettin Mach Man KlingKlang Tokyo Software Apus Tech Mini Sand Hexadron Blue Dredzs Nickel WorkGarage Plastix Dada Fly Energie Rufe New Delhi Freaky U boat Ambernecta Flash Back Group trance house techno breaks 2 breaks 1 trance drum'n bass breaks 2 house techno breaks 2 ambient techno trance breaks 2 hiphop techno house breaks 2 ambient techno trance drum'n bass breaks 2 techno house breaks 2 hiphop breaks 1 trance breaks 2 ambient techno house trance breaks 2 techno breaks 1 drum'n bass hiphop house trance breaks 2 ambient techno trance breaks 2 triphop breaks 1 house breaks 2 ambient techno trance breaks 2 house breaks 2 techno drum'n bass breaks 2 breaks 1 trance breaks 2 ambient BPM 130 20

User Bank (Bank MSB=63, LSB=2, Pgm#65-128)
No. U065 U066 U067 U068 U069 U070 U071 U072 U073 U074 U075 U076 U077 U078 U079 U080 U081 U082 U083 U084 U085 U086 U087 U088 U089 U090 U091 U092 U093 U094 U095 U096 U097 U098 U099 U100 U101 U102 U103 U104 U105 U106 U107 U108 U109 U110 U111 U112 U113 U114 U115 U116 U117 U118 U119 U120 U121 U122 U123 U124 U125 U126 U127 U128 Pre.# Pattern Name Big Up Runaway Bossa Minstrels Sink DX Scratch Feel Noise Hyp Fuzz Deep Beat Straight Ruler Mini Pit Swimming Precinct Basic Bass Modem Beat Koo-KAI Aquafer New York Acid Pulse Q-Baz Fuzzy Sun Infrared Deep Grey FJA Hazard Still DX Impetus Double One Screak Retro Jam Vela Hypnotic DCS Sqotesue Melody Man Wreath Electrics Over DNB FlyingRoad Full House Stepping Dawning Devastated Clokker Wire SP Breathing Liger Body Minimal At Dasboot Reex Subculture Buh! Groover Octans Oaz Scream Jixtuken Artoo Diazepam Sagitta Boom FX Reection Group techno trance breaks 2 triphop techno breaks 1 drum'n bass breaks 2 house trance breaks 2 trance techno trance breaks 2 triphop breaks 1 house breaks 2 techno breaks 1 trance drum'n bass breaks 2 house hiphop techno breaks 2 breaks 1 trance breaks 2 ambient techno trance breaks 2 triphop techno breaks 1 drum'n bass breaks 2 house breaks 2 trance breaks 2 techno trance breaks 2 triphop breaks 2 house breaks 1 breaks 2 techno trance drum'n bass breaks 2 techno house ambient breaks 2 ambient ambient ambient ambient BPM 105 95
Song 1 : Demo 1 ( techno ) Song 4 : Demo 4 ( house ) Song 2 : Demo 2 ( drum'n bass ) Song 5 : Demo 5 ( techno ) Song 3 : Demo 3 ( triphop ) Song 6 : Demo 6 ( trance )
DX200:U123,U124 & SU200:BANK A (Trip Hop Demo) DX200:U125,U126 & SU200:BANK B (Trance Demo) DX200:U127,U128 & SU200:BANK C (Break Beats Demo)
DX200:U123,U124 & AN200:U123,U124 (Trip Hop Demo) DX200:U125,U126 & AN200:U125,U126 (Trance Demo) DX200:U127,U128 & AN200:U127,U128 (Break Beats Demo)
SOFTWARE LICENSING AGREEMENT
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1. GRANT OF LICENSE AND COPYRIGHT
Yamaha grants you, the original purchaser, the right to use one copy of the enclosed software program and data (SOFTWARE) on a single-user computer system. You may not use it on more than one computer or computer terminal. The SOFTWARE is owned by Yamaha and is protected by Japanese copyright laws and all applicable international treaty provisions. You are entitled to claim ownership of the media in which the SOFTWARE is included. Therefore, you must treat the SOFTWARE like any other copyrighted materials.

The buttons give you a full octave, from C to C. Keep in mind that buttons 1, 4, and 8 dont make any sound here theyre not part of the scale.

