INTRODUCTION PRECAUTIONS CONVENTIONS "QUICK" BASIC FEATURES SETUP Audio Output External Foot Controller Jacks Breath Controller MIDI Connectors AC Power Installation of Music Rack Additional Technical Installation Notes PLAYING THE FACTORY PRESET VOICES Playing the Internal Voices Playing the Cartridge Voices
Inside front cover Inside front cover 21
HOW THE DX7 CREATES SOUNDS Operators Carriers, Modulators and FM Algorithms The relationship between algorithms and the sound Feedback is available in every algorithm Envelopes and Envelope Generators PROGRAMMING VOICES: A TUTORIAL Two basic approaches to creating your own sounds on the DX7 Programming a voice "from scratch" Voice Initialization What is initialization? How to interpret the display Looking at the initial EG settings Experimenting with the EG Learning to change the operator FREQUENCY settings How to create Frequency Modulation: getting acquainted with the OPERATOR SELECT OUTPUT LEVEL and ON-OFF edit features Additional editing features: ALGORITHM SELECT KEYBOARD RATE SCALING and LEVEL SCALING LFO Modulation: The relationship between the "LFO" settings and the "MOD SENSITIVITY" settings, and how to program these Programming the remaining 4 operators Programming velocity sensitivity Naming and storing the newly created voice Edit Recall "Emergency Voice Recovery" instructions EDITING A VOICE Analyzing and keeping a record of voices
THE INTERNAL AND CARTRIDGE MEMORIES Memory Protect Storing individual voices to RAM cartridge Saving all 32 internal memory voices to RAM cartridge Loading all 32 ROM or RAM cartridge voices to internal memory Transfering a single voice from one location to another in the RAM cartridge or internal memory ADVANCED PROGRAMMING NOTES Playing style and programming of dynamic control Additional envelope considerations Delayed turn-on using the envelopes How to select an algorithm Leam to program by studying how acoustic instruments work There is more than 1 way to create a pitch Ensemble voices may differ from solo voices Breath controller applications and hints Special effects from [DATA ENTRY] while in PLAY mode Reference sources on FM synthesis MIDI: A STANDARD INTERFACE FOR REMOTELY PLAYING AND/OR PROGRAMMING MULTIPLE SYNTHESIZERS MIDI connections Transmitting 32 voices from the Master to the Slave Playing the Slave from the Master Transmitting individual voices from the Master to the Slave Using DX7 RAM cartridges to save DX9 voices Programming remotely with MIDI Escaping from MIDI control A special setup with two Masters and no Slave More information on MIDI MAINTENANCE AND TROUBLESHOOTING Cleaning Internal Memory Battery Backup If something goes wrong DX SYNTHESIZER GLOSSARY SPECIFICATIONS INDEX

These are used for labeling voices, as explained in the [VOICE NAME] button description. NOTE Refer to the illustration in the foldout front cover to identify the following features. Rear panel connectors These jacks include the line level output from the DX7 to an amplifier, foot control jacks, and MIDI interface connections. Refer to the "Setup" and "MIDI" sections of this manual for details. Volume and Data Entry Controls VOLUME This adjusts the overall output level at the rear panel OUTPUT jack and the front panel HEADPHONE jack. Some presets are inherently louder than others, and this can be used to compensate, or to do overall fades. If volume is too low, and the foot controller is plugged into the VOLUME jack, make sure the pedal is tilted flat for maximum level. It is also possible that amplitude modulation sensitivity has been programmed into a voice, in which case, to make the voice play louder, you may want to use the MODULATION WHEEL, BREATH CONTROLLER, FOOT CONTROLLER (plugged into the MODULATION jack), or the AFTER TOUCH (pressing harder after the key hits bottom). See the FUNCTION mode information on page 10 for more information on these modulation controls.
For example, if the DX7 asks you "are you sure", you can reply [NO] or [YES] with the left and right buttons. If you want to turn the glissando or some other programming function on or off, the [OFF] and [ON] labels apply same buttons. If you want to change the frequency ratio or some other programming value by one unit at a time, the [-1] and [ +1] labels apply. If you just want to move the cursor to a different position when naming a voice, the [<] (move left) and [>] (move right) labels apply Usually you will be able to get the same effect by moving the adjacent slider up and down. These controls are used primarily in the FUNCTION and EDIT modes, but also continue to modify the last selected FUNCTION parameter after returning to the PLAY mode (MEMORY SELECT INTERNAL or CARTRIDGE). These buttons are for increas-
ing or decreasing the values by
off, and for moving the cursor when writing a voice name.
1, for turning a function on or
This slider is used for rapid or large changes. Moving it all the way down and up covers the full range available for each parameter.
Mode Select and Editing Control Section These buttons let you see & change the MEMORY

