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Thursday, 7 November 2019
Sunday, 3 November 2019
172 - Dual Signal Leveler
This is a build I'm doing for a friend.
I don't have (or ever have seen an original 172) vintage one. They must be very rare.
Do contact me if you have a original you'd like to sell.
I don't have (or ever have seen an original 172) vintage one. They must be very rare.
Do contact me if you have a original you'd like to sell.
Until that time, or until Buchla USA decides to make one, this will have to do.
Anyway, back to the build.
These boards are from LA67 in Spain.
They are based from original schematics so I hope will be close to the original.
rESISTORS first
Looks like a really easy build.
The original Buchla 100 catalogue describes the module as:
"Two high-gain, constant-output amplifiers. Output signal levels are maintained at 0db (plus or minus 1 db) for input variations from -40db to +10 db. Time constants are variable from .05 to 5 seconds."
So it appears to be a basic compressor/limiter with a time constant knob for each side.
The time knob I guess sets the attack/release compressor speed ??
A slow time probably provides very gentle changes in loudness where as a very fast time produces an aggressively signal.
You will usually find in most compressors that even if the peak levels are set the same, a compressed signal will sound louder if it has a faster recovery time.
Im not sure if this module works the same
Anyway, the build is all descrete components, & through hole.
Nice.
----------------------
Buchla Index
__________________
Anyway, back to the build.
These boards are from LA67 in Spain.
They are based from original schematics so I hope will be close to the original.
rESISTORS first
Looks like a really easy build.
The original Buchla 100 catalogue describes the module as:
"Two high-gain, constant-output amplifiers. Output signal levels are maintained at 0db (plus or minus 1 db) for input variations from -40db to +10 db. Time constants are variable from .05 to 5 seconds."
So it appears to be a basic compressor/limiter with a time constant knob for each side.
The time knob I guess sets the attack/release compressor speed ??
A slow time probably provides very gentle changes in loudness where as a very fast time produces an aggressively signal.
You will usually find in most compressors that even if the peak levels are set the same, a compressed signal will sound louder if it has a faster recovery time.
Im not sure if this module works the same
Anyway, the build is all descrete components, & through hole.
Nice.
----------------------
Buchla Index
__________________
Yamaha DX5 - 2. Function Mode
The DX5 has the same 3 modes: Play, Function & Edit that you find in the DX7.
It's also colour coded like the DX7.
1. Play (white)
2. Function (green)
3. Edit (violet)
The Function Mode
The colour for the Function Mode is Green.
This concerns the programmable parameters that are not concerned with voice programming.
It concerns the various effects you can apply while playing (like after touch & Modulation wheel settings) as well as things like voice data load/save operations and checking the battery.
To access the Function Mode you need to press this GREEN FUNCTION BUTTON
Below are the Function Job Tables. (you won't see this on a DX7).
tHESE are on the front panel of the DX5 itself.
It shows the various jobs that can be done by using the performance memory / function switches.
(B1 to B8 & P1 to P8)
These switches are dual use (we are using the green function bit)
The Job groups are further divided into 4 sections:
a) Tune (B1)
b) Performance Memory Parameter (B2 to P3)
c) Memory Management (P4 to P7)
d) MIDI (P8)
Adjusts the overall tuning ...
Both A and B channels are effected simultaneously.
Master Tune data cannot be stored.
-63 to + 63 range.
+0 = A3 is at 440Hz
-63 = overall pitch of keyboard is 75% lower than standard.
+63 = overall pitch of keyboard is 75% higher than standard.
Use the data entry slider to adjust.
Dual Mode Detune (B1-Job2)
To get to job 2 just press the B1 button again
This allows you to detune A & B channels
Creates chorus effects
Range : 0 to 15
0= no detune.
Controls mono vs poly voice
Use Data Entry -1 for poly , and +1 for mono
In mono mode, acts like a last note priority monophonic keyboard.
In poly mode, The KEY ASSIGN MODE setting is impt.
SINGLE = 32 notes can be played simultaneously.
SPLIT = 16 notes can be played simultaneously on each side of the split point.
DUAL = 16 notes can be played simultaneously.
Source Select (B2-Job2)
Selects the control source for the two voice generators.
