your fingertips since you can have any 32 voices you wish loaded in the internal memories, then install one of the 64-voice ROM cartridges. You switch between internal and cartridge voices with the press of a button, and between cartridge banks A & B with a slide switch. Of course, if you allow for changing cartridges, which takes just a second, your live performance voice library is really unlimited. Up to 96 Voices Can Be "On Line" Ready for Instant Recall NOTE Portions of the front panel are used to illustrate Voices (sounds or ''instruments") may be saved in 3 the text throughout this manual; it should be relatively different ways with the DX7. As mentioned above, the easy to see where these "spot" illustrations fit in the consynthesizer has 32 internal voice memories that can text of the entire instrument if you are reading the manhold any combination of factory preset sounds or voices ual with the DX7 in front of you. If the instrument is not you create. In addition to the internal memories, one of handy we suggest opening this cover fully revealing an two types of memory cartridges may be inserted in the overall front panel illustration that will remain visible as instrument for additional "on line" memory. Pushbuttons you flip through the inside pages. Originally ROM carenable you to select from the internal and cartridge tridges were numbered #1 & 2. Later models were voices. shipped with ROM cartridges #3 & 4 instead. Both sets A total of 128 factory preset voices are provided. Obvi- have similar voices. ously they all cannot fit in the 32 internal memories at once; these voices are actually supplied to you stored in 2 solid state ROM (Read Only Memory) cartridges that each hold 64 voices, arranged in two banks of 32. You move a slide switch on the cartridge to gain access to
This arrangement lets you have a total of 96 voices at
NOTE FOR SYNTHESIZERS SOLD BY THE U.S.A.
Internally, the DX7 generates signals in the radio frequency spectrum. If the instrument is installed in the immediate proximity of some types of audio or video devices (within ten feet), interference may occur. Federal Communications Commission (FCC) Rule Part 15, Subpart J, establishes design and manufacturing standards that will provide a reasonable level of protection against the possibility that two electronic devices, operating simultaneously, might interfere with each other. The DX7 has been type tested and found to be in compliance with the design and manufacturing standards established for "Class B" computing devices. Compliance with the standards established by the FCC does not guarantee that interference will be eliminated. If your instrument is suspected of causing interference with other electronic devices, verification can be made by turning your instrument on and off. If the interference continues when your instrument is off, the instrument is not the source of the interference. If your instrument does indeed appear to be the source of the interference, one or more of the following corrective measures should be tried. (1) Relocate either the instrument or the electronic device that is being affected by the interference. (2) Utilize power outlets for the instrument and the device being affected that are on different branch circuits (different circuit breakers or fuses), or install AC line filters. (3) In the case of radio or TV interference, relocate the antenna; if the antenna lead-in wire is 300 ohm ribbon lead, change it to 75 ohm co-axial type cable (utilizing the necessary transformer/ adaptors at either end, as required to match the cable). If these corrective measures do not produce satisfactory results, please ask for suggestions or seek corrective measures by contacting your Authorized Yamaha Dealer or: Music Marketing Group Service Division Yamaha International Corporation 6600 Orangethorpe Avenue P.O. Box 6600 Buena Park, CA 90622 If, for any reason, you should need additional information relating to radio or TV interference, you may find helpful a booklet prepared by the FCC: "How to Identify and Resolve Radio-TV Interference Problems." This booklet, (stock number 004-000-00345-4) is available from: U.S. Government Printing Office Washington, DC 20402

CONVENTIONS

Nearly every button on the DX7 has several functions. Typically, the editing parameters are labeled in violet, the overall instrument functions are labeled in brown, and yet other functions are labeled in white or by reversing out the color of the button. Since this manual is not printed in full color, we have adopted the following conventions when referring to buttons. First, even though the button has several labels, we name only the button label which applies to the particular step being discussed. That button name will be bracketed to denote a button. In addition, in many cases we actually illustrate the button so there is no confusion as to which control is being discussed. Lets look at a few examples to illustrate the conventions. Find the 32 numbered green buttons, and look at the upper left corner of that area. This is how we illustrate the first two buttons: changes to suit whichever of the button's several functions is under discussion, yet the button is always illustrated the same way:
In EDIT mode, press the [OPERATOR ON-OFF 1]
illustrate two or more adjacent panel buttons, whereas in other cases we illustrate just one; the multiple buttons are to help you identify the one button we are discussing.

This illustration

button once to turn off operator #1 and again to turn it on.
In FUNCTION mode, press the [MASTER TUNE ADJ] button to set the [DATA ENTRY] slider so it can alter the tuning of the keyboard. We alternate between showing you the complete display window, including the LED voice number readout, and just the LCD portion of the display. There is no particular signficance to this; the abbreviated display saves space on the printed page, and when we don't consider the voice number readout significant for an instruction, we omit it. Similarly in some cases we This illustration

is the same as this one

Both buttons are part of a group of 6 that are labeled in violet "OPERATOR ON-OFF/EG COPY". When the DX7 is in the EDIT mode, this label indicates that two different functions can be selected or activated by each button: (a) turning the output of an operator on or off, and (b) copying an envelope from one operator to another. Don't worry about what this means right now; we describe operators and envelopes and so forth later. Suffice it to say there are multiple uses for the buttons. To continue, when we are discussing the left button in the context of (a) above, the printed reference to the button looks like this: [OPERATOR ON-OFF 1]. The same button, used in context (b), is described like this: (EG COPY 1]. When the DX7 is in the FUNCTION mode rather than the EDIT mode, the brown label below it applies instead of the violet label above it. In this case, the identical button now prepares the DX7 so that its master tuning can be adjusted, and the text describes the button like this: (MASTER TUNE ADJ.). When the DX7 is in PLAY mode, the green buttons serve as Voice Selectors. The label "Voice Selector" does not actually appear on the front panel, but when the text asks you to play internal or cartridge voice #1 by pressing Voice Selector [1], the #1 green button is the correct choice. As you can see, the text reference

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
Additional Technical Installation Notes When connecting the DX7 to an amplifier or mixer, a maximum unbalanced cable length of 20 feet will reduce susceptibility to hum, noise, and high frequency losses; if a longer cable is needed, utilize a "direct box" which uses a transformer or amplifiers to convert the output to a balanced line, and then run 2- conductor shielded cable with XLR-3 or 1/4" Tip/Ring/Sleeve phone plugs to a balanced input on the mixer or amplifier. If the cable length is under 20 feet, but the mixer or amplifier input requires an XLR connector, a direct box may not be necessary; a simple adaptor cable will often do the job, so long as complex grounding problems don't cause excessive hum. To adapt the phone jack OUTPUT of the DX7 to an XLR input, first check the manual on the other equipment to see which pin of its XLR is the "hot" or "signal" pin. In Yamaha equipment, pin 2 is "hot." Cut the phone plug off one end of a standard guitar-type cable, and connect the center conductor to XLR's "hot" pin. Then wire the shield to the other two pins of the XLR; if hum is a problem, cut the shield connection to pin 1 of the XLR.

VOICE INTT (Initialize) This function is used to create a new voice "from scratch," and pressing it is the first step of an alternative method of entering the EDIT mode. Please do not press this button right now; if you already have, the display shows "VOICE INIT?"; press [NO] or any other FUNCTION button to cancel the mode. This button's operation is described in the "FUNCTION mode" portion of the "Quick Basic Features" section of this manual. See page 9.
The voltage should be between 2.3 and 3.5 CAUTION The battery is a long-life Lithium type, and when it is exhausted (below 2.2 volts) it must be replaced by your Yamaha dealer. Be sure you save any internal voice on
a RAM cartridge before submitting the instrument for a new battery or repair. See page 49 for Cartridge Save and Load descriptions and directions. Please do not try to change the battery yourself ; expensive damage that is not covered by your Warranty may result. MODULATION WHEEL FOOT CONTROL BREATH CONTROL AFTER TOUCH
(Actually each operator or "sub-component" of a voice may or may not be internally programmed to be sensitive to these modulation sources.) The fourth button, RANGE, lets you set the maximum amount of modulation that can be applied to each of the adjacent three voice components. The only difference between the four groups of four FUNCTION controls is the means you use to control the LFO modulation. It can be introduced: A) when you move the modulation wheel at the left of the keyboard, B) when you tilt an FC-3A foot controller plugged into the MODULATION jack, C) when you blow into the BC-1 breath controller plugged into the BREATH CONT jack, or D) when you press hard on a key (or keys) to activate the after touch sensors within the keyboard. Because the four groups of modulation controls all operate similarly we will concentrate primarily on just one modulation source: the MODULATION WHEEL. First, make sure all modulation is OFF NOTE While you may not be using a given source of modulation, it can still affect the voice if its FUNCTION control parameters are inappropriately set. SOME SETTINGS COULD RESULT IN LITTLE OR NO AUDIBLE OUTPUT FROM THE SYNTHESIZER. Therefore, to simplify the operation as we go through the following explanations, we first instruct you to turn off all the modulation sources except the MODULATION WHEEL. Later when you actually play the instrument, you can turn on the modulation as you wish. 1. If the instrument is not still in FUNCTION mode (upper line of the LCD display showing "FUNCTION CONTROL), press the [FUNCTION] button. Then press [MODULATION WHEEL-PITCH] and see whether the modulation is on.

