Yamaha YRM-502 FM Voicing Program II manual (EN,FR,DE)

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YAMAHA

YRM-502

FM VOICING PROGRAM E

OWNER’S MANUAL

PROGRAMME DE REGISTRATION FMH

MANUEL D'UTILISATION

FM VOICING PROGRAM n

, INTRODUC TION — ,

Congratulations on your purchase of the Yamaha FM Voicing Program II. In order to appreciate the
full performance of this program, please read this Owner’s Manual carefully and completely. Keep it
in a safe place for future reference.

Features

The Yamaha FM Voicing Program II (YRM-502) is a ROM cartridge which is used with the Yamaha FM

Sound Synthesizer unit to create voices. This allows a wide variety of original voices to be created

by the FM sound generation system, in addition to the 46 voices already contained in the FM Sound

Synthesizer unit. Here is a list of this program’s main features.

• This ROM cartridge program allows the user to alter the voices contained in the FM Sound Synthesizer
unit, as well as create new voices from scratch.

• The data can be displayed on the screen as it is entered from the Music Computer (or MSX computer
equipped with an FM Synthesizer unit) keyboard. Sound can also be output for checking the voice
data as it is edited or created.

• Newly created voice data can be saved on cassette tape or Data Memory Cartridges (UDC-01 ) and
later utilized with the FM Music Macro and/or FM Music Composer program cartridges (sold sep-
arately).

• The voice data and the table of voices can both be printed out using an optional MSX-compatible
printer.

• The music keyboard functions of the FM Music Synthesizer unit can be called up and used for
playback when the FM Voicing Program II is in use.

• Newly created voicing data can be saved onto a floppy disk (with SFG-05 or SFK-05 Synthesizer
unit only).

• Playback using MIDI keyboard instead of the special music keyboard becomes possible (with SFG-05
Synthesizer unit only).

How to use this manual

We suggest that you read this manual while actually using the FM Voicing Program II. This way, anything
you read can immediately be put into practice, so that your hands become familiar with the various
operations.

Chapter I explains how to connect the components of your system.

Chapter II is an introduction to the main features of this program.

Chapter III provides a detailed explanation of the creation of voices and the management of data.
Chapter IV gives some examples of voice creation.

The Appendix contains reference material and explains the theory of FM voice generation.

If you are already familiar with the FM voicing Program (version 1), a simple look at the next page will
give you enough information to get started.

MSX

is a trademark of Microsoft Corporation

A quick introduction to the new operation^ -v f'f

Starting the pro- Enter call fmv when the initial messages of the BASIC are displayed.

gram

Selecting the key Use the fF2l and [F3] kevs.
velocity

Modifying a nu- Use the lHOMEI (-1) and IDELI ( + 1) kevs. Holding the IINSI key down while

merical value using the IHOMEI and IDELI keys produces larger changes.

Operator Use ITABI to copy an operator, and ICTRLI + ITABI to restore it.

Key definition Three screen pages are provided: one for the keys used in Edit mode, another

for the keys used in Command mode, and the last one for the keys used in any
mode. Press the [F5] key from the desired mode, (Edit, Command, or Filer mode).

Saving and load- The TR command causes a new screen page to be displayed. This page is ex-
ing clusively used for the management of your files (File mode).

Printing The SP command allows for the selection of printer (1 = MSX; 2 = EPSON).

Contents . . ■

CHAPTER 1 SETTING UP YOUR SYSTEM i

SYSTEM COMPONENTS 2

SYSTEM CONNECTIONS 3

PRECAUTIONS REGARDING THE USE OF CARTRIDGES 4

CHAPTER II GETTING ACQUAINTED WITH

THE FM VOICING PROGRAM II 5

INITIAL DISPLAYS AND PROGRAM OUTLINE 6

Starting the program 6

Operation outline 7

DISPLAYING THE SCREEN PAGES 9

KEYBOARD OPERATION 12

Keys used in Edit mode 12

Keys used in Command mode 14

Common use keys 15

COMMANDS 16

CHAPTER III OPERATING THE FM VOICING

PROGRAM II 17

COMMAND MODE 18

Dl (DIRECTORY) 18

n (SELECT n) 19

SA n (SAVE n) 19

RE n (RESTORE n) 19

Kin (KILL n) 20

CO n, m (COPY n to m) 20

SW n, m (SWAP n, m) 20

PR n, m (PRINT n thru m) 21

HE (HELP) 21

MU (MUSIC KEYBOARD FUNCTION) 21

SP a (SELECT PRINTER a) 22

TR (TRANSMISSION OF DATA) 22

FILE MODE 23

Cassette recorder 23

Data Memory Cartridge 24

Floppy disk drive 24

EDIT MODE 25

Switching to the Edit mode 25

Editing 25

Parameters 26

Other editing features 37

KEYBOARD SPLIT FEATURE 38

Keyboard for editing 38

Keyboard for comparison 38

Setting the keyboard split point 39

CHAPTER IV CREATING VOICES 4 i

THE BASICS OF VOICE CREATION 42

Basics of voice creation using FM Sound generation 42

The concept of algorithms 45

The concept of voice creation 46

SOME EXAMPLES OF VOICE CREATION 51

The creation of brass voices 51

The creation of string voices 52

The creation of organ voices 53

APPENDIX 55

INTRODUCTION TO FM VOICE SYNTHESIS 56

Basic knowledge needed to create sound 56

FM Sound generation 59

Envelop generator 62

Key scaling feature 64

VOICE DATA PROCESSING 66

ERROR MESSAGES 67

MIDI IMPLEMENTATION CHART 68

ALPHABETIC INDEX

m SYSTEM COMPOMENTS-^——.^^^—

Here is a list of the components that you need to enjoy the full potential of the FM Voicing Program

• Yamaha Music Computer or MSX computer The main unit of the system. The Music Computer

+ FM Sound Synthesizer unit is equipped with a Yamaha Sound Synthesizer Unit

(SFG-01 or SFG-05).

