COMPARE

When you first enter SINGLE EDIT mode, the LCD will show an E in the upper left corner, indicating Edit. As soon as you modify the data, this will change to e.
Original data unchanged Modifications have been made
While editing a voice, you can compare it with the original voice. Press EDIT/ COMPARE. The LED will begin blinking, and the LCD will show a c in the upper left corner, indicating Compare. Use the PARAMETER keys to look through the parameters. When the Compare LED is flashing, you will not be able to modify the data. To return to edit mode, press EDIT/COMPARE once more.

Compare original voice

This is where you select the Algorithm, or arrangement of operators. Algorithm

Operator 1-4 on/off

In addition to the algorithm number, the LCD shows a graphic representation of the actual algorithm structure. The arrows indicate the modulator carrier connection. (See also the pull-out reference card under the LCD.) By moving the cursor to the 1111 area and pressing DEC/INC, you can turn each operator on (1) or off (0). When editing, it is often useful to hear only a certain combination of operators at once. Obviously, if all carriers are turned off, there will be no sound. In any algorithm, operator 4 can be set to modulate itself on a scale of 0 (no feedback) to 7.

Feedback

Edit LFO?
The LFO is a Low Frequency Oscillator that sends a continuously changing control signal. Its effect depends on the Sensitivity (p.16) and Voice Function (p.21) settings, and can affect the output level of the operators or the overall pitch of the voice. As you can see from the diagram below, the Voice Function settings determine how the MIDI Controllers (Modulation Wheel, Foot Controller, Breath Controller) will regulate the LFO signal going to the operators, and the Sensitivity settings determine how the operators will react to the LFO signal. As you can see, the modulation you set in the LFO does NOT go DIRECTLY to the operators. The final effect will depend on the LFO Settings, the Voice Function settings, the Sensitivity settings, AND the position of the MIDI controllers (Modulation Wheel, Foot Controller, Breath Controller) on your keyboard.

P Mod Sens. (0-7)

This determines the Pitch Modulation Sensitivity of the entire voice. If it is 0, there will be no pitch modulation. The overall Amplitude Modulation Sensitivity of the operators is adjustable from 0-3, and each operator can be set to react to LFO Amplitude Modulation (on) or not (off). For example, if the carrier operators were sensitive to LFO amplitude modulation, the LFO would affect the volume of the voice (tremolo). If the modulator operators were sensitive to LFO amplitude modulation, the LFO would affect the tone of the voice (wah-wah). This sets the EG (envelope generator) Bias Sensitivity of each operator. EG Bias is a control signal that directly affects the output level of an operator. (It has nothing to do with the LFO.) There is a Voice Function parameter (p.22) that lets a Breath Controller control EG Bias.
AMS (0-3, on/off for each operator)
EBS (0-7 for each operator)
If a carrier has EBS, the EG Bias signal will affect the volume of the voice. If a modulator has EBS, the EG Bias signal will affect the tone of the voice. When programming wind instruments, it is effective to set the carriers to an EBS of 7, so that the volume will depend totally on how hard you blow into the Breath Controller. Set the modulators to a lower value of sensitivity, so that the tone will become somewhat sharper as you blow harder. KVS (0-7 for each operator) This sets the Key Velocity Sensitivity of each operator. Each MIDI Note On message has a Velocity byte that tells how hard the keyboard was struck. If an operator has KVS, it will adjust its output level according to the velocity of the note. If a carrier has KVS, strongly played notes will be louder. If a modulator has KVS, strongly played notes will have a sharper tone. Extremely high KVS settings will make the voice difficult to control, and you will need to play quite strongly to get any sound at all.

Edit Frequency?

