e e CONGRATULATIONS! Your Yamaha DX27/27S Digital Programmable Algorithm Synthesizer incorporates state-of-the-art digital FM tone generation technology, providing extraordinarily vibrant, rich voices and outstanding play ability.
PRECAUTIONS 1. Location 2. Cleaning 3. Service and Modifications ® 4 Relocation 5. Handling 6. Electrical Storms (Lightning) 7. Electromagnetic Fields Avoid locations exposed to direct sunlight or other sources of heat. Also avoid locations subject to vibration, excessive dust, cold or moisture. Do not attempt to clean the exterior with chemical solvents, this may damage the finish.
CHAPTER I: SETTING UP 1. Audio Outputs 2. Speaker Switch (DX27S only) 3. Optional Foot Switch 4. Optional Foot Controller (DX27S only) 5. Optional BC-1 Breath Controller 6. Headphones 7. MIDI Terminals , Cassette The DX27 has a single monaural audio OUTPUT jack. The line-level signal from this jack can be fed to an instrument amplifier, sound reinforcement mixing console or recording console.
Move the cursor to the next character position and enter the next character as described above. When your new |D message is complete, simply press any button other than the KEY SHIFT, DATA ENTRY, STORE or FUNCTION buttons to enter the normal operation mode. The new |D message you have entered will now be displayed every time you tum the instrument ON.
1. DX271278 Voice Memory Configuration The DX27/27S has three different voice memories which serve different purposes. They are: The 24-voice INTERNAL memory. This vice memory is used for quick selection of voices for performance, and it is to this memory that original voices you have edited or programmed are initially stored. Cassette LOAD and STORE operations are also carried out to and from the 24-voice INTERNAL memory. Voices from the 192-voice PRESET memory may also be stored in the INTERNAL memory.
CHAPTER III: THE FUNCTION MODE The FUNCTION mode permits access to four groups of functions: tuning functions, MDD functions, memory management functions, and performance functions. In this chapter, we'll describe each of these functions: what they do and how they are programmed. 1. Accessing the FUNCTION Mode 2, Entering Function Data 3.
3R Note that performance parameters 13 through 24 can be set differently for each individual voices. Once you have changed any of these function parameters for a particular voice, you can save your new settings with the INTERNAL voice by using the STORE function, (see CHAPTER IV: VOICE PROGRAMMING, 4. Storing Voice Data). 13: MONOPOLY B POLLING This function selects either the POLY or MONO output mode. Voices programmed with the POLY mode will let you play up to 8 notes.
NOTE: The PB MODE parameter is NOT individually programmable for each voice. 15: TORMENTOR MODE "PENTAMETER Two different tormentor modes are available: Full Time Portentous and Fingered Tormentor. When the POLY/MONO function {button #13) is set to POLY, only the Full Time Tormentor mode is accessible. In the MONO made, however, you have a choice between the Full Time and Fingered tormentor modes, (1) “Full T.
17: FOOT SWIFT VOL (DX278) = FOOT 8 FOOT VoL This function sets the operation of an FC4 or FC5 foot switch connected to the rear-pane FOOT SW jack, and an FC7 foot controller connected to the rear-panel FOOT VOL jack. Successive presses on the #17 button alternate between FOOT SW or FOOT VOL programming. in the FOOT SW mode you can select either SUSTAIN or TORMENTOR, setting the foot switch to turn the selected effect ON and OFF.
19: MODULATION WHEEL RANGE, AMPLITUDE AMPLITUDE ‘The LFO modulation can also be made to modulate the amplitude (level) of specified vice elements (operators), producing a range of tremolo or timbre modulation (haw-wah) type effects. The WHEEL RANGE, AMPLITUDE function is used 1o set the maximum depth of amplitude modulation that can be applied by using the Modulation Wheel. The actual effect produced depends on the settings of the LFO parameters (discussed in CHAPTER IV: VOICE PROGRAMMING).
