YAMAHA AUTHORIZED PRODUCT MANUAL DX7 DIGITAL PROGRAMMABLE ALGORITHM SYNTHESIZER
YAMAHA Digital Programmable Algorithm Synthesizer OPERATION MANUAL
PRECAUTIONS Location Avoid placing the DX7 in direct sunlight or close to a source of heat. Also, avoid locations in which the instrument is likely to be subjected to vibration, excessive dust, cold, or moisture. Extreme temperatures can ruin the LCD display Handling Avoid applying excessive force to the slide knobs, dropping or rough handling. While the internal circuitry is of reliable, solid state design, the DX7 is nonetheless a fine instrument that should be treated with care.
INTRODUCTION The DX7 is the world's first fully user programmable and preset FM digital synthesizer. If you're used to conventional synthesizers, one look at the DX7 will tell you that something unique has happened. There are no knobs: just two linear controls, one of which is for volume, an LED digital display a small alphanumeric liquid crystal display (LCD), and a number of flat panel membrane switches.
NOTE FOR SYNTHESIZERS SOLD BY THE U.S.A. 2 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.
INTRODUCTION Inside front cover PRECAUTIONS Inside front cover CONVENTIONS 3 "QUICK" BASIC FEATURES 4 SETUP Audio Output External Foot Controller Jacks Breath Controller MIDI Connectors AC Power Installation of Music Rack Additional Technical Installation Notes 12 12 12 12 12 12 12 13 PLAYING THE FACTORY PRESET VOICES Playing the Internal Voices Playing the Cartridge Voices 14 14 14 FUNCTION MODE: SETTING OVERALL PERFORMANCE PARAMETERS Data Entry Function Poly/Mono Pitch Bend Range & Step Portam
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.
"QUICK" BASIC FEATURES 4 This section is provided for reference so you can quickly locate a control or access a function. It is meant more for review than as a learning tool. If this is your first time reading the manual, we suggest you either skim this section, or skip it altogether and go on to the section titled "Playing the Factory Preset Voices". The DX7 has 3 basic operating modes: • PLAY (MEMORY SELECT) Mode This is the "normal" performance mode in which preprogrammed voices can be selected.
These buttons select the internal or cartridge memory and activate the PLAY mode; they also designate where individual voices may be stored This button selects the EDIT mode and compares edited to original voices OPERATOR SELECT When you are programming or editing a voice, this button lets you select the operator which is to be modified, as shown in the upper right corner of the LCD display. (It sets the "current operator".
6 and light brown characters below the buttons for FUNCTION mode parameters. A brief example for two buttons is shown here, with the specific references for these two buttons noted in parentheses: ALGORITHM In EDIT mode, this button activates the [DATA ENTRY] section so its controls can be used to select any of the 32 available algorithms.
PITCH This lets you set the sensitivity of the voice to LFO pitch modulation from no sensitivity (0) to maximum (7). One setting affects the overall voice. AMPLITUDE This lets you set the sensitivity of the individual operators in a voice to amplitude modulation from no sensitivity (0) to maximum (3). OSCILLATOR In EDIT mode, these 4 buttons each activate the [DATA ENTRY] section so it can be used to program or edit the frequency of individual operators in a voice.
8 KEYBOARD RATE SCALING In EDIT mode, this button activates the [DATA ENTRY] section so its controls can be used to program or edit each operator so its envelope rates become faster as you move up the keyboard. The minimum setting (0) produces no scaling, so rates Rl, R2, R3 and R4 are the same on all keys, whereas the maximum setting (7) speeds up the rates more and more as you move from the lowest to the highest notes.
POLY/MONO In FUNCTION mode, this button activates the [DATA ENTRY] section so its controls can set the keyboard to play polyphonically (up to 16 notes simultaneously) or monophonically (one note at a time). PITCH BEND In FUNCTION mode, this pair of buttons activate the [DATA ENTRY] section so its controls can program the range and "smoothness" of the [PITCH] wheel. If the RANGE is set to zero, the [PITCH] wheel will have no effect.
10 voices into the DX7 internal memory and then format if you like.) You cannot format a ROM (factory preset) cartridge. BATTERY CHECK In function mode, this button causes the display to show the voltage level of the battery which preserves the DX7 internal voice and programming memories when power is turned off. The acceptable range is 2.3 to 3.5 volts. If the battery is below 2.2 volts, contact your Yamaha dealer to arrange for replacement; this is NOT a do-it-yourself repair.