This is where you set the frequency of each operator. Each operator can be set to Ratio or Fixed mode. In Ratio mode, the frequency will depend on the key you play. In Fixed mode, the frequency will be the same no matter which key you play. This can be useful for special effects, or for creating formants (fixed characteristics of spectral emphasis found in human voices and some instruments).
Answer YES to this display, and use the PARAMETER keys to select the coarse (CRS) and fine (FIN) frequency adjustment for each operator 1-4. By moving the cursor to (xxx), you can set the oscillator mode to RATIO or FIX.
If Fixed Mode is selected, you can set the Fixed Frequency Range (see below).

AR (0-31)

Attack Rate determines how quickly the level will rise up to maximum level. When AR is 0, the rate is slowest and when AR is 31, the attack is fastest, 1st Decay Rate determines how quickly the level will decay from maximum to the 1st Decay Level. Obviously, if the 1st Decay Level is 15 (max), the 1st Decay Rate will have no effect. 1st Decay Level is the point where the 2nd Decay Rate begins. 2nd Decay Rate determines how quickly the level will decay from the 1st Decay Level down to 0. If the 2nd Decay Rate is set to 0, the sound will continue as long as the note is held. Release Rate determines how quickly the level will decay from the level at the time the note is released down to 0. EG Shift sets the range of the envelope. When off is selected, the EG will change the operator output level over a range of 0 to -96dB (the full range). However, when 12, 24 or 48 is selected, the EG range is compressed to the specified range. For example if EG Shift is 24, the EG will change the operator output level over a range of 0 to -24dB, and the operator output level will be at -24dB even before the note is pressed. (EG shift of operator 1 is fixed at off".)

D1R (0-31)

D1L (0-15) D2R (Q-31)

RR (1-15)

SHFT (off, 48, 24, 12)
This can be used to limit the EG range of a modulator for very subtle changes in tone, or to create an instantaneous attack. You can use it on a carrier for effects that will sound even when a key is not being pressed. The EGS setting will not affect the time the envelope takes, even though the distance of the level change may be different (ie. rates are automatically compensated). EG Copy When trying to imitate an acoustic instrument sound, it is usually a good idea to first program the carrier envelope (volume envelope) and copy it to the modulating operators. (Of course you will need to make fine adjustments later by ear.) Usually, as the volume of a sound increases (or decreases), the tone also gets brighter (or softer). Copying envelopes is easily done. Anytime you are in SINGLE EDIT mode, press and hold STORE/EG COPY. The LCD will ask which operator you want to copy the envelope from.
Continue holding STORE/EG COPY and use the DATA ENTRY keys to select the source operator. Use the CURSOR keys to move the blinking cursor and use the DATA ENTRY keys to select the destination operator. Release STORE/ EG COPY and answer YES. The envelope (AR, D1R, D1L, D2R, RR) will be copied. (If you change your mind, answer NO.) This sets the output level of each operator. Operator Output Level

The output level of a carrier will affect the volume, and the output level of a modulator will affect the tone. Setting modulator output levels too high may lead to distortion. Sometimes this may be desirable when creating sound. What the human ear interprets as loudness is closely related to timbral complexity (tone), and raising the level of a modulator will often increase the loudness as well. Answer YES to this display and use the PARAMETER keys to select the two scaling parameters.

Scaling?

Rate Scaling (0-3)
On an acoustic instrument, high notes usually have a faster attack and decay than low notes. Rate Scaling simulates this. When RS is 0, the envelope will be the same time length for all notes. When RS is 3, high notes will have a shorter envelope.

Low Notes

High Notes

Level Scaling (0-99)

High notes on an acoustic instrument tend to have a less complex tone than low notes. You can use Level Scaling to simulate this by decreasing the output level of a modulator as you play up the keyboard. (Level Scaling operates on a curve starting from about C1.) When LS is 0, the operator output level will be the same for all notes. When LS is 99, the output level will have dropped to 0 by the time you get to G6.

Low notes

High notes

Function?

This is where you set how the TX81Z will be controlled by incoming MIDI messages. Answer YES to the ? display and use the PARAMETER keys to select the sixteen Function parameters.