Db (C#) Eb (D#) Gb (F#)

Ab (G#)

Bb (A#)

Changing octaves
Naturally, one octave doesnt cover a whole lot of ground. Thats why weve included convenient Octave buttons, so you can shift the octave range of the keyboard up or down as needed quickly and easily.
1 While the [KEYBOARD] button is lit, press [OCT >>].

Octave

Determines the octave range of the built-in keyboard. Press [OCT <<] or [OCT >>] to change. ([DATA] knob can also be used after pressing one of these buttons.) Press both buttons simultaneously to restore normal range. Some notes may not sound for the maximum values.
The display shows C 4, indicating the octave. (C 3 is normal.) Play the keyboard and listen to the sound. Try some other octave settings, pressing [OCT <<] and [OCT >>] as desired to shift the octave.

Range C-2 C3 (normal) C8

Chapter 3 The Keyboard

Playing the Rhythm track

The DX200 also has a special Rhythm track (actually there are three) that let you play and record drum, percussion, bass and other sounds giving you the power to easily create your own ultra-hip beats. Naturally, you can play all these sounds straight from the built-in keyboard.
1 With the [KEYBOARD] button lit, press [RHYTHM TRACK].
Press the button repeatedly to switch among the three Rhythm tracks: 1, 2, and 3.

2 Play the keyboard.

Remember you can use the [OCT <<]/[OCT >>] buttons to change the range, and call up a whole different set of sounds. For more details on how to use the Rhythm tracks, see page 145.

Velocity

All the keys of the built-in keyboard play at a xed volume no matter how hard or how soft you play them. However, you can set this xed volume yourself, and make the sound as soft or as loud as you need it. This Velocity setting also controls how loud the sounds are, when you record your own Patterns in Real-time recording (page 70).
1 Hold down [SHIFT] and press button [16], repeatedly if necessary, until <EL appears in the display.
Determines the default Velocity setting for the built-in keyboard of the DX200. This affects the loudness of the Synth and Rhythm track sounds, when played from the keyboard. It also affects the loudness of Real-time recorded tracks, when the built-in keyboard is used to record notes. Velocity is set in the Utility parameters. Hold down [SHIFT] and press button [16], repeatedly if necessary, until <EL appears in the display. Use the [DATA] knob to change the value. Range 1 127

1 While youre editing the Voice of a Pattern, hold down [SHIFT] and press the [ORIGINAL VALUE] button.
2 Turn the knob or press the button of the parameter whose value or setting youd like to see.
For example, to see the original Cutoff value thats been set for the Voice, turn the [CUTOFF] knob.
Display ashes and indicates the originally set value for the parameter (in this case, Cutoff).
Original Value can be used with all the same knobs and buttons as Show Value. For details, see Tip 21 above.
q Whats the difference between Original Value and Show Value? Show Value Lets you view the CURRENT settings of the Voice. Original Value Lets you view the ORIGINAL PRESET PROGRAMMED settings of the Voice. If you havent done any editing to a Voice, both of these will display the same values those of the currently selected Pattern.
Closer to home While youre editing a Voice, you may nd yourself way off course somewhere in outer space! You can use Original Value to retrace some of your steps and come back closer to Earth. For example, call up Original Value and check one of the settings say, FEG DEPTH then press [EXIT] and adjust the [FEG DEPTH] knob to bring the value closer to the original. Keep doing this with other parameters as well, until you get the sound you want. Current and original values Want to easily see how far your edited values are from the original? Just switch between Show Value and Original Value. To alternate between the two functions, simply press the appropriate button(s): [SHOW VALUE] for Show, [SHIFT] and [ORIGINAL VALUE] for Original. No need to exit beforehand just toggle between the two, turning the knob each time you switch to check the settings.
Allows you to check the originally programmed value or setting of a Voice-related parameter, without changing the value or setting. Hold [SHIFT] and press the [ORIGINAL VALUE] button, then turn the appropriate knob or press the appropriate button. The original value/setting is displayed. While Original Value is active, the Voice cannot be played and the Pattern controls cannot be used. Press the [EXIT] button to return to normal operation.