• Color monitor or color TV Necessary for visual control of the parameters and

for audio output (if you do not connect an audio
system). Consult Owner’s Manual for connection
with the Music Computer.

• Yamaha Music keyboard Used to playback and to compare voices.

(YK-01 or YK-10/20)

• MIDI keyboard plus two MIDI cables With SFG-05 only. Can be used instead of the

Yamaha Music Keyboard.

• Cassette recorder For storing the voice data.

• Yamaha Data Memory Cartridge (UDC-01) For easy storing of voice data. Adaptor is unnec-

plus Single Cartridge Adaptor (CA-01) essary if your computer is equipped with two car-

tridge slots.

• Floppy disk drive With SFG-05 or SFK-05 only. (Consult Owner’s

Manual for connection.)

• Yamaha Thermal Printer (PN-101) or To print out the voice data and the table of voices.

MSX-Compatible printer

• Stereo amplifier/speaker system or key- To fully enjoy the high quality FM Sound,
board amplifier

-2 -

mSYSTEM CONNECTIONS

Caution: Before connecting the system , be sure that the power to all components is turned OFF .

(1) Please refer to the Owner’s Manual supplied with your Music Computer for connecting video
display, printer and cassette recorder.

(2) Connect the Data Memory Cartridge (UDC-01) or the floppy disk drive set.

★ CX-5M Music Computer: You need a Single Cartridge Adaptor (CA-01). First assemble the
adaptor with the cartridge or disk drive connector, then insert the assembly into the computer’s
rear slot.

(3) Insert the Music Keyboard cable connector into the MUSIC KEYBOARD 20-pin jack at the left side
of the computer.

(4) If you are using a MIDI Keyboard, you need two MIDI cables.

MIDI Keyboard

Computer (left side)

Mini im 4

v Mini m it

IVI 1 U l 1 IN <

Mini r\ i ix v

* IVIIL/I kJU 1

Mini im

IVI 1 L/ 1 1 ^ ' IVI 1 \—J \ 1 1 M j

(5) Connect the audio output L/R (computer’s left side) to the AUX-IN jacks of your stereo system.
Make sure to connect left and right channel correctly.

Fig. 1 System configuration

- 3 -

PRECAUTIONS REGARDING THE USE OF CARTRIDGES

• Always turn the power to the computer OFF before inserting or removing a cartridge; removing or
inserting a cartridge when the power is ON can easily cause trouble.

• Always return the cartridges into their protective package after use and reinstall the rear slot cover
when a cartridge is removed from rear slot as dust on the connection pins can produce erratic
operation.

Fig. 2 Insertion of the cartridges

FM Voicing Program II cartridge YRM-502

First, insert the cartridge into the adaptor, then insert the
assembly into the rear slot.

• Please carefully read the information supplied on the Data Memory Cartridge packing.

.INITIAL DISPLAYS AND PROGRAM OUTLINE.

Starting the program

(1) Make sure that all the equipement is properly connected.

(2) With the power to the computer OFF, insert the FM Voicing Program II cartridge into the upper
cartridge slot of your computer.

(3) If you are using a floppy disk drive unit, turn ON the power of the drive unit.

(4) Turn ON the power of the computer.

(5) If you are using a floppy disk drive unit, the message c?c,~ ; y e a r - m or . : h - d ay :> ap pears. Write
the date using two digits each for year, month, and day, then press the I RETURN! key. You may
omit the date and just press [RETURN! .

(6) The initial messages of the BASIC appear (Fig. 3), indicating that the computer is ready to accept
BASIC commands.

(7) To start the FM voicing Program II, type call -n followed by IRETURNl . can may be abreviated
by — (underscore), and letters may be entered either as lower or upper case.

(8) The program will start automatically. An opening display will appear for a few seconds, then the
program will switch to the display shown in Fig. 4.

★ If the program does not run, turn OFF the power to the computer and make sure that the FM Voicing
Program II cartridge is properly inserted.

★ Always turn the power to the computer OFF before inserting or removing a cartridge; removing
or inserting a cartridge when the power is ON can easily cause trouble.

Fig. 3 BASIC initial display

MSX BASIC version 1.0
Copyright 1983 by Microsoft
28815 Bytes free
Ok

call fmv

— 6 —

Fig. 4 Initial display of the FM Voicing Program II

• Modes

The FM Voicing Program has a number of functions. These are divided into three operation modes

which permit a structured use of the program.

EDIT mode Used for the actual creation of voices.

COMMAND mode Used for the management of data.

FILE mode Used for saving and loading voice data.

• Displays

A total of 8 different screen pages can be displayed.

Main display Used for the actual creation of voices (Edit mode). The Upper part of this page

also allows for the input of commands.

Command menu This display provides a short definition of the commands other than those related

to loading/saving operations. When the Command menu is displayed, you are
in the Command mode.

Directory This shows a list of voice names. When the Directory is displayed, you are in the

Command mode.

Command key list Gives a short definition of the keys used in Command mode. This is a “read-only”
display.

Edit key list Gives a short definition of the keys used in Edit mode. This is a “read-only"

display.

Common key list Gives a short definition of keys used in any mode. “Read-only" display.

Filer Used for saving/loading operations. This display gives a menu of related com-

mands. When the Filer is displayed, you are in the File mode, and only the
commands appearing in the Filer menu are accepted.

-7 -

Keyboard function Used for music performance on the keyboard. When this display appears, your
computer is controlled by the program built in the synthesizer unit. Consult the
Owner’s Manual provided with your Music Computer or your Synthesizer Unit.

• Computer keyboard

The computer keys are divided into three classes according to the display/mode in which they are

available.