Keyboard This is a 61-key keyboard which has initial (velocity) and after (pressure) sensitivity, although these parameters must be programmed into the voice in order to be useable. The keyboard has 16-note polyphonic capability or can be switched to monophonic mode. The overall keyboard pitch produced can be altered + 75 cents using the Master Tune Adjust parameter in FUNCTION mode, and the pitch of a particular voice can be transposed over a 4 octave range using the Key Transpose parameter in EDIT mode.
SETUP 12 NOTE: Do not turn power On until all other connections have been made. goes into the BREATH CONT. jack on the front of the DX7; DO NOT plug anything else into this jack. Audio Output The DX7 has a built in headphone amplifier, so stereo headphones may be plugged into the front panel jack. However, the instrument does not have a built in power amplifier, and thus requires an external amplifier/speaker system. The OUTPUT jack is suitable for connection to any unbalanced, low line level input.
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.
PLAYING THE FACTORY PRESET VOICES 14 Playing the Internal Voices 1. If the DX7 happens to be on, turn it off. Then turn it back on while observing the display window. This will let you see the initial displays we are about to describe. (In the future, you won't have to turn off the instrument just to change modes.
FUNCTION MODE: SETTING OVERALL PERFORMANCE PARAMETERS NOTE Yamaha reserves the right to continue to refine and update factory preset voices. For this reason, some ROMs may have this voice in a different location, or may have a different voice altogether. Refer to the notes which are packaged with the ROMs. 4. Play the keyboard, and explore this voice. Observe the change in the sound when you press the key gently and when you hit it hard (not all voices have this touch sensitivity programmed into them).
16 the keys (After Touch). Velocity sensitivity is NOT set in 3. While playing a note or chord, move the [DATA this mode; it is programmed into individual voices. ENTRY] slider up and down. The pitch will move ALL THE PERFORMANCE PARAMETERS AFFECTED with the slider because you have selected MASTER BY FUNCTION MODE ARE MARKED IN BROWN on TUNE mode. the control panel.
does not cancel the original note. Leave the instrument set to POLY mode for the time being. Then use either of these PITCH BEND RANGE & STEP The PITCH bend wheel located at the far left side of the keyboard can be used to "bend" notes or chords, provided the Pitch Bend Range is set to some non-zero value. The wheel is spring-loaded to return to center from either direction.
PORTAMENTO & GLISSANDO IN POLY MODE Sustain: Key Pitch Retain 1. Press [PORTAMENTO TIME] and use the [DATA ENTRY] controls to set a time of 80, as indicated in the LCD window. (If the TIME is set at or near zero, there will be no discernable portamento or glissando effect, regardless of what you do with the other PORTAMENTO functions. Higher values than 80 are OK, but will take more of your time than necessary when exploring these functions.
Glissando (Key Pitch Retain & Key Pitch Follow) Glissando is similar to the Portamento effects you just explored, with this exception; the pitch glide in Portamento is continuous, whereas in Glissando it moves up or down in 1/2 step increments. Glissando works with cither the "Follow" or "Retain" functions. 1. Press [PORTAMENTO/GLISSANDO], and then press the DATA ENTRY [ON] button to place the instrument in glissando mode.
20 4. You can obtain a "Full Time Glissando" effect in much the same way (with stepped pitch shift instead of a continuous glide); just press [GLISSANDO] and then the DATA ENTRY [ON] button. 5. Enough work — take a fun break! Now that you've been exposed to some of the FUNCTION control features, try using them with other voices. You can select any voice by pressing either [MEMORY SELECT-INTERNAL] or [MEMORY SELECTCARTRIDGE] and then any voice selector button from 1 to 32.
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.
22 5. Play the keyboard and then move the MODULATION WHEEL toward "MAX". Notice it does not change the sound; that's because you just turned OFF the Wheel's effect. Set this wheel at maximum modulation achieved with the wheel will depend not only on the setting of the wheel itself, but also on the set Range, and on the Pitch Modulation Sensitivity of individual voices. 3. Set the MODULATION Wheel at maximum (notch in the wheel toward the back of the instrument).
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).
24 Algorithms Different arrangements of operators are known as "algorithms." An algorithm is something like a "patch" on a modular synthesizer; it defines the way the operators are interconnected, only instead of using patch cords, the DX synthesizers digitally switch the operators to make up the various algorithms. The DX7 lets you select among 32 different algorithms.