And set this wheel to take advantage of the maximum set

modulation

Then move slider up or press
this button to turn on the modulation
Then move this slider up to achieve the maximum possible range of modulation

And see this

2. Play the keyboard and operate the MODULATION WHEEL. AT THIS POINT YOU MAY OR MAY NOT HEAR THE PITCH CHANGE IN A VIBRATO-LIKE FASHION. THERE REMAIN SEVERAL VARIABLES WHICH WE HAVE NOT YET DISCUSSED. The amount of pitch
IMPORTANT NOTE At this point it is still possible that you won't hear any pitch modulation, even when the wheel is at maximum and the [MODULATION WHEEL-RANGE] is set to 99. This is because the voice itself must first have been programmed to be sensitive to pitch modulation.
HOW THE DX7 CREATES SOUNDS
Breath Controller or Foot Controller) to turn notes up and down within the existing envelopes, provided you are also playing the notes on the keyboard. The more EG bias, the less amplitude is present when you play a note; the level increases when you add EG bias by advancing the Wheel. 7. When you've experimented with [MODULATION WHEEL-EG BIAS], turn it OFF, and try each of the 3 types of modulation with the other sources (Foot Control, Breath control and After Touch). Each of the above sources of modulation can be programmed to function differently, so this is not necessarily a redundant system. For example, you might use the after touch to add pitch modulation, the modulation wheel to add amplitude modulation, and the breath controller to alter EG bias (blowing notes, provided you first hold down the key(s)) for a given voice. 8. After you've explored all the modulation functions, we recommend that you go through them and set them in a way that will be useful as you work through other sections of this manual. Therefore, please set the modulation as follows:
FUNCTION RANGE 50 51) PITCH ON ON ON ON AMPLITUDE OFF OFF OFF OFF EG BIAS OFF OFF OFF OFF
Operators The Yamaha DX Series FM digital synthesizers use pure tones (sine waves) that interact to create all the overtones needed for any voice. Each sine wave oscillator has its own envelope generator. The combination of the two is called an "operator."
The primary functional circuit in the DX7 is comprised of the digital SINE WAVE OSCILLATOR plus a digital ENVELOPE GENERATOR with multiple inputs and just one output. This is called an OPERATOR. If you could look inside an operator (which is just a digital circuit), you might see a block structure that looks like this: When the output of one OPERATOR is "patched" to the input of another Operator, the result is a complex waveform. This is the essence of FM SYNTHESIS.

How to Interpret the display Now let's "decode" the display so you can understand the useful programming information being presented.
4. The memory number in the LED display will be whatever had been last selected, but this has no effect here. Also, the particular operator displayed at the top right, and the editing parameter displayed on the bottom line may vary because the DX7 will show the last used functions or settings. However, it will always initialize to algorithm 1 with all 6 operators enabled (turned on).
Looking at the initial EG settings Since the envelope is one of the primary factors that you use to distinguish different sounds, we'll begin programming with the EG (envelope generator) parameters. 1. Press the [EG LEVEL] button, and observe the display You can now examine and/or change one level at a lime in the envelope for whichever operator is the "current" operator. DO NOT PRESS ANY OTHER BUTTONS OR MOVE ANYTHING UNTIL YOU FOLLOW THE NEXT STEP.
The "current" operator is that one whose parameters are being displayed, and which is ready to be reprogrammed. You can see which one is current (OP1 through OP6) by looking at the upper right hand comer of the LCD display A"?" is illustrated here because we don't know which operator is current (that is not reset by the VOICE INIT function). 2. Press [OPERATOR SELECT] as many times as necessary until the upper right corner of the display shows OP1; if OP is already displayed, you can skip this step. ALG1 OP1 EG LEVELS =99 ALG1 OP1 EG LEVELS =99 NOTE At this point, operator 1, a carrier, is the only ALG1 OP1 operator contributing to the sound because the output EG LEVEL 4 = 0 levels of operators 2 through 6 were set at zero when you initialized the voice. If you were to play the keyboard with the display showing "OP2" or any other 4. Lets look at the 4 envelope rates. Press the [EG RATE] button, and the display will now show you operator you would be hearing only operator 1. If you Rate 1. Press it 3 additional times to see the remainwere to then go ahead and adjust the envelope of an ing 3 rates. Both EG Rate and EG Level work like operator other than OP1, you would not hear anythis, in a continuous cycle through the 4 available thing change because only operator 1 is contributing points. to the sound in the DX7's current status. This step, selecting the "current operator" to be OP1, is necessary so that you will hear the results of the adjustments we ask you to make in subsequent steps. 3. Lets just look at the 4 levels for this envelope without changing them. The display should already show you that Level 1 is set at 99 (the maximum), as illustrated above. Press [EG LEVEL] 3 additional times, examining the display each time you press the button. Notice that Level 1, Level 2, and Level 3 are all set at 99, but Level 4 is at zero. Normally Level 4 will be set to zero because if it is at a non-zero point the sound will not fall to silence when you release the key (A Level 4 value higher than zero is something like latching the Voltage Controlled Amplifier (VCA) open in a conventional synthesizer.)

And watch

This envelope, with all maximum levels (except Level 4) and maximum rates defines a "square" envelope that turns on to maximum level the instant you press a key and turns off completely the instant you release the key If you could see the envelope, it would look like this: This is what the "initialized" envelope would look like if you could see it. You can hear it, though.
Actually, since L1 and L2 and L3 are the same, R2 and R3 should be set to 99 here to avoid anomalies. This rate does not affect the "square" envelope; because the level does not have to change in this part of the envelope, the rate of change is inconsequential. R1 (where the sound first builds to L1) and R4 (where the sound falls to L4) do have an effect, as we are about to demonstrate. Experimenting with the EG Now lets alter the initial envelope to cause the volume to gradually work up to the maximum (the L1/L2/L3 level), and then gradually reduce to zero (the L4 level) 1. Press EG RATE as many times as required so the display shows Rate 1 (it should be just once if you followed the previous instructions to the letter.) Then move the [DATA ENTRY] slider until the rate changes from 99 to 25, stopping several times to play the same note so you can hear the changes that recur at slower and slower rates. You may find it easier to press the [<] and/or [>] buttons to precisely set the rate after using the [DATA ENTRY] slider to get close to 25. When you're done experimenting with Rate 1, leave it set at 25. NOTE The slower the rate, the longer it takes for the note to build to the maximum level. You can experiment with rates below 25, but you 'll have to wait a long time for each note to develop. \Vhen Rate 1 is 0 and Level 1 is 99, the sound will take about 40 seconds to reach maximum intensity;

the display

With all levels at the maximum of 99 (except Level 4, which is at 0) and with Rate 1 at 25 instead of the 99 to which the other rates are set, the note builds up slowly when you press a key and turns off the instant you release the key If you could see the envelope, it would look something like this:
3. Press a key, wait for the note to build to maximum volume, release the key and observe how long the sound lingers. At the slowest rate (0), it takes about 3 minutes for the sound to decrease to complete silence. (You'll need to push the DX7 [VOLUME] slider up and/or turn up the volume of the amplifier in order to hear the last portion of-a long release time.) With all maximum levels at 99 (except Level 4), Rate 1 at 25 and Rate 4 at 25, the note builds up slowly when you press a key and turns off even more slowly when you release the key This points out an interesting fact about the DX7 envelope rates. Given any setting (25 in this case), the actual rate of change in level will be faster when the level is increasing, and slower when the level is decreasing. In other words, the actual rate is dependent on the relative levels. If you could see the envelope, it would look something like this:

Then move [DATA ENTRY] while playing a note (or several)
And see the display change from this Leave Operator 2 set to a frequency ratio of 2.00
Listen and watch the display as the ratio changes from a minimum of 0.50 to a maximum of 31.00
The sound you now hear will be simitar to that of a square wave in a conventional synthesizer. In this case, it is created by sine wave modulation of the carrier by another sine wave at twice the frequency, and at a somewhat lower level than the carrier. This is the modulator which creates the harmonics
Note that the current operator has automatically switched to OP1; remember it can only be set to an operator that is on.
And see the display change to this Note the current operator stays at OP1. If you again want to adjust any parameters for Operator 2, you will have to press the [OPERATOR SELECT] button. 8. Now lets see what happens when we leave the modulator (Operator 2) set at a frequency ratio of 2.00, and change the frequency ratio of the carrier (Operator 1). Since the current operator automatically switched to OP1 when you turned off OP 2 above, you can just press the [OSCILLATOR-FREQUENCY COARSE] button and play a note while slowly adjusting [DATA ENTRY].
In this case, the effect you get as you move [DATA ENTRY] is similar to sweeping a high pass filter in an analog synthesizer. You're not moving a filter, of course, but instead you are controlling the entire harmonic structure of the note by changing the carrier frequency relative to a particular modulator frequency.
9. To compare what the sound is like with and without the carrier, you don't have to turn down the output level of operator 1; you can simply turn it off. Press [OPERATOR ON/OFF 1] to turn off the carrier, and try to play few notes. (Don't adjust anything else right now.) And see the display change from this
10. Press [OPERATOR ON/OFF 1] again to turn on operator 1 and restore the sound. In the previous Step, the reason we asked you not to adjust anything is that the current operator changed to operator 2, and if you were to try pressing edit buttons and moving the slider you would be reprogramming the modulator without realizing it. You would not hear what you were doing. 11. Now press [OPERATOR SELECT] to set operator 1 as the current operator (the one to be adjusted), and adjust its frequency to be 0.50 using the [OSCILLATOR- FREQUENCY COARSE] parameter. The display should look like this
NOTHING HAPPENS! NO SOUND! That's because you just turned off the carrier, and you cannot hear a modulator (Operator 2) directly; you can only here its effect on a carrier. With the carrier shut off, there is no sound.
12. To make the sound more interesting, you'll want to change the envelopes of the two operators. Beginning with the current operator (1), change its initial attack rate (Rate 1) and its release rate (Rate 4) using the [EG RATE] button.

13. Now change the envelope of operator 2 the same way so that the modulator has the same envelope as the carrier. This is not necessarily desirable in all voicing. In fact the modulators usually have different envelopes. However, right now we want to show you something. You could press [OPERATOR SELECT], then press the [EG LEVEL] button and adjust the [DATA ENTRY] slider all over again, but there's an easier way. Use the [EG COPY] function by holding down the [STORE] button and then pressing the [EG COPY 2] button. (The 6 Operator ON/OFF buttons are also EG COPY buttons that you use to designate which operator will receive the envelope which is being copied.) EG COPY copies the entire envelope of the current operator (the one displayed in the corner of the window) into whatever other operator or operators you specify. BE SURE YOU START WITH OP1 in the upper right corner of the display.
Play a few notes and see how the sound is somewhat more clarinet-like. The square envelope of the modulator causes the note to become "pure" when you release the key We'll correct that situation next. (There is no need to change the EG levels for now.) Initialized levels Operator 1 levels for Operator 1 remain unchanged EG LEVEL 1 = 99 EG LEVEL 1 = 99 EG LEVEL 2 = 99 EG LEVEL 2 = 99 EG LEVEL 3 = 99 EG LEVEL 3 = 99 EG LEVEL 4= 0 EG LEVEL 4 = 0
That's it, let go of both buttons. You have just transferred 4 levels and 4 rates from operator 1 to operator 2. Play a few notes. Now the timbre doesn't go "pure" as soon as you release the key NOTE There are still many more editing functions to explore, and we'll use the settings you've just created as a point of departure for the additional functions. If you are ready to go on, please continue, ffyou want to take a break and relax or have some fun with the
preset voices, you can do so without "losing" this voice. There are two approaches to this. (A) You can store this voice in its current state on a RAM cartridge by following the instructions on page 49, or. (B) You can press the [MEMORY SELECT-INTERNAL] or [MEMORY SELECT-CARTRIDGE] button and then play any preset voices you like. Later, even if you've turned power off and then on again, you can return to this voice by doing the following; press [FUNCTION], the [EDIT RECALL], then [YES] [YES]. Additional editing features: ALGORITHM SELECT, KEYBOARD RATE SCALING, and KEYBOARD LEVEL SCALING At this point you have programmed Operators 1 and 2, which serve respectively as a carrier and modulator (as arranged in Algorithm 1), so the frequency modulation creates a woodwind-like character. You have also modified the initialized "square" envelopes to more closely resemble a woodwind instrument. We have not yet created a particularly realistic or even pleasing voice, but that's not the object for now. We are more concerned with showing you how the DX7 may be programmed. Some of the settings we suggest are calculated to most clearly present concepts to you, not to produce the "best" voice. This will continue to be the case as we go on to show you a number of ways to refine the voice. We ask that you continue to use the settings we recommend. Otherwise, future instructions may not make any sense sometimes a slight difference in one setting will cause another setting to have no effect or far too much effect. After you've learned how the instrument works, you'll be able to program voices that are pleasing to you. NOTE These instructions assume you have followed the instructions in the previous section, and that the DX7 is in the EDIT mode. Before you go on, the display should appear as shown here, and Operators 1 and 2 should be programmed as indicated in the chart. If Operators 3 through 6 are ON (display 111111), turn them off for now (display 110000) Operator 1 should be

the current operator, as shown here
This chart represents what you have programmed so far:

EDIT mode PARAMETER

OUTPUT LEVEL FREQUENCY RATIO EG RATE 1 EG RATE 2 OPERATOR 0.0
In these fragments of several algorithms, operator 2 is always modulating operator 1. This is characteristic of Algorithms 1-19 and 28:

69 2.0

EG RATE 3
EG RATE 4 EG LEVEL 1 EG LEVEL 2 EG LEVEL 3 EG LEVEL 4
1. The difference between algorithms is the difference in the way operators are arranged. Let's try switching the two operators that are turned on and see what happens to the sound. Press the [ALGORITHM] button and then press the DATA ENTRY [ +1] button repeatedly to step through algorithms 1 through 32 (or move the slider up slowly). Play a few notes each time you press [>] so you can hear how each algorithm affects the sound.
To move from algorithm 1 through algorithm 32. Be sure to play and listen to each one.
In these fragments of two algorithms, operators 1 and 2 are always adding together. This is characteristic of algorithms 20-27 and 29-32:
Surprised? You can get JUST TWO sounds from the 32 algorithms! This is predictable if you look at the algorithm diagrams; in all cases, operator 2 either feeds into operator 1 (is modulating it) or is adjacent to it (so the sine waves add instead of causing FM synthesis).
This parameter doesn't matter for now because you're about to select another one anyway
When you later try switching algorithms after adding FEEDBACK and activating the other 4 operators, you'll hear much more variation. 2. Pull down the [DATA ENTRY] slider and/or use the [-1] button until you've selected algorithm 1 again.
Use either of these controls
Alternately play very low and then very high notes and listen to the envelope attack and release rates. Then press the [KEYBOARD RATE SCALING] button, and, for the most noticeable effect, push the [DATA ENTRY] slider all the way up so you get a maximum rate scaling value of 7. Then play the same notes again and listen to the rates. The low notes will not change much, but the highest notes will have significantly shorter times. The scaling is not continuously changing with each note, but instead changes the rates for each group of 3 keys on the keyboard. When you've tried the maximum, reset the scaling to a value of 4.

KEYBOARD LEVEL SCALING

To return to algorithm 1
And push up [DATA ENTRY]; leave it set like this
*With a (-) linear curve set to a depth of 99, the attenua-
tion is 22 dB per octave.
5. If necessary, reset the current operator to operator 1 by pressing (OPERATOR SELECT). 3. It you play the lowest note on the keyboard, then the highest, you can hear the same attack and release time. In a natural, acoustic instrument the times would tend to be faster as you move up the scale. This is because a vibrating reed or string, or a resonating column of air can be excited more quickly and will stop moving more rapidly when the string, pipe, etc. is shorter. You can achieve this effect by scaling the envelope rates across the keyboard to any of 8 values (from 0 to 7), as illustrated. KEYBOARD RATE SCALING

