PLEASE KEEP THIS MANUAL

92-BP (bottom)

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-5B, PA-5C or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating. Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following:
Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Do not connect the instrument to an electrical outlet using a multiple-connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet. Unplug the AC power adaptor when not using the instrument, or during electrical storms. Always make sure all batteries are inserted in conformity with the +/polarity markings. Failure to do so might result in overheating, re, or battery uid leakage. Always replace all batteries at the same time. Do not use new batteries together with old ones. Also, do not mix battery types, such as alkaline batteries with manganese batteries, or batteries from different makers, or different types of batteries from the same maker, since this can cause overheating, re, or battery uid leakage. Do not dispose of batteries in re. 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 uid. Keep batteries away from children. If the batteries do leak, avoid contact with the leaked uid. If the battery uid should come in contact with your eyes, mouth, or skin, wash immediately with water and consult a doctor. Battery uid 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 disguration or damage to the internal components. Do not use the instrument near other electrical products such as televisions, 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 accidentally fall over. Before moving the instrument, remove all connected adaptor and other cables. When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning uids, 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 specied 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 uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.

I SAVING USER DATA

Always save data to an external device such as the Yamaha MIDI data ler MDF3 frequently, in order to help prevent the loss of important data due to a malfunction or user operating error. Yamaha cannot be held responsible for damage caused by improper use or modications to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use. Make sure to discard used batteries according to local regulations.
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 Owners Manual carefully while playing your new DJX-IIB in order to take full advantage of its various features.

Packing List

CD-ROM

DJX-IIB Owner's Manual

(Installed at the factory.)

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-IIBs 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-IIBs 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. Turning or rocking the CD back and forth lets you play various 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 lter cutoff and lter resonance of each part of the pattern. For the RESONANCE knob, turning to the right increases the effect. For the CUTOFF 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.
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 CDROM 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.)
1 Remove the indicated screw with a screwdriver.

Remove the CD-ROM disk.

Place the desired audio CD (or CD-ROM) on the Scratch Pad.
Replace and tighten the screw.
I 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!
Rear Panel & Connections
A standard pair of stereo headphones can be plugged in here for private practice or late-night playing. The internal stereo speaker system is automatically shut off when a pair of headphones is plugged into the PHONES jack. Connect the AC adaptor (PA-5B, PA-5C or other adaptor specically recommended by Yamaha) to the power supply jack. See page 12 for details.
Do not listen with the headphones at high volume for long periods of time. Doing so may cause hearing loss.

Refer to page 13.

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.
The DJX-IIB also features MIDI terminals, allowing you to interface the DJX-IIB with other MIDI instruments and devices. (For more information, see page 65.) Amplier
The LINE OUT jacks are used to send the DJX-IIB output to a keyboard amplier, 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.
Setting Up (Power supply connections)
Although the DJX-IIB will run either from an optional AC adaptor or batteries, Yamaha recommends 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).

Switching On the Power

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 control are turned all the way down prior to turning the power on.
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 owing to the instrument 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 settings 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 briey 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.
This is NOT an owners manual! At least not an ordinary one. But, then again, the DJX-IIB is no ordinary instrument. Its 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 DJXIIB in the shortest time possible. Its 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 N The Levels Work your way up! you mixing like a pro in no time!. Basic operations.. Intermediate functions So jump in!. Advanced tricks and techniques

. Power user features

Pattern Player Basics
Start your DJ apprenticeship right here! The Patterns are the basic building blocks of the DJX-IIB sound theyre the rhythmic foundation for everything else on this dance machine.
Heres where it all starts!
Work out with the Patterns!
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 theres no better way to get your timing tight and develop a solid sense of rhythm! To stop the Pattern, press PATTERN STOP.

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.

Live Effector Basics

The effects of the DJX-IIB are more than just frosting on the cake theyre powerful tools that can completely transform the sounds and rhythms, and put a whole new spin on your tracks!
What is the Live Effector?
Heres 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.
A continuously lit LED indicates that the effect is selected. When the effect is turned on, the LED ashes in time with the Pattern.
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.
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).
Doing too much at once? Changing the effect type while the effect is on and a Pattern is playing back and/or while youre 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 briey before changing the effect type. Better yet, turn the effect off briey, then change the type and turn it back on again as needed.
N 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.
q Start the Pattern. w Select the desired effect, turn the Effect on,

and twist the knobs.

e Stop the Pattern.
Chapter 2 Live Effector Basics

Distortion

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.

Wah is a special moving lter effect that gives a funky feel to the sound. Use the CONTROL knob to change the speed of the lter motion. Setting this toward the maximum produces a trembling sound.

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 beeer low end? Want to put some edge and shimmer in the top? Tweak these knobs to your hearts 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.
N Be careful with this, though if the Master Volume is at or near the max, boosting these frequencies can result in some nasty distortion! N 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.
Boosted low end, slightly crisper high end.
Very tinny sound almost no bass, very bright and brittle high end.

Low Mid High

Flat response normal settings.

Filter Basics

Pump up the energy on the dance oor a serious notch or two with these powerful lter tools!

19 Cutoff and Resonance

The CUTOFF and RESONANCE knobs control the lter effects. And what are lter effects, you ask? Well, lters 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 mufed. Turn CUTOFF to the right and the sound becomes brighter. The RESONANCE knob controls how sharp the peak of the lter is. Turn RESONANCE to the right and the lter peak becomes sharp and pronounced. Turn the RESONANCE left and the lter becomes at.

Darker

Brighter

Volume

Cutoff frequency

Resonance

Frequency (pitch)
These frequencies are passed by the lter.
Try tweaking CUTOFF while RESONANCE is at about 2 or 3 o'clock (see below). The lter becomes sharper, and you can actually hear the lter peak moving according to the CUTOFF knob position. Theres 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!

Scratch Pad Clinic

The true mettle of a DJ is in his or her turntable work. Thats why the DJX-IIB has a special Scratch Pad that lets you strut your stuff!

21 Quarter-note scratching
Now that youve tried out the Scratch Pad and some different Scratch sounds, lets 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 rst downbeat, 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!

One Two Three Four

22 Eighth-note scratching
Once youve 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 lets go a little bit faster. Since sixteenth notes are half the value of eighth notes, youll 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.