Edit keys Available in the Edit mode (main display, cursor in the lower section). These keys

are used to modify or handle the parameters of the voice currently edited or to
switch to another display.

Command keys Available in the Command mode. These keys are used for the management of
the data, for selecting various options, and for switching to another display.

Common keys Available in Edit/Command mode and when the Filer is displayed.

★ Alphanumeric keys are used anywhere an alphanumeric input is required (voice name, command).

Table 1 Operation modes vs screen pages

Screen page

Mode

Main display

Edit/Command mode according to the cursor position
(lower/upper portion of the screen)

Command menu

Command mode

Directory

Keyboard function
Filer

Main display
(Edit mode)
Command key list

Command

Main display

Command menu
Directory

Keyboard function
Filer

Command/Edit key
list

(according to the
current mode)

10 -

KEYBOARD OPERATION

We assume that up to now you have learned how to access any desired display. This section explains
the use of the computer keys. At this step, we are not concerned with the creation of voices: we just
want to understand how the program responds to keystrokes.

Keys used in Edit mode

(1 ) From any screen in the command mode (the cursor is flashing in the upper section of the screen),
press the [FT] key. This will cause the Main display to appear and the system to be set in Edit mode.

Fig. 7 The Main display

Command area

» n w jl s *

1 !

0 i A1 3
11 ! Fb 7

1 ! Ne 0

2 ! N-f 0

F 1 { I F 0 g)

3 ! D t 0 A 151
I Ks 0 D 81
;Kd 5 S 141
! Rk 2 D 0
! Vs 5 R 81
iAj 0 0 9 5|

F 1 ! I F 0 a

0 a is

wm ! Ks 0 D 31

■Ml ! Kd 4 S 131

I Rk 0 D 0

wm ! Vs 5 R 81

tlfo r

! Syc 0
! W* 2 /\

! S p d 2 0 0
! Amd 3
! Pmd 30

F 3 ! I F 0

m — i: r>t 2
I ! K s 0
Hi i Kd 4
! R k 1
H ! Vs 5

! R k 1
! Vs 4

Key velocity and split point
setting area

(2) At this point, press the [F5] key to display the Edit key list.

Fig. 8 The Edit key list

IF 1] [Return to command
CF 21 [Decrease velocity
CF 3] 'Increase velocity
CF 43 ISet CVOI to instr-2
CF 53 [Help

CSLC3 [Select split-point
CH0M3 [Data count by -1

CINS3 [Data count step 10

CDEL3 1 Data count by +1

CTAB3 [Copy operator

CTRL+P ! Hard copy
CTRL+R ! Restore old voice
CTRL+S ! Save current voice
CTRL+TAB ! Restore operator
CTRL+ C n 3 ! On/Ot-f operator
! n = l . 2 , 3 ^ 4
CVOI=current voice

Press CESC3 to return
— Printer type C USX 3 —

- 12 -

Fig. 9 Location of the Edit Keys

r +CTRL| + 0] ~ |4| Switch operator ON/OFF

Select keyboard split

★ To modify a numerical value, move the cursor to the desired parameter by using the ff] , [J], EE3
and E3 cursor keys, then use the iHQMEl , II NSl and I DELI keys to alter the value.

Key

Change

HOME

-1

DEL

+ 1

INS + HOME

- 10 (or minimum value)

INS + DEL

+ 10 (or maximum value)

★ ICTRLI + another key or IINSl + another key means that you must hold down the first key ( 1CTRL1
or IINSl ) then press the other key.

★ If you press the [SELECT] key, the system will stall until you press one key on the music keyboard.

You may experiment freely. If you get lost, just restart the program by switching the computer OFF, then
ON. The original voices contained in the synthesizer unit will be restored.

Keys used in Command mode

From any screen in Command mode, press the \F5\ key to display the Command key list.

Fig. 10 The Command key list

J IJL

E* e

I n

! Se

—

[

= >

! Ne

[

= =

! Pr

+ P

1 Ha

CVOI-current voice
Press t E S C 3 to return
■ Printer type C MSX ] ■

Fig. 11 Location of the Command keys

— ED Return to Main display (Edit mode)

— [F2] Decrease key velocity

{— [F3] Increase key velocity

r [F4] Play the current voice on Instrument-2
r— E3 Command key list

Select keyboard split point

r IcTrlI + IsTopI

: Interrupt hard copy

rsilfra F9T (7s FiOT

FI H i F 2 1 F 3 ro I I F 4

'r~r\ r©T T*7 1 $ \ % \ pn l ® rxT r t~ ) pn ff“

ESC | 1 2 1 3 4 5 6 7 8 9 0 - =

\|/ \U M/ ! 1/

L™j I Aj I [sjl g I [EI|'[iT|'[H]lP IJETIJ^im IE

[ — l||z|||x||(^I^||BlirN|||M||l:l||t Tflr -L

\l/ — — \1/ — \l/ \j/ \1/ \l/ \l/ \[/ [/ \l'

CAPS GRAPH • ~~ HTRl

VU >

SHIFT I

O t=^ =0|TFl

1/ i M/ \J/ Ml

+ IB Hard copy

To next voice

To previous voice

★ In the Command mode, the E3 and E3 cursor keys have a very special function: they switch to
the Main display like the (ED key does, but the system is still in Command mode. The voice parameters
that are now displayed correspond to the next E3 or previous O voice to the voice that was last
displayed.

- 14 -

Common use keys

(1 ) From any screen in Command mode, enter the TR command. These causes the Filer to be displayed.

Fig. 12 The Filer

(2) Press the [F5] key to display the Common key list.