2. Press the [EDIT/COMPARE] button, and notice that the display changes to show the last programming function which had been used. If you've been going straight through the manual, that function would be "algorithm select," though it is not important really
3. From the diagram for algorigthm 5 (which the display tells us is the algorithm of this voice), we see that operator 2 is the modulator of one stack, and therefore increasing its output level may "brighten" the voice. We won't know for sure until we try it. Press
You can see that this is exactly the same way you use the controls to create a voice "from scratch" using the current operator. [VOICE INIT] function. In fact, [VOICE INIT) really does nothing more than to set all parameters to a default value, and then places the DX7 in the EDIT mode. If you want to change any other parameters, just press the appropriate selector butlon(s) and use [DATA ENTRY] or any other buttons required to program the new values. We strongly recommend that you rename an edited voice by using the [VOICE NAME] function. 6. If you wish to save the edited voice, you have several choices. If you have edited a preset ROM voice. you cannot save that voice on a ROM. ROMs are Read Only Memories. You can, however, save the edited preset on a RAM (Random Access Memory) cartridge or in an internal memory within the DX7. So far, the only clue you have that you are in the Edit If the "original" voice you edited was selected from mode is that the LCD display shows editing functions a RAM or an internal memory, you can over-store such as "Algorithm Select" and "Output Level." You the edited voice in the same place, or in a different are about to see that another aspect of the display can memory location so you retain the original and show you whether anything has yet been changed. edited versions. The method of storing the edited (So far, you have not actually changed the voice.) voice is identical to that for storing a voice you 4. Play a few notes, varying the velocity with which you created "from scratch"; we repeat this below for press the keys. Then move the [DATA ENTRY] convenience. slider to change the output level of operator 2 to 90. 7. You can store the edited voice on a RAM cartridge, or Notice that the instant you change this parameter, a store it in an internal memory If you're going to use decimal point appears to the right of the voice numthe RAM cartridge, make sure its On-Off slide switch ber in the LED display This decimal is your clue that is set to OFF so that the memory is not protected. You the voice is no longer the same as the preset. Play a will then have to turn off the software memory protecfew notes and hear for yourself. tion in the DX7 for the cartridge or internal memories by pressing the corresponding [MEMORY PROTECT] button and then pressing the [OFF] DATA ENTRY button. The memory is now ready to accept the voice. 8. Press the [MEMORY SELECT-INTERNAL] or [MEMORY SELECT- CARTRIDGE] button, depending on where you want to store the voice, then press and hold down the [STORE] button. While holding Notice this decimal point appears [STORE], press the voice selector button correspondwhen the output level changes ing to the specific location (1-32) in which you want to place the voice. If this is the same location where the 5. If you want to compare the newly edited sound to the original voice was located, the edited voice will erase original sound, you can press the [EDIT/COMPARE] (and replace) the original. The moment you store the button once. Notice the decimal point in the LED voice, the decimal point in the LED voice number voice number display disappears, and the number window disappears, and you are out of the EDIT itself begins to flash. While the number is flashing, mode. you can play the original, unedited voice. Press [EDIT/COMPARE] again and the edited voice reappears, decimal point and all.

what algorithms the presets use, or by logical reasoning (after you learn a little more about programming the DX7.) Within a given group of algorithms, begin with the least complex algorithm that you feel will do the job realize that decision, in itself, requires a reasonable amount of experience and insight. which should come more quickly if you follow our guidelines.) You may also find that it is sometimes possible to get precisely the same results with different algorithms it depends on whether you're using feedback, and on the actual output level settings of each operator. At other times, two or more algorithms may at first seem to be the same, and as you refine the voice, you find that only one algorithm will do the job. Algorithm Selection Hints: Two carriers, side by side, can be functionally equivalent to having two distinct sound sources that are simply added together. You can also program the two carriers with nearly the same parameters for a "richer" or "thicker" texture. Regardless of the algorithm you select, use the fewest number of operators you can when you begin to program. Turn off the others while programming by using the [OPERATOR ON-OFF] buttons; if you want them to remain off alter the voice is stored, turn their [OPERATOR OUTPUT LEVEL] to zero. Learn to program by studying how acoustic Instruments work It is important to consider how an acoustic instrument creates sound, and to think about the relationship between particular "patches" on the DX to the method of sound generation in the acoustic instrument. For example, if you are trying to duplicate the sound of a piano, you would observe that many piano keys cause a hammer to strike two or three strings. Therefore, you might want to use an algorithm with two or three carrier/ modulator stacks. Each stack can then be programmed to duplicate the sound of a different string, emulating the 2 or 3 strings struck by the hammer. There are other considerations, such as the sound of the hammer itself. You may program one stack to synthesize the sound of the felt striking the string(s), and then use the remaining stack(s) to create the string sound. The shifting harmonic structure of the acoustic piano note can be simulated by using different envelopes for each modulator. The inharmonicity (where harmonics are not in tune with the
that is, the algorithm with the highest number. (We
fundamental) can be simulated by using the [DETUNE] function, and thereby changing the modulator frequencies to be slightly "off" from the perfect integer ratios. (Even though the frequency might still indicate something like "2.00", Detune causes it to be more like "2.001 or 1.998".) If you're working on a bowed or plucked string sound, you can probably visualize the string being stretched initially then, as the vibration settles down, the note gets quieter. The initial stretch not only leads to a louder sound, it also raises the pitch, which then falls steadily toward the "normal" pitch of the note as the amplitude also falls. This effect can be simulated by using the Pitch Envelope. Set it for a slight increase in pitch initially (L1 slightly higher than 50), and then set the pitch of the rest of the voice to be "normal" (L2, L3 and L4 at 50). R1 should be at 99 so that the pitch initially starts at the higher frequency and then R2 can be set to a moderate rate so the pitch falls to normal at a rate resembling that of the plucked or bowed string. LFO pitch modulation can simulate vibrato, and so forth. By following this logical approach, you should be able to figure out how to program more complex sounds with less guessing. or at least with more directed guessing. This is not to say that other methods are invalid or will not work there are many ways to obtain a pleasing sound. Some piano voices, for example, can be achieved using Algorithm 19, which has just one carrier. The multiple stacks of modulators which all affect that carrier can be programmed to achieve the hammer strike and string sounds. There is more than 1 way to create a pitch There are many ways to achieve a given pitch within a particular voice. At first, it may seem that the carrier frequency determines the fundamental pitch of the voice, and the modulator(s) affect primarily the harmonics or overtones. However, you will find this is not necessarily the case. For example, changing the carrier to a frequency ratio of 6.00 and the first modulator above it to a ratio of 2.00 can produce tones that have a fundamental pitch which is considerably lower than the 6.00 ratio would suggest. This is due to the strength of the sum and difference products of modulation the so-called "sub harmonics" which are produced. When you are trying to get a particular sound, take the time to experiment with many different frequency ratios, not just the "obvious" choice. Moreover, be sure to try differ-

Pitch modulation with the BC-1 Turn on the pitch modulation (we assume the range is still set between 50 and 99). You will also need to set the pitch modulation sensitivity within the voice itself to a value of 1 or higher (check this in EDIT mode, and change if necessary). Hold down a key, and blow on the breath controller. You should hear a vibrato effect the speed has nothing to do with how you blow since it is set by the LFO speed which is programmed into the voice your breath affects the vibrato depth. Breath controller techniques You can use the breath controller several ways. Take it into your mouth and grip it with your teeth. Touch a key on the keyboard, and begin to blow gently If the voice is set up for breath controller EG bias, the note will begin to sound, and will become louder the harder you blow If the voice is set up for pitch modulation, the vibrato will increase as you blow harder. If the voice is set up for amplitude modulation, the tremolo and/or wah-wah will increase as you blow harder. The EG bias is perhaps the most interesting modulation for the breath controller. When you blow normally. the notes start softly By tongueing the note (forming the breath with a "T" sound), you can get a harder edge. By finishing the blowing with a "T" sound, you can get the note to end abruptly Of course, you have to coordinate the blowing with the playing of the notes on the keyboard. Given maximum EG bias modulation and maximum amplitude modulation sensitivity within the voice, there will be no sound when you play a key; the sound will come only when you hold the key and then blow into the BC-1. It may take some practice to achieve the proper coordination. You can achieve a "growling" effect by humming into the BC-1 while you are blowing. This can create an occasionally useful "gritty" sound for playing saxophone. for instance, or an overdriven lead guitar. You'll want to experiment with combinations of humming, tongueing by means of "T-ing", "D-ing" or "F-ing", and so forth. An "F" or "CH" sound may be better for whistles, while a "too-kah" sound may do the job for a birdsong. The possibilities are particularly exciting when you blend the breath controller effect with the pitch bend wheel or other modulation sources. Special effects from [DATA ENTRY] while in PLAY mode The DX7 [DATA ENTRY] section continues to be
"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