1 Call up and start one of the Patterns. 2 Lets start by muting the Synth track. While holding down [SHIFT], press [1] on the keyboard.
Notice how buttons [1], [2], [3], and [4] light while you hold down [SHIFT] this means all four tracks are on. Button [1] corresponds to the Synth track; when you press this, the Synth track cuts out. To bring the Synth track back in, simply hold down [SHIFT] and press [1] again.

Track Mute

Allows selective muting of the four tracks: Synth and Rhythm 1 - 3. Two methods are available: Method 1 Holding down [SHIFT] and pressing number buttons [1], [2], [3], and [4]. Method 2 Holding down [SHIFT] and pressing [SYNTH TRACK] or [RHYTHM TRACK]. In Method 2, [RHYTHM TRACK] is an eightway toggle switch. Each button press (as you hold down [SHIFT]) steps through all Track Mute settings. For both methods, the LED next to the track number lights to indicate that the track is on.
3 Now, do the same with Rhythm tracks 1, 2, and 3 which are assigned to buttons [2], [3], and [4], respectively.
While the Pattern is playing, try muting and unmuting the tracks in time with the rhythm. The lighted buttons let you see at a glance which tracks are active a great help when doing this live.
Muting notes during playback
Heres a Tip thats useful both in live performance AND in creating Patterns. Its called Step Mute and it lets you modify an existing Pattern by taking out specic notes while the Pattern is playing. Step Mute is another great way to change the rhythmic feel and melodic content of a Pattern without permanently changing the original data. Lets try it out.
1 Select a Pattern and start it up. 2 Make sure the Synth track is on (press [SYNTH TRACK] if necessary), then press one of the keyboard buttons.
The button lamp turns off, indicating the note is muted.
Hear how the selected note drops out? You can press the same button again to put the note back in. Try pressing some other buttons and listen to how their presence or absence affects the feel of the Pattern.

3 Do the same with the Rhythm Tracks as well.
Press [RHYTHM TRACK] repeatedly to select the desired Rhythm Track: 1, 2, or 3. Then, press the keyboard buttons just as you did in Step 2 above.
Adding and subtracting beats Did you notice that you can add sounds, too? This is especially effective in the Rhythm tracks. If the selected Rhythm track has some unlit buttons meaning there are spaces in the track try pressing some of those buttons to add more drum/percussion hits to the track. Or try taking some of the lit buttons sounds out, and hear what kind of rhythm you come up with. Save your edits If you like the new Pattern youve created, store it. (See page 79.) All Step Mute settings are saved along with the stored Pattern; yet the original data is not changed.

Step Mute

Allows you to mute and unmute specic steps in a Pattern during playback. Select and start a Pattern, then select the track you wish to control: Synth or Rhythm 1, 2, or 3. Then, press the desired buttons to mute/ unmute the steps.
Mixer controls Pan and Volume
Try these bread-and-butter controls out, and change the mix of the Patterns. Pan and Volume only affect the Synth track the Rhythm tracks remain unchanged.
1 Select a Pattern and start it. 2 Lets try changing the Pan position rst.
Hold down the [SHIFT] button, and turn the [PARAM] (PAN) knob. Pan
Determines the position of the Synth track sound in the stereo image. Hold down [SHIFT], and turn the [PARAM] (PAN) knob to adjust.
Notice how the Synth track sound moves from left to right and back again as you turn the knob? (We assume youre listening to this with stereo headphones or on a stereo speaker system.)
Range L63 (full left) Cntr (center) r63 (full right)
3 Now, work with the Volume.
Hold down the [SHIFT] button, and turn the [WET] (VOL) knob. Volume
Determines the volume of the Synth track. Hold down [SHIFT], and turn the [WET] (VOL) knob to adjust. Range 0 127
Hear how the Synth sound fades in and out as you tweak the knob? Remember, this only affects the Synth track unlike the master [VOLUME] knob, which controls the overall sound of the DX200.