Poly Mode (Poly/Mono)

Poly Mode: In SINGLE mode, the TX81Z will play up to 8 notes simultaneously, and in PERFORMANCE mode, each instrument will play as many notes as permitted in the Max Notes setting for that instrument (p.38). Mono Mode: Only the most recent note you press will be sounded. This can be desirable when playing solos. Also, Mono Mode gives you a choice of portamento (see below). A Max Notes (p.38) setting of 1 is not quite the same as Mono mode. In Mono, a note played before the previous one is released will not re-trigger the envelope. ie. the decay will continue from the previous note. However in Poly mode, each note starts its envelope from the beginning even if the previous note has not been released. Thus, if you want to have only one note sounding at a time, but want each note to re-trigger the envelope, use Poly mode and set Max Notes (p.38) to 1. Note If you play a note in Mono Mode without releasing the previous note, and then release the second note, the sound will jump back to the previous note. In SINGLE mode, up to 8 of these previous notes will be remembered (as long as you continue pressing them), and in PERFORMANCE mode, up to 5 notes will be remembered.

Master Tune

This is the master tune for the entire TX81Z. Use it to tune the TX81Z to other instruments. The tuning range is one semitone (100 cents) below and above standard pitch (A3=440Hz).
Answer YES and use the PARAMETER keys to select the following parameters. Midi Control?
Receive Channel (1-16, omni)
This is the MIDI channel on which the TX81Z will receive System Exclusive data and Program Changes. In SINGLE mode, this is the channel you will play. When this is set to omn, all channels will be received.

Transmit Channel (1-16)

This is the MIDI channel on which TX81Z data (bulk voice data, etc.) will be transmitted. When transmitting data to another TX81Z, this must match the receive channel of the other device (unless the receiver is set to omni).
Note on/off (all, even, odd)
All: All note numbers are received (the normal mode). " Even: Even " Odd: Odd
By using two TX81Zs together and setting one to Even and the other to Odd, you can effectively raise the simultaneous-note capacity to 16 notes.
P. Change (off, corn, ind)
This determines how the TX81Z will react to Program Change messages. Off: Ignore program change messages.
Common: Look up the corresponding Voice Number (I01-D32) or Performance Number (PF1-24) in the Program Change Table (p.26). Individual: Each instrument receives program changes separately and looks up its Voice Number from the table. If already in Performance mode and the table entry is a Performance Number, it is ignored. Cont. Change (off, norm, G1-G16) Control Change messages (MIDI messages Bn.xx.yy) will be ignored. This includes messages such as Modulation Wheel, Breath Controller, etc. Sustain pedal on/off will always be received. Norm: Control change messages are received normally by each channel. G1-16: You can specify a Global MlDI Channel for control change messages. In PERFORMANCE mode when a control change arrives on this channel, it will affect all instruments regardless of their channel setting. For example, if a MIDI guitar transmitted Note On messages with a different channel for each string, a Modulation Wheel on the guitar could control all channels simultaneously. Normally the TX81Z does not receive Aftertouch messages (Dn.xx), but when this is set on, incoming Aftertouch messages will be treated as Breath Controller (Bn.02.xx) messages. See Control Change, above. Off:

A. Touch (off, on)

Pitch Bend (off, norm, G1-G16)
Off: Pitch Bend messages (MIDI messages En.xx.yy) will be ignored. Norm: Pitch Bend messages are received normally by each channel. G1-16: You can specify a Global MIDI Channel for pitch bend messages. In PERFORMANCE mode when a pitch bend message arrives on this channel, it will affect all instruments regardless of their channel setting. For example, if a MlDI guitar transmitted Note On messages with a different channel for each string, a MIDI pitch bend arm on the guitar could control all channels simultaneously.