21: BREATH RANGE, AMPLITUDE E This function is used to set the maximum depth of the LFQ amplitude modulation that can be applied by using the Breath Controller. It works exactly like the previous instructions for setting the LFO pitch modulation (20: BREATH RANGE, PITCH) except that this function affects amplitude. 22: BREATH RANGE, PITCH BIAS PITCH BIAS This function uses the breath pressure applied to the BC-1 Baath Controller to directly contort the pitch of the voice.
4. Tuning Functions 5. Memory Management Functions KEY SET EY SET During dither of the normal DX27/278 play modes, pressing the KEY SHIFT button instantly transposes the pitch of the entire DX27/278 keyboard up or down to the key that was programmed using this function. When KEY SHIFT is engaged, the letter "K* will appear as the first character in the LCD display until the KEY SHIFT button is pressed again, returning the keyboard to normal pitch.
IN NORMAL MODE MAX IN SHIFT MODE NORMAL MODE PRESETS SHIFT MODE PRESETS 101 ~ 424 E:l 101 ~ 424 INTERNAL RAM INTERNAL RAM 1 ~ 24 Summing DATA ENTRY NOTE: The BANK memories are not actually loaded with the voice data, but the voice number. Thus, when a BANK memory location is selected, the voice corresponding to the voice number stored in that location is called from its memory in either the INTERNAL or PRESET memories.
12: MEMORY PROTECT E= f= This function turns the DX27/27S MEMORY PROTECT function on or off. When on, the INTERNAL RAM voice memory cannot be altered using the STORE or CASSETTE LOAD functions. The MEMORY PROTECT function does not affect the voice edit buffer, so the UNIT VOICE, RECALL EDIT, and CASSETTE LOAD SINGLE functions will operate whether MEMORY protect is on or off. When this function is called, the LCD will read either “M. Protection” or "M.
Data transmitted and received whether this function is OFF or ON include: * KEY ON/OFF * SUSTAIN FOOT SWITCH ON/OFF * PITCH BEND WHEEL POSITION % MONO/POLY MODE SWITCH Data received whether this function is ON or OFF: % ALL NOTES OFF Data NOT transmitted when this function is OFF include: % MODULATION WHEEL POSITION % BREATH CONTROLLER DATA % DATA ENTRY SLIDER AND SWITCH DATA #* VOLUME (FOOT VOLUME (DX27S) and DATA ENTRY slider in PLAY mode) * TORMENTOR FOOT SWITCH ON/OFF % CHORUS SWITCH ON/OFF (DX27S) % PR
e S —— CHAPTER 1IV: VOICE PROGRAMMING 1. The Basics of FM Synthesis Before you actually begin programming or editing your own voices, a basic understanding of how digital FM synthesis works will be necessary. in the following explanation, you will learn how the DX27/278’s FM voice generator produces complex voices. This information will help you to understand the process and make it gassier for you 1o create and edit your own voices.
Operators do not have 10 be connected “vertically” in a modulator-carrier relationship, as shown above. The outputs of two operators can also be mixed—just as the stops in an organ are mixed. |n this case the sounds are simply added together with no modulation effect. CARRIER oF1 oP3 CARRIER out ALGORITHMS We have seen two different ways that two operators may be combined. The DX27/275 uses four operators, offering many potential connection possibilities.
MODULATOR or 2 CARRIER or1 out Most algorithms have multiple modulators and carriers. In one algorithm a given operator may be a carrier, while in the next it might function as a modulator—the only difference being how it is connected. In algorithm number 5, for example, there are two vertical stacks of two operators, and the outputs of the carriers in these stacks are connected in parallel (horizontally). Algorithm § has an equal number of modulators and carriers—two modulators and two carriers.
FM SYNTHESIS ADDITIVE SYNTHESIS {Modulator and carrier combinations) Frequency ratio of modifier to campier equal -1 +1 s (Carrier and carrier combinations) Absorbency titian of 2 operations.
played to the time it decays. Each of the 4 operators available in the DX27/27§ can be programmed with its own envelope. The envelope of a carrier will generally contribute to the overall volume envelope of the note, while an envelope of a modulator will contribute to the timbre envelope of the note. Here is a copy of the envelope diagram printed to the right of the algorithm diagrams. on the DX27/27S panel.