Using EG to control the Filter (FEG)
In Tip 36 above, we introduced you to the EG and showed you how it works with volume (Amplitude). Now, lets take a look at what the EG can do with the Filter. These specic FEG setting examples will get you started, and give you a denite feel for how to use EG to change the tonal quality of the sound. In the process, youll learn more about how the Filter works, too and how you can get it to work for you. Try out these settings, experiment with them, go wild, go mad! Theres so much you can do with these controls, so many sonic possibilities this barely scratches the surface.
1 Select a Pattern, then select FEG.
Press the [SELECT] button repeatedly until FEG is lit.
2 Start by setting a slow Attack on the Filter.
Set [ATTACK] to around 2:00 (value of 95).
3 Play around with the [CUTOFF] knob as you play the keys.
Tweak the knob slowly in the range of 7:00 - 2:00 (0 - 95) as you play single notes in succession. Listen to how the sound changes. Finally, set the knob to around 8:00 or 9:00 (1 - 15).
4 Now, experiment with the [SUSTAIN] knob.
Try tweaking this to different settings as you play the keys. Make sure you hold the key or keys down the sound will change as you hold. Before you go on to the next steps, set this to around 11:00 (50).
5 Before we try out the [RELEASE] knob with the Filter, well need to stretch out the volume a bit.
Press [SELECT] to call up AEG, then set the AEGs [RELEASE] to about 2:00 (90 - 95).
6 Now, go back to the FEG (press [SELECT]), and work with the FEGs [RELEASE] knob.
Play a series of single notes, and tweak the knob between 11:00 and 4:00 (45 and 120). Notice how the FEG Release setting determines how much of the sound is heard after key is released. If the Filter Release is too short, little or none of the sound will come through. Finally, set this to around 12:00 or 1:00 (65 - 80).
7 Just for good measure, play around with the [DECAY] knob a bit.
As with the other controls, tweak this to various settings as you play the keys. Finally, set this to around 1:00 or 2:00 (80 - 90).

8 Youre on your own now!

With the above settings as a starting point, go back to each of the EG knobs and play around with them some more. Take a crack at using other controls as well and hear how they change the sound. And while youre at it, go on to Tip 38 below for further FEG explorations.

More about FEG Depth

In Tip 37, you learned about the FEG Depth control. Lets take a closer look (and listen) to it in this Tip and the next.

You may have to press the button more than once to call up the mtro display.
2 Use the DATA knob to change the setting.
For a one-measure lead-in before recording starts, set this to on1. For a two-measure lead-in, set this to on2. You can also turn the Metronome off here, by setting this to oFF in which case, recording starts immediately (without a lead-in), as soon as you press the Start/Stop button. When done, press [EXIT] to return to normal operation. Metronome
Determines the length of the Metronome lead-in for Real-time recording. To turn the Metronome (and the lead-in) off, set this to oFF. Set this to on1 for a one-measure lead-in, and on2 for two measures. Metronome is set in the Utility parameters. Hold down [SHIFT] and press button [16], repeatedly if necessary, until mtro appears in the display. Use the [DATA] knob to change the setting. Settings oFF No lead-in metronome click. on1 A one-measure lead-in before recording. on2 A two-measure lead-in before recording.
Recording a Pattern in real time
Up until this point, youve been working with the preset Patterns of the DX200. Now, heres your chance to create some Pattern magic yourself by recording your own original Patterns. Well give you the basic procedure to get you started. You supply the creative ideas and talent. And the DX200 will provide the sonic horsepower you need to produce some truly hip and happening tracks.
1 Select a blank Pattern a clean slate for recording your own notes. (Have you cleared a Pattern for this yet? If not, go back to Tip 57 and do it now.) 2 Make the Beat setting for the new Pattern: 16, 12, or 8.
Hold down [SHIFT] and press [SWING] (BEAT). Then, turn the DATA knob to change the setting. You should make this setting BEFORE recording, since it determines the number of steps youll have available in the Pattern. A setting of 16 gives you sixteen steps or spaces you can record notes to; a setting of 8 is obviously half that eight steps. The 12 setting gives you twelve steps, of course, but also lets you create a triplet feel count: ONE, two, three, TWO, two, three, etc.
3 Select the track for recording Synth or one of the three Rhythm tracks. Press [SYNTH TRACK] for Synth, or [RHYTHM TRACK] (repeatedly) for Rhythm tracks 1, 2, or 3. 4 Set a comfortable bpm for recording.
Hold [SHIFT] and press the [TAP] button, then use the [DATA] knob. Keep in mind, you can always change the bpm later. Right now, its important to set the bpm so that its fast enough to capture the feel youre after, yet slow enough to let you easily enter the notes. (Make sure to press [EXIT] when youre done.)