The results of using different frequency ratios, as well as different algorithms, are shown graphically in the accompanying illustration. In the left column, you see the resulting waveforms created by 1:1,2:1 and 3:1 frequency ratios when a modulator is stacked atop a carrier — for example, operators 1 and 2 in Algorithm 5 or 16.
26 Envelopes and Envelope Generators Consider what happens when you play a note. The volume goes up to some value, then eventually falls to nothing, with some sort of reasonably well defined pattern that is characteristic of the particular instrument. For example, a low note on a pipe organ starts slowly when you press a key due to the time the column of air takes to build up in the long pipe, and the note takes a while to die away as the column of air collapses in the pipe.
PROGRAMMING VOICES: A TUTORIAL ence whether the envelope had reached LEVEL 3 and was sustaining, had just reached LEVEL 2, or had not yet reached LEVEL 1. Whatever the level when you release the key, the sound immediately moves toward LEVEL 4 at RATE 4. At the slowest setting for RATE 4, the sound can linger for so long that you think the note is stuck (up to 3 minutes). Typically LEVEL 4 is set at zero (minimum or "off") so that the note eventually turns off.
28 2. Assuming you want to initialize the voice edit memory (buffer), answer affirmative by pressing [YES]. (If you changed your mind and don't want to initialize a voice, press [NO]; the display won't change, but the voice will not be initialized and you can select any other function you wish.) 3.
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: The "current" operator is that one whose parameters are being displayed, and which is ready to be reprogrammed.
30 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.
RATE] as required so you can use [DATA ENTRY] to adjust Rate 3 to a value of 50. NOTE If you are familiar with ADSR envelope generators, you'll probably see the similarity between this envelope and the typical ADSR envelope. However, we have not yet "used" Level 2, and it can significantly alter the situation, as you ' l l now learn. 6. Press [EG LEVEL] until LEVEL 2 appears in the display then adjust [DATA ENTRY] for a value of 45.
32 Instea d of taking the time to reprogram the envelope , we ask you to again use the Voice Initialize feature.. . it save s time . 1. To gai n acces s to the "Voice Initialize" function , press [FUNCTION], and then [VOICE INIT], and answer the displayed prompts . know , the "initialized" envelop e has all rates a t 99 . Play a note an d you'll hear the DX7 is back to the "square " envelope . 3.
Then slowly move this slider up and down fully, or use these buttons while continuing to play a note 6. Slide [DATA ENTRY] all the way down so the frequency returns to 1.00, and then press [OSCILLATOR-FREQUENCY COARSE] and use DATA ENTRY [+1] to set the frequency ratio to 2.00. 7. Press [OSCILLATOR-FREQUENCY FINE] again, and slowly move the (DATA ENTRY] slider all the way up. The increments you get with the Fine adjustment will depend on the beginning Coarse setting.
34 ALGORITHM #I These bracketed numbers show you where the on/off switching is done in the algorithm. Operators can be disabled (turned Off) using the [OPERATOR ON/OFF] buttons, but they remain Off only while programming. Stored voices have all operators On. The reason you have heard only Operator 1 in the "intialized" voice even though all Operators are On, is that all output levels are set to 0, except Operator 1, whose output level is at 99. And watch the current operator change: 1-2-3-4-5-6-1-23 etc.
Only the frequency should change in the display Press this button (Don't confuse it with [EG LEVEL], button 22) Just to review the changes you have made, notice that the right hand stack (Operators 3 to 6) are turned off, while Operator 2's output level is now increased to 99. From a minimum of 0.50 to a maximum of 31.00. Listen to each ratio. You are changing the entire harmonic structure of t h e sound by changing the frequency of the modulator.
36 And again adjust [DATA ENTRY] to hear the results of different frequency ratios as you play 7. To compare what the sound is like with and without modulation, you don't have to turn down the output level of operator 2; you can simply turn it off. Press [OPERATOR ON/OFF 2] to turn off the modulator, play a few notes, then press the button again to turn the modulation back on. And see the display change from this Leave Operator 2 set to a frequency ratio of 2.
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 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.
38 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].
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 To return to algorithm 1 Alternately play very low and then very high notes and listen to the envelope attack and release rates.
40 In this case scaling operator 2 is not necessary so you can omit the process of setting its break point (which would be done by pressing [OPERATOR SELECT] and adjusting the value as desired). Now play some scales and notice that the sound is still reasonably uniform across the keyboard. That's because, while we have selected a break point for the carrier, we have not yet assigned any depth to the curves on either side of the break point. 7.