24 Shufe feel

Here things get a bit tricky! But dont worry once you feel the rhythm, youll have no trouble playing it! Shufe 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 youll 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 thats where the shufe is!

46 Scratch Drum Loops in sync
Heres a real convenient feature! Youll 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 cant sync up your loops if you dont play them on time! Be careful to turn the Scratch Pad right on the beat just as you did with the Patterns. If you dont 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.
Pattern Player Power Tips
48 Hitting a new Pattern and Variation

at the same time!

There will be times when youll want to change not only to a new Pattern, but to a specic Variation instantly and at the same time. Heres the best way to do that! First, simultaneously hold down PATTERN and turn the Scratch Pad to call up the new Pattern number. 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.
Current Pattern now playing. New Pattern waiting in standby.
49 Hitting a new Pattern, Bank and
Variation at the same time!
Heres a sophisticated twist to Tip 48 above changing the Bank along with the Pattern and Variation! First, simultaneously hold down PATTERN and turn the Scratch Pad to call up the new Pattern number. Remember to keep holding down PATTERN! Next, press the A/B BANK button. Finally (without 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 simultaneously!
50 Break to a new Pattern!
One sure-re method to turn up the heat on the dance oor is to use a break or a drop-out just before hitting a new Pattern! Here, well try dropping everything out for a full measure (four beats). While the rst Pattern is playing, count the beat in your mind and tap it out with your heel to make sure youre locked into the groove! At the same time, call up the new Pattern by simultaneously 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 rst 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!

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-IIBs 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 ow and breathe. You can create a different kind of ow 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:
One Two Three Four One Two Three Four One Two Three Four One Two Three Four

Hit A1!

Hit A2!

Hit A4!

Hit A3!
Repeat the above passage for about four or eight times, then switch to this:

Hit A5!

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

Crossfader Power Tips

52 Quick Crossfader scratching
Heres a cool way to change the sound of a Pattern and put your personal scratch touches on it without disrupting the ow 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, ick 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 lls and accents.
53 Long Crossfader scratching
This ones going to take a bit of practice! Like Tip 52 above, try icking the Crossfader between the Pattern and your scratching but this time, hang with the scratch for one full bar! Thats 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 ick back to the Pattern.
N Helpful hints: Tap out the beat with your foot. Try to ick the Crossfader back just before the one. Double-up the count for slower rhythms (see Tip 5). Try practicing your fader-icking without the Scratch Pad at rst. Then, when youve got it down, bring in the scratch!

N Tech note The specic 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 BASS BASS BASS BASS KICK KICK KICK KICK KICK SNARE SNARE SNARE SNARE HI-HAT HI-HAT HI-HAT PERCUSSION PERCUSSION PERCUSSION PHRASE1 PHRASE1 PHRASE2 PHRASE3

80 More Part mixing

Heres 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. Heres the recipe:
Take it down to the cymbal and bass 180 counter-clockwise, 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.
Bring back the whole mix press LOOP.
Cymbal and bass only 1/4 turn counter-clockwise.

Whole mix press LOOP.

Bass again 3/4 turn counter-clockwise.
Finally, bring back the whole mix again (press LOOP), and hit Variation A3 on the one!

Advanced Techniques

81 Delay ll-in and fader cut
Like Tip 69 above, this shows you another way to use Delay for a ll-in while you ick the Crossfader to mute the Pattern. First, select the Delay effect and set the CONTROL knob to about 1 oclock and the BALANCE knob to 12 oclock. 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 youve hit both of these right, the Delay should continue the beat and start to fade out. Finally turn off the delay and ick the Crossfader back to center on the next one beat, to bring the Pattern back in.
One Two Three Four One Two Three Four One Two Three Four
Turn Delay on here! Play V B5
Flick the fader back on the "one"!
Flick the fader right here!
82 Fade the scratch in and out!
Now for some mixing nesse! 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.

Start here.

.and slowly move to the left.
Naturally, you can work in the opposite direction, too to fade in the scratch sound:
.and slowly move to the right until you get to the center.
Chapter 17 Advanced Techniques
83 Bored? Add some chords.

and scratching!

While youre scratching along with a repeating Pattern, sometimes it may feel as if the rhythms 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 cant scratch while holding KEY SHIFTER, so try to make your key changes as close to the one as you can then get scratching again!

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.

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 ve Patterns can be loaded at one time.

Pattern data (Bulk data)

I Connecting to a Personal Computer
G 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.

MIDI OUT MIDI IN

MIDI IN MIDI OUT
G When using a MIDI interface with a Macintosh series computer, connect the RS-422 terminal 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 DJXIIB, as shown in the diagram below.
Computer (sequencer softwave) MIDI interface

RS-422

G When the computer has a USB interface, use the Yamaha UX256.

UX256 USB cable

MIDI OUT MIDI IN MIDI IN MIDI OUT
For details on using the Pattern Launcher software, refer to the online Help le in the software.
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 ve Patterns (maximum of 85 KB) can be loaded to the DJX-IIB.

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 ll-in. Main Variations are used for the constant rhythm of the music, while ll-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.

Pattern List

Pattern No. 34 Category Name Pattern Name Berlin Techno Japan Beatz Detroit 2000 TECHNO Parade Beat French Techno Detroit Acid Techno UNDERGROUND German Underground Loop Techno UK Disco DISCOMANIA US Disco Disco House Dub House Dark House Chicago House CLUB VIBES Ibiza Progressive House Hard House Hard Trance Acid Trance Euro Trance TRANCE TRAXX Goa Dream Trax Eurobeat Elektro Beat Breakdance ELEKTRO EMPIRE Elektromix Technolectro London Underground GARAGE Speed Garage UK Garage Jungle Beatz Breakbeat DRUMnBASS Hard Step 8th Jazz D&B Pattern No. 69 Category Name Pattern Name Hard Hip Hop Hardcore Pop Rock Hop Futuristic Cosmic Universal Live Miami Jazzy Los Angeles Mechanical Psyco Bangin' Smooth Light R&B Female Soul Busy Laid Back Landscape Cool Jam'n Club Funk Hard Funk 80's Scratchin' Breakz Beat Street Deep Ambient Dreamy Grunge Dark

HIP HOP

SPACE HOP

SWING HOP

GANGSTA

INTELLIGENT

FUNKY HIP HOP

OLD SKOOL

TRIP HOP

Voice List

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 connected MIDI device, such as a MIDI keyboard, sequencer or MIDI-equipped computer.