To get to job 2 just press the B2 button again
The control source can be the Keyboard (Normal), a external sequencer, a computer.
Data Range: 0 to 16
0= keyboard
1-16 = corresponding midi channel.
Voice channels A and B can have different Source select settings.
Pitch Bend Range (B3-Job1)
Selects the pitch range of the pitch bend.
range 0 to 12
The pitch bend range will have no effect if Pitch Bend Step is set to a value between 1 & 12.
Pitch Bend Step (B3-Job2)
To get to job 2 just press the B3 button again
Stepped pitch bend effect : Range Between 0 to 12
0 = smooth pitchbend with no steps.
1 = semitone steps
12 = 1 octave steps.
Voice channels A and B can have different step settings.
Portamento / Glissando (B4-Job1)
Portamento = smooth
Glissando = stepped ... semitone steps.
Portamento Mode (B4-J2)
To get to job 2 just press the B4 button again
Four modes are available:
1. Retain (Poly mode)
2. Follow (Poly mode)
3. Fingered (mono mode)
4. Fulltime (mono mode)
Portamento Time (B4-job3)
adjusts speed of portamento or Glissando
Range: 0 to 99
Voice channels A and B can have different settings.
Sustain Pedal Assign (B5-Job 1)
Turns on or off the sustain pedal footswitch.
Voice channels A and B can have different settings.
(Uses yamaha FC4 or FC5 pedals - plugs into the reAR of keyboard)
Portamento Pedal assign (B5- J 2)
Turns on or off the portamento pedal footswitch
(Uses yamaha FC4 or FC5 pedals - plugs into the reAR of keyboard)
Output Level Attenuate (B6-J1)
Controls the volume from the output hacks
Voice channels A and B can have different settings.
range :0 to 7
Program output Assign ( B6-J2)
Turns on & off the output from the (P) Program jacks
These are the phone & XLR jacks
Voice channels A and B can have different settings.
Modulation Wheel Sensitivity (B7-J1)
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings.
Modulation Wheel Assign (B7 - J2)
Chooses which type of effect the wheel produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
Foot Controller Sensitivity (B8 -J1)
Uses a yamaha FC7
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings
Foot controller Assign ( B8-J2)
Chooses which type of effect the FC produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
Breath Controller Sensitivity (P1-J1)
Uses a yamaha BC1
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings
Breath Controller Assign ( P1-J2)
Chooses which type of effect the BC produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
After Touch Sensitivity (P2 J1)
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings
After Touch Assign (P2 J2)
Chooses which type of effect the after touch produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
Split Point ( P3-J1)
Sets the keyboard split-point.
The SP is entered by appropriate keyboard key. The value will be displayed
on the LCD.
Key Shift (P3-J2)
Used to transpose the pitch of the entire keyboard.
range -24 to +24
Performance Name (P3-J3)
Gives each performance memory a name.
Can be 30 characters in length.
MIDI (P8)
----------------------------
FM Index
---------------------------
It's also colour coded like the DX7.
1. Play (white)
2. Function (green)
3. Edit (violet)
The Function Mode
The colour for the Function Mode is Green.
This concerns the programmable parameters that are not concerned with voice programming.
It concerns the various effects you can apply while playing (like after touch & Modulation wheel settings) as well as things like voice data load/save operations and checking the battery.
To access the Function Mode you need to press this GREEN FUNCTION BUTTON

Below are the Function Job Tables. (you won't see this on a DX7).
tHESE are on the front panel of the DX5 itself.
It shows the various jobs that can be done by using the performance memory / function switches.
(B1 to B8 & P1 to P8)
These switches are dual use (we are using the green function bit)
The Job groups are further divided into 4 sections:
a) Tune (B1)
b) Performance Memory Parameter (B2 to P3)
c) Memory Management (P4 to P7)
d) MIDI (P8)
a) Tune (B1)
Master Tune (B1 - Job1)Adjusts the overall tuning ...
Both A and B channels are effected simultaneously.
Master Tune data cannot be stored.
-63 to + 63 range.
+0 = A3 is at 440Hz
-63 = overall pitch of keyboard is 75% lower than standard.