Exclusive (on, off)

When this is Off, all System Exclusive messages (bulk data) will be ignored, and the TX81Z will not transmit bulk data. (The functions voice, Performance and Setup Transmit will be skipped.) If you answer YES, the 32 voices in bank I will be transmitted from MIDI OUT. To transmit the 32 voices from another bank (I, A, B, C, D) press NO to select the bank, and YES to transmit it. Note This data can be received by another TX81Z (or any data storage device) if its Memory Protect (p.27) is Off, its Exclusive (p.26) is On, and its Receive Channel (p.25) matches the Transmit Channel (p.25). A disk-type MIDI data storage device such as the MDF1 is handy for storing TX81Z data.

Voice Transmit?

Performance Transmit?
If you answer YES, the 24 performance memories will be transmitted from MIDI OUT. (See the note to Voice Transmit, above.)

Setup Transmit?

Press NO to select AL, SY, EF, MC and then press YES to transmit the selected data from MlDI OUT. (See the note to Voice Transmit, above.) A L All data described below (PC+EF+MC) except System data. SY System data. The settings for Combine, Memory Protect, Receive Channel, Transmit Channel, P. Change, Cont. Change, and Exclusive. PC Program Change Table (p.26). EF Data for the three effects (p.29). MC The two user-programmable scales (p.31).

lnit P. Ch. Tbl.

When you press YES, the Program Change Table (see below) will be initialized as follows. Incoming Program Change PGM 1 PGM 2 PGM 32 PGM 33 PGM 128
will select I01 I02 I32 A01 C32

Edit P. Ch. Tbl.

There is a Program Change Table in TX81Z memory that can be used to redirect incoming Program Change messages. When a program change (on the Receive Channel, p.25) is received, this table is consulted, and the corresponding Voice or Performance is selected. To edit the table, answer YES, and use the PARAMETER keys to step through PGM 1 PGM 128. Use the DATA ENTRY keys to select a Voice number I01-D32 or a Performance number PF01-PF24.

Edit Full Kbd?

Here you can edit the tuning of each note in the scale from C#-1 to C7 (the full range of the TX81Zs sound producing capability. As explained in Edit Octave, use the PARAMETER keys to select the note and use DEC/INC to change the tuning for each note. You can also select a note by playing it on the keyboard and pressing a PARAMETER key. Here you can initialize the user-programmable full scale to one of the 11 preset scales as described in lnit Octave.

Init Full Kbd?

This will set the voice data in the edit buffer to the settings shown below. Init Voice?
When creating a voice from scratch, it is often useful to start from this basic setting rather than having to reset all the parameters by hand. Press YES. The LCD will ask Are you sure?, press YES again. The edit buffer will be set to the voice data shown below, and you will automatically enter Edit Mode (p.12). INITIAL VOICE-DATA = ALG 1 Feedback = 0 Wave = triangl Speed = 35 Delay 0 = 0 P Mod Depth = 0 A Mod Depth = = off Sync 6 P Mod Sens. = 0 = AMS AME = off = 0 EBS 0 = KVS (Frequency) = 1.00 (Mode) OSW DET AR D1R D1L D2R RR SHFT OUT = = = = = = = = = = RATIO W1 (sine) off 90 OP 4 = 0 = 0 Poly Mode P Bend Range Full Time Porta Porta Time FC Volume FC Pitch FC Amplitude MW Pitch MW Ampli BC Pitch BC Amplitude BCP Bias BC EG Bias Middle C Reverb Rate Name
= 0 = 40 = 0 = 0 = = = 0 = 0 = = = C3 = off = INIT VOICE

Recall Edit?

This recalls the last edited voice into the edit buffer. For example, if you are editing a voice and accidently select a voice memory, the voice data from memory will be loaded into the edit buffer and your edited settings will be lost. By using this Recall Edit function, you can restore the data you were editing.
Press YES. The LCD will ask Are you sure? so press YES again. The data you were editing will be loaded into the edit buffer, and you will automatically enter Edit Mode (p.12).