Bank Select MSB 0 LSB 0

MIDI Program Voice Name Change# HYPER MIX 96 DJX-IIB KEYBOARD 4 Funky EP 1 Bright Piano 7 Clavi 9 Glocken 11 Vibes 12 Marimba ELECTRIC PAD 17 Jazz Organ 18 Rock Organ 16 Cheez Organ 17 Miss U 17 R&B Organ 17 Perc Organ SYNTH PAD 90 Sequenza 94 Insomnia 95 Wave Amber 91 Trance 89 Warm Pad 90 Poly Synth Pad 92 Bowed Pad 94 Halo Pad 95 Sweep Pad ACOUSTIC PAD 48 Strings Syn Strings 50 String Pad 48 Strings Strings Choir Aah GUITAR 26 Octave 27 Clean 60's Clean 28 Muted 26 Jazz 27 Clean Dist. 30 Dist.5th SYNTH LEAD 84 Fuzz line 84 Talkbox 84 Acid Sync 84 Adrenaline 85 Fragile 83 Cut Glass 82 Calliope Lead BASS LEAD 87 Killer S 87 Reso-X 87 Choppy 87 Happy Vibes 87 Tri Touch 87 Sync 87 Bass&Lead

sSAVING USER DATA

Save all data to an external device such as the Yamaha MIDI Data Filer MDF3, in order to help prevent the loss of important data due to a malfunction or user operating error.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use. Make sure to discard used batteries according to local regulations.
* The illustrations and LCD screens as shown in this owners manual are for instructional purposes only, and may be different from the ones on your instrument.
Congratulations on your purchase of the Yamaha DJX!
You now own a portable keyboard that combines advanced functions, great sound and exceptional ease-of-use in a highly compact package. Its outstanding features also make it a remarkably expressive and versatile instrument. Read this Owners Manual carefully while playing your new DJX in order to take full advantage of its various features.

Main Features

Other powerful features include: Real-time Controls
The DJX is equipped with an amazing set of real-time performance controls, that let you tweak the sound of various instrument parts as you play! Control Knobs These five knobs let make various dynamic changes to the voices and patterns. ASSIGN knob Included in the control knobs is a special ASSIGN knob that can be assigned to control any one of a variety of functions. RIBBON CONTROLLER This expressive control can also be assigned to control any one of a variety of functions. Part Select (PART CONTROL) Use this to select the Part you want to use with the control knobs or RIBBON CONTROLLER. Part On/Off (PART CONTROL) This function lets you alternately mute and unmute specific instrument parts of the pattern as its playing. PITCH BEND wheel Use this to raise and lower the pitch of the voice as you play. Exceptionally realistic and dynamic sounds with 284 voices, utilizing digital recordings of actual instruments. Dual voice and Split voice modes that let you layer two voices together or assign two voices to separate sections of the keyboard Four high-quality effects Reverb, Chorus, DSP, and Arpeggiator each with a variety of different types. 100 pattern styles, each with different Lead In/Out and Beat A/B sections. All styles also have their own four Break Out patterns. The DJX also gives you convenient control over pattern Styles including BPM (Tempo) and independent Pattern Volume. Powerful song recording operations for recording and playing back complete compositions (three User songs are available). Up to six tracks can be recorded to a song, including a special chord track for style pattern. Performance Setup, for automatically calling up an appropriate voice for playing with the selected style. Plus, there are 16 User Performance Setup memory spaces that let you save your custom panel settings for instant recall. Touch response for maximum expressive level control over the voices. Convenient footswitch control over various functions including sustain, start/stop, and more. GM (General MIDI) compatibility and full GM voice set. Large custom LCD gives you easy, at-a-glance confirmation of all important settings, as well as chord and note indications. Comprehensive MIDI functions that let you integrate the DJX into a MIDI music system, for sequence recording and other advanced applications. Built-in, high-quality stereo amplifier/speaker system.

Since the FUNCTION indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.
b Exit the Function mode.
Once youve made all desired settings, press one of the other mode buttons (SONG, STYLE, or VOICE).
c After FUNCTION in the display stops
flashing, change the value or setting. After a couple of seconds, the FUNCTION indication stops flashing and remains lit. At
Function Parameters List Function page

Function

F01 M.Volume Main Voice Volume F02 M.Octave Main Voice Octave F03 M.Pan

Main Voice Pan

F32 RevType F33 Chorus

Reverb Type

Chorus On/Off Chorus Type DSP On/Off DSP Type

F34 ChoType F35 Dsp

F04 M.RevLvl Main Voice Reverb Send Level
F05 M.ChoLvl Main Voice Chorus Send Level

F36 DspType

F06 M.DspLvl Main Voice DSP Effect Send Level F11 D.Volume Dual Voice Volume F12 D.Octave Dual Voice Octave F13 D.Pan

Dual Voice Pan

F37 Arpgator Arpeggiator On/Off F38 ArpgType Arpeggiator Type
F41 UserBank Performance Setup User Bank F51 PtrnSPnt Pattern Split Point F61 USng1Clr User Song 1 Clear F62 USng2Clr User Song 2 Clear F63 USng3Clr User Song 3 Clear F71 FootSw

Footswitch

96 96,97 96,100 96,97
F14 D.RevLvl Dual Voice Reverb Send Level F15 D.ChoLvl Dual Voice Chorus Send Level F16 D.DspLvl Dual Voice DSP Effect Send Level F17 D.Voice F18 Dual

Dual Voice Dual On/Off

F72 VoiceSet Voice Set F73 TouchSns Touch Sensitivity F74 PBRange

Pitch Bend Range

F21 S.Volume Split Voice Volume F22 S.Octave Split Voice Octave F23 S.Pan

Split Voice Pan

F81 RemoteCh Remote Channel F82 KbdOut F83 PtrnOut F84 Local
Keyboard Out Pattern Out Local On/Off
F24 S.RevLvl Split Voice Reverb Send Level F25 S.ChoLvl Split Voice Chorus Send Level F26 S.DspLvl Split Voice DSP Effect Send Level F27 S.Voice F28 Split

