![]() A good portamento is around 70.īutton No. In addition Glissando can be dialled up instead of portamento and a Time button sets the rate of change from 0 to 99. When you change back from Poly mode, the portamento is only effective when you press the footswitch. This is a great playing feature and works only when the first note is held while playing another note (legato style) - it came from Yamaha's CE25 keyboard. A mono mode shows 'Fingered' on the LCD and that gives automatic portamento between two notes. The most useful set-up requires you to connect an external Portamento switch (single contact make/break type which is an optional extra). There are 4 portamentos, depending on whether you're in Mono or Poly - two each. Next there's selection of Poly or Mono two controls for Pitch Bend - one for Range from 0 to 12 semitones up or down smoothly and Step for discrete intervals over the same range (both operating from the Pitch wheel at the left of the keyboard). The Master Tune adjusts the pitch 75 cents each way. For example, button 1 is now Master Tune and you adjust it with the Data Entry controls on the left - there's a slider for continuous 'step' changes (shown on the LCD as a number) and two green buttons that give -1/+1, no/yes or on/off setting. The brown 'Function' button selects all the brown legended functions under the right hand switches. The LCD shows which you've selected and since only 32 memories are available in one go, the other 32 on the cartridge are selected by a switch on its case. ![]() There are 2 left hand green buttons for memory selection of internal and cartridge sounds. The basic principle for setting up a parameter is to first select a function button at the left, then a parameter button at the right. Therefore, the first thing to learn about programming is to find how to access the parameters. All these parameters are set with just 40 buttons. There are 145 parameters for each voice and 23 programmable performance parameters which come after the voice programming. Looking at the instrument's control panel, there are buttons to the left and right of the LCD. The first 32 in the DX represent a general selection of the 128. If I put the cartridge with 64 sounds in as well, this gives me access to 96 memories in all. Mike: You couldn't play those fast accented notes too easily without that?īasically, the next step is to load a cartridge - actually you don't have to do this because the first 32 sounds on the first cartridge are already loaded into the machine. They're not sprung, they're weighted, with a little bit of inertia. The DX1 does have that extra facility, like the CS80. It's quite a smooth control here, but it's not independent for each note. Mike: Has the pressure control come from the old CS60/80 instruments?ĭave: The mechanics and keyboard are new for the DX, although the principle is the same - to bring in extra control on further pressure of a key once it's been played. Looking again at the instrument, there's a velocity sensitive keyboard. Mike: Does that mean in mono mode you could layer up different algorithms?ĭave: No, it's just one algorithm and I'll explain this function later. The instrument is a programmable synthesiser that's 16 notes polyphonic all the time - there's no layering of sounds, no splitting the keyboard (other than within a program). Once you've grasped the system then there's no problem. You have to take the trouble to find out how it works. Mike: So it's a new approach to synthesis?ĭave: Exactly. You're very familiar with synthesisers, but I bet if you sat and just looked at this, you would not - on a Saturday morning in a shop with a lot of noise going on - have any success. They are very necessary to get you started, because the programming is not easy first time round. ![]() I don't like to call them 'presets' because it implies they're not programmable. The ROMs each contain 64 memories, giving 128 factory 'primary' voice settings. Dave: Taking the instrument as it comes from the shop, you get the DX7, along with two ROM cartridges.
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