PERFORMANCE MODE

In performance mode, you can use the TX81Z as up to eight independent instruments, and preset the maximum number notes, note limit, reception channel, voice number, etc. for each instrument. The TX81Z will remember up to 24 of these Performances. Data (voice numbers, performance parameters etc.) for each instrument is shown in the lower line of the LCD. However, the LCD has space to display only four instruments at once, so use the CURSOR keys to move the blinking cursor to instruments 5-8.

DX27/100 Compatibility

DX21/27/100 COMPATIBILITY
The TX81Z uses the same 4-operator, 8-algorithm FM synthesis as the DX21, DX27 and DX100, and voice data can be transmitted and received between them. However, the TX81Z has a number of features that the DX21/27/100 does not.
*The Frequency CRS(RATIO) adjustment (p.17) is equivalent to the values programmable in the DX21/ 27/100. The FIN(RATIO) adjustment is additional precision available in the TX81Z. Also, the DX21/27/100 operators have no FIX mode.
*The DX21/27/100 operators produce only sinewaves. When a TX81Z voice that uses non-sinewave operators (p.18) is loaded into a DX21/27/100, it will not sound the same.
*EG RR. The Envelope Generator Release Rate on the DX21/27/100 can be set to 0, whereas the TX81Z EG-RR minimum setting is 1. When voice data is received from a DX21/27/100, any EG release rates of 0 are set to 1.
*EG-EG Shift is not a parameter on the DX21/27/100, and will be ignored when you load data from the TX81Z.
*Parameters which the TX81Z does not have (PEG, chorus) will be set to Off or 0.
*The TX81Z BC Pitch Bias of 50 to +50 (p.22) corresponds to the DX27/100 BC Pitch Bias of 0-99. However, the curve is different, (Exponential, not linear.)

Micro Tuning Data Table

MICRO TUNING DATA TABLE
KEY (CENT) *C *C# *D *D# *E *F *F# *G *G# *A *A# *B *C *C-C# *C#-D *D-D# *D#-E *E-F *F-F# *F#-G *G-G# *G#-A *A-A# *A#-B *B-C *C-C
Pure C (major) 0.000 70.673 203.910 315.641 386.314 498.045 568.718 701.955 772.628 884.359 1017.596 1088.269 1200.000 70.673 133.237 111.731 70.673 111.731 70.673 133.237 70.673 111.731 133.237 70.673 111.731 1200.000
Pure A (minor) 0.000 70.673 182.404 315.641 384.314 498.045 568.718 701.955 772.628 884.359
Mean Tone C 0.0000 76.0490 193.1569 310.2647 386.3137 503.4216 579.4706 696.5784 772.6274 889.7353
Pythago- Werckmeister rean C 0.000 113.685 203.910 294.135 407.820 498.045 611.730 701.955 815.640 905.865 996.090 0.000 90.225 192.180 294.135 390.225 498.045 588.270 696.090 792.180 888.270 996.090 1092.180 1200.000 90.225 101.955 101.955 96.090 107.820 90.225 107.820 96.090 96.090 107.820 96.090 107.820
Vallotti Kirnberger & Young 0.000 90.225 193.157 294.135 386.314 498.045 590.224 696.578 792.180 889.735 996.090 1088.269 1200.000 90.225 102.932 100.978 92.179 111.731 92.179 106.354 95.602 97.555 106.355 92.179 111.731 1200.000 0.000 94.135 196.090 298.045 392.180 501.955 592.180 698.045 796.090 894.135 1000.000 1090.225 1200.000 94.135 101.955 101.955 94.135 109.775 90.225 105.865 98.045 98.045 105.865 90.225 109.775 1200.000

100 1200

1017.596 1006.8432
1088.269 1082.8921 1109.775 1200.000 1200.0000 1200.000 70.673 111.731 133.237 70.673 111.731 70.673 133.237 70.673 111.731 133.237 70.673 111.731 76.0490 117.1079 117.1078 76.0490 117.1079 76.0490 117.1078 76.0490 117.1079 117.1079 76.0489 117.1079 113.685 90.225 90.225 113.685 90.225 113.685 90.225 113.685 90.225 90.225 113.685 90.225

