Bedienungsanleitung Inhalt Vorwort

Total Page:16

File Type:pdf, Size:1020Kb

Bedienungsanleitung Inhalt Vorwort AN1x_BASIC/EÇÃÉRÉsÅ[ 97.5.15 5:07 PM ÉyÅ[ÉW 1 BEDIENUNGSANLEITUNG INHALT VORWORT VORSICHTSMASSNAHMEN..........................................4 Verwendung des Step Sequencers............................37 Step Sequencer On/Off ................................................38 Halte-Modi des Step Sequencers......................................38 VORWORT Voice Pattern- und User Pattern-Banken ............................39 ANALOG-PHYSIKALISCHE Verwendungsweise dieser Bedienungsanleitung ........5 Spielen von Step Sequencer-Pattern..................................40 MODELLIERSYNTHESE Hauptmerkmale ........................................................5 Step Sequencer-Editierung ..............................................44 Der AN1x auf einen Blick ..........................................6 MIDI-Ausgabe des Step Sequencers ................................46 Die Kreation moderner Klassik ..................................8 Verwendung von Free EG ........................................47 Was ist eine Voice? ....................................................9 Free EG-Parameter ........................................................47 Speicherstruktur des AN1x ........................................9 Verwendung der Bedienelemente ............................49 Echtzeit-Steuerung ..........................................................49 Utility-Steuerungsfunktion ................................................50 ANALOG-PHYSIKALISCHE Control Matrix ..............................................................51 MODELLIERSYNTHESE AN1x Tongenerator ................................................10 REFERENZ DER FUNKTIONEN WIR AN FANGEN Voice Select ..............................................................52 FANGEN WIR AN Editieren mit den Knöpfen........................................53 System-Beispiele ......................................................12 Knopf-Parameter ....................................................54 Einschalten der Stromversorgung ....................................13 PEG/LFO ......................................................................54 Spielen von Demo-Songs..........................................13 SYNC/FM ....................................................................58 Grundlegende Bedienungsvorgänge ........................14 VCO1 ..........................................................................61 Betriebs-Modi des AN1x ................................................14 VCO2 ..........................................................................63 Wählen von Voices ........................................................14 VCF..............................................................................64 Verwendung der Controller ............................................15 MIX/VCF ......................................................................66 DER FUNKTIONEN CONROL-Knöpfe und Parameter-Gruppen ........................16 VCA ............................................................................68 REFERENZ Kurzübersicht für den AN1x ....................................17 ASSIGN ......................................................................70 Lernen Sie die werkseitig voreingestellten Voices kennen ....17 Editieren von Parametern auf dem Bedienfeld..........71 Wählen von Scenes und Scene Morphing ................19 Editierverfahren ............................................................71 Scene-Speicher ..............................................................19 Edit-Parameter ........................................................72 Scene Control................................................................20 VOICE SCENE SETUP ....................................................72 Scene Store-Funktion ......................................................21 VOICE COMMON ........................................................77 Scene Load-Funktion ......................................................22 VOICE FREE EG ............................................................81 Scene Swap-Funktion......................................................22 VOICE ARPEGGIO/SEQ ................................................85 Wählen der Layer-Modi ..........................................22 