PROTECT status -

DATA This group of a slider and two buttons serve as the main programming controls for the DX7. The two green buttons are single-step increment/decrement controls that do the same thing as the slider; the slider is faster for large changes and the buttons are better for small adjustments. Each of the buttons has four different labels. The specific labels apply to different programming functions.

NOTE: Do not turn power On until all other connections have been made. Audio Output The DX7 has a built in headphone amplifier, so stereo headphones may be plugged into the front panel jack. However, the instrument does not have a built in power amplifier, and thus requires an external amplifier/speaker system. The OUTPUT jack is suitable for connection to any unbalanced, low line level input. This includes the input of the self-powered speaker systems, and the 600 ohm or higher impedance line inputs of any Yamaha mixer. Remember (hat the audio output level not only depends on the VOLUME setting, but also on the selected voice, the playing style, and the position of the foot control if it is plugged into the VOLUME jack. Use a single conductor shielded cable with a standard 1/4" (6.3 mm) tip/sleeve phone plug. Coiled guitar cords are not recommended since they typically degrade the high frequency response more than a straight cord.
goes into the BREATH CONT. jack on the front of the DX7; DO NOT plug anything else into this jack. MIDI Connectors These multi-pin DIN connectors are for the Musical Instrument Digital Interface system (MIDI), a standard adopted by several leading synthesizer manufacturers. MIDI allows the DX7 to remotely control (or be controlled by) other keyboards, sequencers and computer interfaces. See the "MIDI" section of this manual for additional information. AC Power Plug the DX7 power cord into any 120 volt, 50 or 60 Hz grounded (3-prong) AC receptacle. It draws 40 watts maximum. When using the DX7 with an amplifier or mixer that has an unbalanced input, it is a good idea to plug both units into the same AC receptacle box or the same "leg" of the AC service. This will reduce the chance of hum.
After all connections have been made, turn down the mixer or amplifier volume as a precaution. Then turn ON the POWER switch located at the rear of the instrument (on the right side viewed from the keyboard). The display panel will look like the illustration here for a few seconds, and will then change to display the mode which had been engaged before the DX7 was last turned off.
Installation of Music Rack The music rack which comes with the DX7 fits into two sockets on the rear panel (see diagram).
Standard guitar cord, 20 feet maximum recommended length. The low impedance XLR inputs of Yamaha mixers may be used with an adaptor cable or a "direct box," as explained in the technical notes at the end of this section. External Foot Controller Jacks There are 4 phone jacks designed for use with external foot controls. The VOLUME and MODULATION jacks each accept a Yamaha FC-3A foot pedal, which has a tip/ring/sleeve (stereo type) phone plug. The PORTAMENTO and SUSTAIN jacks each accept a Yamaha FC-4 or FC-5 foot switch, which has a tip/sleeve phone plug. None of these jacks needs to be used for normal operation of the DX7, but if the foot controllers are used, be sure you plug in the proper type of controller. The pictorial diagrams on the rear panel should make this clear. Breath Controller The optional Yamaha BC-1 Breath Controller is a pressure transducer that is designed for use with this synthesizer. Its miniature tip/ring/sleeve phone plug