1200.000 1200.0000 1200.000 1200.000
This table shows the theoretical values. Actual data in the TX81Z is in steps of approximately 1.56 cents.
Waveform Harmonic Content
WAVEFORM HARMONIC CONTENT
In addition to sinewaves (pure tones), the TX81Z operators can use 7 more complex waveforms, These waveforms are not modeled after any real instrument, but are mathematical transformations of sinewaves. Here is the harmonic content of each waveform. The amplitude (volume) of each harmonic partial is given as a percentage of the fundamental. W1 Sine wave. Only fundamental. W2 Odd partials somewhat like a square wave

W3 Even partials.

W4 Partials 2, 3, 5, 7,.
W5 Partials 2, 3, 5, 7, 9. (stronger partials than W4) Second partial is stronger than fundamental.
W6 Partials 2, 3, 5, 6, 7, 9, 10, 11,. (no 4, 8,.) Second partial is stronger than fundamental.
W7 Partials 3, 4, 5, 7, 8, 9,. (no 2, 6, 10,.)
W8 Partials 3, 4, 5, 7, 8, 11,. (no 2, 6, 8, 10.)

Performance Data

PERFORMANCE DATA
Performance No. 1 Performance name Instrument Assign Mode Max Notes (0-8) Voice No. (I01-D32) Receive Ch. (1-16), omni) Limit /L (C-2 G8) (C-2 G8) Limit /H (7 +7) Detune Note Shift (24 +24) (0-99) Volume Out Assign (off, I, II, I II) LFO Select (off, 1, 2, vib) Micro Tune (select) Effect Select CC-2 GI, II 1 off CC-2 GI, II 1 off CC-2 G8 +99 I, II 1 off Acustic Guit Alternate C01 C1 C-2 C-2 G8 G+99 I, II I, II off off Delay CC-2 GI, II 1 off CC-2 G8 +99 I, II 1 off CC-2 GI, II 1 off Voice Name 1 Nylon Guit 2 Nylon Guit 3 Nylon Guit 4 Nylon Guit 5 Nylon Guit 6 Nylon Guit 7 Nylon Guit 8 Nylon Guit

EFFECT 1 Delay

DELAY TIME PITCH SHIFT FEEDBACK EFFECT LEVEL

0.0 73

Performance No. 2 Performance name Instrument Assign Mode Max Notes (0-8) Voice No. (I01-D32) Receive Ch. (1-16, omni) (C2 G8) Limit /L Limit /H (C2 G8) Detune (7 +7) (24 +24) Note Shift (0-99) Volume Out Assign (off, I, II, I II) LFO Select (off, 1, 2, vib) Micro Tune (select) Effect Select EFFECT 1 Delay Normal B31 B1 C-2 C-2 G8 G+99 I II Delay 0.0 73

Hollo Flute 7 8

Voice Name 1 PercFlute 2 PanFloot 7 8
Performance No. 3 Performance name Instrument Assign Mode Max Notes (0-8) Voice No. (I01-D32) Receive Ch. (1-16, omni) Limit /L (C-2 G8) Limit /H (C-2 G8) (7 +7) Detune Note Shift (24 +24) Volume (0-99) Out Assign (off, I, II, I II) LFO Select (off, 1, 2 vib) Micro Tune (select) Effect Select EFFECT 1 Delay DELAY TIME PITCH SHIFT FEEDBACK EFFECT LEVEL Normal C14 B1 C#3 C-2 G8 C+90 I, II I, II off off Delay 0.3 Bass/Sax Voice Name 1 Rasp Alto 2 Jaco Bass 7 8