Split Voice Split On/Off

F85 ExtClock External Clock F86 BulkSend Bulk Data Send F87 InitSend Initial Data Send F88 SmplSend Sampling Send
F29 SplitPnt Split Point F31 Reverb

Reverb On/Off

Step 6
Assigning Various Controls to the ASSIGN Knob,
ASSIGN Knob and RIBBON CONTROLLER ASSIGN Knob and RIBBON CONTROLLER Changing the Assignment Changing the Assignment
z Press the OVERALL v or w button repeatedly

Release Time Pan Volume Groove * ** Dynamics ** Dynamics Strength ** Turntable ** Arpeggiator Speed ***
Release Pan Volume Groove Dynamics Strength Turntbl ArpSpeed
* These functions can be assigned only to the RIBBON CONTROLLER. ** These functions are effective regardless of the Part Select setting. (See page 60.) *** These Function parameters are effective only for the Main voice, regardless of the Part Select settings.
RIBBON CONTROLLER, and Footswitch
Footswitch Control Changing the Assignment Footswitch Control Changing the Assignment
The DJX has a footswitch feature that can be used to control a variety of functions and operations. By using your foot to conveniently control these functions, you free your hands to concentrate on your performance. Assignment of the footswitch is done from Function parameter #71. (For instructions on using the Function parameters, see page 18.) The default setting for the footswitch is #13 Tap.

F71FootSw

F13Tap

Footswitch Function List

Function Name Sustain Arpeggiator Hold
Display Name Sustain ArpgHold
Description Damper pedal or sustain operation. Pressing the footswitch applies a natural sustain to the keyboard-played voice. When the Arpeggiator effect (page 37) is turned on, this lets you use the footswitch to keep the Arpeggiator cycling, even when you take your fingers from the keyboard or play different notes. Press and hold the footswitch for as long as you want the Arpeggiator effect to be active. When the Song mode or Style mode is active, this provides the same function as the START/STOP button (see pages 41, 45). Each press of the footswitch alternately starts and stops song or pattern playback. When the Style mode is active, this provides the same function as the LEAD IN/ LEAD OUT button (see pages 46, 47). Pressing the footswitch twice while the Pattern is playing back causes the Lead Out section to gradually slow down (page 47). When the Style mode is active, this provides the same function as the BEAT A (BREAK OUT) button (see page 48). When the Style mode is active, this provides the same function as the BEAT B (BREAK OUT) button (see page 48). When the Style mode is active, this provides the same function as the ARPEGGIATOR button (and the Arpeggiator On/Off parameter, #37). (See page 37.) This provides the same function as the DUAL button (and the Dual On/Off parameter, #18). (See page 29.) This provides the same function as the Split On/Off parameter, #28. (See page 31.) This provides the same function as the REVERB button (and the Reverb On/Off parameter, #31). (See page 34.) This provides the same function as the Chorus On/Off parameter, #33. (See page 35.) This provides the same function as the DSP On/Off parameter, #35. (See page 36.) This useful function lets you use the footswitch to tap out the BPM (Tempo) and automatically start a selected song or pattern at that tapped speed. Simply tap (press/release) the footswitch (four times for a 4/4 time signature), and the song or pattern starts automatically at the BPM you tapped. The BPM can also be changed during playback by tapping the footswitch twice at the desired tempo.

1 Select the Voice mode. (Press the VOICE button.) 2 Select a voice (with the numeric keypad). You can also select a Dual voice and/or a Split voice: Dual voice 1 Turn on the Dual voice. (Press the DUAL button.) 2 Select the Dual voice (from the Function mode). Split voice 1 Turn on the Split voice (from the Function mode). 2 Select the Split voice (Function mode).
PLAYING A VOICE MAIN VOICE PLAYING A VOICE MAIN VOICE

Select the Voice mode.

Indicates Voice mode is selected

Press the VOICE button.

Select the desired voice number.
Use the numeric keypad. The basic categories of voices and their numbers are shown at the right side of the panel. A complete list of the available voices is given on page 104. There are three ways to select voices: 1) directly entering the voice number with the numeric keypad, 2) using the +/- keys to step up and down through the voices, or 3) pressing the VOICE button to advance through the voice numbers.

Using the numeric keypad

Enter the digits of the voice number as indicated on the panel. For example, to select voice #42, press 4 on the numeric keypad, then 2.

042NuFloor

All two-digit voice numbers can be selected without entering an initial 0. However, when selecting voice numbers 0 - 28, the DJX pauses briefly before actually calling up the voice. (This pause allows for entering three-digit voice numbers, such as 235. Entering the numbers 2 then 9 immediately calls up voice #29, since there are no voices #290 or higher.) If you want to immediately call up voices #0 - #28, enter one or two zeros before the number; for example, select voice #9 by pressing 0, 0, then 9. Pressing only 0 does not change the voice.

Using the +/- keys

Press the + key to select the next voice number, and press the - key to select the previous voice. Holding down either key continuously scrolls up or down through the numbers. The +/- keys have a wrap around feature. For example, pressing the + key from voice #284 returns to voice #000.

Using the VOICE button

Main Voice Octave

M.Octave

-(octaves)

-7 (full left) 0 (center) 7 (full right) 0 127
Main Voice Reverb Send Level Main Voice Chorus Send Level Main Voice DSP Effect Send Level

M.RevLvl

M.ChoLvl

M.DspLvl

TRANSPOSE AND TUNING TRANSPOSE AND TUNING
You can also adjust the tuning and change the transposition (key) of the entire DJX sound with the Transpose and Tuning functions.
The Transpose and Tuning settings have no effect on the Drum Kit voices (#141 #155).

Transpose

Transpose determines the key of both the main voice and the pattern of the selected style. It also determines the pitch of the songs. This allows you to easily match the pitch of the DJX to other instruments or singers, or play in a different key without changing your fingering. The Transpose settings can be adjusted over a range of 12 semitones ( 1 octave).
Select the Transpose function in the Overall menu.
Press one of the OVERALL v/w buttons, repeatedly if necessary, until Transpos appears in the display.
Indicates Transpose is selected

Current Transpose value

00Transpos

Change the value.