41 LFO SECTION BLOCK DIAGRAM ments. One MODULATION SENSITIVITY control is provided for PITCH, and another for AMPLITUDE. In order for you to hear the result of any LFO PMD or AMD settings, the corresponding [MOD SENSITIVITYPITCH] or [MOD SENSITIVITY-AMPLITUDE] parameter must be greater than zero. Lets program a small amount of sine wave modulation of the pitch to give the sound some ''character" 1. Press the [WAVE] button. You can now use the [DATA ENTRY] section to select any of 6 waveforms.
42 3. Press [PMD] (Pitch Modulation Depth), and adjust [DATA ENTRY] for a value of 50, again, just to begin. Now play a few notes. You probably won't hear any change from when you started... even with [PMD] set at the maximum of 99! That's because while the LFO is now generating a reasonably fast (SPEED = 50) waveform (SINE) at a high intensity (DEPTH = 50) for use by the pitch modulation circuitry the "gate" is still closed to the frequency shifting inputs of the operators.
"open the gate" for each operator that you want the modulation to affect. The display should look like this. Play several brief notes And adjust the [DATA ENTRY] controls to see this 10. Now use [DATA ENTRY] to turn the sync OFF Again, play the same brief note several times, and listen to the pitch each time. You'll hear the initial pitch of each note change slightly as the randomly timed notes interact with the regularly oscillating LFO.
44 Programming the remaining 4 operator* So far we have used just 2 of the 6 available operators within the algorithm to create the voice you are hearing. The remaining 4 operators can be used to add to the voice and richen it. However, for the purpose of demonstration, we'll show you how to program a completely different sound with them. Then, by using Keyboard Level Scaling, you can roll off this second voice in the upper part of the keyboard so you end up with a split keyboard.
In this case, we do not want these two segments of the voice (OP1-OP2 and OP3-OP6) to combine; we want a "split" keyboard instead. (With another voice, you might want the two voice segments to play together, complementing one another.) Since we don't want the piano mixed with the clarinet, let's use the keyboard level scaling feature to "roll off" the piano (OP3-OP6). 10. If necesary press [OPERATOR SELECT] to set operator 3 as current.
46 press and hold down the [CHARACTER] button, then press individual buttons which correspond to the letters, numbers, or punctuation you wish to use. You can determine which buttons produce which alphanumeric characters by looking at the small dark brown "reversed" type in the right comer of each button. If you want to correct a character, continue holding [CHARACTER] and use the DATA ENTRY [<] or [>] buttons to move the cursor to the position you want to change.
Any of the preset voices can be edited to change them slightly, or totally In fact, the term "primary voice" might be better than "preset voice," since these voices are not permanent like the presets of most other synthesizers. In fact, all DX7 presets are completely programmable. So, too, are any voices you may have created from scratch or copied from another DX synthesizer. A special EDIT mode is provided for editing the voices, preset or personally programmed.
48 Analyzing and keeping a record of voices You can use the EDIT mode to examine all the parameters of each preset... or of any voice. You don't have to change anything, but the envelope or frequency ratios or touch sensitivity of a voice may be useful to you in creating a new voice. In the event a voice is accidentally erased, the written record can be used to guide you in reprogramming the voice.
THE INTERNAL AND CARTRIDGE MEMORIES We have already described how to play voices that are stored in the internal memories or cartridge memories. As part of the tutorial, we have also described how to store a single voice. The following instructions provide additional detail on the use of these memories for storing and rearranging voices.
50 play a live performance and you want memories 1-32 to contain the voices you plan to play in numerical order. This can be done either in the internal memory or in the RAM cartridge memory Its best to have at least 1 "blank" or unwanted voice which you can erase when doing this. If you need all 32 voices, but simply in a different order, make a copy of them (either by saving from internal to RAM cartridge, or loading from RAM cartridge to internal, as appropriate). 1.
ADVANCED PROGRAMMING NOTES Playing style and programming of dynamic control By now you should be familiar with some of the ways the DX7's keyboard can be programmed to be touch responsive. If you have read the programming instructions in this manual and tried to create or edit voices, you are probably aware of the wide range of sensitivity settings that are available to you. If not, you can still experience a good deal of this flexibility by playing the presets.
52 variation of the second category. Another variation similar to category (2) is feedback, which creates frequency modulation through regeneration. If you were to set the 6 operators to any frequency ratios you choose, and set their envelopes and output levels to "typical" values (i.e.
ent modulator output levels for each combination of frequencies, since this can make a world of difference in the sound. Ensemble voices may differ from solo voices When a musician plays an instrument as part of an ensemble, whether 2 or 70 people are playing, the sound of his instrument will interact with the other sounds. There is a certain balance to be struck between blending with the other instruments, yet retaining a distinct identity.