0ddddddd 11110111

ddddddd = data F7h End of Exclusive
Micro Tune parameter change messages have the following format. 11110000 d1000011 0001nnnn 0ggggghh 0ppppppp 0kkkkkkk 0hhhhhhh 0IIIIIII 11110111 F0h Exclusive 43h I.D. number (Yamaha) 1nh Basic receive channel ggggg = 00100 (4), hh = 00 ppppppp = 1111101 (125) OCT 1111110 (126) FULL kkkkkkk = key number hhhhhhh = note C #-1 to C7 (13-108) I I I I I I I = data fine tuning 0 to +31, 31 to 1 (0-32,33-63) F7h End Of Exclusive
Program Change Table parameter change messages have the following format. The data is 0-184d, indicating the TX81Z memory to be selected in response to the incoming program change number. 0-31 (I1-I32), 32-63 (A1-A32), 64-95 (B1-B32), 96-127 (C1-C32), 128-160 (D1-D32), 161-184 (PF1-PF24) 0001nnnn 0ggggghh 0ppppppp 0kkkkkkk 0hhhhhhh 0lllllll 11110111 F0h Exclusive 43h I.D. number (Yamaha) 1nh Basic receive channel ggggg = 00100 (4), hh = 00 ppppppp = 1111111 (127) k k k k k k k = program change number hhhhhhh = data (high) l l l l l l I = data (low) F7h End Of Exclusive

BULK DATA MESSAGES

The TX81Z receives and transmits 10 types of bulk data message. Each has the format F0 (System Exclusive), 43 (Yamaha ID number), 0n (bulk data on channel n), data size (high), data size (low), data, checksum (twos complement of the lower 7 bits of the sum of all databytes), F7 (EOX). Some bulk data messages have a 10-character ASCII header. These characters are considered to be part of the data. *Voice (SCED) Additional voice parameters for the TX81Z. f = 126 (7Eh) LM. 8986AE, data size = 23 + 10 = 33 (0021h) F0. 43. 0n. 7E. 00. 21. LM. 8976AE. (ACED data). checksum. F7 *1 Voice (VCED) Voice parameters for the TX81Z. f = 4, data size = 93 (005dh), total size = 93 + 8 = 101 (5Dh) F0. 43. 0n. 03.00.5D. (VCED data). checksum. F7 Note These two bulk data messages are transmitted when a voice is selected while in PLAY SINGLE mode, or when you lnit Voice or Recall Edit. If ACED is received alone, the VCED edit buffer will be unaffected, If VCED is received alone, the ACED edit buffer will be initialized.
*32 Voice (VMEM) This message includes both ACED and VCED parameters for 32 voices. f = 4, data size = 128 x 32 = 4096 (1000h), total size = 4096 + 8 = 4104 FO. 43. 0n. 04. 10.00. (VMEM data). checksum. F7 *1 Performance (PCED) The contents of the performance edit buffer. f = 126 (7Eh) LM. 8976PE, data size = 120 (0078h), total size = 120 +8= 128 F0. 43. 0n. 7E. 00. 78. LM. 8976PE. (data). checksum. F7 *32 Performance (PMEM) Data for 24 internal performance memories + 8 initial performances. f = 126 LM. 8976PM. data size = 10 + (76 x 32) = 2442 (098Ah) total size = 2442 + 8 = 2450 F0. 43. 0n. 7E. 13. 0A. LM. 8976PM, (data). checksum. F7 *System (SYS) TX81Z system data (basic receive channel, etc.) f = 126 LM. 8976S0, data size = 10 + 27 = 37, total size = 37 + 8 = 45 FO. 43. 0n. 7E. 00. 25. LM. 8976S0, (data). checksum. F7 *Program Change Table (SYS) Selected memory numbers I1-PF24 for each incoming program change. f = 126 LM. 8976S1, data size = 10 + 128 x 2 = 266 (010Ah), total size = 266 + 8 = 274 F0. 43. 0n. 7E. 02. 0A. LM. 8976S1, (data), checksum. F7 *Effect Data (SYS) Data for the three effects (delay, pan, chord) f = 126 LM. 8976S2, data size = 10 + 55 = 65 (0041h), total size = 65 + 8 = 73 F0. 43. 0n. 7E. 00. 41. LM. 8976S2, (data) checksum. F7 *Micro Tune Octave Contents of the user octave micro tune memory. f = 126 LM. MCRTE0, data size = 24 + 10 = 34 (0022h), total size = 34 + 8 = 42 F0. 43. 0n. 7E. 00. 22. LM. MCRTE0, (data). checksum. F7 *Micro Tune Full Kbd Contents of the user full keyboard micro tune memory. f = 126 LM. MCRTE1, data size = 256 + 10 = 266 (010Ah), total size = 274 F0. 43. 0n. 7E. 00. 22. LM. MCRTE1, (data). checksum. F7