To select: Hold down [SHIFT] and press the [BEAT] ([SWING]) button. Both the [SWING] button and the BEAT lamp ash, indicating Beat is selected.
Swing This lets you introduce a swing feel to the Pattern at the selected measure. (See Tip 27 for more information.)
To select: Press the [SWING] button. The [SWING] button lights, indicating Swing is selected.
Gate Time This lets you control the length of the notes for the Pattern at the selected measure. (See Tip 25 for more information.) You could use this to create tracks in which the notes grow progressively longer as the Pattern cycles by programming successively higher Gate Time values in the measures. Or have the notes become more and more clipped (staccato) by making Gate Time lower and lower in successive measures.
To select: Hold down [SHIFT] and press the [GATE TIME] ([REVERSE]) button. Both the [REVERSE] button and the GATE TIME lamp ash, indicating Gate Time is selected.

Song Edit Event Select

This lets you select the particular event to be recorded or edited in a Song. Eight event types are available: Pattern Select, Pitch Offset, BPM (page 84), Beat, Swing, Gate Time, Reverse, and Track Mute. To select, make sure Song Edit mode is active ([SHIFT] + [SONG]), then press the appropriate button (using [SHIFT] if necessary). Alternately, hold down [SHIFT] and press [SONG] repeatedly to toggle through all eight event types. Pattern Select Press [PATTERN SELECT]. Range P.001 P.256 (Preset Patterns) U.001 U.128 (User Patterns) Pitch Offset Hold [SHIFT] and press [KEYBOARD]. Range -(no change) 24 semitones BPM Hold [SHIFT] and press [TAP]. Range 20.0 300.0 bpm Beat Hold [SHIFT] and press [SWING]. Range 16, 12, 8 steps Swing Press [SWING]. Range Gate Time Hold [SHIFT] and press [REVERSE].
Reverse By setting this to Reverse (bAC)), you can have the Pattern at the selected measure play backwards. (See Tip 25 for more information.) Alternate between forward and reverse Patterns for special effects. Or program three forward, one reverse for an interesting four-bar phrase.
To select: Press the [REVERSE] button. The [REVERSE] button lights, indicating Reverse is selected.
Track Mute Add some texture to your Song with this function. By recording Track Mute events you can have tracks drop in and out of your arrangements, for exciting dynamic changes.
To select and edit: Hold down [SHIFT] and press either the [SYNTH TRACK] or [RHYTHM TRACK] button. Then, press the appropriate Step button: [1] for the Synth track, and [2], [3], and [4] for the Rhythm tracks. The status for each track is shown in the display.
Indicates Synth track is on.
Indicates Rhythm track 1 is muted.
Range Reverse Press [REVERSE]. Settings Forward (For) Reverse (bAC))
Easier way Keep in mind there is an alternate way to select the various event types. You may nd it easier to remember AND easier to use! Simply hold down [SHIFT] and press [SONG] repeatedly. This toggles through all of the event settings in order: Pattern Select, Pitch Offset, BPM (Tempo), Beat, Swing, Gate Time, Reverse, and Track Mute.

Determines the MIDI channel over which the appropriate track receives/transmits MIDI data. Make sure the Channel of the desired track matches the Transmit Channel setting on the controlling keyboard or sequencer. Hold down [SHIFT] and press button [14], repeatedly if necessary, until the desired setting is shown: SY. 1 Synth Track (set to default of Channel 1) r1. 2 Rhythm Track 1 (set to default of Channel 2) r1. 3 Rhythm Track 1 (set to default of Channel 3) r1. 4 Rhythm Track 1 (set to default of Channel 4) Use the [DATA] knob to change the value. The ---- setting corresponds to off. Settings 1 16, ---- (off)
1 Hold down [SHIFT] and press button [14] (MIDI SETUP), repeatedly if necessary, until SY. 1 appears in the display.
2 Change the channel with the [DATA] knob.
Loopfactory setup with the SU200
As part of Yamahas new Loopfactory series, the DX200 is not just a great analog-style synthesizer it also excels in loop-based music production systems. In this Tip and the ones that follow, well take a look at some of ways you can use the powerful and versatile Loopfactory line to shake up the dance oor. In this simple setup, the DX200 is paired with the SU200 Sampling Unit a small phrase sampler with a special Loop Track feature that time-stretches your samples and keeps them all in sync. Here, the DX200 is the controlling master and the SU200 is the slave. (For more about masters and slaves, see Tips 80 and 83.) Make sure you set the SU200 to External Sync for this one (MIDI Clock in the Job mode). Naturally, the DX200 must be set to Internal Sync (page 96).