Fig. 13 The Common key list

These keys all have already been defined and located on the computer keyboard. As these keys are
commonly used, you may use them in any display/mode (except in the keyboard function display which
is a feature of the synthesizer unit). This means that you may print any screen page and alter the key
velocity or keyboard split point setting any time the dot indicators are present in the corresponding
area (See Fig. 7).

★ ICTRLI + \z\ switches the key click ON/OFF.

★ iCODEl kev switches the printing modes.

- 15 -

CQhdMANDS

The use of some commands have already been explained. A complete list of commands and their
definitions are given in the Command menu. Select this display by entering the H command from any
screen in Command mode.

Fig. 14 The Command menu

★ n command: entering a number from 1 to 48 as a command switches to the Main display as the [FT]
key does, but the system is still in Command mode. The parameters corresponding to the entered
voice number are now displayed.

★ For commands requiring one or two parameters, first type in the command, one space, the
parameter(s) and then press the IRETURNI key.

★ The filer display has specific commands. Their use is similar to the above commands, but they are
accepted in the Filer display only. On the other hand, the Filer does not accept the above commands.

Fig. 15 The Filer command menu

(with SFG-05 or SFK-05
and disk drive connected)

- 16 -

(with other Synthesizer
unit or when disk drive
is not connected)

. COMMAND MODE

The FM Voicing Program II uses the Command mode as the means to input commands for everything
except the editing of voice data and load/save operations.

When the cursor (U mark) is in the command area located in the upper portion of the screen, you are
in the Command mode.

(1) To enter a command, type in the command name (two characters, extra ignored). If the command
does not require parameters (Dl. MU. ME TR), press the iRETURNl key. If the command requires
parameter(s), press the space bar after the name is typed, type in the parameter(s), then press the
IRETURNl key.

(2) To cancel a command, press the I ESC I key instead of IRETURNl . You may also use the [BS] key
to erase one character to the left of the cursor for correction.

(3) If you enter a mistyped command, the Bad command message appears; Bad argument is displayed
when something is wrong with the parameter(s).

PI (DIRECTORY)

This command displays a list of all of the names and number of the voices stored in the computer
memory. This can be the list of the Synthesizer unit internal voices (when you start) or the list of the
voices you created or loaded. For details about the organization of the computer memory, see the
APPENDIX.

Fig. -16 The Directory

Command area

Message area

> r

1 <

1 )

-t-

-r

8
9

BRASS 2
TRUMPET
STR I NG1
STR I N G 2
E P I A N 0 1
E P I A N 0 2
EPIAN03
GUITAR
EBASS 1
EBASS 2
E0RGAN1
E0RGAN2
P 0 R G A N 1
P0RGAN2
F L U T £

sr 1

20
21
2 2

31
32.

reerra

OBOE
AR I NE
0 C K E N
BRPHN
L 0 P H N
KOTO
Z I T AR
C L A V
RPS I C
BELL
HARP
L / BRA
RMON I
EEL DR
MPft-NI

o o

4 :

45
4 6

RA
RM
RM
RM
RM
R 1
R 2
SN
CO
PE
PE

Train
BULAN
TWEET
I NDRP
.BRAS
. FLUT
. GU I T
.HORN
. BASS
. BASS
AREDR
WBELL
RC 1
RC 2
CSM

Pr inter

type C MSX

- List of the voices

Printer selected by the
SP Command

- 18 -

n (SELECT n)

This command switches to the Main display, but you are still in the Command mode. The voice pa-
rameters corresponding to the number that you entered as a command are now displayed in the screen.
If the number n is not in the range 1 ~ 48 , the message Bad argument appears.

★ When you are in Command mode, pressing the 3 or E3 cursor keys produces a similar effect
but the number of the voice corresponds to the number of the voice last displayed, decremented
( (3 ) or incremented ( 3 ) by one.

SA n (SA VE n)

This is used to store a voice in a temporary memory (save buffer), so that you may further modify the
voice and recall it if you are not satisfied with the last modifications.

★ The save buffer can accept only one voice data, so that previously stored data will be replaced by
the new one when you use this commande.See APPENDIX for details on memory organization.

★ If n is omitted, the data of the voice currently edited is stored in the save buffer.

RE n (RECA LL n)

This command recalls the voice saved in the save buffer. The number n designates the destination in
the voice memory and may differ from the number n you used when storing the voice data to be recalled.

★ If you omit to input the number n , the voice data stored in the save buffer replaces the data of the
voice currently edited.

Fig. 17 SAve and REstore commands

Voice menory Voice memory

E 1

1 Save buffer R

Voice currently
edited

iar *£ J

Voice currently
edited

- 19 -

Kin (KILL n)

This command is used to initialize a voice in order to create a new voice from scratch.

★ You must specify n with this command.

★ The voice data is stored in the save buffer in the state it was before the use of this command. This
means the original state can be restored after accidental deletion.

★ Do not use this command when you need to modify a voice: this is used for the creation of a new
voice from scratch only.

Fig. 18 Initialization of the voice data

1C i>

LFO 0
Syc 0
W ? 0^1
Spd 0
Amd 0
Pmd 0

201

12m

lem

F 1

01271

IF 0
Dt 0
Ks 0
Kd 0
Rk 0
Vs 0
A j 0

2 0L

12m

10m

F 1

01271

0127

IF 0
Dt 0
Ks 0
Kd 0
Rk 0
Vs 0
A j 0

CO n, m (COPY n to m)

This command copies the voice data specified by n to the location of the voice data specified by m.
Parameters are required.

SW n , m (SWAP n and m)

This commands swaps voice data between the memory locations specified by n and m. Parameters
are required.

Fig . 19 COpy and SWap commands

Voice memory Voice memory

■ '1

- 20 -

PR n, m (PRINT n thru m)

This is used to print out the voice data from number to number m. Parameters are required.

★ Any screen page can be printed out by simply pressing ICTRLI + 0. You may use this to print out
the data of a single voice.