Each Performance Name can consist of up to 20 characters; each Voice Name can consist of up to 10 characters.
1 Warm String Section 2 Mallet Brass 3 Strinq Bass-Guitar 4 Dual Clavinette 5 Rich Grand Piano 6 Stereo EletricPiano 7 Tubular Bell Wah 8 Electric Rock Organ 9 Jamaica Mallet Band 10 Mono Poly Synth 11 Dual Octave Trumpets 12 Angels 13 Acoustic PickGuitar 14 Multi Brass Ensemble 15 St. Elmos StringBell 16 Phasar Whasars 17 Bass Piano Split 18 Grand Harpsichord 19 Sea Songs 20 FM WireStrung Piano 21 Cello Quartet 22 Touch Jazz Organ 23 DoubleHarp-SongFlute 24 SynthBrass Ensemble 25 Orchestral Violins 26 Stereo TinePiano 27 PianoBell Ensemble 28 MultiPercussionSplit 29 Temple Gong - Shami 30 Dual Piano 31 Stereo Vibraphone 32 Orchestral Whallop
INT 1 Warm Stg A INT 63 XyloBrass INT 27 StringBass INT 22 ClaviStuff INT 9 Ebonylvory INT 50 KnockRoad INT 43 BellWahh A INT 32 Shorgan INT 28 SteelCans INT 7 FMilters INT 14 Trumpet A INT 10 Whisper A INT 3 PickGuitar INT 46 SilvaTrmpt INT 1 Warm Stg A INT 7 FMilters INT 39 SkweekBass INT 64 Harpsiwire INT 34 ElectoComb INT 31 WireStrung INT 44 EleCello A INT 12 TouchOrgan INT 11 HarpStrum INT 4 Analog-X INT 61 HallOrch B INT 5 FullTines INT 19 Ensemble INT 23 MultiPerc INT 38 TempleGong INT 36 PianoBrite INT 18 Vibraphone INT 47 Wallop A
INT 62 HardRoads INT 56 BellWahh B INT 41 TapOrgan INT 21 EchoMallet INT 35 ClariSolo INT 24 Trumpet B INT 53 Whisper B INT 40 Titeguitar INT 54 SilvaBrass INT 20 ST.Elmo's INT 17 Phasers INT 62 HardRoads INT 52 HarpsiBox INT 51 LateDown INT 5 FullTines INT 60 EleCello B INT 16 SongFlute INT 42 PitchaPad INT 58 HallOrch A
INT INT INT INT INT INT 18 55
PianoBells MultiPerc Koto PianoForte Vibraphone Wallop B
Selecting the Cartridge Performance Memories
The LCD should show this display, with the cursor blinking on the arrow next to the word BANK. If not, press button 15 until this display appears.
The Cartridge Performance Memories
Name INT CRT INT INT INT INT INT CRT CRT CRT INT CRT INT INT CRT CRT INT 6
Voice A MellowHorn PipeOrgan FullTines PickGuitar TouchOrgan SuperBass Maribuinba HardBones PipeOrgan LadyVox HallOrch A OwlBass HarmoniumA LateDown Violins Thunderon SuperBass Ebony Ivory FingaPicka Science Pluk ClaviPluck TingVoice Warm Stg B Swissnare Glastine A RubbaRoad Pianoforte TapOrgan PizzReverb KoikeCycle INIT VOICE CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT CRT 36 33

Voice B FrenchHorn PuffOrgan HardTines SpitFlute BriteOrgan Clavecin StonePhone HardTrumps FC Choir MaleChoir Celeste YesBunk HarmoniumB OctiLate NewOrchest Explosion BopBass BC Trumpet WhapSynth Plukatan RubberGong Englishorn Piccolo Glastine B
1 Double French Horns 2 Pipe Organ 3 Full Electric Piano 4 PickGuitar-SpitFlute 5 Rotary Electro Organ 6 SuperBass-BrightClav 7 MariBUMba 8 CS 80 Brass 9 Organ Choir 10 Church Choir 11 Celeste and Strings 12 FatBass-HeavyMetal 13 Old School Harmonium 14 Octave MultiDowns 15 Classical Strings 16 Thunder Storm 17 Unison Bass 18 Piano with BC Brass 19 Funky FingaPicka 20 -In the Laboratory21 PluckSyn-UniSynth 22 Good Licks 23 Dingle Bongs 24 StringPad-Englishorn 25 SnareDrum-Piccolos 26 Inside the VLSI 27 Rubber ElectricPiano 28 Old Upright Piano 29 Tap Electronic Organ 30 PizziString Section 31 Yamaha MotorCycle 32 Initialized Memory

INT 9 INT 33

CRT 60
CRT CRT INT CRT CRT CRT INT INT CRT CRT CRT
CRT 45 PizzReverb CRT 64 INIT VOICE
Exploring The New Voice Library
The Voices in the new DX were created using techniques like those used on the original DX7. The new Performance Mode opens up a number of exciting possibilitiesmany of the Voices in the new DX were created specifically to be used in combinations of two. In addition, there are a number of new features available in Voice mode (most of them extensions of the Function mode in the original DX7). All of these features will he discussed in detail in Sections 2 and 4 of this manual. For now, though, just follow the steps below, and play through all of the Voices available in the Internal and ROM Cartridge memories. Selecting the Internal Voice Memories
*The 1 ~32/33~64 light will be off, indicating that voices 1 ~32 are currently selectable. To select voices 33~64, press the 1 ~32/33~64 button. The light will go on, indicating that voices 33-64 are currently selectable.
The Internal Voice Memories
These are the Voice Memories loaded into the DX when it is shipped from the factory. Since these memories can be adjusted, your DX's Internal Memory may contain different data. If so, reload the Internal Voice & Performance data from Bank 1 of the supplied ROM cartridge.
1 Warm Stg A 2 MellowHorn 3 PickGuitar 4 Analog-X 5 FullTines 6 SuperBass 7 FMilters 8 Pluk 9 Ebonylvory 10 Whisper A 11 HarpStrum 12 TouchOrgan 13 Maribumba 14 Trumpet A 15 PianoBells 16 SongFlute 17 Phasers 18 Vibraphone 19 Ensemble 20 St.Elmo's 21 EchoMallet 22 ClaviStuff 23 MultiPerc 24 Trumpet B 25 MalletHorn 26 CongaDrum 27 StringBass 28 SteelCans 29 Koto 30 FM-Growth 31 Wire Strung 32 Shorgan
FingaPicka ElectoComb ClariSolo PianoBrite Choir TempleGong SkweekBass Titeguitar TapOrgan PitchaPad BellWahh A EleCello A PianoForte SilvaTrmpt Wallop A Clavinette Warm Stg B KnockRoad LateDown HarpsiBox Whisper B SilvaBrass Wallop B BellWahh B GuitarBox HallOrch A HarmoniumA EleCello B HallOrch B HardRoads Xylo-Brass HarpsiWire

Selecting the Cartridge Voice Memories
*The 1~32/33~64 light will be off, indicating that voices 1-32 are currently selectable. To select voices 33~64, press the 1~32/33~64 button. The light will go on, indicating that voices 33~64 are currently selectable.
The Cartridge Voice Memories

Bank 1 of the supplied

Bank Warm Stg A 2 MellowHorn 3 PickGuitar 4 Analog-X 5 FullTines 6 SuperBass 7 FMilters 8 Pluk 9 EbonyIvory 10 Whisper A 11 HarpStrum 12 TouchOrgan 13 Maribumba 14 Trumpet A 15 PianoBells 16 SongFlute 17 Phasers 18 Vibraphone 19 Ensemble 20 St.Elmo's 21 EchoMallet 22 ClaviStuff 23 MultiPerc 24 Trumpet B 25 MalletHorn 26 CongaDrum 27 StringBass 28 SteelCans 29 Koto 30 FM-Growth 31 WireStrung 32 Shorgan FingaPicka ElectoComb ClariSolo PianoBrite Choir TempleGong SkweekBass Titeguitar TapOrgan PitchaPad BellWahh A EleCello A PianoForte SilvaTrmpt Wallop A Clavinette Warm Stg B KnockRoad LateDown HarpsiBox Whisper B SilvaBrass Wallop B BellWahh B GuitarBox HallOrch A HarmoniumA EleCello B HallOrch B HardRoads Xylo-Brass HarpsiWire
Bank Clavecin 2 SmoohBass 3 Pipe Organ 4 ClaviPluck 5 RaspySax 6 MilkyWays 7 HardTines 8 Violins 9 TingVoice 10 LadyVox 11 Harmonica 12 SpitFlute 13 BopBass 14 Glastine A 15 HardBones 16 OctiLate 17 PuffPipes 18 BC Sax 19 ClaviBrass 20 Swissnare 21 BriteOrgan 22 WhapSynth 23 Thunder on 24 PanFloot 25 Englishorn NewOrchest 27 BC Trumpet 28 LeadaPicka 29 Handrum 30 Tuba 31 Plukatan 32 KoikeCycle Glastine B HardTrumps Timpani Piccolo FrenchHorn StonePhone Whasers Fifths CongoClave RubberGong OwlBass RubbaRoad PizzReverb PizzEcho PuffOrgan ElecBrass SpaceVox JazzBass FC Strings FC Choir HarinoniumB Bells YesBunk ElectroBak MaleChoir HardBass LongGong Science Explosion Celeste HarmoSvnth

INIT VOICE

ROM cartridge contains the Voice & Performance Memory loaded into the DX's Internal Memory when it is shipped from the factory. Bank 2 contains an entirely different set of Voice & Performance data.