+63 = overall pitch of keyboard is 75% higher than standard.
Use the data entry slider to adjust.
Dual Mode Detune (B1-Job2)
To get to job 2 just press the B1 button again
This allows you to detune A & B channels
Creates chorus effects
Range : 0 to 15
0= no detune.
b) Performance Memory Parameter (B2 to P3)
Poly/Mono (B2-Job1)Controls mono vs poly voice
Use Data Entry -1 for poly , and +1 for mono
In mono mode, acts like a last note priority monophonic keyboard.
In poly mode, The KEY ASSIGN MODE setting is impt.
SINGLE = 32 notes can be played simultaneously.
SPLIT = 16 notes can be played simultaneously on each side of the split point.
DUAL = 16 notes can be played simultaneously.
Source Select (B2-Job2)
Selects the control source for the two voice generators.
To get to job 2 just press the B2 button again
The control source can be the Keyboard (Normal), a external sequencer, a computer.
Data Range: 0 to 16
0= keyboard
1-16 = corresponding midi channel.
Voice channels A and B can have different Source select settings.
Pitch Bend Range (B3-Job1)
Selects the pitch range of the pitch bend.
range 0 to 12
The pitch bend range will have no effect if Pitch Bend Step is set to a value between 1 & 12.
Pitch Bend Step (B3-Job2)
To get to job 2 just press the B3 button again
Stepped pitch bend effect : Range Between 0 to 12
0 = smooth pitchbend with no steps.
1 = semitone steps
12 = 1 octave steps.
Voice channels A and B can have different step settings.
Portamento / Glissando (B4-Job1)
Portamento = smooth
Glissando = stepped ... semitone steps.
Portamento Mode (B4-J2)
To get to job 2 just press the B4 button again
Four modes are available:
1. Retain (Poly mode)
2. Follow (Poly mode)
3. Fingered (mono mode)
4. Fulltime (mono mode)
Portamento Time (B4-job3)
adjusts speed of portamento or Glissando
Range: 0 to 99
Voice channels A and B can have different settings.
Sustain Pedal Assign (B5-Job 1)
Turns on or off the sustain pedal footswitch.
Voice channels A and B can have different settings.
(Uses yamaha FC4 or FC5 pedals - plugs into the reAR of keyboard)
Portamento Pedal assign (B5- J 2)
Turns on or off the portamento pedal footswitch
(Uses yamaha FC4 or FC5 pedals - plugs into the reAR of keyboard)
Output Level Attenuate (B6-J1)
Controls the volume from the output hacks
Voice channels A and B can have different settings.
range :0 to 7
Program output Assign ( B6-J2)
Turns on & off the output from the (P) Program jacks
These are the phone & XLR jacks
Voice channels A and B can have different settings.
Modulation Wheel Sensitivity (B7-J1)
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings.
Modulation Wheel Assign (B7 - J2)
Chooses which type of effect the wheel produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
Foot Controller Sensitivity (B8 -J1)
Uses a yamaha FC7
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings
Foot controller Assign ( B8-J2)
Chooses which type of effect the FC produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
Breath Controller Sensitivity (P1-J1)
Uses a yamaha BC1
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings
Breath Controller Assign ( P1-J2)
Chooses which type of effect the BC produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
After Touch Sensitivity (P2 J1)
Can be used to control effects like tremolo, wow, volume, vibrato.
Range 0-15
Voice channels A and B can have different settings
After Touch Assign (P2 J2)
Chooses which type of effect the after touch produces.
Three types :
1. EBC - EG Bias control
2. AMD -- amplitude modulation depth
3. PMD -- pitch modulation depth
Split Point ( P3-J1)
Sets the keyboard split-point.
The SP is entered by appropriate keyboard key. The value will be displayed
on the LCD.
Key Shift (P3-J2)
Used to transpose the pitch of the entire keyboard.
range -24 to +24
Performance Name (P3-J3)
Gives each performance memory a name.
Can be 30 characters in length.
MIDI (P8)
----------------------------
FM Index
---------------------------
How to Program a Bass Bot TT 303 - Demo 3
A quick 3rd demo of the TT303 by Cyclone Analogic.