SEQ EDIT/SETUP ..........................................................89 Layer-Modi ....................................................................22 UTILITY SETUP................................................................92 ANHANG Spiel mit Portamento................................................24 Voice Edit Recall ......................................................96 Ein- und Ausschalten von PORTAMENTO..........................24 Voice-Initialisierung..................................................97 Einstellung der Portamento-Zeit ........................................25 Store........................................................................98 Wählen der Portamento-Modi..........................................25 Voice Store....................................................................98 Wählen von Parameter-Gruppen..............................25 Scene Store ..................................................................99 Verwendung der CONTROL-Knöpfe ..........................26 Werkseitige Voreinstellungen ................................100 Zuordnung von Parametern zu Knöpfen............................27 Verwendung der Editier-Matrix auf dem Bedienfeld 28 Editieren von Voices ................................................29 ANHANG Voice-Editierverfahren ....................................................29 Beispiele für die Zusammenstellung einer Voice ....101 Editieren einer Voice von Anfang an ................................30 Weitere Informationen zu MIDI ..............................109 STORE-Funktionen ....................................................33 Fehlermeldungen ..................................................112 Ein- und Ausschalten von ARPEGGIO/SEQ ................33 Fehlersuche ............................................................113 Einsatz des Arpeggiators..........................................33 Leertabelle ............................................................114 Arpeggiator An/Aus ......................................................33 Technische Daten....................................................116 Arpeggio-Haltefunktion ..................................................34 Index ....................................................................117 Arpeggio-Patterntypen ....................................................34 Arpeggio Subdivide ......................................................34 Spielen von mit Arpeggio versehenen Akkorden................35 Arpeggio-MIDI-Ausgang..................................................37 3 VORSICHTSMASSNAHMEN BITTE SORGFÄLTIG DURCHLESEN, EHE SIE WEITERMACHEN *Heben Sie diese Vorsichtsmaßnahmen sorgfältig auf, damit Sie später einmal nachschlagen können. WARNUNG Befolgen Sie unbedingt die nachfolgend beschriebenen grundlegenden Vorsichtsmaßnahmen, um die Gefahr einer schwerwiegenden Verletzung oder sogar tödlicher Unfälle, von elektrischen Schlägen, Kurzschlüssen, Beschädigungen, Feuer oder sonstigen Gefahren zu vermeiden. Zu diesen Vorsichtsmaßnahmen gehören die folgenden Punkte, die jedoch keine abschließende Aufzählung darstellen: • Versuchen Sie nicht, das Instrument zu öffnen oder Teile im Innern zu zerlegen oder sie Einschalter aus, ziehen Sie den Adapterstecker aus der Netzsteckdose und lassen Sie auf irgendeine Weise zu verändern. Das Instrument enthält keine Teile, die vom Benutzer das Instrument von einem qualifizierten Yamaha-Kundendienstfachmann prüfen. gewartet werden könnten. Wenn das Instrument nicht richtig zu funktionieren scheint, • Ausschließlich den vorgeschriebenen Adapter (PA-3B oder ein gleichwertiges, von benutzen Sie es auf keinen Fall weiter und lassen Sie es von einem qualifizierten Yamaha- Yamaha empfohlenes Gerät) verwenden. Wenn Sie den falschen Adapter einsetzen, kann Kundendienstfachmann prüfen. dies zu Schäden am Instrument oder zu Überhitzung führen. • Achten Sie darauf, daß das Instrument nicht durch Regen naß wird, verwenden Sie es • Ehe Sie das Instrument reinigen, ziehen Sie stets den Netzstecker aus der Netzsteckdose. nicht in der Nähe von Wasser oder unter feuchten oder nassen Umgebungsbedingungen Schließen Sie den Netzstecker niemals mit nassen Händen an oder ziehen Sie ihn heraus. und stellen Sie auch keine Behälter mit Flüssigkeiten darauf, die herausschwappen und in Öffnungen hineinfließen könnte. • Prüfen Sie den Netzstecker in