★ Use the CODE key to select the printing mode.

Default setting

ICODE | key pressed once

Normal

Light

HE (HELP) |

This command displays the Command menu. Note that in this chapter, commands are listed in the same
order as in the Command menu rather than in alphabetic order.

Fig. 20 The Command menu

This command calls the music keyboard program built in the Synthesizer unit. You now have the 48
pre-programmed voices of the Synthesizer unit plus the 48 voices contained in the computer memory.

★ To exit this performance mode, press the I ESC I key.

- 21 -

This command sets the system in order to match the printer in use. In addition to the standard MSX
printer, a printer having EPSON standards can also be used with the FM Voicing Program II.

FILE MODE

The File mode only accepts the commands displayed in its menu.

This menu differs according to the Synthesizer unit in use (see Fig. 22).

★ The device used for permanent storage (cassette recorder, floppy disk drive, Data Memory Cartridge)
must be connected before you turn the power to the computer ON.

★ Only one disk drive can be used.,

★ A floppy disk drive unit cannot be used with Synthesizer unit other than SFG-05 or SFK-05.

Cassette recorder
Saving

(1) Press the playback and record button of the cassette recorder.

(2) Type in the CS command, one space, the file name, then press I RETURN! . The message Sure?
appears.

(3) Press [Y] or IRETURNI to save the data. To cancel the command, press any other key.

(4) When saving is completed, press the STOP button of the recorder.

(1) Position the tape at the beginning of the file to be loaded or rewind it completely.

(2) Type in the CL command, one space, the filename, then press IRETURNI . The message Sure?
appears.

(3) Press [Y| or IRETURNI , then press the playback button of the recorder. Press any other key to cancel
the function.

(4) When loading is completed, the new Directory is displayed. Press the stop button of the recorder.

★ The Filer re-appears after you press any key when the Directory is displayed.

★ The tape will run until the specified filename is found. Any other file name encountered on the
tape is displayed in the lower area of the Filer.

★ You may interrupt loading by pressing ICTRLI + ISTOPI .

★ If you omit to specify a file name, the first data file encountered on the tape is loaded.

Data Memory Cartridge ( UDC-01 )

Saving

(1) Type in the RS command, one space, the file name, then press IRETURNI . The message Sure?
appears.

(2) Press |Y| or IRETURNI to save the data, or another key to cancel the command.

★ You may save only one file on the same cartridge. Saving a second file will erase the previous
one.

- 23 -

(1) Type in the RL command, one space, the file name, then press 1RETURN1 . The message Ture?
appears.

(2) Press [7] or IRETURNI to load the data, or another key to cancel the command.

★ Data will be saved even if you omit the file name.

★ If the specified file name differs from the file name recorded on the cartridge, the data is not loaded,
but the recorded file name is displayed in the lower portion of the Filer.

★ When loading is completed, the new Directory is displayed. Press any key and the Filer re-appears.

Floppy disk drive

Used with SFG-05 and SFK-05 only.

Saving

(1) Type in the DS command, one space, the filename, then press [RETURN] . The message Sure?
appears.

(2) Press |Y| or IRETURNI to save the data, or another key to cancel the command.

★ The device name VOG must be attached to the filename.

★ Use the FORMAT instruction of the MSX BASIC to format the disk before trying to save data on
a new disk.

(1 ) Type in the DL command, one space, and the file name, then press IRETURNI . The message Sure 7
appears.

(2) Press 0 or I RETURN] to load the data of the specified filename, or another key to cancel the
command.

Deleting

This is used to erase a file from the disk.

(1) Type in the DD command, one space, and the file name, then press IRETURNI . The message Siu e?
appears.

(2) Press [Y] or IRETURNI to delete the data of the specified file name, or another key to cancel the
command.

File list

This command displays the list of data stored in the floppy disk.

(1) Type in the DF command, one space and a file name, then press IRETURNI . Next? appears when
there are too many file names to display in the lower portion of the Filer.

(2) Press [Y] or IRETURNI to go ahead with the list, or another key to cancel the command.

★ Only the names of those files containing voice data are displayed. Files containing other kinds
of data are not displayed.

- 24 -

EDIT MODE.

The main feature of the FM Voicing Program II is its edit mode, which is used to create sounds. The
various functions of this mode are explained below.

Switching to the edit mode

The FM Voicing Program automatically enters the command mode when the power is turned on. Let's
assume you are going to edit the BRASS 1 voice, located i n voice me mory number one. While the
computer is still in the command mode, type in 1 and press the 1RETURNI key. The voice data of BRASS
1 will be displayed, but the cursor still remains in command mode. To enter edit mode, press [FT .

★ If you press [Ell when the system is in Command mode, the main display will always re-appear,
with the data of the curently edited voice. The cursor is located on the algorithm setting area.

★ Pressing the H or B cursor keys when the system is in Command mode switches to the main
display without exiting the Command mode. The voice number of the data is increased ( H) or
decreased ( H ) by one.

The display of the voice data is divided into five blocks. The lower four blocks correspond to the four
operators and display the data (parameters) for setting each operator.

Fig. 23 Edit area blocks

□

Overall settings

□

Operator 1

Operator 2

□

Operator3

Operator 4

Editing

(1 ) Use the cursor keys to move the cursor to the parameter to be edited.

(2) Use the IHOMEI , IINSI and iDELl key to alter the value.

Key

Change

IHOMEI

-1

|del |

+ 1

IINSl + IHOMEI

- 10 (or minimum value)

( INS ) + IDELl

+ 10 (or maximum value)

You may also alter a parameter by moving the cursor over it, and then typing in a new value. In this
case, the new value is entered after you press IRETURNI or after you move the cursor to another area.