This video covers traditional programming and play.
No midi or external sequencers used this time. If you're familiar with writing a melody on a Roland TB303 you'll probably see that the procedure is identical.
This video could be renamed "how to program your 303".
The first part of the video is standard "Pattern Play".
Then we switch to "write/pattern mode" Here is where we write our tune.
First we need to erase our previous pattern.
Then set the number of steps (in this example its 12) .. Max of 16.
Hit pitch mode. Write the melody. Then into "time mode" to tell the sequencer how many notes to play. Hit "run" to play the tune :-)
This melody is kinda boring :-( .... lets spice it up with some accents, slides or transpose up/down. Just like the good old days.:-)
This video covers traditional programming and play.
No midi or external sequencers used this time. If you're familiar with writing a melody on a Roland TB303 you'll probably see that the procedure is identical.
This video could be renamed "how to program your 303".
The first part of the video is standard "Pattern Play".
Then we switch to "write/pattern mode" Here is where we write our tune.
First we need to erase our previous pattern.
Then set the number of steps (in this example its 12) .. Max of 16.
Hit pitch mode. Write the melody. Then into "time mode" to tell the sequencer how many notes to play. Hit "run" to play the tune :-)
This melody is kinda boring :-( .... lets spice it up with some accents, slides or transpose up/down. Just like the good old days.:-)
DX 5 - 3. Edit Mode
The DX5 has the same 3 modes: Play, Function & Edit that you find in the DX7.
It's also colour coded like the DX7.
1. Play (white)
2. Function (green)
3. Edit (violet)
Notice the colour .. the violet colour indicates its part of the edit mode.
Entering Edit Mode is done here: EDIT/COMPARE
You can switch between channel A and Channel B voices by pressing the violet EDIT A & EDIT B switch
Individual voice parameters are selected by pressing the appropriate violet labeled switches & programmed using the data entry slider / switches. These are identical to the DX7.
In some instances, you will want to compare the original sound to an edited one.
Do this by pressing the edit/compare switch again.
To save edited voices, you need to enter the store mode
Operator Select
There are six operator select switches. OP1 to OP6 ... just press the one you wish to work on.
Only one operator can be worked on at a time.
The operator on/off switches are below.
Working from left to right these are the next set of switches;
Algorithm.
Permits selection of any of the 32 algorithms.
Use the Data slider / switches.
Feedback Level
Feedback can be applied to one operator in any algorithm.
This controls the level only. Range : 0 to 7
Use the Data slider.
Operator Output Level.
You can control the output level of a selected operator.
range; 0 to 99
If the operator is a carrier you will effect the volume.
If the operator is a modulator you will effect the harmonic spectrum & timbre.
EG select EG/Pitch EG
This is linked to the Envelope Generator Switches: R1- R4 & L1 - L4
These switches select the EG parameters to be worked on.
Some envelope examples
MODE
Permits selection of
The Frequency Ratio or Fixed Frequency Oscillator Mode
1. Frequency Ratio -- operator pitch is scaled to the keyboard was you'd expect.
2. Fixed Frequency --- a fixed freq is produced no matter which key is pressed.
(frequency is set using the coarse and fine switches - described below)
COARSE, FINE
These parameters determine the actual frequency of each operator.in the Frequency Ratio or Fixed Frequency Oscillator Mode.
For The operators functioning as carriers ... pitch is determined.
For The operators functioning as modulators ... timbre is determined.
ie the harmonic spectrum of the sound.
DETUNE
Permits slight detuning of the selected operator in relation to the others..... to create richer, fuller voice effects.... depends on whether the operator is a carrier or modulator.
Carrier ---- thick multi instrument effect.
Modulator --- results in periodic variation in timbre similar to a phase shift effect.
SCALING
These 5 parameters make it possible to vary the EG level of each operator across the keyboard in many ways.