regelmäßigen Abständen und entfernen Sie eventuell vorhandenen Staub oder Schmutz, der sich angesammelt haben kann. • Wenn das Kabel des Adapters ausgefranst oder beschädigt ist, wenn es während der Verwendung des Instruments zu einem plötzlichen Tonausfall kommt, oder wenn es einen ungewöhnlichen Geruch oder Rauch erzeugen sollte, schalten Sie sofort den VORSICHT Befolgen Sie unbedingt die nachfolgend beschriebenen grundlegenden Vorsichtsmaßnahmen, um die Gefahr von Verletzungen bei Ihnen oder Dritten, sowie Beschädigungen des Instruments oder anderer Gegenstände zu vermeiden. Zu diesen Vorsichtsmaßnahmen gehören die folgenden Punkte, die jedoch keine abschließende Aufzählung darstellen: • Verlegen Sie das Kabel des Adapters niemals in der Nähe von Wärmequellen, etwa • Spielen Sie das Instrument nicht länge Zeit mit hoher oder unangenehmer Lautstärke, Heizkörpern oder Heizstrahlern, biegen Sie es nicht übermäßig
Recommended publications
  • Christina Perri 3
    MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 03|2015 Contents Interview Christina Perri 3 MOTIF Soundset „Air“ by DCP Productions 6 Yamaha Synth Book reloaded 8 VP1 Soundset for MOTIF XF / MOXF 11 MOTIF XS/XF/MOXF Exploring Sound: „Vintage Keyboards“ 15 MOTIF XF / MOXF Performance Soundset „Hybrid Performer“ Part 3 19 Yamaha DTX M12 Touch App 22 The new e-drum kit Yamaha DTX582k 24 CHRISTINA Yamaha KP100 Kick Pad 26 Sounds & Goodies 29 PERRI Imprint 43 DREAMS COME TRUE MUSIC PRODUCTION GUIDE 03|2015 CHRISTINA PERRI - DREAMS COME TRUE “Every time I dream something up, it’s so “I don’t take it lightly,” she says. “I tell everyone, ‘That’s small compared to what actually happens,” the moment my life changed.’ It was incredibly special.” says singer/songwriter Christina Perri. But even as her own life was changing, Perri was changing “Because what actually happens is just other people’s lives through her music. Just a year later, amazing.” her multi-platinum song, “A Thousand Years,” was As an unsigned artist, Christina once dreamed of making released as the second single from the soundtrack album a career out of performing and recording her deeply to The Twilight Saga: Breaking Dawn – Part 1. It achieved personal yet pop-friendly songs. Then one day four years multi-platinum status, with a video that inspired romantic ago, one of her recordings was featured on the hit TV visions among countless Twilight fans. show So You Think You Can Dance, and suddenly she “I had dreamed of having a song on the Twilight stopped dreaming the dream—and began living it.
    [Show full text]
  • Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
    University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.
    [Show full text]
  • MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments
    MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 04|2014 SPECIAL EDITION Contents 40th Anniversary Yamaha Synthesizers 3 40 years Yamaha Synthesizers The history 4 40 years Yamaha Synthesizers Timeline 5 40th Anniversary Special Edition MOTIF XF White 23 40th Anniversary Box MOTIF XF 28 40th Anniversary discount coupons 30 40th Anniversary MX promotion plan 31 40TH 40th Anniversary app sales plan 32 ANNIVERSARY Sounds & Goodies 36 YAMAHA Imprint 41 SYNTHESIZERS 40 YEARS OF INSPIRATION YAMAHA CELEBRATES 40 YEARS IN SYNTHESIZER-DESIGN WITH BRANDNEW MOTIF XF IN A STUNNIG WHITE FINISH SARY PRE ER M V IU I M N N B A O X H T 0 4 G N I D U L C N I • FL1024M FLASH MEMORY Since 1974 Yamaha has set new benchmarks in the design of excellent synthesizers and has developed • USB FLASH MEMORY (4GB) innovative tools of creativity. The unique sounds of the legendary SY1, VL1 and DX7 have influenced a INCL. SOUND LIBRARIES: whole variety of musical styles. Yamaha‘s know-how, inspiring technique and the distinctive sounds of a - CHICK’S MARK V - CS-80 40-years-experience are featured in the new MOTIF XF series that is now available in a very stylish - ULTIMATE PIANO COLLECTION white finish. - VINTAGE SYNTHESIZER COLLECTION YAMAHASYNTHSEU YAMAHA.SYNTHESIZERS.EU YAMAHASYNTHESIZEREU EUROPE.YAMAHA.COM MUSIC PRODUCTION GUIDE 04|2014 40TH ANNIVERSARY YAMAHA SYNTHESIZERS In 1974 Yamaha produced its first portable Yamaha synthesizers and workstations were and still are analog synthesizer with the SY-1. The the first choice for professionals and amateurs in the multi- faceted music business.