★ To change the voice name, move the cursor to that name and type a new name. The El] key erases
one character to the left; the space bar creates a blank space. Pressing the IRETURNI key moves
the cursor back to the beginning of the name.

-25 -

Parameters

Algorithms (Al)

This selects the algorithm from the eight algorithm patterns available. Select the number of the desired
algorithm after moving the cursor to the Al position. Changing the algorithm can cause a significant
change in the voice. The various algorithm patterns have the configurations shown in the following
diagram. An operator functions as a modulator when its output goes to another operator, and as a
carrier when its signals are output directly. A general rule of algorithms is that the fewer carriers there
are (thus the more modulators), the more complex the voice will become, and the easier it will be to
create noise components (broad band frequency spectra).

Fig. 24 Algorithm patterns of the FM Sound Synthesizer unit

® [ Q 1 n

0 -

Feedback (Fb)

Operator 1 has a feedback feature which allows that operator to modulate itself. The high-frequency
components will increase and the voice will change considerably as the amount of feedback increases.
The amount of feedback can be set within the range of 0 to 7. You may check the effect of the feedback
by using algorithm 8 and turning operators 2, 3, and 4 OFF.

Fig. 25 Feedback

Operator 1

Feedback
(0 ~ 7 )

- 26 -

Operator ON/OFF

Each of the four operators can be switched ON/OFF during editing so you can quickly hear the effect
of cutting the output of an operator. Switching is done by pressing the number key corresponding to
the desired operator ([Q ~ @]) while holding down the ICTRLI key. For example, operator one can
be turned OFF by pressing the Q] key while the ICTRLI key is held down, when the (H key is pressed,
the color of its indicators will be reversed both in the algorithm pattern and in the heading of its data
block, and t he ope rator function will be suspended. The operator can be turned back ON by pressing
the CO and ICTRLI keys again in the prescribed manner.

★ An operator can al so be tu rned OFF by moving the cursor over its number in the operator block,
and then pressing |HOME| , Pressing | DELI will turn it ON. You may also move the cursor over the
operator number and type in a different number to turn it OFF or the correct number to turn it ON.
Such a change is actually entered after you press the IRETURNI key or move the cursor away from
the operator number.

Fig. 26 Operators ON/OFF

Operator

number

★ An operator is functioning when the background color of its indicator is yellow; it is not functioning
when the background is inverted and becomes black.

NOTE: Sound does not pass through an operator that is OFF. Therefore, if you turn OFF a carrier
you will not hear the modulators connected to the carrier. Similarly, if you turn OFF a modulator
that feeds into a carrier, any modulator feeding that modulator will have no effect.

Let’s analyze the voice data for BRASS 1 by using this operator ON/OFF feature. The algorithm pattern
is 3 which means that operators one to three are modulators, while operator four is a carrier. Turn
OFF operators one to three and play a few notes. You are listening only to the carrier (operator four).
The pure sound that you hear is the sound of an unmodulated sine wave. Turn ON operators one to
three in reverse order (3, 2, 1 ) and listen to how the sound changes after you turn each operator on.

-27 -

Output level of operator (0 and A])

• O (Output level)

This sets the output level of the operators. With the FM Sound Generation system, the volume and the
timbre will change according to the output level of the operators.

The setting range is 0 (minimum) to 127 (maximum). Try changing the output level of BRASS 1 with
operators two and three OFF. First change the output level of operator four (default setting is 127).
This will change the volume because operator four is the carrier. Next, change the output level of
operator one (default is 112).

Operator one is modulator, thus the output level affects the degree of modulation. As the level is raised,
the amount of modulation will increase and the sound will become more brilliant as the level and number
of the harmonics increase. Increasing the output level of the modulator still further will cause the sound
to become noise. Lowering the output level of the modulator will cause the sound to become more
pure as the degree of modulation decreases. There will be no frequency modulation (if operator 3 is
OFF), and the voice output will become a sine wave when the modulator output level drops to 0.

• Aj (Adjust)

The perceived volume or loudness of different voices will vary depending on the algorithm and the
individual operator setting of each voice. In order to make different voices sound similar in volume,
an output level “scaling” feature is included. This is called Adjust (Aj). Instead of changing the operator
output level values for each operator in a voice, you change the Aj settings. Quiet voices cannot
generally be made louder, but louder voices can be made quieter. The setting range is 0 to 15. In this
case, 0 is the maximum output level and the output level of the operator will be decreased as the numeric
value is increased. All carriers of a voice should be set to the same Aj value.

Frequency of operator (F, IF, Dt)

• f (Frequency)

This setadhe frequency of each operator as a ratio of the standard keyboard pitch. The setting range
is Oto 15. The keyboard frequency is halved when the value is 0. One is equal to the keyboard frequency
(based on eight feet). Higher ratios create frequencies which are equal to the keyboard frequency
multiplied by the ratio. For example, setting the value to eight will result in a frequency eight times higher.

Pressed key pitch ratio

0.5

— 28 —

• F (Inharmonic Frequency)

This also sets the frequency of the operators but in terms of non-integer multiples or odd-numbered
harmonics of the reference frequency. The setting range is 0 to 3 and the set frequency is determined
as follows:

Set value

Frequency ratio

1 times the set ratio (1 x F)

1.41 times the set ratio (1.41 x F)

1 .57 times the set ratio (1 .57 x F)

1.73 times the set ratio (1.73 x F)

Thus, for example, if = 2 and = 3, the frequency will be 2 x 1 .73 or 3.46 times the keyboard pitch.
Generally, u will be set to 0 for most voices; high values are useful for creating unusual timbres.