Mode 1 Mode 3

Yes No

Whats MIDI?

WHAT'S MIDI?
Musical Instrument Digital Interface (MIDI) is a way for keyboards, synthesizers, sequencers, rhythm machines, and computers to communicate with each other. Devices that have a MIDI jack can be connected together to send and receive information. Since most musical instrument manufacturers have agreed on MIDI, you can connect devices of various manufacturers. Each piece of information is called a MIDI MESSAGE. Each MlDI message is made up of 1 to 3 bytes (numbers); a Status Byte and 0, 1 or 2 Data Bytes. The typical MlDI message is in the following form. Sn. xx. yy S n xx yy = Status (8-E) = Channel number (0-F indicates channel 1-16) = First data byte (00-7F) = Second data byte (00-7F)
Lets look at a sample 3-byte MIDI message.
For example, if a DX7 synthesizer receives this message, it does the following. 1. Checks the channel number to see if it is acceptable. If the DX7 has been set to receive that channel, it goes on to the next step. If not, the message is ignored. In the example above, the channel number is 4. (We count 0-F as 1 to 16.) 2. Checks the status. In this case, the status is Note On, so the DX7 knows to expect two more data bytes; note number (what note) and velocity (how hard it was hit). 3. Reads the data bytes and produces the correct note with the correct velocity. (Keep in mind that all this takes a very short time. It takes about 1/1000 of a second to send a MlDI message. To us, it seems as though sound is produced at the same time the key is pressed.)
Some MIDI messages have only two bytes; a status byte and a data byte. For example, C3. 05 is a Program Change message on channel 4, telling the receiving device to switch to program number 6. MIDI messages with a status byte from F0 to FF have no channel number. They are called System Messages, and are received by all devices regardless of their channel setting. For an explanation of each type of message, see the MlDI Format Table on the next page.

MIDI Format Table

MIDI FORMAT TABLE
Binr Dezimal Hex. A B C D E F 1A 1B 1C 1D 1E 1F 2A 2B 2C 2D 2E 2F 3A 3B 3C 3D 3E 3F Binr Dezimal Hex. 4A 4B 4C 4D 4E 4F 5A 5B 5C 5D 5E 5F 6A 6B 6C 6D 6E 6F 7A 7B 7C 7D 7E 7F Binr Dezimal Hex. 8A 8B 8C 8D 8E 8F 9A 9B 9C 9D 9E 9F A0 A1 A2 A3 A4 A5 A6 A7 A8 A9 AA AB AC AD AE AF B0 B1 B2 B3 B4 B5 B6 B7 B8 B9 BA BB BC BD BE BF Binr Dezimal Hex. C0 C1 C2 C3 C4 C5 C6 C7 C8 C9 CA CB CC CD CE CF C0 D1 D2 D3 D4 D5 D6 D7 D8 D9 DA DB DC CD DE DF E0 E1 E2 E3 E4 E5 E6 E7 E8 E9 EA EB EC ED EE EF F0 F1 F2 F3 F4 F5 F6 F7 F8 F9 FA FB FC FD FE FF

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