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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. The need to retain an identity in the
midst of this complex group texture (even if the "group"
is nothing more than tape recorded Overdubs of the
same DX synthesizer) calls for a more "penetrating"
sound, sometimes one with more exaggerated LFO
modulation or a slightly "edgy" harmonic structure. The
same voice might sound too harsh or exaggerated in a
solo performance. When you are programming a voice,
be sure to evaluate it in the musical context where it will
be used. You may want to program and store two varia-
tions of the same voice, one for ensemble and one for
solo use. Some of the preset voices include the term
"ensemble" (ENS) in their title; these voices often work
better in an ensemble than as solo voices.
Breath controller applications
and
hints
There are certain types of instruments that are difficult
to phrase or articulate with a keyboard, such as brass or
vocal sounds. The BC-1 breath controller may be used
to phrase and shape the envelope or to add modulation
of pitch and amplitude. The BC-1 is sensitive to pres-
sure; the harder you blow into it, the more voltage it
applies to the synthesizer's Breath Controller input. This
voltage can be programmed to affect different aspects of
the voice. The changes it brings about can be made
very quickly — a great asset when performing. However,
in order to use the breath controller, various parameters
must be programmed into both the voice and the
FUNCTION mode of the instrument.
To explore the use of the breath controller, select a
voice which includes amplitude modulation sensitivity
such as the "SAX-BC1" voice from the Master Group.
Then plug in the Yamaha BC-1 breath controller.
Amplitude modulation with the BC-1
Press the [FUNCTION] button and then press
[BREATH CONTROL-RANGE] and set the range to
50. Then press [BREATH CONTROLLER-AMPLI-
TUDE] and turn it ON. Within the voice itself, the
amplitude modulation sensitivity of one or more opera-
tors must be set to 1 or higher. In this case, the BC-1
may alter the volume, the timbre, or both depending on
whether the AM sensitivity is turned up on the carriers)
or modulator(s). Play the instrument and blow into the
BC-1 to hear what happens.
NOTE If you have to blow too hard while playing a
voice which is known to be modulation sensitive, you
may want to adjust the sensitivity of the BC-1 itself.
Use a small slot-blade screwdriver to turn the recessed
screw on the bottom of the unit. You can also cover up
the small vent hole in the BC-1 with your finger or
adhesive tape; this will increase the effectiveness of
your breath, but will restrict the playing style some-
what (it also quiets the BC-1).
EG BIAS modulation with the BC-1
When you turn up the EG bias (99 max), the actual
level of each operator whose AM sensitivity is above 0
will go down. With a maximum AM sensitivity of 3, and
EG BIAS of 99, the operator level will be zero. Then,
when you blow hard into the BC-1, the level comes
back up to the maximum level permitted by the enve-
lope at any given instant; you must have played the
note first on the keyboard so that the EG bias is bringing
up the level within the programmed envelope. The rates
of the envelope remain unchanged, but the sound will
disappear instantly if the BC-1 is not blown.
For creating a voice like the "SAX - BC1" preset,
where you may want all the sound controlled by the BC-
1, you might set all the operators' amplitude modulation
sensitivities to 3, and the BC range to 99. In something
like the E.P-BRS BC (Electric piano-Brass Breath Con-
trolled) voice in the complex & effects group, the piano
portion of the voice is not affected by the breath control-
ler because these operators' AM sensitivities are at 0, but
the operators in the brass portion of the voice have their
AM sensitivities set at 3; the [BREATH CONTROL-
LER-RANGE] should be 99 for this voice.
With the "Sax - BC1" voice you may want to use the
BC-1 for phrasing (EG bias), use after touch for vibrato
(Pitch), and use the foot control for overall volume. The
Modulation Wheel can be used to apply LFO amplitude
modulation.
Pitch modulation with the BC-1
Turn on the pitch modulation (we assume the range is
still set between 50 and 99). You will also need to set the
pitch modulation sensitivity within the voice itself to a
value of 1 or higher (check this in EDIT mode, and
change if necessary). Hold down a key, and blow on the
breath controller. You should hear a vibrato effect — the
speed has nothing to do with how you blow since it is
set by the LFO speed which is programmed into the
voice — your breath affects the vibrato depth.
Breath controller techniques
You can use the breath controller several ways. Take it
into your mouth and grip it with your teeth. Touch a key
on the keyboard, and begin to blow gently If the voice is
set up for breath controller EG bias, the note will begin
to sound, and will become louder the harder you blow
If the voice is set up for pitch modulation, the vibrato
will increase as you blow harder. If the voice is set up for
amplitude modulation, the tremolo and/or wah-wah will
increase as you blow harder.
The EG bias is perhaps the most interesting modula-
tion for the breath controller. When you blow normally.
the notes start softly By tongueing the note (forming the
breath with a "T" sound), you can get a harder edge. By
finishing the blowing with a "T" sound, you can get the
note to end abruptly Of course, you have to coordinate
the blowing with the playing of the notes on the key-
board. Given maximum EG bias modulation and maxi-
mum amplitude modulation sensitivity within the voice,
there will be no sound when you play a key; the sound
will come only when you hold the key and then blow
into the BC-1. It may take some practice to achieve the
proper coordination.
You can achieve a "growling" effect by humming into
the BC-1 while you are blowing. This can create an
occasionally useful "gritty" sound for playing saxophone.
for instance, or an overdriven lead guitar. You'll want to
experiment with combinations of humming, tongueing
by means of "T-ing", "D-ing" or "F-ing", and so forth. An
"F" or "CH" sound may be better for whistles, while a
"too-kah" sound may do the job for a birdsong. The
possibilities are particularly exciting when you blend the
breath controller effect with the pitch bend wheel or
other modulation sources.
Special
effects
from
[DATA
ENTRY]
while
in
PLAY
mode
The DX7 [DATA ENTRY] section continues to be
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