Speaker

Amplier MIDI clock
OUTPUT MIDI OUT MIDI IN LINE INPUT

DX200 SU200

AUDIO IN
With this playback sync system, you can have the samples on the SU200 sync up perfectly to the Patterns of the DX200 thanks to Loop Track Play. Use the the DX200 as a master switch for the whole system starting the Patterns and the SU200 tracks simultaneously with the Start/Stop button. And as an added bonus, the SU200 serves double duty as an audio mixer outputting the sound of both the DX200 and SU200.
Loopfactory sync system with the AN200
In case you didnt know, the DX200 has a sister synthesizer almost a twin sister, actually. The AN200 has many of the same sound-shaping controls, plus all of the Pattern and Song features that are found on the DX200. Yet, as similar as these siblings are, their actual sound is VERY different. The AN200 uses sophisticated Physical Modeling to authentically recreate the vintage analog synthesizer sound. It features fat, two-oscillator operation, a wide selection of basic waves, extensive modulation routings plus, all the familiar soundshaping controls you would expect on an analog synth. And, of course, absolutely stunning sound. Side by side in a MIDI sequencing environment, these two give you the best of the analog and digital worlds, and provide an enormous amount of sonic versatility. But even without a computer or sequencer, you can still get a lot out of these two units, especially in live performance situations just hook them together and sync them up. With one as the master and the other the slave, you can have them play their respective Patterns in perfect sync with each other. Add a DJ mixer, and youve got a compact yet powerful DJ setup for laying down some slammin beats.

Frequency ratio 1:1

Frequency ratio 1:2

Sawtooth wave

Rectangular wave

(3) Feedback Level

As we saw earlier, feedback is a function in which a modulator's output is connected to its own input, so that it modulates itself. Increasing the feedback level increases the harmonic content of the sound, making it brighter and complex. Keep in mind that the total effect also depends on the output level of the feedbackapplied operator; if that operator's output level is set to 0, feedback level will have no affect on the sound.
(4) EG (Envelope Generator)
The EG (Envelope Generator) parameters allow you to shape the sound of the voice. In other words, these determine how the level of the voice changes over time, from when a key on the keyboard is played until it is released and the sound dies out. The EG parameters let you reproduce the sound of acoustic instruments, and their natural patterns of attack, sustain and decay. For example, the sound of a piano has a very sharp attack and a moderately long sustain: The sound gets loud the instant a key is played, and gradually fades away as the key is held. The tone or timbre of the sound also changes in time, with the sound starting out very bright and gradually growing warmer and softer (as the harmonics start to fade). Since each operator has its own EG, the DX200 gives you comprehensive and dynamic control over both the volume and timbre of the voice, letting you accurately reproduce these natural acoustic effects. The carrier EGs affect the volume of the sound over time, while the modulator EGs affect the timbre.