Press this

[DATA ENTRY]
A slider and two buttons at the left side of the control panel are marked [DATA ENTRY]. This group of controls is used for adjusting the settings of almost all the programmable levels and modes. Moving the slider down and up may turn one item OFF and ON, set another for a level of from 0 to 7, and set still another for a level or rate of from 0 to 99, and so on. For now, just remember that [DATA ENTRY] is an assignable group of controls that you use to change whatever you have selected with other controls on the DX7.
The display will change to show the voice
Whatever EDIT mode or FUNCTION mode programming parameter value happens to be displayed may suddenly "jump" to a different value as soon as the [DATA ENTRY] slide control is operated, or it may change gradually, depending on the specific value and the position of the slider. Think of the slider as having a scale (from bottom to top) of 0-3, 0-7, 0-12, 0-99 or OFF-ON, depending on the function. If the slider is positioned at a different point on its relative scale than the value displayed in the LCD window, then as soon as the slider is moved at all, the displayed value will jump to the sliderposition value. In most cases, the two buttons next to the slider will increment or decrement the displayed value by 1 unit, with no "jump." The last selected FUNCTION parameter can be adjusted while in the PLAY mode.

[FUNCTION]

NOTE There is no "right way" or "wrong way" to approach programming of the DX7, although some methods may be rather inefficient. This chapter is provided to familiarize you with the use of some of the programming functions. If something isn't perfectly clear to you at first, don't spend too much time on it; it will eventually make sense as you play the instrument and become familiar with its basic features and functions. We suggest you re-read these instructions after you've gained a certain degree of confidence with the DX7.
There are 3 main modes of operation: PLAY mode, EDIT mode and FUNCTION mode. The parameters which can be adjusted in FUNCTION mode are those that affect the overall sound, no matter which voice you select (provided, in some cases, that the voice itself is programmed to accept the function control). This includes such parameters as the tuning of the keyboard, whether or not the portamento is active and how it works, and the effects of the modulation wheel, foot control, breath control, and the pressure sensitivity of

case the bottom line will indicate "MONO MODE".
unless MONO mode had last been selected in which
2. If it is not already in MONO mode, set the instrument to that mode by pressing the [>] button (or by pushing the slider to the top) and see how the keyboard reacts. Observe that if you hold down one key then hit a higher or lower note, you will hear the most recent key you press. Thereafter, the keyboard is set correspondingly to high or low note priority until you release all keys. There is no "fixed" low or high note priority. Press this And see this 3. Experiment with moving the [DATA ENTRY] slider up and down. Notice the display toggle between "MONO MODE" (slider up) and "POLY MODE" (slider down). Now try pressing the adjacent [<] and [>] buttons. Notice they do the same thing as moving the slider down (<) and up (>). This relationship is true for most programming functions. 4. Set the instrument to POLY mode by pressing the [<] button or by pulling the slider to the bottom. See how the keyboard reacts. Observe that you can play chords, and if you hold one key pressing another
does not cancel the original note. Leave the instrument set to POLY mode for the time being.

Then use either of these

PITCH BEND RANGE & STEP The PITCH bend wheel located at the far left side of the keyboard can be used to "bend" notes or chords, provided the Pitch Bend Range is set to some non-zero value. The wheel is spring-loaded to return to center from either direction. The maximum pitch bend range is adjustable from 0 (no pitch bend) to a as much as 12 semitones in either direction (plus or minus an octave). Additionally the PITCH wheel can be programmed for a smooth, continuous bend, or the change can occur in "steps" of a size you set (from 0 to 12 semitones). The RANGE adjustment works only when the step size is set to 0; when discrete steps are selected, the maximum range is 1 octave, with the step size determining the highest and lowest pitch actually available.
When the DX7 is set for a pitch bend step size of zero, the display should look like this:

PROGRAMMING VOICES: A TUTORIAL
ence whether the envelope had reached LEVEL 3 and was sustaining, had just reached LEVEL 2, or had not yet reached LEVEL 1. Whatever the level when you release the key, the sound immediately moves toward LEVEL 4 at RATE 4. At the slowest setting for RATE 4, the sound can linger for so long that you think the note is stuck (up to 3 minutes). Typically LEVEL 4 is set at zero (minimum or "off") so that the note eventually turns off. RATE 4 is analogous to the release time in a standard ADSR. A major advantage of the DX7 envelope is that each of the 8 parameters can be set to any of 100 values, providing precision and repeatability The maximum value of each LEVEL setting is 99, with a minimum value of zero (off). Similarly, the maximum rate is also 99 (fastest change in level). Mathematically, this works out to provide something over 1,000,000,000,000,000 different envelopes (that's right, 15 zeroes!). NOTE: If you program a carrier envelope so LEVEL 4 is greater than 0, the sound will not die. If you program RATE 4 at or new 0, the sound will seem to last "forever" Even if you then reset LEVEL 4 to 0 and RATE 1 to 99, the sound will continue until you play 16 notes, the 16th note cancels the last "lingering" note that was programmed with the previous settings. Two basic approaches to creating your own sounds on the DX7. There are two basic approaches to programming the DX7. First, you can run through all the available preset voices, choose one that is close to the sound you want, and then edit that voice to create the sound you want. Second, you can "initialize" the editing buffer of the DX7 and create a voice "from scratch," one that does not rely at all upon any previously created voice. The first method, editing a preset voice, is generally a much more efficient approach, provided the sound you want is close to something that already exists. (We don't mean to say that you can't edit an existing voice into something radically different, but the knowledge and effort required to do that in a predictable fashion are formidable.) If you are looking for a unique voice that is totally unlike any preset, it is probably best to start "from scratch." The decision about which approach to use will become easier as you gain experience with the DX7. Initially we urge you to read this section and follow instructions carefully as we give you a "guided tour" of the DX7 and show you how to program a voice "from scratch." This may seem more difficult, but it is actually a much better way for you to learn how each of the editing parameters (functions) really works. In the beginning, it may seem almost overwhelming due to the unfamiliar terminology and technology. However, as you become familiar with the instrument and gain a working knowledge of envelopes, frequency ratios, keyboard scaling, and so forth, you'll find creating a voice "from scratch" will become much easier, and editing an existing voice (a preset or one of your own prior creations) will become a fast, relatively simple process. Programming a voice "from scratch" In order to begin programming a voice "from scratch," you'll want to have a clear memory location so that when you've completed working on the voice, you can save it. Actually, any of the DX7 internal memories can be used. Nothing is erased while you are creating a voice, but when you're done and you store the new voice in one of the memories, whatever voice had been in that memory will be erased. CAUTION If you are using the synthesizer after someone else has been programming voices, make sure those voices have first been stored on a RAM cartridge before proceeding. Otherwise you might accidentally "erase" or change someone else's efforts. In this section of the manual, we present information 27 in an order which should make it possible for you to achieve immediate, audible and satisfying results as you learn to program a voice. To aid in organization of the information, we have used subheadings that often use the name of the button, or that describe the use of several buttons which, together, achieve the programming function being discussed. Many of these subheads include their own step-by-step instructions. We intentionally restart with Step 1 for each subhead so that you can later review a single subhead and follow the steps for programming that particular parameter. Once you have become familiar with the DX7, there is no "rule" that you have to follow this order. For now, however, please read and follow these instructions as presented. NOTE If you do jump ahead and "get lost" or should you accidentally program one parameter when you thought you were working on something else, an "emergency bail out" is always available: return to the [VOICE INIT] function presented here at Ihe beginning of this section. Turning power off and on will NOT reset your voice. VOICE INITiaIization When you want to program a voice "from scratch," you do it by initializing a voice. That is, regardless of which voice you are currently playing, you reset all its parameters to a starting point which is about the simplest setting that will still produce a sound. This could take many minutes of button pushing if you had to manually check each programmable item. To save time, you can instead use the [VOICE INIT] function. Although you gain access to "Voice Initialize" from the FUNCTION mode, the actual voice is not programmed with the DX7 in FUNCTION mode. As soon as you have performed the steps below to initialize the voice, the DX7 is automatically placed in the EDIT mode, and then the programming begins. 1. To gain access to the "Voice Initialize" function, press [FUNCTION], and then [VOICE INIT], and answer the displayed prompts.