Table 3 Frequency ratio determined by and settings

\ F

0.50

1.00

2.00

3.00

4.00

5.00

6.00

7.00

8.00

9.00

10.00

11.00

12.00

13.00

14.00

15.00

0.71

1.41

2.82

4.33

5.64

7.05

8.46

9.87

11.28

12.69

14.10

15.51

16.92

18.33

19.74

21.15

0.79

1.57

3.14

4.71

6.28

7.85

9.42

10.99

14.13

15.70

17.27

18.84

20.41

21.98

23.55

0.87

1.73

3.46

5.19

6.92

8.56

10.38

12.11

15.57

17.30

24.22

25.95

Turn ON operators one and four only for BRASS 1 and listen to the changes in sound as the frequency
ratio changes. The pitch will increase as the frequency of the modulator (operator one) increases,
resulting in a more brilliant sound.

• rt (Detune)

This feature allows the sound to be modified by slightly shifting the pitch of the operators. The setting
range of the operators is -3 to 3 (0 is the normal setting). A sound effect similar to a phaser can
sometimes be created by slightly shifting the pitches of the carrier and modulator. “Honky-tonk" piano
is also aided by pitch detuning. Shifting the pitch of the carriers of algorithm patterns which have more
than one carrier, such as algorithms 5 to 8, will allow the creation of a chorus-like effect.

-29 -

Envelope generator (A, D, S, D, R)

The envelope of each operator is set in the order A, D, S, D, R. The setting range of these components
are as follows:

Screen display

Function

Setting range

ATTACK RATE

0 — 31

Ist-DECAY RATE

0-31

SUSTAIN LEVEL

0-15

2nd-DECAY RATE

0-31

RELEASE RATE

0-15

Fig. 27 The parameters controlled by envelope generator

Note length

EG output level

Key is pressed Key is released

Gate time

The RATE is the rate at which change occurs. Change will occur at a higher rate as the setting value
becomes larger. An exception is that there will be no change if the RATE of the ATTACK, 1st DECAY,
or 2nd DECAY is set at 0. For example, if A is set to 0, the EG output level will not rise for ATTACK (there
will be no operator output). If the second D is 0, the output level will not fall for the second DECAY so
the level will remain at the sustain level until the key is released.

Try various envelope combinations with only operator four ON. Alter values after moving the cursor
to the A, D, S, D, and R of operator four.

- 30 -

Key scaling (Ks, KcL Rk)

This feature changes the EG response in relation to the pitch.

• Ks (Key Scaling select)

Choose either 0 or t as the level scaling curve (scaling in relation to EG output level). The value 0
decreases the output level as the pitch becomes higher (the “normal” setting); the value 1 decreases
the output level as the pitch becomes lower.

Fig. 28 Key Scaling Select

• Kd (Key Scaling depth)

This sets the amount of level scaling. The setting range is 0 (minimum) to 15 (maximum). The level
scaling will increase or decrease the level as you move up and down the keyboard according to the
curve set with Ks.

• Rk (Rate Key Scaling Depth)

This sets the amount of rate scaling (the EG rates change more rapidly as the keyboard pitch becomes
higher). The setting range is 0 (no effect) to 3 (maximum rate scaling). This is not affected by the Ks
setting.

Fig. 29 Rate Key Scaling Depth

LFO (LFO Svc. Wi Spd, ArncL Pmd A ms, Pms)

The LFO (Low-Frequency Oscillator) generates very low frequency signals which are used to modify
the voice. It allows the creation of vibrato and tremolo effects by changing the pitch and amplitude
of the voice. The LFO section has several related parameters that all affect the voice.

- 31 -

• wt (Waveform)

This selects the waveform of the LFO. The changes in pitch and/or amplitude (volume) will follow the
selected waveform. The setting range is 0 to 3:

Fig. 30 Wave form shapes

Setting

Waveform name

(0)

Sawtooth wave

Square wave

(2)

Triangle wave

(3)

Sample & Hold

(random values)

Pitch waveform

Volume waveform

• Spd (Speed)

This sets the speed (frequency) of the LFO. The frequency can be set between approximately 0.008Flz
and 53Flz. The LFO frequency becomes higher (more rapid changes) as the ; value becomes larger.
The setting range is 0 to 255.

Fig. 31 Relationship between set Frequency value and LFO speed

- 32 -

• Amd (Amplitude Modulation Depth)

This is a scaling factor which determines how much the LFO will affect volume (output level of the
carrier). The setting range is 0 to 127. The depth increases (more volume change) as the Amd value
becomes larger.

• Pmd (Pitch Modulation Depth)

This is a scaling factor which determines how much the LFO will affect the pitch of all operators. The
setting range is 0 to 127. The depth (amount of pitch change) increases as the value becomes larger.

• Syc (Sync)

This sets whether or not th e LFO i s synchronized to the playing of a note. Pressing IDELl activates
synchronization, pressing IHOMEI releases it. The Synchronization ON mode (1) means that the
waveform of the LFO will re-start each time the key is played whereas a 0 setting may catch the LFO
in the middle of a waveform. This is shown in the following diagram:

Fig. 32 Starting point of the LFO

• LFO (LFO Enable)

The FM Sound Synthesizer unit is capable of simultaneous output of a maximum of eight voices. This
means that each of the eight sound generators (called channels to distinguish them from the operators)
may contain different voice data. Although there are eight channels, there is however only one LFO
in the FM Sound Synthesizer Unit, and it can have only one voice-controlled setting at at time.

This may create difficulties at times, such as when you want to use the simultaneous output of “strings”
which require the LFO, and percussion which does not use the LFO.

The synthesizer LFO will always be reset by the i-FO data of the latest voice being played which could
make it impossible to define the LFO data for strings when they follow percussion voices which do not
use the LFO. This problem is solved through the use of the LFO Enable feature, which is usually set
to 1 (ON). Setting it to (OFF) will prevent LFO data, contained in the voice data, from being reset
by a newly selected voice.

★ Software such as the Yamaha FM Music Composer (YRM-1 01 ) is needed for the simultaneous output
of eight voices.