The Play Modes

Now that you have an idea of some of the sound combinations available on the new DX, it is time to take a closer look at how the various Play Modes operate. Read on: Voice Modes and Performance Mode As you have heard from playing through the Performance Memories, it is possible to play two different voices at the same time on the new DX. However, you do not need to be in Performance Mode to try out various combinations of voices. In addition to Performance Play Mode, there are three different Voice Play Modes: Single, Dual, and Split. Single Mode calls up one voice at a time from the DX's library of voices, as you learned on page 10 of this manual. Both Dual and Split involve two voices, A and B. In Dual Mode, both voices are played together, over the entire range of the keyboard. In Split Mode, Voice A is played from the left side of the keyboard, while Voice B is played from the right side of the keyboard. When you are in the Voice Split Mode (rather than the Performance Split Mode), the Split Point is always set at C3. To enter Dual or Split Mode, simply press the appropriate Voice Mode button; the light above the selected Voice Mode button will go on. Only one of these Voice Mode lights can be lit at a time. (These lights also show which Voice Mode is Selected when you are in the Performance Mode.) Once you choose the Voice Mode you want to work with, use the 1~32/33~64, A/B, and number buttons to select specific voices. Using the 1~32/33~64 Button The light above the 1~32/33~64 button tells you which set of voices can be selected: If the light is off, voices 1~32 can be selected using the number buttons; if the light is lit, voices 33~64 can be selected using the number buttons. This holds true for all three Voice Play Modes. Using the A/B Button The light above the A/B button tells you which voice location (A or B) is active for voice selection in Dual and Split modes: If the light is off, Voice A is active, and the voice chosen with the number buttons will be shown as Voice A in the LCD display; if the light is on, Voice B is active, and the voice chosen with the number buttons will be shown as Voice B in the LCD display. Using the Poly/Mono Button The light above the Poly/Mono tells you (indirectly) which Key Mode is currently active in Play Mode: If the light is off, the Key Mode remains as programmed; if the light is lit, the opposite Key Mode will be active. Key Modes will be explained further in Section 4.

Creating and Storing New Sounds
Creating New Sounds Editing and Edit Mode Entering Performance Edit Mode Entering Voice Edit Mode Editing Performance and Voice Data Using the Cursor Buttons and the Data Entry Buttons/Slider Edit/Compare Edit Button Quick Reference Guide Saving New Sounds Memory Protection Turning Memory Protect Off Performance Memory Storing Performance Data to Internal or Cartridge Memory Voice Memory Storing Voice Data to Internal or Cartridge Memory

Creating New Sounds

The Voices and Performance setups in the DX are stored as digital information in a computer-like memory. And, like computer memory, the memory of the DX can be altered for different uses. In other words, voices do not exist as unchangeable presets (as they do in electronic organs), but rather as streams of data. This data can be changed (edited) to create new sounds and Performance setups. To find out how this works, read on. Editing and Edit Mode Editing is the process of changing various settings of a Voice or Performance memory. In the DX, this is accomplished in Edit Mode. Usually, you will use Edit Mode to create a new sound or Performance setup, but you can also use it to find out the parameter values for the factory preset Voices and Performance setups. Most of the buttons on the DX's front panel have multiple functions. You can see this by looking at the way the buttons are labeled on the front panel. For example, the +1 button also functions as YES and ON. On most cases, the buttons will have different functions in different operating modes. The 32 number buttons are no exception: In the Play Modes, they are used to call up various Voice and Performance memories; but, in the Edit Modes, they are used to access the various parameter values that make up a sound.
Entering Performance Edit Mode

Entering Voice Edit Mode

In both of the above procedures, you enter the Edit Mode after the Edit Button is pressed in step #2. At that time, you can push any or all of the buttons indicated (in step #3) as many times as necessary to make the desired edits. It is possible - even easy - to edit Voice data in the Performance Edit Mode (or Performance data in the Voice Edit Mode). This, however, is NOT a recommended practice, since only Voice data is stored in the Voice Edit Mode, and only Performance data is stored in the Performance Edit Mode.
Editing Performance and Voice Data After entering one of the Edit Modes, use the number buttons to access the parameter whose value you wish to change. Each number button calls up a variety of parameters, often through the use of multiple LCD screen displays. A complete set of these screen displays will be given at the beginning of Section 3 (for Performance Edit Mode) and Section 4 (for Voice Edit Mode). In most cases, each LCD display gives you access to a number of parameters. Using the Cursor Buttons and the Data Entry Buttons/Slider

Using the New Performance Features
Performance Edit Buttons Button 27 LCD Displays Button 28 LCD Displays Button 29 LCD Displays Button 30 LCD Displays Basic Performance Parameters Total Volume Balance Dual Detune Split Point Note Shift EG Forced Damp Performance Name Pan Basic Pan Function Pan Modes Pan EG Controllers Sustain Footswitch (FS 1) Footswitch 2 (FS 2) Continuous Sliders FM Parameters Assignable to CS1 and CS2 Micro Tuning Selecting a Micro Tuning The Micro Tuning Presets Micro Tuning Editing and Storage

Performance Edit Buttons

All of the Performance Mode parameters are adjusted via the LCD displays called up using buttons 27 ~ 30. All of the these buttons call up multiple LCD displays. The charts below show all of the displays called up by each button, and provide a complete list of parameters and value ranges. In some cases, the first LCD display in a chart may not he the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display.

Button 27 LCD Displays

Button 28 LCD Displays

>Voice mode

Voice Mode (single, dual, split)

>Total volume

Total Volume (0-99)

>Balance

Balance (-50 to +50)

>Dual detune

Dual Detune (0-7)

>Split point

Split Point (C-2 to G8 by halt steps)

Button 29 LCD Displays

Button 30 LCD Displays
Basic Performance Parameters
Accessed using buttons 28 and 29, these parameters determine the basic voice relationships in Performance Mode. Total Volume This parameter allows you to set an overall volume for each Performance memory. If you desire, you can use this setting to balance the levels of your Performance memories, so that constant Volume Slider or mixer adjustments are not necessary. Balance This parameter adjusts the relative volume of the two voices in Dual and Split Modes:
Dual Detune This parameters shifts the pitch of both voices in Dual and Split Modes. Each voice is shifted an equal amount. Voice A is shifted up, and Voice B is shifted down:

The Pan features represent an entirely new class of Performance controls for the DX. Accessed using button 30, these parameters provide control over the stereo image of the instrument's output. Basic Pan Functions In order for Pan effects to operate, you must connect both of the audio outputs on the DX's back panel. In addition, the light over the Pan button must be lit if it is not, the Pan function is turned off. Pan can be turned on and off only in one of the Play Modes. (In Edit Mode, the Pan button becomes one of the cursor buttons.) There are four basic Pan Modes. Mode 0 can be used with all Voice Modes, while Modes 1 ~ 3 operate only in Dual and Split Modes. Pan Modes
Pan Modes are operative only if you are using both of the DX's audio output jacks.

Type Pan

Level OFF Level Level
If you select Pan Mode 0, the output of the two voices in Dual or Split Modes is combined, and the location of the sound in the stereo panorama is determined by the Pan effect selected. If you select Pan Modes 1 ~ 3, the two voice outputs remain separated, and the relative level of the two voices is determined by the Pan/Level effect selected. There are three basic types of Pan/Level effects: LFO, Velocity, and Note Number. Each one opens up a number of possibilities: If LFO is selected, the Pan/Level effect will be controlled by the Voice LFO (the LFO of Voice A in Dual or Split Modes). If you are operating in Pan Mode 0, the LFO controls the position of the audio output in the stereo mix; if you are operating in Pan Modes 1 ~ 3, the LFO controls the level of the selected voices (both, A, or B). If Velocity is selected, the Pan/Level effect will be controlled by the force of your keyboard touch. If you are operating in Pan Mode 0, Velocity controls the position of the audio output in the stereo mix: Softer touches (slower velocities) will position the sound more in output jack A, while stronger touches (faster velocities) will position the sound more in output jack B. If you are operating in Pan Modes 1 ~ 3, Velocity controls the output volume of the selected voices (both, A, or B).
If Key Number is selected, the Pan/Level effect will be controlled by the right/left position of keys played on the keyboard. If you are operating in Pan Mode 0, Key Number controls the position of the audio output in the stereo mix: Notes played to the left of C3 will position the sound more in output jack A, while notes played to the right of C3 will position the sound more in output jack B. If you are operating in Pan Modes 1 ~ 3, Key Number controls the output volume of the selected voices (both, A, or B). The overall depth (intensity) of these Pan/Level effects is controlled by the Range parameter. Please note that all of these Pan/Level effects are global, rather than note by note: Each new Velocity input or Key Number input will reposition the audio (or readjust the output) of all notes currently sounding. Pan EG The Pan EG allows you to create an envelope for automatic control of Pan (Pan Mode 0) or Level (Pan Modes 1 ~ 3):

Representative Pan Envelope Generator shape.