    [Show full text]
  • Projects SHOWCASE DAVE GRIFFITHS Dave Griffiths Is a Game Designer, MIDI Data Is Slowed Down Programmer, and Live-Coding Algoraver
    Projects SHOWCASE DAVE GRIFFITHS Dave Griffiths is a game designer, MIDI data is slowed down programmer, and live-coding algoraver. by this buffer so the synth He performs internationally with Slub, can pick it up an algorithmic rave group. fo.am/midimutant RICHARD JAMES Richard’s best-known alias is Aphex Twin, under which he has recorded six acclaimed electronic music albums. aphextwin.warp.net The custom MIDI interface A cheap USB audio is used to send synth data card is used to connect to the TX7 the microphone APHEX TWIN MIDIMUTANT Somewhere in Cornwall, there’s a synthesizer that boinks endless Quick strange sounds as they slowly evolve towards a new synth patch. Facts Sean McManus investigates > Making a good patch manually f you’re a fan of ’80s pop, electronic music as Aphex Twin. essential because you can make can take days I you’ll have heard the “The first proper synth I got was a stable setup that isn’t going to > Midimutant Yamaha DX7. It’s one of a DX100 and I’ve always thought start updating itself and reboot.” can make the best-selling synthesizers, and there’s got to be a more interesting The idea came from a lost thousands its built-in sounds can transport way to program the damn things feature on the Kyma synth, of patches per day… you to the era of big hair and neon than laboriously going through based on the work of Andrew leggings. One reason it is evocative all the hundreds of parameters. Horner, which enables sounds to > …But only about half of them is that so many artists used those Even though I quite like doing that evolve.
    [Show full text]
  • Pdf Nord Modular
    Table of Contents 1 Introduction 1.1 The Purpose of this Document 1.2 Acknowledgements 2 Oscillator Waveform Modification 2.1 Sync 2.2 Frequency Modulation Techniques 2.3 Wave Shaping 2.4 Vector Synthesis 2.5 Wave Sequencing 2.6 Audio-Rate Crossfading 2.7 Wave Terrain Synthesis 2.8 VOSIM 2.9 FOF Synthesis 2.10 Granular Synthesis 3 Filter Techniques 3.1 Resonant Filters as Oscillators 3.2 Serial and Parallel Filter Techniques 3.3 Audio-Rate Filter Cutoff Modulation 3.4 Adding Analog Feel 3.5 Wet Filters 4 Noise Generation 4.1 White Noise 4.2 Brown Noise 4.3 Pink Noise 4.4 Pitched Noise 5 Percussion 5.1 Bass Drum Synthesis 5.2 Snare Drum Synthesis 5.3 Synthesis of Gongs, Bells and Cymbals 5.4 Synthesis of Hand Claps 6 Additive Synthesis 6.1 What is Additive Synthesis? 6.2 Resynthesis 6.3 Group Additive Synthesis 6.4 Morphing 6.5 Transients 6.7 Which Oscillator to Use 7 Physical Modeling 7.1 Introduction to Physical Modeling 7.2 The Karplus-Strong Algorithm 7.3 Tuning of Delay Lines 7.4 Delay Line Details 7.5 Physical Modeling with Digital Waveguides 7.6 String Modeling 7.7 Woodwind Modeling 7.8 Related Links 8 Speech Synthesis and Processing 8.1 Vocoder Techniques 8.2 Speech Synthesis 8.3 Pitch Tracking 9 Using the Logic Modules 9.1 Complex Logic Functions 9.2 Flipflops, Counters other Sequential Elements 9.3 Asynchronous Elements 9.4 Arpeggiation 10 Algorithmic Composition 10.1 Chaos and Fractal Music 10.2 Cellular Automata 10.3 Cooking Noodles 11 Reverb and Echo Effects 11.1 Synthetic Echo and Reverb 11.2 Short-Time Reverb 11.3 Low-Fidelity
    [Show full text]