to select OP2, and adjust [DATA ENTRY] to 3 first, then
16. Add some pitch modulation depth (it should be at zero) to obtain a pleasing frequency variation for some interest. Press [PMD] and set it to 15. Then press [DELAY] and set it to 55, press [SYNC] and turn off the key sync, and press [SPEED] and reset it to 27. Now reset all these parameters for a more natural sound
Now lets see what happens when you modulate the carrier's level. 14. Press [OPERATOR SELECT] as needed to select operator 1, and then adjust its amplitude sensitivity to the maximum (3). Play a note in the upper part of the keyboard, and hear the wide deviations in volume. The wide deviations in volume occur because the LFO is being applied to change the output level
Programming the remaining 4 operator* So far we have used just 2 of the 6 available operators within the algorithm to create the voice you are hearing. The remaining 4 operators can be used to add to the voice and richen it. However, for the purpose of demonstration, we'll show you how to program a completely different sound with them. Then, by using Keyboard Level Scaling, you can roll off this second voice in the upper part of the keyboard so you end up with a split keyboard. NOTE In this part of the manual, we'll assume you are beginning to gain some familiarity with the DX7, so we won't use quite as many illustrations, nor will we always instruct you to use [DATA ENTRY] to alter a value if it should be obvious that that's how the value is changed. If we say "adjust the frequency ratio to 3.00" we'll assume that you know how to push the slider or use the [-1] and [ +1] buttons. This segment of the voice will become a piano-like sound. Remember that this is not supposed to be a "great" sound, just one for learning. In fact, we're eager for you to experiment with the voice after you create it so you can make improvements. 1. Press [OSCILLATOR-FREQUENCY COARSE]. Turn ON operators 3, 4, 5 and 6, then turn OFF operators 1 and 2 by pressing the corresponding [OPERATOR ON-OFF] buttons. The display will show
3. You won't hear anything yet because those operator output levels are still set at the initialized value (zero). Reset the levels as indicated below; first press [OPERATOR OUTPUT LEVEL], and adjust the level of the current operator. Then press [OPERATOR SELECT], and set the output level for the next operator, and so forth. OUTPUT LEVEL OPERATOR

Additional envelope considerations
You can simulate an ADSR if you set the envelope as follows: L1 =99, L2=99, L4=0, and R2=99. With these settings, then R1 becomes Attack time, R3 is Decay time, L3 is Sustain level, and R4 is Release time. To get the "whap" sound of brass, try using [VOICE INIT] Then, from the initialized voice, leave OP1 as it is. Change from ALG 1 to ALG 2, change from Feedback=0 to Feedback=7. and then bring up the OP2 output level to 75. This produces the modulation you need for brass, but not the "whap," Reset OP2 EG Rate 1 from 99 to 70, which causes the modulation to "ramp up," rapidly increase the harmonics and produce the characteristic brass attack sound. Delayed turn-on usiing the envelopes If you want the Operator attack to begin a while after you press the key, there are two approaches. One way is to set the first level (L1) to 99, and to set the attack rate to a low number (0 to 30). This will result in a gradual turn-on of the note, with almost no sound at first. If you want an abrupt (fast) attack, but you don't want it to start for a while after the key is pressed, you'll need to take a second approach. Set EG Level 1 to 0; Rl should be set to 99. Then set Level 2 to 0, and set Rate 2 to achieve whatever delay time you want. Be sure you press the key long enough while programming these delayed turn-on envelopes. it can take over a half a minute before you hear anything. Set Level 3 to 99 (or some reasonably high level), and set Rate 3 for whatever attack time you want on the note. Level 4 should be 0, and Rate 4 can be set to whatever release rate you desire. How to select an algorithm There are 32 algorithms; all have the same 6 operators and one feedback loop, yet each algorithm is capable of creating sounds that the others cannot. Sometimes the differences between algorithms are negligible, yet at times the difference can be dramatic. It may help you to picture a voice as a the result of two interactive elements, (1) the algorithm, and (2) the frequencies and relative level of the operators within that algorithm. An algorithm is nothing more or less than an arrangement of operators. Ultimately, there are just two ways that the operators can be connected: (1) side by side for additive synthesis, and (2) one on top of the other for frequency modulation. "Branching" where one operator feeds or is fed by two or three other operators, is just a