LD - Left Depth
LC - Left Curve
BP - Break Point
RD - Right Depth
RC - Right Curve
SCALING: RATE SCALING
Shortens overall envelope length as you go up the keyboard ... imitates stringed instruments
Range: 0 to 7
SENSITIVITY : key Velocity
Range: 0 - 7
Applied to a carrier--- produces louder sounds
Applied to a modulator -- effects the timbre
SENSITIVITY :Amplitude Modulation
Sets the sensitivity to LFO AND EG BIAS. applied via any controllers (breath, Foot pedal, mod wheel)
LFO - applied to a carrier - effects tremolo
LFO applied to a modulator --- periodic variation of timbre.
EG Bias - applied to a carrier --- volume comtrols
EG Bias applied to a modulator --- brilliance control
LFO : Wave
Permits selection of a LFO waveform. There are 6.
Use the data entry control slider or switches.
LFO : Speed
range : 0 to 99
99 = 50Hz
LFO : delay
You can set a delay of 0 - 3 secs before the LFO starts (after a key is pressed)
LFO : PM depth
Sets the depth of pitch variation.of the LFO.
range 0 to 99
LFO : PM Sensitivity
Sets the sensitivity of operators to PM to LFOs or controllers.
Range: 0 to 7
LFO : AM depth
Sets the depth of AM (tremolo or wow) produced by LFOs for all operators simultaneously.
This is independent of the various controllers.
LFO : Key Sync
Either on or off
on= modulation begins when key is pressed
off = the LFO is free running and modulation commencement is random.
Oscillator key Sync
Normally all oscillators are syncronized.
You can turn this off or on.
When off, oscillations begin at random
Transpose
Permits transposing the overall pitch up or down the keyboard.
Max 2 octaves.
Voice Name
Use this to give voices a name.
Use the OPERATOR SELECT & OPERATOR ON/OFF & BANK /VOICE switches
You will see letters & numbers under each switch.
Dash (-) ,period (.) and space are entered using the Key Assign switches
----------------------------
FM Index
---------------------------
It's also colour coded like the DX7.
1. Play (white)
2. Function (green)
3. Edit (violet)
Edit Mode
Edit Mode is where we edit the voices and can also create new voices.Notice the colour .. the violet colour indicates its part of the edit mode.
Entering Edit Mode is done here: EDIT/COMPARE
Individual voice parameters are selected by pressing the appropriate violet labeled switches & programmed using the data entry slider / switches. These are identical to the DX7.
In some instances, you will want to compare the original sound to an edited one.
Do this by pressing the edit/compare switch again.
To save edited voices, you need to enter the store mode
Operator Select
There are six operator select switches. OP1 to OP6 ... just press the one you wish to work on.
Only one operator can be worked on at a time.
The operator on/off switches are below.
Working from left to right these are the next set of switches;
Algorithm.
Permits selection of any of the 32 algorithms.
Use the Data slider / switches.
Feedback Level
Feedback can be applied to one operator in any algorithm.
This controls the level only. Range : 0 to 7
Use the Data slider.
Operator Output Level.
You can control the output level of a selected operator.
range; 0 to 99
If the operator is a carrier you will effect the volume.
If the operator is a modulator you will effect the harmonic spectrum & timbre.
EG select EG/Pitch EG
This is linked to the Envelope Generator Switches: R1- R4 & L1 - L4
These switches select the EG parameters to be worked on.
Some envelope examples
MODE
Permits selection of
The Frequency Ratio or Fixed Frequency Oscillator Mode
1. Frequency Ratio -- operator pitch is scaled to the keyboard was you'd expect.
2. Fixed Frequency --- a fixed freq is produced no matter which key is pressed.
(frequency is set using the coarse and fine switches - described below)
COARSE, FINE
These parameters determine the actual frequency of each operator.in the Frequency Ratio or Fixed Frequency Oscillator Mode.
For The operators functioning as carriers ... pitch is determined.
For The operators functioning as modulators ... timbre is determined.
ie the harmonic spectrum of the sound.
DETUNE
Permits slight detuning of the selected operator in relation to the others..... to create richer, fuller voice effects.... depends on whether the operator is a carrier or modulator.
Carrier ---- thick multi instrument effect.
Modulator --- results in periodic variation in timbre similar to a phase shift effect.
SCALING
These 5 parameters make it possible to vary the EG level of each operator across the keyboard in many ways.