  • Illustrated Guide to the CP1
    Illustrated Guide to the CP1 U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation ©2009 Yamaha Corporation WR95750 909 MWDH**-01A0 Printed in Japan +20dB 0dB -20dB 10 Hz 10 0 Hz 1. 0 kHz 10 . 0 kHz +20dB 0dB -20dB 10 Hz 10 0 Hz 1. 0 kHz 10 . 0 kHz Only Yamaha could bring so much to the stage piano: Perfect marriage of keyboard touch and sound was possible only thanks to our extensive knowledge and experience of the building of acoustic pianos. Unrivalled richness of tone is a direct product of our tireless participation in the development of pianos for stage and +20dB recording environments. And against the backdrop of our continued stage-piano 0dB production since introducing the CP70 and CP80 in the -20dB seventies, we have remained loyal to the proud tradition of vintage electric pianos in the recreation of their unique 10 Hz 10 0 Hz 1. 0 kHz 10 . 0 kHz sound. Achieved through uncompromising pursuit of perfection in an instrument that surpasses the sum of its +20dB parts, allow us to present… 0dB The Yamaha CP1 – Ultimate Stage Piano -20dB 10 Hz 10 0 Hz 1. 0 kHz 10 . 0 kHz +20dB 0dB -20dB 10 Hz 10 0 Hz 1. 0 kHz 10 . 0 kHz +20dB 0dB -20dB 10 Hz 10 0 Hz 1. 0 kHz 10 . 0 kHz The CP1 Concept Contents In the CP1, we have recreated the unique sounds not only of acoustic pianos, vintage electric pianos, and synthesizer piano voices, but also of the effect units, amplifiers, and other equipment commonly used with each in actual performance and recording settings.
    [Show full text]
  • NEWS RELEASE Contact: Ann Braithwaite (781) 259-9600 [email protected]
    NEWS RELEASE Contact: Ann Braithwaite (781) 259-9600 [email protected] Trumpeter John Vanore & Pianist Ron Thomas to Release Long-Lost Duo Recordings as Primary Colors out February 7, 2020 via Acoustical Concepts Captured in the mid-’80s, experimental sessions meld masterful playing with far-out sonics and electric-Miles funk In the small, elite group of performing musicians better known as composers, arrangers and bandleaders, the trumpeter John Vanore has carved out a uniquely brilliant niche. Vanore, who was still a teenager when his life’s mission was made clear after he heard the great Oliver Nelson, is best known for helming Abstract Truth, an innovative, long-running ensemble combining the flexibility of a combo with the might of a big band. Over the past four decades, he’s earned the kind of gushing press rare for any jazz artist—much less one who directs an unconventional little-big-band. “Vanore’s touch with ensemble texture and color, and his sense of narrative timing, recall Gil Evans,” wrote Stereophile, before going on to call Vanore’s Easter Island Suite “a musical portrait of wonder.” JazzTimes has chosen hosannas like “hauntingly beautiful,” “well crafted,” “stirring orchestration” and “edgy.” Now, after so much acclaim for his signature ensemble, Vanore is releasing Primary Colors, a compelling collection of seven sonic adventures that he recorded with the keyboardist and composer Ron Thomas in 1984 and ’85. Captured just outside the musicians’ native Philadelphia, these duo-logues provide a fascinating snapshot of both Vanore’s career and improvised music in the midst of an underrated era when so much about jazz was in flux—the music’s aesthetics, its culture, even its technology.