Restoring the Default Transpose Value
If youve changed the Transpose setting, you can instantly restore the default setting of 00 by pressing both OVERALL +/- buttons simultaneously (when Transpose is selected in the Overall menu).
Use the OVERALL +/- buttons to increase or decrease the Transpose value. Holding down either button continuously increases or decreases the value.
Increases Transpose value
Decreases Transpose value

Tuning

Tuning determines the fine pitch setting of both the main voice and the pattern of the selected style. It also determines the pitch of the songs. This allows you to accurately match the tuning with that of other instruments. The Tuning settings can be adjusted over a range of 100 (approx. 1 semitone).
Select the Tuning function in the Overall menu.
Press one of the OVERALL v/w buttons, repeatedly if necessary, until Tuning appears in the display.
Indicates Tuning is selected

Current Tuning value

000Tuning
Restoring the Default Tuning Value
If youve changed the Tuning setting, you can instantly restore the default setting of 00 by pressing both OVERALL +/- buttons simultaneously (when Tuning is selected in the Overall menu).

Increases Tuning value

Use the OVERALL +/- buttons to increase or decrease the Tuning value. Holding down either button continuously increases or decreases the value.

If the Reverb Send Level is set to a value near or at 000, the Reverb effect may not be heard.

CHORUS CHORUS

The Chorus effect lets you enhance the sound of a voice with through the use of pitch modulation. Two basic types are provided: Chorus and Flanger. Chorus produces a thicker, warmer, and more animated sound, whereas Flanger creates a swirling, metallic effect. A total of four Chorus types are available.
The Chorus effect can also be turned on and off with a connected footswitch. (See page 21.)
Turn on the Chorus effect (#33) and set the Chorus Type (#34) in the Function mode.
The Chorus effect is applied only to the keyboard-played voices. These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the Performance Setup feature (page 56). Three additional Chorus Types are available when controlling the DJX from a MIDI device. (For details, see page 114.)
Selecting and changing the Function parameters: Press the FUNCTION button, then use the numeric keypad to select the parameter number. After FUNCTION stops flashing, use the numeric keypad or +/- buttons to change the setting. (For details, see page 18.) For a list of the Chorus Types, see page 39.
Set the Chorus Send Level for the desired voice(s).
The Main, Dual, and Split voices can each be set to have different amounts of Chorus. Use the corresponding Chorus Send Level parameters in the Function mode (Main: #05, Dual: #15, Split: #25) to control this. (See pages 27, 30, 32.)
If the Chorus Send Level is set to a value near or at 000, the Chorus effect may not be heard.

DSP DSP

The DSP effect section provides many reverb and chorus effects, plus a wealth of other useful and dynamic effects for enhancing and changing the sound of the voices. Included among these miscellaneous effects are reverse gate reverb, phaser, rotary speaker, tremolo, echo, delay, distortion, equalization, and wah. A total of thirty-three DSP types are available.
The DSP effect can also be turned on and off with a connected footswitch. (See page 21.)
Turn on the DSP effect (#35) and set the DSP Type (#36) in the Function mode.
The DSP effect is applied only to the keyboard-played voices. These settings are not saved when you turn off the power. If you wish to save them, save them to a User bank in the Performance Setup feature (page 56). Eighteen additional DSP Types are available when controlling the DJX from a MIDI device. (For details, see page 114.)
Selecting and changing the Function parameters: Press the FUNCTION button, then use the numeric keypad to select the parameter number. After FUNCTION stops flashing, use the numeric keypad or +/- buttons to change the setting. (For details, see page 18.) For a list of the DSP Types, see page 39.
Set the DSP Send Level for the desired voice(s).

Song Track5 Song Track6 Split Voice (page 31)
Dual Voice (page 29) Main Voice (page 25) Song Track4 Song Track3 Song Track2 Song Track1
The key indicating the selected part is darkened in the display.
Indicates (Dual Voice) Part is selected.
Start the pattern. / Start the song.
Press the START/STOP button. For instructions on other ways to start the pattern, refer to page 46.
Turn the knobs to change the sound.
Turn the desired knob to the left for minimum (or negative) effect and to the right for maximum (or positive). Each knob has a center detent for the 0 or 12 oclock position, making it easy to feel your way back to zero.
Knob moves are strictly performance features they are not transmitted via MIDI and cannot be recorded to a User song.

Minimum

Maximum
Heres what each of the knobs do:
CUTOFF Tweak this to create wah-wah and swooshing filter sweep effects in the selected Part or voice. (Want to find out more? See the box on page 62.) RESONANCE Tweak this to set the level for the CUTOFF knob above. For most applications, youll want to set this at a certain point, and tweak the CUTOFF knob. (Want to find out more? See the box on page 62.) GROOVE Tweak this to change the groove or feel of the entire pattern. This affects only the pattern Parts (Bass, Kick, Phrase 1, Snare, Hi-hat, Phrase 2, Percussion, and Phrase 3) and not the voices. (Want to find out more? See the box on page 62.) ASSIGN This is a wild card knob it can be assigned to control any one of 12 different functions. To find out how you can use the ASSIGN knob, see page 63. BASS BOOST This is similar to the bass control on a stereo amplifier; it affects all Parts and voices. To make the entire sound fatter with more bottom and depth, turn the knob to the right. Turning it to the left cuts the bass and creates a brighter, thinner sound. The BASS BOOST knob setting will also affect the range and depth of the CUTOFF and RESONANCE knobs. (This is especially true for the Bass Part or for bassy sounds.)
Want to have even more keys in the PERFORMANCE section of the keyboard?
Try setting a lower Pattern Split Point value. For example, setting Pattern Split Point to 47 would let you use keys C2 and higher for playing the voices. (See page 54.)
Want to instantly call up your favorite settings?
Many of the settings mentioned above (even the position of the GROOVE knob!) can be memorized as part of the Performance Setup parameters. Once you create a custom Performance Setup, you can instantly call it up by pressing the appropriate PERFORMANCE SETUP button. (For a list of memorized settings and how to use this function, see page 56.)
About CUTOFF and RESONANCE
These are two filter controls found on many analog synthesizers. The filter lets a certain part of the sound (frequency range) of the sound be heard, while muting all higher sounds. The graph below shows how this works: Resonance lets you adjust the level or emphasis of the filter. Turning the RESONANCE knob to the right increases the volume of the resonant peak at and around the cutoff frequency; turning it to the left decreases the volume, like this:

Keep in mind that setting the end point to a position earlier than the actual end of the sample does not change the actual length of the sample or delete any of the samples data it simply changes how the sample plays back.
1 Enter the Sampling mode. 2 Call up the Sample Editing functions. (Press the FUNCTION button.) 3 Select the desired sample (wave). (Play any key in the samples range.) 4 Set the sample for one shot play. 5 Adjust the end point. Use different editing resolutions if necessary. 6 Exit from the Sampling mode.
Enter the Sampling mode. Call up the Sample Editing functions.
Press the RECORD button (DIGITAL SAMPLING).
Press the FUNCTION button.