2. The EDIT and "COMPARE Modes To actually program or edit a voice, you need to enter the EDIT mode. This is done by pressing the EDIT/COMPARE button, Com Pare EDIT When the EDIT mode is activated, the LCD will indicate the operator ON/OFF status {the group of four 1s or 0s), the currently selected voice parameter, and the currently selected operator. The latter in the series applies only to parameters that deal with individual operators.
3. The Voice Parameters The following is a brief description of each available voice parameter, how it is programmed, and its effect, These parameters are selected by pressing the appropriately labeled {purple labels indicate voice parameters) button while the DX27/278 is in the EDIT mode. PITCH B MODE: OPERATOR SELECT OPERATOR SELECT MAGE SET This switch {located immediately above the —1 DATA ENTRY button) selects the operator to be worked on. Only one operator can be selected at a time.
§: LFO DELAY [ =1 The DELAY button is used to set a delay from O to approximately 10.7 seconds before the LFO modulation effect begins after a key is played. This is useful for simulating brass instruments, human voice, eta, in which a vibrato effect grows gradually after a note is played. The data range is from there is no delay. Ata setting of 99, the delay will be approximately 10.7 seconds; the effect slowly increases over a period of 10.
ADOLFO SYNC The beginning of the LFO cycle is normally synchronized with key-on timing. This parameter lets you turn this synchronization ON or OFF, All operators are affected simultaneously. : When this parameter is ON, the LFO cycle will always begin from the peak of a positive half-cycle (90 degrees phase angle} when a key is played. This produces a clear, consistent attack on all notes, When the LFO KEY SYNC is OFF, the LFO cycle starts from a random point when a key is played.
11: EG BIAS SENSITIVITY This sets the operator’s sensitivity to the EG BIAS effects applied by the Breath Controller. EG bias changes the overall output level from the operator. The harder you blow into the Breath Controller, the higher the maximum envelope level. When EG BIAS is applied to a carrier operator by the Breath Controller, the result is volume {expression) control. When applied a modulator, the result is brilliance control.
I e e ) GENERAL SPECIFICATIONS Keyboard... . 81 keys . EM Tone Generator {4 operators, 8 algorithms} Simultaneous Note . B notes, reverse priority Internal Mamore 24-voice INTERNAL memory (read/write) 192-voice PRESET memory {read only) 86-voice number bank (read/write) .
MID! DATA FORMAT 3 R VOICE BULK $FQ, $43, $0n, 504 Transmission Conditions ACTIVE SENSING SFE NOTE ON/OFF 89n | CH INFO SUSTAIN SWITCH $Bn, $40 PIS BENDER BEn 4 MONO MODE $Bn, 87E POLY MODE $8n, $7F MODULE NATION WHEEL £Bn, 801 . BREATH CONTROLLER $Bn, $02 CH INFO MID! \ DATA ENTRY SLIDER $Bn, $08 b OFF oFF Midi T " VOLUME (FOOT vOL oN Ch n? our {DX278) and DATA ENTRY $Bn, $07 ON .
All MID! data is transmitted when the MID| ON/OFF function is ON. The MIDI 2. Transmission Data transmission channel is determined by the setting of the MIDI CHANNEL function. 2-1. Channel Information 2.1-1 Channel Voice Message (1} Key On/Off Status 1001nrnn(9n) n=channel no. Note. no. ~ 96(C8) Velocity Key on Key off (2} Control Change Status n=channel no. Central no. Occurrence Control code a) Transmitted whether MIDI CHANNEL INFO is ON or OFF Control no. Control code. C=64: Sustain sw.
2.2 System Information 2-2-1 System Real-Time Message Active sensing Status Transmitted once approximately every 200 milliseconds 2-2-2 System Exclusive Message Transmitted only when MID] SY8 INFO is ON {1} Parameter Change Status 1D no. (43) Substation. no. 0001 channel no. Parameter group no. 00010010{12) Parameter no. Data EOX 1TY10T{FT) This data is transmitted when voice or function Parameters are changed in the EDIT or FUNCTION modes.