Controllers

The DX features a greatly expanded set of controller options. The settings for Footswitches 1 and 2 and Continuous Sliders 1 and 2 are adjusted in Performance Edit Mode, using button 27. (The other controller settings are accessed in Voice Edit Mode.) Sustain Footswitch (FS 1) Footswitch 1 is set to operate as a Sustain pedal. In Dual and Split Modes, FS 1 can be selected to affect Voice A, Voice B, or both. Footswitch 2 (FS 2) Footswitch 2 is a multi-purpose pedal with four selectable functions: Sustain, Portamento, Key Hold, or Soft. If Sustain is selected, FS 2 operates as a Sustain pedal (just like FS 1). If Portamento is selected, Voice Portamento effects will operate only when the pedal is depressed. If Key Hold is selected, only notes that are being held when the pedal is engaged will sustain. This effect is similar to a piano's sostenuto pedal. If Soft is engaged, the pedal will soften the timbre and volume of the sound, to a degree determined by the Range parameter. In Dual and Split Modes, FS 2 can be selected to affect Voice A, Voice B, or both.
Continuous Sliders The two Continuous Sliders give you access to real-time control of FM Voice parameters. There are a total of 105 different possibilities: FM Parameters Assignable to CS 1 and CS2
DATA ENTRY slider OP 6 Total level OP6 EGRate1(R1)
The Continuous Sliders provide a new avenue for exploration of real-time timbral control.
OP1 OP 6 AMP. MOD. SENS OP1 OP 6 Key velocity OP1 iOP6 EG Level 4 (L4) OP1 OP 6 EG Level 3 (L3) OP 1 OP 6 EG Level 2 (L2) OP1 OP6 EG Level 1 (L1) OP1 OP 6 EG Rate 4 (R4) OP1 O P 6 EG Rate 3 (R3) OP1 OP6 OP1 EGRate2(R2)
OP1 OP 6 OSC. detune OP1 OP 6 Frequency fine OP 1 OP 6 Frequency coarse OP1 Portamento time Pitch EG Level 4 Level 1 Pitch EG Rate 4 Rate1 LFO AMD PMD PMS Delay Speed Wave Feedback level Algorithm Dual detune PAN select Output balance (A/B) Total volume No effect
In Dual and Split Modes, CS 1 and CS 2 can be selected to affect Voice A, Voice B, or both.

Micro Tuning

Micro Tuning is another new feature for the DX. It offers the possibility of performing music using tuning and intonation systems other than Equal Temperament (which is the current standard tuning for both pianos and synthesizers). Micro Tuning data is accessed using button 29. New Micro Tunings are created in Micro Tuning Edit Mode, which is accessed using button 14 in conjunction with button 29. Selecting a Micro Tuning The DX is equipped with eleven preset Micro Tunings as part of its permanent memory. In order to hear the sound of these presets, it is necessary to turn Micro Tuning on for Voice A, Voice B, or both (using the A and B parameters in the Micro Tuning LCD display). When Micro Tuning is not on, the DX automatically operates in Equal Temperament. The Micro Tuning Presets

The new DX contains eleven preset Intonations, which should provide you with a good introduction to possibilities of alternate intonation schemes.
Equal Temperament Pure (Major) Pure (Minor) Mean tone Pythagorean Werckmeister Kirnberger Vallotti & Young 1/4 Shifted equal 1/4 Tone 1/8 Tone
In presets 2 ~ 5, the tuning can be adjusted according to the key of the music being played. Micro Tuning Editing and Storage If you are interested in alternate tunings and intonations, you may want to create your own sets of Micro Tuning data. The DX provides two memory locations for this purpose: User 1 and User 2. These two sets of data are stored as part of the Internal Memory, and will be stored along with all other Internal data when the Internal Voice & Performance Memory is saved to another storage medium (such as RAM cartridge or disk). In addition, up to 63 Micro Tunings can be saved to RAM cartridge that has been properly formatted for that purpose.
Entering the Micro Tuning Edit Mode
Editing Micro Tuning Data
Storing Micro Tuning Data
Using the New Voice Features
Voice Edit Buttons Button 7 LCD Display Button 8 LCD Display Button 9 LCD Display Button 10 LCD Displays Button 11 LCD Display Button 12 LCD Display Button 13 LCD Display Button 23 LCD Displays Button 24 LCD Displays Button 25 LCD Displays Button 26 LCD Displays Basic Voice Editing Functions Operator Select Operator On/Off EG Copy New Voice Parameters Pitch Envelope LFO Key Modes Controllers Function Data and Voice Effect Data Pitch Bend Modes Foot Controller 1 Fractional Scaling Fractional Scaling and Level Scaling Fractional Scaling Editing and Storage

Voice Edit Buttons

All of the Voice Mode parameters are adjusted via the LCD displays called up using buttons 7 ~ 13 and 23 ~ 26. Many of the these buttons call up multiple LCD displays. The charts below show all of the displays called up by each button, and provide a complete list of parameters and value ranges. In some cases, the first LCD display in a chart may not be the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display. Button 7 LCD Display

Button 8 LCD Display

Button 9 LCD Display

Button 10 LCD Displays

Button 11 LCD Display

Button 12 LCD Display

Button 13 LCD Display

Button 23 LCD Displays

Button 24 LCD Displays

Button 25 LCD Displays

Button 26 LCD Displays

Basic Voice Editing Functions
The new DX offers an expanded LCD display, which makes Voice editing much easier than it was with the original DX7. A number of other basic Edit operations have also been simplified, as follows: Operator Select The parameters accessed using buttons 8 ~ 11 are adjustable for each of the six operators. In Voice Edit Mode, buttons 1 ~ 6 provide a quick way to move from one operator to another. Operator On/Off In order to adjust the settings for the six operators accurately, it is useful to focus on the sound of certain operators by turning off the output of ones not being edited. In Voice Edit Mode, buttons 17~22 provide a quick way to turn the six operators on and off.
Voice editing is much easier on the new DX, thanks to the expanded LCD display and the direct operator access provided by buttons 1 ~6 and 17 ~ 22.
EG Copy The EG Copy function from the original DX7 is retained in the new DX, and is made easier through the use of buttons 1 ~ 6. Once you have Envelope data you want to copy displayed in the LCD, simply press and hold the Store/EG Copy button. You can then choose the copy destination using buttons 1 ~ 6.

New Voice Parameters

The basic Voice of the new DX is almost exactly the same as that of the original DX7, assuring complete compatibility between the old and new instruments. To discover the additional Voice parameters of the new DX, read on. Pitch Envelope The Pitch Envelope operates as it did in the original DX7, but some new features have been added. The potential depth of the Pitch Envelope effect can now be adjusted using the Range parameter:
Maximum Pitch Change Range
6 semitones 1 octave 2 octaves 8 octaves

RNG 1/2 8

Representative Pitch Envelope Generator shape.
In addition, the Velocity parameter allows you to control the intensity of the Pitch Envelope with keyboard touch. LFO There was only one LFO in the original DX7, so all voices were affected in exactly the same way by the LFO settings. In the new DX, there are sixteen LFOs, one for each voice. Even though all sixteen LFOs must have the same settings, they can now operate independently of each other if the LFO Mode parameter is set to Multi. If Mode is set to Single, the LFO will operate as it did in the original DX7.

Fractional Scaling

One of the most important aspects of DX7 voicing is Level Scaling, which allows adjustment of each operator's output over the range of the keyboard. The new DX offers the possibility of even more subtle control over operator outputs, through Fractional Scaling. Fractional Scaling and Level Scaling Although the DX7's Level Scaling offers a great deal of interaction between timbre and frequency, Fractional Scaling offers even greater precision: The level can be set independently in groups of three notes, over the entire range of the keyboard. To provide even more control, the resolution of the level settings has been expanded from 0 ~ 99 to 0~255:
Fractional Scaling allows you to adjust the output level of each operator for three-note groups.
Fractional Scaling Editing and Storage Entering Fractional Scaling Edit Mode
Editing Fractional Scaling Data
Storing Fractional Scaling Data

Memory Functions

Utility Buttons Button 14 LCD Displays Button 15 LCD Displays Button 16 LCD Displays Memory Layout Memory Types Voice & Performance Memory System Setup Memory Micro Tuning Memory Fractional Scaling Memory Initialized Memory Current Play/Edit Memory Compare/Recall Memory Memory Storage Types Internal Memory Cartridge Memory ROM Cartridge Disk Memory (FD Only) Basic Utility Functions Master Tune Recall Edit Initialize Cartridge Memory Functions Using Cartridge Data Formatting a RAM Cartridge Loading Voice & Performance Data from a RAM Cartridge Disk Memory Functions (FD Only) Using and Handling Disks Basic Disk Drive Operations Disk MDR

Utility Buttons

All of the Memory functions (and related utility functions) are adjusted via the LCD displays called up using buttons 14 ~ 16. All of the these buttons call up multiple LCD displays. The charts below show all of the displays called up by each button, and provide a complete list of parameters and value ranges. In some cases, the first LCD display in a chart may not be the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display.