Wave Sel

FUNCTION RECORD
The Sample Editing functions include:
Wave Select Loop / One Shot End Point Coarse (1/16) End Point Mid (1/256) End Point Fine (1/4096)
The Sample Editing functions cannot be selected if samples have not yet been recorded. (The error message No Data appears in the display.)
You can select from among these by using the OVERALL v/w buttons. 75
Select the desired sample (wave).
Play any key in the samples range. Once youve found the desired sample, avoid playing any other keys and go on to step #4.
Set the sample for one shot play.
The One Shot setting, as its name implies, lets the sample play back just once each time a key is pressed. To set this: 1) Use the OVERALL v/w buttons to select the Loop / One Shot function.

noloop

2) Use the OVERALL +/- buttons to change the setting if necessary. (For One Shot, this should be set to no.)

Adjust the end point.

The DJX has three different editing resolutions: Coarse, Mid, and Fine. By using these three together, it is very easy to pinpoint the precise location you want sample playback to stop. To do this: 1) Select the Coarse (1/16) editing resolution (with the OVERALL v/w buttons.)

Ep 1/16

A rough picture of the entire sample waveform appears at the bottom right of the display:
Single blocks are either periods of silence or barely audible parts of the waveform.
These represent peaks in the waveform.
Cursor. Use the OVERALL +/buttons to move this across the waveform. In this example, the cursor is at the very end of the waveform.
2) Move the cursor along the waveform by using the OVERALL +/ - buttons. The cursor position determines the end point the point at which sample playback stops. Any sound after the cursor is not played.
Cursor is at the third peak in the waveform. (Sample playback stops at this newly selected point.)
3) Play the keyboard and listen to the edited sample. Repeat this as often as necessary playing a key, listening, and continuing to move the cursor, adjusting the end point until youre satisfied. Generally, its best to play the lower keys of the sample, since this allows you to hear the sample played back slowly making it easier to spot the desired end point. If you cant precisely pinpoint the desired location, go on to step 4). 4) Select a more detailed resolution, and repeat steps 2) and 3) above. The best way to adjust the end point is to use the three resolutions in their given order: 1) Coarse, 2) Mid, 3) Fine. Once youve gotten as close to the desired end point as possible within Coarse, select Mid (by using the OVERALL v/w buttons), then use the OVERALL +/buttons to move the cursor. Here is our example waveform as seen in the Mid resolution:

If you want to enter two or more consecutive beats of rest, you can simply use the + button to move forward in the track (for as many beats rest as desired). This saves you the trouble of repeatedly entering rests when there are several beats or measures of silence between notes.
You can listen to the entire step recorded track at any time by pressing the START/STOP button. The track you are working on plays back (until stopped), and returns to Step recording at the next position. Keep in mind that this only plays the selected track. To hear all tracks of the song, exit from Step Rec (press the RECORD button), then press the START/STOP button to start song playback.
To do this, simply repeat steps #4 - #6 above. Make sure that when you press the SONG MEMORY button corresponding to the desired track, the track number in the display flashes.
This operation is the same as step #9 of Realtime recording (page 84).

Replacing a Note or Rest

If you want to change a note or rest youve just recorded, you can easily replace it with a new one. To do this: 1) Select the desired position in the song with the +/- buttons. 2) Press the new note on the keyboard (or the appropriate rest value button on the numeric keypad). 3) Enter the new note value on the numeric keypad. (Enter dotted note or triplet first, if desired.) 4) At the Delete? prompt press the + button. To cancel, press the button.
This operation deletes all previously recorded notes that follow the note to be replaced. Make sure you wish to delete any subsequent notes before actually replacing the selected note or rest.

Entering Velocity Curves

In Step recording, all notes are recorded at the same velocity or volume. To make a Step-recorded track sound more natural or to create some dynamic changes in the track, use the Velocity Curve function. 1) Select the first note to be affected by the Velocity Curve (by using the +/- buttons of the numeric keypad). All subsequent notes will be velocity-transformed. 2) Simultaneously hold down the VELOCITY button (0 in the numeric keypad) and press + or to select the desired Velocity Curve.
Selected Velocity Curve appears as icon in the display.
3) At the Change? prompt, press the + button (YES) to actually enter the selected Velocity Curve, or press the button to cancel the operation. Velocity Curve Chart

Display Type/Description

You can specify a Velocity Curve in the middle of a track BEFORE recording the notes that the curve will affect. To do this, select the last note of the track (by using the +/- buttons), then enter the desired Velocity Curve. In this case, the Velocity Curve is NOT applied to that last note, but affects all subsequently entered notes.

Start the Song Clear operation.
After the FUNCTION indication stops flashing and the Clr? prompt appears, press the + button to start the Song Clear operation.
These parameter numbers can be selected in the same way as with the voices (see page 25). You can use the numeric keypad to directly enter the number, use the +/- keys to step up and down through the parameters, or press the FUNCTION button to advance through the parameter numbers.

YES#11Clr?

Since the FUNCTION indication flashes for only a couple of seconds, make sure to select the parameter quickly after step 1 above.
At the Sure? prompt, clear the selected song.
Press + to actually clear the corresponding song, or press - to cancel the operation and return to step 3.

YESSure?