variation of the second category. Another variation similar to category (2) is feedback, which creates frequency modulation through regeneration. If you were to set the 6 operators to any frequency ratios you choose, and set their envelopes and output levels to "typical" values (i.e., values like those found in several preset voices), you would find that changing the algorithm would change the sound very markedly Notice that the 32 algorithms, as illustrated on the DX7 front panel, are sub-divided into 4 major groups (as shown by the boxes). While we are about to make a gross generalization, it can be useful in planning an approach to programming. The most complex algorithms are at the upper left (1 through 6). These are examples of straight FM synthesis with two or three "stacks" of operators per algorithm. Many of the piano voices or orchestra voices are done with these algorithms because each stack can be programmed as though it were a separate voice within a voice (hence multiple strings on a piano note, or brass, bell and flute together). A different type of complex algorithm appears in the upper right (7 through 18). These are useful for voices whose harmonic structure undergoes complex changes, yet with fewer different "sub voices" within a voice (bass, harp, and stringed instruments, for example). Of this cateogry algorithms 7 through 15 include two carriers each, one of which has multiple stacks of modulators feeding it through two different carrier inputs (good for electric pianos as an example). Algorithms 16 through 18 also have branching, but they all have a singe carrier whose three inputs are fed by different stacks of modulators (good for brass sounds, as an example). Less complex still are the algorithms pictured at the lower left (19 through 25). Each includes one modulator which feeds 2 or more carriers, and the number of carriers form a progression: algorithms 19 and 20 each have 3 carriers, 21 to 23 each have 4 carriers, 25 and 26 each have 5 carriers. These are useful for sounds with more discrete attacks and less harmonic complexity a pipe organ for example. Algorithms in the lower right (26 through 32) are arranged with a similar progression of 3, 4, 5 and 6 carriers, but these are the least complex algorithms in terms of the amount of modulation available. They are useful for such sounds as electric organs, simple wind instruments like a recorder, and so forth. When you set out to create a given sound, you'll have to find the group of algorithms that you feel may be able to do the job; this judgement can be based on looking at