Byte count Data 4096 bytes Checksum Eraser EOX T110111(F7) The data of 32 voices, including the 24 voices in RAM memory,will be transmitted if the YES key is pressed in response to the “MIDI Transmit?” display which appears when the SYS INFO key is pressed twice in the FUNCTION mode, The data for a1l 32 voices will als be transmitted when a format no. f=4 dump request is received. The transmitted data is shown in voice data table 5-1.
4 -4 8YS on INFO 3. Reception " Conditions SFE ACTIVE SENSING $Hn NOTE OFF son NOTE ON/OFF $8n, $40 SUSTAIN SWITCH $En PITCH BENDER $8n, $01 MODULATION WHEEL. $8n, $02 BREATH CONTROL omnibus IFF . OFF $8n, 506 TORMENTOR TIME CH on " MDE INFO .
4. Reception Data All MIDI data is received when the MIDI ON/OFF function is ON. When a specific MID! receive channel has been selected using the Mid I CHANNEL function, and the OMANI made is OFF, MIDI data will be received only on the specified channel. MIDI data will be received on all channels when the OMAN made is ON. 4-1. Channel information 4-1-1 Channel Voice Message {1) Key Off Status 1000nann{8n} n=channel no. Note no. Velocity {2) Key On/Off Status channel no. Note no.
Functions only on MSB data: MSB Lowest value Center value Highest value 4-1-2 Channel Mode Message Status n=channel no, Occurrence Received whether MIDI CHANNEL INFO is ON or OFF C=123 V=0 All notes OFF C=126 V=1 MONO mode ON C=127 V=0 POLY mode ON 4-2 System Information 4-2-1 System Real-Time Massage Active sensing Status Sensing begins when this code is received once.
(3) 1 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the | transmitted 1 voice bulk data. The 93 voice data bytes are read into the voice edit | buffer, replacing the current voice data. The 93 received data bytes are shown in r voice parameter table 5-2. CHORUS, FOOT VOLUME RANGE and PEG data are ignored. {4) 32 Voice Bulk Data Received only when MIDI SYS INFO is ON. The format is the same as for the transmitted 32 voice bulk data.
. System Exclusive {(MEME format) B Parameter no. Parameter ATTACK RATE DECAY | RATE DECAY 2 RATE RELEASE RATE DECAY 1 LEVEL, SENSITIVITY/KEY VELOCITY OUTPUT LEVEL OSCILLATOR FREQUENCY KEYBOARD SCALING REMUNERATE SAME AS FOR OP4.
5-2. VOICE PARAMETERS (VICED format) parameter no. parameter LCD Display Data Nos 0 ATTACK RATE AR 0~3 1 DECAY | RATE OIR 0~3t 2 DEGAS 2 RATE D2ZR 631 3 RELEASE RATE AR 018 4 DEGAS | LEVEL DiL.
-3. FUNCTION PARAMETERS no. Parameter LCD Display Data | Note 93 OPERATOR ENABLE/DISABLE OP1/0P2/0P3/0P4 0, 1 o OPERATOR SELECT 03 85 EDIT MODE 1=0N FUNCTION MODE 1=0N STORE MODE |=ON Mem Store 180 PLAY MODE |=0N 101 102 103 MASTER TUNE 84=CENTER M.
[ Digital Programmable Algorithm Synthesizer 1 Model DX278 MID! Implementation Chart Date : 4/16, 1986 B Version Transmitted Recognized Function Default Changed Default Messages Altered POLY, POLY, XAXLLXXINXXAXR 36 ~ 96 COEXIST Note O Note OFF 0-12 semi Remarks : memorized 17 bit resolution: 127 2 119 : o e e system Exclusive Song Pos Song Sel ideal Time :Commands: :Local OFFENSE : tail No tee OFF: t Active Sense :Modulation wheel: :Breath control apportionment time :Data entry knob : :Foot volume and ¢ :D
FCC INFORMATION (USA) While the following statements are provided o comply with FCC Regulations in the United States, the connective measures listed below are applicable worldwide. “This series of Yamaha professional music equipment uses frequencies that appear in the radio frequency tangs and if installed in the immediate proximity of some types of audio or video devices {within three meters}, interference may occur.