Chart of Algorithms

Modulator groups

Modulator Select = 1

Algorithm o o o o o o o o o Operator No. o o 5 6

Modulator Select = 2

Algorithm Operator No. 5 o o 6

Modulator Select = 3

Algorithm Operator No. o o o o o o o o o
o o o o o o o o o o o o o o

o o o o o o o o o

o o o o o o o

00.7F 00.01 00.7F 00.01 00.7F 00.01 00.7F 00.01 00.7F 00.01 00.7F 00.01 00.7F 00.01 00.7F 00.01 00.7F 00.01 00.7F Free EG Trk1 Data192 LSB Free EG Trk2 Data1 MSB Free EG Trk2 Data1 LSB Free EG Trk2 Data2 MSB Free EG Trk2 Data2 LSB Free EG Trk2 Data192 MSB Free EG Trk2 Data192 LSB Free EG Trk3 Data1 MSB Free EG Trk3 Data1 LSB Free EG Trk3 Data2 MSB Free EG Trk3 Data2 LSB Free EG Trk3 Data192 MSB Free EG Trk3 Data192 LSB Free EG Trk4 Data1 MSB Free EG Trk4 Data1 LSB Free EG Trk4 Data2 MSB Free EG Trk4 Data2 LSB Free EG Trk4 Data192 MSB Free EG Trk4 Data192 LSB 0.127 0.1 0.127 0.1 0.127 0.1 0.127 0.1 0.127 0.1 0.127 0.1 0.127 0.1 0.127 0.1 0.127 0.1 0.127 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *8 *0
05 0c 05 0e : : 08 0a 08 0c 08 0e : : 0b 0a 0b 0c 0b 0e : : 0e 0a

: 2 : 2 : 2

TOTAL SIZE 60C *2 : Free EG Track Parameter List Value Parameter Name 00 off 01 Portament Time 02 LFO Speed 03 Modulator 1 Harmonic 04 Modulator 2 Harmonic 05 Modulator 3 Harmonic 06 Modulator All Harmonic 07 Modulator 1 FM Depth 08 Modulator 2 FM Depth 09 Modulator 3 FM Depth 0A Modulator All FM Depth 0B Modulator 1 EG Decay 0C Modulator 2 EG Decay 0D Modulator 3 EG Decay 0E Modulator All EG Decay 0F Noise Level 10 Filter Type 11 Filter Cutoff 12 Filter Resonance(Q) 13 FEG Attack 14 FEG Decay 15 FEG Sustain 16 FEG Release 17 FEG Depth 18 AEG Attack 19 AEG Decay 1A AEG Sutain 1B AEG Release 1C EFFECT Param 1D EFFECT Wet Level 1E Track Pan 1F Track Level *8 : receive only bulk dump
<1-8> MIDI Bulk Dump Parameter table ( Current Seq Pattern ) Address Size Data Prameter Name (H) (H) (H) 04,06,07 Step Seq Base Unit 1 08,0C,10 Step Seq Length 1 NOT USED 1 NOT USED 1 NOT USED 1 NOT USED 1 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Note No 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 00.7F Step Seq Velocity 10
Description 1/8(4)1/12(6).1/16(7) 8step(8),12step(C),16steps(10)
Default 07(1/16) 10 ----C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) C3(3C) 100(64) 100(64) 100(64) 100(64) 100(64) 100(64) 100(64) 100(64) 100(64) 100(64)
C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) C-2(0).G8(7F) rest(0),1.127 rest(0),1.127 rest(0),1.127 rest(0),1.127 rest(0),1.127 rest(0),1.127 rest(0),1.127 rest(0),1.127 rest(0),1.127 rest(0),1.127