ent modulator output levels for each combination of frequencies, since this can make a world of difference in the sound. Ensemble voices may differ from solo voices When a musician plays an instrument as part of an ensemble, whether 2 or 70 people are playing, the sound of his instrument will interact with the other sounds. There is a certain balance to be struck between blending with the other instruments, yet retaining a distinct identity. The need to retain an identity in the midst of this complex group texture (even if the "group" is nothing more than tape recorded Overdubs of the same DX synthesizer) calls for a more "penetrating" sound, sometimes one with more exaggerated LFO modulation or a slightly "edgy" harmonic structure. The same voice might sound too harsh or exaggerated in a solo performance. When you are programming a voice, be sure to evaluate it in the musical context where it will be used. You may want to program and store two variations of the same voice, one for ensemble and one for solo use. Some of the preset voices include the term "ensemble" (ENS) in their title; these voices often work better in an ensemble than as solo voices. Breath controller applications and hints There are certain types of instruments that are difficult to phrase or articulate with a keyboard, such as brass or vocal sounds. The BC-1 breath controller may be used to phrase and shape the envelope or to add modulation of pitch and amplitude. The BC-1 is sensitive to pressure; the harder you blow into it, the more voltage it applies to the synthesizer's Breath Controller input. This voltage can be programmed to affect different aspects of the voice. The changes it brings about can be made very quickly a great asset when performing. However, in order to use the breath controller, various parameters must be programmed into both the voice and the FUNCTION mode of the instrument. To explore the use of the breath controller, select a voice which includes amplitude modulation sensitivity such as the "SAX-BC1" voice from the Master Group. Then plug in the Yamaha BC-1 breath controller. Amplitude modulation with the BC-1 Press the [FUNCTION] button and then press [BREATH CONTROL-RANGE] and set the range to
50. Then press [BREATH CONTROLLER-AMPLITUDE] and turn it ON. Within the voice itself, the amplitude modulation sensitivity of one or more operators must be set to 1 or higher. In this case, the BC-1 may alter the volume, the timbre, or both depending on whether the AM sensitivity is turned up on the carriers) or modulator(s). Play the instrument and blow into the BC-1 to hear what happens. NOTE If you have to blow too hard while playing a voice which is known to be modulation sensitive, you may want to adjust the sensitivity of the BC-1 itself. Use a small slot-blade screwdriver to turn the recessed screw on the bottom of the unit. You can also cover up the small vent hole in the BC-1 with your finger or adhesive tape; this will increase the effectiveness of your breath, but will restrict the playing style somewhat (it also quiets the BC-1). EG BIAS modulation with the BC-1 When you turn up the EG bias (99 max), the actual level of each operator whose AM sensitivity is above 0 will go down. With a maximum AM sensitivity of 3, and EG BIAS of 99, the operator level will be zero. Then, when you blow hard into the BC-1, the level comes back up to the maximum level permitted by the envelope at any given instant; you must have played the note first on the keyboard so that the EG bias is bringing up the level within the programmed envelope. The rates of the envelope remain unchanged, but the sound will disappear instantly if the BC-1 is not blown. For creating a voice like the "SAX - BC1" preset, where you may want all the sound controlled by the BC1, you might set all the operators' amplitude modulation sensitivities to 3, and the BC range to 99. In something like the E.P-BRS BC (Electric piano-Brass Breath Controlled) voice in the complex & effects group, the piano portion of the voice is not affected by the breath controller because these operators' AM sensitivities are at 0, but the operators in the brass portion of the voice have their AM sensitivities set at 3; the [BREATH CONTROLLER-RANGE] should be 99 for this voice. With the "Sax - BC1" voice you may want to use the BC-1 for phrasing (EG bias), use after touch for vibrato (Pitch), and use the foot control for overall volume. The Modulation Wheel can be used to apply LFO amplitude modulation.

"live" after you exit the FUNCTION mode by pressing one of the [MEMORY SELECT] buttons (internal or cartridge). The [DATA ENTRY] controls only change the last used parameter prior to pressing the [MEMORY SELECT] button. This feature can be useful as an additional live performance control. For example, you might go into the EDIT mode and select [LFO SPEED]. Then go back to the PLAY mode and you can play any voice you like and change its LFO speed by moving the [DATA ENTRY] controls. Similarly, you can go into FUNCTION mode and adjust [MASTER TUNE], then go back into PLAY mode and use [DATA ENTRY] to tune a voice. One application of this characteristic is to achieve simulated "doppler shift" with the train bell or whisltle (Doppler effect is the increase in pitch that occurs as two objects move closer togther at a rapid rate, and the decrease in pitch as they move apart). One of the most important parameters to access during performance is the POLY/MONO mode selection. You can exit FUNCTION mode after first pressing [POLY/MONO], and then toggle between these modes while playing various voices. The ability to change the last selected FUNCTION parameter is particularly useful for changing the portamento characteristics. For example, you can enter FUNCTION mode and adjust the [PORTAMENTO TIME], then play a voice and alter that time as you play. A very useful "trick" relies upon the difference in portamento that occurs between polyphonic and mono modes. As explained here, you can use [DATA ENTRY] to switch between fingered portamento with a mono keyboard (useful for a Fretless Bass voice), and no portamento with a polyphonic voice (Electric Piano, for example). 1. Wire a standard phone jack so its tip is shorted out to its sleeeve (jumper from tip to sleeve). Insert this plug in the Portamento Foot Switch jack on the back of the DX7. It has the same effect as though you plugged in a foot switch but did not step on it. 2. Enter FUNCTION mode. press [POLY/MONO], and set the instrument for MONO operation. 3 Press [PORTAMENTO MODE] and select "FINGERED PORTA". You'll notice that fingered portamento is not sensitive to the portamento foot switch, so it will work even though the shorted jack is present. 4. Press [POLY/MONO] again before leaving FUNCTION mode so that the [DATA ENTRY] slider or
[ON] and [OFF] buttons will toggle the keyboard between polyphonic and mono operation. 5. Press [MEMORY SELECT] (internal or cartridge) to enter the PLAY mode. When you select a voice like the Fretless Bass, push up [DATA ENTRY] or press [>] to set the DX7 to MONO mode. You can now use fingered portamento (holding one key while pressing and releasing another) to achieve a pitch bending glide to the next note, or play notes sequentially to avoid portamento. If you select another voice, such as Electric Piano, pull down [DATA ENTRY] or press [<] to return to polyphonic operation; since the portamento jack is shorted, there will be no portamento on that voice. If you want, you can use a foot switch in the Portamento jack, in which case the portamento would be active in POLY mode when you step on the pedal. If you don't want to accidentally have a parameter change whenever you're in PLAY mode, select a noncritical parameter before you exit the FUNCTION mode. From FUNCTION mode, for example, you might press [BATT CHECK] before going into PLAY mode. This will avoid accidental, unexplained changes while you are playing.