To exit from the Song Clear operation, press one of the other mode buttons: SONG, STYLE, or VOICE. 91
Even though the DJX is enormously versatile and powerful on its own, it can also be used effectively in any MIDI setup. The DJX is MIDI-compatible, featuring MIDI IN and MIDI OUT terminals and providing a variety of MIDI-related controls. By using the MIDI functions you can expand your musical possibilities. This section explains what MIDI is, and what it can do, as well as how you can use MIDI on your DJX.
The MIDI functions cannot be used in the Song mode.
WHAT IS MIDI? WHAT IS MIDI?
No doubt you have heard the terms acoustic instrument and digital instrument. In the world today, these are the two main categories of instruments. Lets consider an acoustic piano and a classical guitar as representative acoustic instruments. They are easy to understand. With the piano, you strike a key, and a hammer inside hits some strings and plays a note. With the guitar, you directly pluck a string and the note sounds. But how does a digital instrument go about playing a note?
Acoustic guitar note production Digital instrument note production

Sampling Note

Tone Generator (Electronic circuit)

Playing the keyboard

Pluck a string and the body resonates the sound.
Based on playing information from the keyboard, a sampling note stored in the tone generator is played through the speakers.
As shown in the illustration above, in an electronic instrument the sampling note (previously recorded note) stored in the tone generator section (electronic circuit) is played based on information received from the keyboard. So then what is the information from the keyboard that becomes the basis for note production? For example, lets say you play a C quarter note using the grand piano sound on the DJX keyboard. Unlike an acoustic instrument that puts out a resonated note, the electronic instrument puts out information from the keyboard such as with what voice, with which key, about how strong, when was it pressed, and when was it released. Then each piece of information is changed into a number value and sent to the tone generator. Using these numbers as a basis, the tone generator plays the stored sampling note.

Example of Keyboard Information
Voice number (with what voice) Note number (with which key) Note on (when was it pressed) and note off (when was it released) Velocity (about how strong) 156 (grand piano) 60 (C3) Timing expressed numerically (quarter note) 120 (strong)
MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic musical instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or messages. The DJX can control a MIDI device by transmitting note related data and various types of controller data. The DJX can be controlled by the incoming MIDI messages which automatically determine tone generator mode, select MIDI channels, voices and effects, change parameter values and of course play the voices specified for the various parts. MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various types of MIDI messages which the DJX can receive/transmit.

q Channel Messages

The DJX is an electronic instrument that can handle 16 channels. This is usually expressed as it can play 16 instruments at the same time. Channel messages transmit information such as Note ON/OFF, Program Change, for each of the 16 channels.
Message Name Note ON/OFF DJX Operation/Panel Setting Messages which are generated when the keyboard is played. Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is stuck. Voice number (along with corresponding bank select MSB/LSB settings, if necessary). Messages that are used to change some aspect of the sound (modulation, volume, pan, etc.).
Program Change Control Change

q System Messages

This is data that is used in common by the entire MIDI system. System messages include messages like Exclusive Messages that transmit data unique to each instrument manufacturer and Realtime Messages that control the MIDI device.
Message Name Exclusive Message Realtime Messages DJX Operation/Panel Setting Reverb/chorus/DSP settings, etc. Clock setting Start/stop operation
The messages transmitted/received by the DJX are shown in the MIDI Implementation Chart on page 112. 93
CONNECTING TO A PERSONAL COMPUTER CONNECTING TO A PERSONAL COMPUTER
By connecting your DJXs MIDI terminals to a personal computer, you can have access to a wide variety of music software. When using a MIDI interface device installed in the personal computer, connect the MIDI terminals of the personal computer and the DJX. Use only special MIDI cables when connecting MIDI devices.
q Connect the MIDI terminals of the DJX to the MIDI terminals of the personal computer.

Data Initialization

All data can be initialized and restored to the factory preset condition by turning on the power while holding the highest (rightmost) white key on the keyboard. CLr Backup will appear briefly on the display.
This function completely erases and replaces all User Performance Setup data, User Song data, and usersampled data (Sampled voice, #284). If the DJX crashes, hangs up or acts erratically and no operations seem to work, this function will usually restore normal operation.

CLrBackup

VOICE LIST

s Maximum Polyphony

The DJX has 32-note maximum polyphony. This means that it can play a maximum of up to 32 notes at once, regardless of what functions are used. The patterns use a number of the available notes, so when a pattern is played the total number of available notes for playing on the keyboard is correspondingly reduced. The same applies to the Dual Voice, Split Voice, and Song functions. The Voice List includes MIDI program change numbers for each voice. Use these program change numbers when playing the DJX via MIDI from an external device. Some voices may sound continuously or have a long decay after the notes have been released while the sustain pedal (footswitch) is held.
Voice Number 38 Bank Select MSB 0 LSB 112 MIDI Program Voice Name Change# 48 DJX SYNTH LEAD 84 Fuzzline 84 Talkbox 84 Acid Sync 83 Universe 84 Adrenaline 85 Fragile 83 Cut Glass BASS LEAD 87 Killer S 87 Reso-X 87 Choppy 87 PhatMan 87 Organese 87 Happy Vibes 87 TriTouch 87 Sync SQUARE LEAD 80 MC-Line 80 Alien 80 Psyche 80 Clanger 80 Square Lead Square Lead 2 SAW LEAD 81 Break It 81 Scary 81 Move It 81 Robot Lead 81 Fat 81 Seq Ana 81 Stab 81 Pulse Saw 81 Sawtooth Lead Sawtooth Lead Bedtime SYNTH PAD 90 Sequenza 94 Insomnia 95 WaveAmber 89 Eerie 91 Trance Pad Voice Number 75 Bank Select MSB 0 MIDI Program Voice Name LSB Change# RESONANCE BASS Techno Bass KickinB Bassline Nu Floor Fish38 No.No.No Nu Swing Synth Bass ANALOG BASS Analog Bass Dance Bass Snap Bass Old Mini Power Bass Dub Bass Factory Hyper Kidz Bass Techno BASS Acoustic Bass Finger Bass Pick Bass Fretless Bass Slap Bass SCRATCH Scratch Killer DJ SFX FMTB 17 BLJ Trill Omen-FX Rave Pipe 20 Rave Pipe 21 FMTB 22 GtrChord HiquiTB Reverse Signal Aah Turntable