Button 14 LCD Displays

Button 15 LCD Displays

Button 16 LCD Displays

Memory Layout
Fractional Scaling Memory

Voice Memory

Performance Memory

System Setup Memory

Micro Tuning Memory

Memory Types

As you can see from the diagram on the facing page, there are many facets to the Memory layout of the new DX. To understand all of these types of memory, study the diagram and read the explanation below: Voice & Performance Memory This Memory block includes data for 64 Voice Memories and 32 Performance Memories, plus one System Setup Memory and two User-defined Micro Tunings. System Setup Memory System Setup Memory contains a number of basic MIDI settings, plus Master Tuning and Cartridge Bank number settings. System Setup is always retained in Internal Memory, along with the Voice & Performance Memory and the two User-defined Micro Tunings. For more information on System Setup Memory, see Section 6 of this manual. Micro Tuning Memory The DX contains eleven Micro Tunings as part of its permanent memory. In addition, two User-defined Micro Tunings are stored as part of Voice & Performance Memory. Using a RAM cartridge, it is also possible to store up to 63 Micro Tuning Memories. Fractional Scaling Memory Fractional Scaling data cannot be stored in the DX's Internal Memory. In order to use Fractional Scaling data with Internal Voice Memories, the data must reside in a RAM (or ROM) cartridge installed in the DX's cartridge port. Initialized Memory For those who wish to create Voice Memories or Performance Memories from scratch, the DX provides both Voice and Performance blank Page data as part of its permanent memory. If you want to start from ground zero (instead of working from an alreadyexisting Voice or Performance Memory), call up the DX's Init Voice or Init Performance data (using button 14 in Edit Mode).

Current Play/Edit Memory Whenever you call up a Voice Memory or Performance Memory in Play Mode, you are actually sending it to a special location in the DX the current Play/Edit Memory. As the name indicates, this is also the location where Voice or Performance data is edited. In computer terminology, this memory location is often called the Edit Buffer. Compare/Recall Memory When you are editing a Voice and use the Edit/Compare feature, the original Voice data is loaded into the Play/Edit Memory (so you can hear it). The edited Voice data is moved temporarily into another memory location, the Compare/Recall Memory. In computer terms, this memory location might be called the Compare Buffer. When you engage the Recall Edit function for the various Internal Memory types, you are actually recalling the last data moved to the Compare/Recall Memory.

Memory Storage Types

In addition to having a number of distinct types of memory, the new DX offers a number of ways to store these various memories. To understand how the various memory storage possibilities interact, read on. Internal Memory The DX's Internal Memory holds a standard Voice & Performance Memory block, which consists of the following: 64 Voice Memories, 32 Performance Memories, 1 System Setup Memory, and 2 User-defined Micro Tuning Memories. Voice & Performance Memory can also be stored in Cartridge Memory or in Disk Memory. Cartridge Memory A DX RAM4 cartridge can store three different types of data: Voice & Performance, Fractional Scaling, and Micro Tuning. The RAM Voice & Performance Memory is equivalent to the Internal Voice & Performance Memory. The RAM Fractional Scaling Memory holds up to 64 Fractional Scalings, which are tied to the 64 Voices in the DX's Internal Memory. The RAM Micro Tuning Memory holds up to 63 Micro Tunings.
The RAM4 cartridge can he used to store one of three possible kinds of data.

Possible RAM4 Contents

Voice & Performance Memory 64 Voice Memories 32 PERFORMANCE Memories 2 micro tunings 1 system setup Fractional Scaling Memory Micro Tuning Memory
Each of these kinds of Memory can be stored from cartridge to disk (FD only).
ROM Cartridge The supplied ROM cartridge contains 4 banks, which can be accessed using button 15 in Edit Mode:
Contents of Supplied ROM Cartridge
The supplied ROM cartridge holds a number of different kinds of DX memory.
Voice & Performance Memory 64 Voice Memories 32 PERFORMANCE Memories 2 micro tunings 1 system setup Voice & Performance Memory 64 Voice Memories 32 PERFORMANCE Memories 2 micro tunings 1 system setup Fractional Scaling Memory Micro Tuning Memory*

Disk Memory Functions (FD Only)
The FD's disk drive is capable of storing any information that resides in the DX's Internal Memory or Cartridge Memory, In order to access this data for performance, it must be loaded into the DX's Internal or Cartridge Memory the disk drive only operates as a storage medium. Using and Handling Disks The DX7 II FD uses 3.5" micro floppy disks. These disks have a Memory Protect function that is similar to that of the RAM4 cartridge:
Even though 3.5" disks are relatively sturdy, you should handle them with care when inserting them into or removing them from the DX's disk drive:
Basic Disk Drive Operations Formatting a Disk
Saving Internal Memory to Disk
*lt is possible to store files on top of files already loaded (which will erase the original data). Make sure to select a blank file location before moving to the Save function.
Saving Cartridge Memory to Disk
Loading Internal Memory from Disk
*lf you answer NO, you are telling the DX to load the Internal data with System Setup data. If you answer YES, you are telling the DX to load the Internal data without System Setup data.
Loading Cartridge Memory from Disk
Disk MDR The DX7 II FD's disk drive can also be used as a MIDI Data Recorder, to record MIDI information from external instruments via the DX's MIDI ports. The DX's disk can record external MIDI data into files of up to 20K bytes. To use this MIDI record function, make the proper MIDI connections and follow the prompts in the DX's LCD display.

MIDI Functions

MIDI Buttons Button 31 LCD Displays Button 32 LCD Displays System Setup Channel Messages Note On/Off Program Change Transmission Local On/Off Immediate MIDI Program Change Out Control Number Other System Setup Parameters MIDI Data Communications MIDI Device Number Receive Block MIDI Out

MIDI Buttons

All of the MIDI functions and parameters are adjusted via the LCD displays called up using buttons 31 ~ 32. All of the these buttons call up multiple LCD displays. The charts below show all of the displays called up by each button, and provide a complete list of parameters and value ranges. In some cases, the first LCD display in a chart may not be the first one you see. You may need to cycle through the displays (by pressing the button repeatedly) until you reach the desired LCD display.

Button 31 LCD Displays

Button 32 LCD Displays

System Setup

Since the use of many basic MIDI functions might depend on the contents of a specific set of Voice & Performance data, the new DX provides a special memory location, System Setup Memory, to store basic MIDI parameters and other data in conjunction with a Voice & Performance Memory block. This System Setup Memory contains settings for the following parameters: Channel Messages This LCD display allows you to set the DX's MIDI transmission channel, MIDI receive channels (for Voice A and Voice B in Performance Mode), and MIDI Omni Mode reception (on or off if on, the receive channel settings are inactive). Note On/Off This parameter is usually set to off, meaning that all keys played produce a note. Other settings (Odd, Even) can be used in conjunction with other MIDI instruments to produce a variety of interesting effects. Program Change Transmission If the new DX is connected to another MIDI instrument, various levels of MIDI communication are possible. The MIDI Program Change Mode determines how the DX will relate to an external MIDI instrument: If Mode is set to Off, program changes on the DX will have no effect on the external unit; if Mode is set to Normal, a program change on the DX will send the same Program number to the external unit; if Mode is set to Programmable, the program changes sent will be be those programmed in the Program Change Trans LCD display. Local On/Off This parameter allows you to turn the DX's internal synthesizer on and off (as part of a MIDI system). If Local is set to Off, notes played on the DX keyboard will not engage the DX's internal sound mechanism.
Immediate MIDI Program Change Out If you wish to send a quick MIDI Program Change Message to an external MIDI unit, use the following procedure:
In any of the Play Modes (Single, Dual, Split, or Performance), press and hold the button of the current Play Mode (the one with the lit LED). You will see this LCD display:
Now, while still holding the Play Mode button, type in the program change number you desire (1~128) using the 1 ~ number buttons (1 through 0 character buttons). All three positions in the LCD must be filled: for example, to send program #1, type in 001. Once you have typed in the third number, the program change you have typed in will be sent over MIDI to the instrument connected to your DX7 II.
Control Number These parameters set the MIDI Controller numbers for external MIDI Controllers that may interact with the DX. The function of these Controllers is set via button 26 in Edit Mode. In addition, these parameters set the MIDI function of CS 1 and CS 2 (as Controllers of external MIDI instruments), and also set the Controller number of an external MIDI Controller that can be used to control the Voice parameters connected to CS 1 and CS 2 in Performance Mode. If Controller values of 5 ~ 8 are selected, only MIDI transmission is possible.