    [Show full text]
  • PL88 Patch Library Quickstart 1) Connect MIDI Cables: PL88 Synth out ------> Synthesizer MIDI in PL88 Synth in ------> Synthesizer MIDI OUT
    PL88 Patch Library QuickStart 1) Connect MIDI cables: PL88 Synth OUT ------> Synthesizer MIDI IN PL88 Synth IN ---------> Synthesizer MIDI OUT 2) Power the device with either: 5V USB adapter with the included cord OR - 9V, center+ adapter. After a few seconds, the display should display PrSt, indicating preset mode. Pre Flight Checks Prepare your Synth to send and receive data from the PL88 Patch Library. See the Owner’s Manual for instructions or guidelines on your particular synthesizer. This usually involves enabling SysEx messages and disabling Memory Protection. Set your Synthesizer Model 1) Press A (Main Menu), then 0 (SyNT), then D(Enter). 2) Use the * and # keys to scroll through the available synthesizer models. 3) Press D to confirm your choice. Load a Preset Bank to Your Synthesizer 1) Press A (Main Menu), then 1 (PrSt), then D(Enter). 2) Enter the number of the preset that you want to send to your synth. 3) If necessary, prepare your synth to receive SysEx data. See the Owner’s Manual for instructions or guidelines on your particular synthesizer. 4) Press D. The preset bank is sent to your synth. Save Data from Your Synthesizer 1) Press A (Main Menu), then 2 (UseR), then D (Enter). 2) Enter a number from 0000 to 9999 as the save destination. 3) If the number is displayed with a colon (e.g., 12:34), that destination already contains data and you will overwrite it if you continue. 4) Press C to enter Save Mode. The number begins flashing rapidly. 5) Press D to confirm.
    [Show full text]
  • Edisyn a Java-Based Synthesizer Patch Editor, Version 28 by Sean Luke [email protected]
    Edisyn A Java-based Synthesizer Patch Editor, Version 28 By Sean Luke [email protected] Contents 1 About Edisyn 2 2 Starting Edisyn 3 3 Edisyn Patch Editors 4 4 Creating and Setting Up Additional Patch Editors5 5 Loading and Saving Files 6 5.1 Loading or Receiving a Bulk- or Bank-Sysex File . .6 5.2 Batch Downloads . .7 5.3 Exporting to Text . .7 6 Communicating with a Synthesizer8 6.1 Playing Test Notes . .9 6.2 Testing the Incoming Connection . .9 7 Communicating with a Controller9 7.1 Testing the Incoming Connection . 10 7.2 Remote Control of your Synthesizer . 10 7.3 Remote Control of Edisyn . 10 8 Communicating with a Software Synth or Digital Audio Workstation 11 9 Editing and Exploratory Patch Creation 12 9.1 Editing Tools . 12 9.2 Exploration Tools . 13 9.3 Restricting Mutation and Recombination to Only Certain Parameters . 14 9.4 Hill-Climbing . 15 9.5 Constricting . 16 9.6 Morphing . 17 9.7 Deep Learned Neural Hill-Climbing and Randomization . 19 10 Writing a Patch Editor 20 10.1 Understand What You’re Getting Into . 20 10.2 Setting Up the Development Environment . 21 10.3 Creating Files . 22 10.4 Getting the UI Working . 22 10.5 Getting Input from the Synth (and File Loading) Working . 34 10.6 Getting Output to the Synth (and File Writing) Working . 38 10.7 Creating an Init File . 39 10.8 Getting Batch Downloads Working . 39 10.9 Other Stuff . 39 10.10Submitting Your Patch Editor! . 40 1 1 About Edisyn Edisyn is a no-nonsense synthesizer patch editor for the editing and parameter exploration of a variety of synthesizers.