No. P129 P130 P131 P132 P133 P134 P135 P136 P137 P138 P139 P140 P141 P142 P143 P144 P145 P146 P147 P148 P149 P150 P151 P152 P153 P154 P155 P156 P157 P158 P159 P160 P161 P162 P163 P164 P165 P166 P167 P168 P169 P170 P171 P172 P173 P174 P175 P176 P177 P178 P179 P180 P181 P182 P183 P184 P185 P186 P187 P188 P189 P190 P191 P192 Pgm# Pattern Name Spacy Keys Deep Sea Jam Bluntz Getaway Angel City Sixteen GTA Seismic Lap Dance Hazard Phonk E5 SugarDaddy Modem Beat Liger R-B Minstrels Apus Saeidi Hip Fusion TrendyVibe Stop Go Hip Q Mrmb Tech Minor Melody Man Two Break Aquila Pavo Infrared Groover Moa Fuzzy Moon Discordant Clanker Prelude Wicked Sameagle Acidic Feel Noise Over DNB Rufe Lyla Antlia Volans Crux Scorpius Caelum Tribez Bossa Call Dirt Box Delhi Bang Tech Highway Spacecraft Hyp Fuzz FunkyFingr HPF Metal Software Shin-Wa Stepping Dada Fly FlyingRoad Deep Grey breaks 2 drum'n bass triphop hiphop Group BPM 96 135
Preset Bank 2 (Bank MSB=63, LSB=1, Pgm#65-128)
No. P193 P194 P195 P196 P197 P198 P199 P200 P201 P202 P203 P204 P205 P206 P207 P208 P209 P210 P211 P212 P213 P214 P215 P216 P217 P218 P219 P220 P221 P222 P223 P224 P225 P226 P227 P228 P229 P230 P231 P232 P233 P234 P235 P236 P237 P238 P239 P240 P241 P242 P243 P244 P245 P246 P247 P248 P249 P250 P251 P252 P253 P254 P255 P256 Pgm# Pattern Name Driver Big Punch Big Step BreakDance Port Fuzz Syn Pick Body Ge Ge Ge Hip Pick Retro Jam Funk Hop Basic Bass Tomic Bass Data Bass Claviphunk Hexadron Bunglemon Stabber Tribe Vibe New York Puffy Wind Clouds Sqotesue Reex Ambernecta Devastated Reborn Aquarium Breathing WorkGarage Frettin Artoo Cowbelly Electro FX FX Track Guillemot Ruler Impetus Fritenite Octans Bossa New Delhi Vela Tock Jixtuken Blue Reection Turmoil ZOOM Diazepam Dubby Effect Boom FX Bass Face Darker T Mach Man Flicker Flash Back Reticulum Sagitta Perseus Auriga Libra Grus ambient breaks 2 Group BPM 88 39
User Bank (Bank MSB=63, LSB=2, Pgm#1-64)
No. U001 U002 U003 U004 U005 U006 U007 U008 U009 U010 U011 U012 U013 U014 U015 U016 U017 U018 U019 U020 U021 U022 U023 U024 U025 U026 U027 U028 U029 U030 U031 U032 U033 U034 U035 U036 U037 U038 U039 U040 U041 U042 U043 U044 U045 U046 U047 U048 U049 U050 U051 U052 U053 U054 U055 U056 U057 U058 U059 U060 U061 U062 U063 U064 Pre.# Pattern Name Psy Trance HouseParty Bombay Claviphunk Dyammaka Comp Pluck Bossa Call Tomic Bass SolidHouse Percussive Spacecraft Tock Elec Pulse Dino Bang Tech Spacy Keys Ethnectric Scratches Driver Bass Face Elec Rezz Two Three Wicked Syn Pick Nosebleed Building Delhi Jam Warning Puppet Aquarium Grus Floaty Life Line Psy Seq Clouds Pingpong Barbarossa Lyla Angel City Calcutta DJ DX Frettin Mach Man KlingKlang Tokyo Software Apus Tech Mini Sand Hexadron Blue Dredzs Nickel WorkGarage Plastix Dada Fly Energie Rufe New Delhi Freaky U boat Ambernecta Flash Back Group trance house techno breaks 2 breaks 1 trance drum'n bass breaks 2 house techno breaks 2 ambient techno trance breaks 2 hiphop techno house breaks 2 ambient techno trance drum'n bass breaks 2 techno house breaks 2 hiphop breaks 1 trance breaks 2 ambient techno house trance breaks 2 techno breaks 1 drum'n bass hiphop house trance breaks 2 ambient techno trance breaks 2 triphop breaks 1 house breaks 2 ambient techno trance breaks 2 house breaks 2 techno drum'n bass breaks 2 breaks 1 trance breaks 2 ambient BPM 130 20

ICELAND

Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000

THAILAND

Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951

EUROPE

THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH. Siemensstrae 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030

IRELAND

Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177
THE PEOPLES REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES
Yamaha Corporation, Asia-Pacic Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317

AFRICA

Yamaha Corporation, Asia-Pacic Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312

GERMANY/SWITZERLAND

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111

AUSTRIA

Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900

MIDDLE EAST

TURKEY/CYPRUS

NEW ZEALAND

Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099

THE NETHERLANDS

Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411

OTHER COUNTRIES

Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: 971-4-881-5868

BELGIUM

Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220
COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN

FRANCE

Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Valle Cedex 2, France Tel: 01-64-61-4000
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2445