Voice Number 120

Bank Select MSB 0
MIDI Program Voice Name Change# HIT Metal Hit Sharp Hit Mild Hit HUMAN VOICE Come On 1 Come On 2 GetUp! Go!! Huea Hiuhu Yo-Kurt Oh Babe Ohh 9 Ohh 10 One More Time Uhh Uhh+Hit Yeah. DRUM LOOP 091bpmC33 095bpmC34 096bpmC35 102bpmC36 103bpmC37 106bpmC38 110bpmC39 114bpmC40 134bpmC41 135bpmC42 137bpmC43 138bpmC44 144bpmC45 160bpmC46 Samba137 PIANO Funky Electric Piano DX Electric Piano CP 5 Bell Electric Piano Clavi ORGAN Jazz Organ 17 Jazz Organ 18 Rock Organ Cheez Organ 16'+2' Organ Dance Organ MissU R&B Organ LSB

Style Number 75

Style Number 100
Style Name Jack Old Skool Party Theque FRESH Chillin Dreamin EastSide Grind Hezee Loc R&B Bouncy Do it up Hump Plush Pow! Skippin Solid SLO JAMS 1stLuv Cool DaLadies Daydream Loverz On Hit Pushin Sultry
INTRODUCTION Pop Techno Trip Hop Electro Beat Goa Hard Step 8th Handbag 1 Romantic House Ambient Acid Jazz Treach Steppa Struttin All That Soulful TECHNO Tribal Techno Gabba Soft Gabba Euro Techno Modern Detroit Techno Vintage Detroit Techno Modern Berlin Techno Minimal Techno Speed Garage Acid Techno Samba Techno TRIP HOP Funky Trip Hop
Hard Floor Hip House Club House Dub House ABSTRACT BEATS Digital Rock Underground Chill Out RAP Bomb Dance Hall Hype Money Ragga Shakin Tip HARDCORE Buggin Diesel Hi Rolla Homies SuckaMC SupaBad WestSide OLD SKOOL Beatbox Delight Flares Funked Up
MIDI IMPLEMENTATION CHART
YAMAHA [Portable Keyboard] Model: DJX(PSR-D1)
MIDI Implementation Chart
Date:15-APR-1998 Version: 1.0

Transmitted

Recognized

Remarks

Basic Channel
Default Changed Default Messages Altered
1 - - X ************** 0 - 127 ************** O 9nH, v=1 - 127 O 9nH, v=0 X X O
1 - - X X 0 - - 127 O 9nH, v=1 - 127 O 9nH, v=0 or 8nH X X O O O O O O O O O O O O O O O 0 - 127

Note Number Velocity

: True voice Note ON Note OFF Keys Chs

After Touch

Pitch Bender Control Change 0, 7, 6, 71 - 91, 93, 94 96, 97 100, 121
O O O X O O O X O X X X X O 0 - 127 ************** O X X X O O X X O X
Bank Select Modulation Expression Data Entry Sustain Sound Controller Portamento Control Effect Depth Data Inc, Dec RPN LSB, MSB All Sound Off Reset All Controllers
Program Change : True # System Exclusive : Song Position : Song Select Common : Tune System : Clock Real Time : Commands : Local ON/OFF : All Notes OFF Messages : Active Sense : Reset Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY Aux System
O X X X O O X O (123 - 127) O X
Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

O : Yes X : No

*1 By default (factory settings) the DJX ordinarily functions as a 16-channel multi-timbral tone generator, and incoming data does not affect the panel voices or panel settings. However, the MIDI messages listed below do affect the panel voices, pattern, and songs. MIDI Master Tuning System exclusive messages for changing the Reverb Type, Chorus Type, and DSP Type. The Remote Channel can be designated by using Function parameter #81. The messages received over the set channel are handled in the same way as key data received from the DJX itself. The following messages can be received over the designated channel set in this Function parameter; all other messages will be ignored. Note ON Note OFF Control change : Bank select MSB, LSB (Main Voice Only), Modulation, Volume, Expression, Sustain, All sound off, All note off Program Change (Main Voice Only) Pitch Bend *2 Messages for these control change numbers cannot be transmitted from the DJX itself. However, they may be transmitted when playing the pattern or using the Arpeggiator. *3 Exclusive <GM System ON> F0H, 7EH, 7FH, 09H, 01H, F7H This message automatically restores all default settings for the instrument, with the exception of MIDI Master Tuning. <MIDI Master Volume> F0H, 7FH, 7FH, 04H, 01H, llH, mmH, F7H This message allows the volume of all channels to be changed simultaneously (Universal System Exclusive). The values of mm is used for MIDI Master Tuning. (Values for ll are ignored.) <MIDI Master Tuning> F0H, 43H, 1nH, 27H, 30H, 00H, 00H, mmH, llH, ccH, F7H This message simultaneously changes the tuning value of all channels. The values of mm and ll are used for MIDI Master Tuning. The default value of mm and ll are 08H and 00H, respectively. Any values can be used for n and cc. <Bulk Dump> This is used for saving (recording) User data (User songs, User Performance Setup, and Sampling data). <Internal Clock, External Clock> (Receive Only) F0H, 43H, 73H, 01H, 02H, F7H (Internal Clock) F0H, 43H, 73H, 01H, 03H, F7H (External Clock) These messages control the clock setting for the pattern. <Reverb Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 00H, mmH, llH, F7H mm : Reverb Type MSB ll : Reverb Type LSB Refer to the Effect Map (page 114) for details. <Chorus Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 20H, mmH, llH, F7H mm : Chorus Type MSB ll : Chorus Type LSB Refer to the Effect Map (page 114) for details. <DSP Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 40H, mmH, llH, F7H mm : DSP Type MSB ll : DSP Type LSB Refer to the Effect Map (page 114) for details. <DRY Level> F0H, 43H, 1nH, 4CH, 08H, 0mH, 11H, llH, F7H ll : Dry Level 0m : Channel Number *4 It is possible to switch between External and Internal Clock. *5 When the pattern is started, an FAH message is transmitted. When pattern is stopped, an FCH message is transmitted. When the clock is set to External, both FAH (pattern start) and FCH (pattern stop) are recognized. No MIDI messages can be received or transmitted in the Song mode.