    [Show full text]
  • UVI Synthlegacy | Software User Manual
    Software User Manual Software Version 1.0 EN 160307 End User License Agreement (EULA) Do not use this product until the following license agreement is understood and accepted. By using this product, or allowing anyone else to do so, you are accepting this agreement. Synth Legacy (henceforth ‘the Product’) is licensed to you 3. Ownership as the end user. Please read this Agreement carefully. As between you and UVI, ownership of, and title to, the You cannot transfer ownership of these Sounds and Software enclosed digitally recorded sounds (including any copies) they contain. You cannot re-sell or copy the Product. are held by UVI. Copies are provided to you only to enable you to exercise your rights under the license. LICENSE AND PROTECTION 4. Term This agreement is effective from the date you open this package, and will remain in full force until termination. This agreement 1. License Grant will terminate if you break any of the terms or conditions of this UVI grants to you, subject to the following terms and agreement. Upon termination you agree to destroy and return to conditions, a non-exclusive, non-transferable right UVI all copies of this product and accompanying documentation. to use each authorized copy of the Product. 5. Restrictions The product is the property of UVI and is licensed to you only Except as expressly authorized in this agreement, you may not rent, for use as part of a musical performance, live or recorded. This sell, lease, sub-license, distribute, transfer, copy, reproduce, display, license expressly forbids resale or other distribution of the modify or time share the enclosed product or documentation.
    [Show full text]
  • Voice Programming on the Yamaha Reface DX Part 1: Introduction
    Voice Programming on the Yamaha Reface DX Part 1: Introduction Steven Finney (sfrdx@sfinney.com) This article may be freely distributed under the terms of the CC BY-SA 4.0 license. ¶ February 15, 2021 1 Introduction In 2015, Yamaha released a series of four mini-keyboards based on earlier Yamaha sound- generation technology; one of these was the Reface DX, which is derived from the classic Yamaha DX7. The Reface DX is a great synthesizer - it has a powerful, fully programmable, seven octave FM (Frequency Modulation) tone generator attached to a solidly built, velocity sensitive keyboard, and it is quite affordable. The primary point of this (and later) articles is to explain how to modify or create sounds on the Reface DX (which I will refer to as “RDX” for brevity). FM synthesis was developed by John Chowning of Stanford University and was first commercially available (at least in mass production) with the release of the Yamaha DX7 synthesizer in 1983. The sounds of the DX7 were extremely popular, but manipulating or creating voices was complicated. However, good documentation was available that described how to do it (e.g., Howard Massey’s 1986 book, The Complete DX7), as well as a book that explained the theoretical basis of FM, using the DX7 as an experimental platform (FM Theory and Applications, by Chowning and Bristow). For the RDX, there is extensive online material that addresses these topics (see the Resources section), but it is spread over multiple sites, and there does not appear to be any coherent printable standalone material on the subject.
    [Show full text]
  • Owner's Manual
    CZ/PL 88 MINI OWNER’S MANUAL Firmware Version 5.04 WELCOME Thank you for purchasing a CZ/PL 88 mini Synthesizer Memory Module! This manual is a complete guide to using your CZ/PL 88 mini with most synthesizers that support SysEx. For use with the Casio CZ series of synthesizers, please consult the CZ/PL 88 mini Owner’s Manual For the Casio CZ. CONNECTIONS Connect the PL88 as follows: USB POWER If using the USB cord for power, connect to an appropriate USB compliant (5V) power source. This could be a USB powerbank for cordless operation. POWER If using the standard power port, connect to a 9V, center-positive adapter. MIDI You will need 2 standard MIDI cables. Connect the PL88 MIDI OUT port to your synthesizer’s MIDI IN port. Connect the PL88 MIDI IN port to your synthesizer’s MIDI OUT port. Remember: OUT to IN, IN to OUT. SYSTEM CHECKS Find your synthesizer model in the Appendix and make sure your synthesizer is ready to send and received MIDI sysex data, and that memory protection is turned off. POWER The PL88 will turn on when power is applied at either power connection. To turn the PL88 off, disconnect the power source. MIDI CONNECTION The PL88 has 2 modes to handle MIDI connection. You can toggle between the modes by pressing 7 to access the SETT menu, then D (Enter). The first option is CONN (Connection). Use the #,* buttons to select one of the 2 available options, then press D to confirm. LOOP. This is the factory setting.
    [Show full text]