54 "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.
MIDI: A STANDARD INTERFACE FOR REMOTELY PLAYING AND/OR PROGRAMMING MULTIPLE SYNTHESIZERS MIDI is an acronym for Musical Instrument Digital Interface, a specification which several manufacturers have already agreed to use for designing equipment which is compatible. MIDI is a non-proprietary "language" which allows different (or identical) synthesizers to "talk" to each other. There are many, many parameters described by MIDI.
56 Transmitting 32 voices from the Master to the Slave For this discussion, we will assume the simple setup shown with just two DX7 synthesizers. Basically, the same procedure is used when playing more DX7s, or a mixture of other DX synthesizers. 1. Load the 32 voices you wish to transmit into the Master's internal memory 2.
to create a voice "from scratch" then it doesn't matter what voice is selected on the Slave. However, you can program some parameters on the Master which will then automatically be transmitted to the slave, while other aspects of the Slave's selected voice will remain as they were. In this way, components of two (or more) different voices can be merged. 3. Press [EDIT/COMPARE] on the Master. 4.
MAINTENANCE AND TROUBLESHOOTING 58 Cleaning The DX7 should be cleaned with a soft, moistened cloth. To remove more stubborn dirt, use a mild detergent solution on the cloth. Do not allow fluid to run into the instrument, and do not use special cleaners since solvents can mar the finish. Internal Memory Battery Backup If the internal battery voltage drops below 2.2 volts (see [BATT CHECK] on page 20), the battery should be replaced by an authorized Yamaha DX service center or dealer.
DX SYNTHESIZER GLOSSARY Break point In the DX7, the operator output level and which, in turn, refers to the four controls provided on a con- the envelope rates may be scaled to increase or decrease ventional synthesizer's envelope generators. While the DX as notes are played across the keyboard. With the keysynlhesizers can simulate ADSR-type EGs, the DX EGs are board level scaling in particular, almost any note may be more complex.
60 Fingered Porta This is an abbreviation for "fingered portamento." This is a functional mode of the DX7 which is available only when the keyboard is set to MONO operation. Provided the unit is set to fingered portamento, and the portamento time is greater than 0 (actually greater than 30 for any significant effect), you will hear portamento only when you continue holding down one key and then press and release another key Pressing one key at a time will produce no portamento.
Load In the DX7, "Load" describes the process of transferring the 32 voices from one bank of a ROM cartridge, or from a RAM cartridge, into the 32 internal memories. MIDI This is an acronym for Musical Instrument Digital Interface, a specification which several manufacturers have already agreed to use for designing equipment which is compatible. MIDI is a non-proprietary "language" which allows different (or identical) synthesizers to "talk" to each other.
62 Save In the DX7, "Save" describes the process of simultaneously placing all 32 internal memory voices into the correspondingly numbered RAM cartridge memories. Sawtooth wave A waveform that contains the fundamental and both odd and even harmonics. In conventional synthesizers, a sawtooth wave may be used to create rich, "brassy" sounds. In the DX synthesizers, such sounds are created by the frequency modulation of sine waves.
DX7 SPECIFICATIONS Keyboard 61 keys, Cl to C6: velocity and pressure sensitive (Initial & After touch): 16 note polyphonic, and may be set to monophonic Sound Source FM digital tone generators: 6 operators and 32 algorithms Internal Memory RAM memory with 32-voice capacity; battery backup prevents loss when AC power is turned OFF Lithium battery has 3 to 5 year service life.
INDEX 64 AC power C*,12-14,20,27,58,59,61,63 after touch C,4,10,16,21,23,42,44,52,58,59,61,63 algorithm 6,9,24-26,28,33,34,38,39,44,46,47,52,55,59,62,63 AMD (amplitude modulation depth) 6,40-43,51,59,63 amplitude modulation 4,6,7,10,11,22,23,40,43,53,58,59,63 audio output 4,12-14,23,63 battery (batt check) C,4,5,10.16,20,54,56,58-61,63 BC-1 (see "breath controller") bias (see "E.G.
YAMAHA VOICE DATA LIST
DX7 OM 5/20/99 19E0112 international Corp., Box 6600, Buena Park, Calif.
YAMAHA Yamaha Corporation of America 6600 Orangethorpe Avenue, P.O.