LD - Left Depth
LC - Left Curve
BP - Break Point
RD - Right Depth
RC - Right Curve
SCALING: RATE SCALING
Shortens overall envelope length as you go up the keyboard ... imitates stringed instruments
Range: 0 to 7
SENSITIVITY : key Velocity
Range: 0 - 7
Applied to a carrier--- produces louder sounds
Applied to a modulator -- effects the timbre
SENSITIVITY :Amplitude Modulation
Sets the sensitivity to LFO AND EG BIAS. applied via any controllers (breath, Foot pedal, mod wheel)
LFO - applied to a carrier - effects tremolo
LFO applied to a modulator --- periodic variation of timbre.
EG Bias - applied to a carrier --- volume comtrols
EG Bias applied to a modulator --- brilliance control
LFO : Wave
Permits selection of a LFO waveform. There are 6.
Use the data entry control slider or switches.
LFO : Speed
range : 0 to 99
99 = 50Hz
LFO : delay
You can set a delay of 0 - 3 secs before the LFO starts (after a key is pressed)
LFO : PM depth
Sets the depth of pitch variation.of the LFO.
range 0 to 99
LFO : PM Sensitivity
Sets the sensitivity of operators to PM to LFOs or controllers.
Range: 0 to 7
LFO : AM depth
Sets the depth of AM (tremolo or wow) produced by LFOs for all operators simultaneously.
This is independent of the various controllers.
LFO : Key Sync
Either on or off
on= modulation begins when key is pressed
off = the LFO is free running and modulation commencement is random.
Oscillator key Sync
Normally all oscillators are syncronized.
You can turn this off or on.
When off, oscillations begin at random
Transpose
Permits transposing the overall pitch up or down the keyboard.
Max 2 octaves.
Voice Name
Use this to give voices a name.
Use the OPERATOR SELECT & OPERATOR ON/OFF & BANK /VOICE switches
You will see letters & numbers under each switch.
Dash (-) ,period (.) and space are entered using the Key Assign switches
----------------------------
FM Index
---------------------------
DX 5 - Getting started - 1. Play Mode
The DX5 has the same 3 modes: Play, Function & Edit that you find in the DX7.
It's also colour coded like the DX7.
1. Play (white)
2. Function (green)
3. Edit (purple-blue)
Play Mode (white) is the simpliest and a good place to start.
These are the internal/cartridge voice memory selection switches, along with switches
to set the keyboard assignment ... single, dual, split.
The DX 5 is often described as two DX7s ... though its also a bit like a DX21
(but with 6 operators , not 4).
(If I understand the DX21 manual correctly, it actually has two completely separate 4 operator ,8 algorithm FM synths)
You can split the keyboard between two different sounds, and even split the sounds to left and right outputs. There is 32 note polyphony in single and split modes. You can specify hard splits on the keyboard. The keyboard ranges from E0 to F7 with full velocity and after touch.
Individual voices are selected using the two groups (bank & voice).
The white labeling indicates the voice selection... arranged in two groups of 2 rows.
There are 4 banks. Each bank has 8 voices.
The upper row of switches is for channel A.
The lower row of switches is for channel B.
----------------------------
FM Index
---------------------------
It's also colour coded like the DX7.
1. Play (white)
2. Function (green)
3. Edit (purple-blue)
Play Mode
Play Mode (white) is the simpliest and a good place to start.
Here you can access the sounds contained in the internal & external memory.
These are the internal/cartridge voice memory selection switches, along with switchesto set the keyboard assignment ... single, dual, split.
The DX 5 is often described as two DX7s ... though its also a bit like a DX21
(but with 6 operators , not 4).
(If I understand the DX21 manual correctly, it actually has two completely separate 4 operator ,8 algorithm FM synths)
You can split the keyboard between two different sounds, and even split the sounds to left and right outputs. There is 32 note polyphony in single and split modes. You can specify hard splits on the keyboard. The keyboard ranges from E0 to F7 with full velocity and after touch.
Individual voices are selected using the two groups (bank & voice).
The white labeling indicates the voice selection... arranged in two groups of 2 rows.
There are 4 banks. Each bank has 8 voices.
The upper row of switches is for channel A.
The lower row of switches is for channel B.
----------------------------
FM Index
---------------------------
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