Standard MIDI setup with two DX7s. You play and/or program voices for both instruments from the Master (which is the one whose MIDI OUT jack is used You can also play the Slave directly if you wish.
In this setup, the Master (instrument #1) can be used to play and/or program the first Slave (instrument #2) However, the the second Slave, (instrument #3) cannot be remotely controlled by the Master the first Slave (instrument #2) can control the second Slave (instrument #3). In other words, when MIDI IN/OUT jacks are used to interconnect several instruments, remote playing or programming is possible only from one instrument to the next along the "chain." As always, each instrument can be played or programmed locally
In this setup, the Master can be used to play or program both Slaves. The difference, compared to the previous setup, is that here the THRU connector of the first Slave (instrument #2) is used to feed IN connector of the second Slave. Additional instruments can also be controlled by the Master by feeding from the THRU connector of one to the IN connector of the next, and so on. NOTE One further MIDI connection diagram is shown at the end of this section of the manual.
Transmitting 32 voices from the Master to the Slave For this discussion, we will assume the simple setup shown with just two DX7 synthesizers. Basically, the same procedure is used when playing more DX7s, or a mixture of other DX synthesizers. 1. Load the 32 voices you wish to transmit into the Master's internal memory 2. Set the Master synthesizer to MIDI channel 1 by pressing [FUNCTION], then press [MIDI] (button 8) until the display shows "FUNCTION CONTROL, MIDI CH= ?", where the question mark may be any number from 1 to 16. If it's at 1, go on to the next step, if not. Use the [-1] DATA ENTRY button to set the instrument so the LCD displays "FUNCTION CONTROL, MIDI CH= 1." 3. Now press [MIDI] once more and the LCD will probably display "FUNCTION CONTROL, SYS INFO UNAVAIL". This means that the synthesizer's MIDI system communication on channel 1 is turned off. Press the [ON] button, and the display will change to "FUNCTION CONTROL, SYS INFO AVAIL". The Master synthesizer is now set to transmit voice data. 4. Now set the Slave to receive on MIDI channel 1 by repeating Steps 2 and 3 above on that instrument. 5. From now on, most changes of the Master's EDIT or FUNCTION mode programming controls will affect the Slave. 6. Press [MIDI] once more on the Master, and its LCD will display "FUNCTION CONTROL, MIDI TRANSMIT?" to which you answer [YES]. In about a second, the 32 voices will be transmitted to the next DX synthesizer (the Slave). When the operation is over, the Slave's LCD will display "FUNCTION CONTROL, MIDI RECEIVED". NOTE If the Slave is a DX9, only the first 20 voices will be transmitted, and they will be truncated to the closest sounding voice that can be achieved with 4 instead of 6 operators. Operators 3, 4, 5 and 6 are transmitted to the DX9, but operators 1 and 2 are not. This will affect some voices more than others. A similar translation will occur when moving voices from DX9 to DX7. If the Slave did not receive the voices, there are two things to check. First, be sure its memory protection was OFF. Second, be sure both synthesizers were set to MIDI channel 1. (If one is not, you'll have to manually change it from the FUNCTION mode as described