33 -

• Ams (Amplitude Modulation Sensitivity)

While the Amd setting determines how much LFO signal can be applied to the voice, it does not directly
affect the voice. Amd signal must go through a "gate” known as Ams. The sensitivity of the voice to
amplitude modulation can thus be altered for proper response when a number of voices are simul-
taneously output. Ams scales the voice’s LFO sensitivity to change the voice output level or volume.
The setting range is 0 (no amplitude modulation) to 3 (maximum amplitude modulation).

• Pms (Pitch Modulation Sensitivity)

Once again, this is a “gate” or scaling factor, but it controls how much the set Pn-c will affect the voice’s
pitch. The setting range is 0 (no pitch modulation) to 7 (maximum pitch modulation).

Fig . 33 Block diagram showing the relationship between Atm, Pno, and An,:,, Pms, for each channel

AMS

There will be no LFO effect in relation to pitch when either Pmd or Pms is 0. Similarly, there will be
no LFO effect in relation to volume when either Amd or Ams is 0.

-34 -

Velocity

The volume and timbre of the notes played on a piano will change when the keys are played harder
(keys pressed down faster). Some synthesizers have an initial touch response feature to simulate these
velocity-affected characteristics. These features normally monitor the speed at which the keys are
played (velocity) and adjust volume and other factors accordingly. The FM Sound Synthesizer unit
also has a feature which controls the volume and timber in accordance with velocity data. The Music
Keyboards (YK-01 and YK-10/20) have no ability to generate velocity data. However, velocity data can
be generated during automatic program playback, or when a MIDI Keyboard is used to allow notes
to be output from a velocity-sensitive DX synthesizer keyboard which then controls the computer’s FM
Sound Synthesizer unit.

The current strength of the velocity input data from MIDI or a remote keyboard is indicated on the
keyboard split line by a yellow mark (•). The (*) mark will move when the velocity is changed. The
velocity will become stronger as the mark moves to the right. The velocity data is normally set to the
central value. The strength increases when the [F3] key is pressed and decreases when the [F2] key
is pressed. These keys let you test the velocity sensitivity without having a velocity type keyboard.

Fig. 34 Velocity setting

Velocity indicator

i< i)

t “

■ -t- — — —

— — *f —

Weak

Strong

• Vs (Velocity sensitivity)

This sets the operator’s sensitivity to velocity data. In other words, it sets the degree to which the velocity
data causes changes in the output level of the operator. Each operator can be set separately. Increasing
the sensitivity of the carriers will cause changes in volume, whereas increasing the sensitivity of the
modulators will cause changes in timbre. The setting range is 0 (no effect) to 7 (maximum sensitivity).

Fig. 35 Velocity sensitivity

Weak

Velocity

Strong

Noise generator (Ne, Nf)

The FM Sound Synthesizer unit has 32 operators (8 voices x 4 operators) one of which can be used
as a special noise generator or as a normal operator. The use of this noise generator is somewhat limited
and can only be used for sound output of the section of the keyboard designed for comparison. The
[F4l key must be pressed after each new value is input during editing to allow the editing results to
be heard when the keyboard is played.

• Ne (Noise Enable)

This switches between the operator function and the noise generator function. The noise generator
is selected when the value is 1. To cancel the noise function during an editing session, set this value
to 0, then change the keyboard split point by pressing | SELECT] and playing a note on the keyboard,
then press fF4l .

• Nf (Noise Frequency)

This selects the type of noise. The setting range is 0 to 31. The bandwidth of the noise wil increase
as the value increases. The set noise appears on one side of the split point when the saved voice is
again loaded. This can be useful in conjuction with automatic playback.

Additional parameters

• Tr (Transpose)

This allows transposing in half steps. The setting range is -128 to 127 (change this value by 12 to
transpose one octave). If the transposed pitch of the note played exceeds the range of the sound
generator, the FM Sound Synthesizer will raise or lower the actual pitch in one octave units as required.
The transpose feature is very useful when you are using the keyboard for comparison. You may adjust
the overall pitch of instrument-1 so that exactly the same pitches are available on instrument-1 and
instrument-2.

• LR (Left Right Switch)

The FM Sound Synthesizer unit has stereo audio output jacks. Each jack can be selected (turned on/off)
for each voice. 10 is input when output from only the left side is desired, and 01 is input for output only
from the right. 1 1 specifies output from both jacks.

The input of 00 will result in no sound output.

no output

left channel

right channel

both channels

- 36 -

• Voice

There is a voice number displayed on the directory adjacent to each voice. The number appears in
parentheses at the top of an initialized voice. A name of up to eight characters and numbers can be
substituted in the parentheses, and will appear on the directory when the voice is saved. Use the [BS]
key to correct any mistake made when entering the voice name.

• Code

Numeric data within the range of 0 to 99 having absolutely no affect on the voice data can be entered
into the voices. This feature is useful for making personal memos such as to distinguish between voices
having the same name or to mark that is the standard key for a percussion voice, etc. You can keep
your own code list which defines, to you, what each code number means (the list is not a computer
function).

Other editing features

Loading the current voice to instrument-2

During the editing, when you want to compare current editing data with anticipated voice settings,
press [F4] to load the current settings to instrument-2 (lower keyboard section) and edit the same data
to compare.

This is also used when you want to check the effect of the noise generator.

Copying operators

You may want to copy the data of an operator to another operator in order to save time.

(1 ) Position the cursor over the data block of the operator to be copied.

(2) Press the iTABl key. The message OP copy n to appears in the command area, n is the number
of the operator to be copied.

(3) Type in the number of the destination operator and press [RETURN! .

Restoring an operator

You may restore an operator in the state it was before copy (see above).

(1) Press |CTRL[ 4- [TAB I . The message Ho . appears in the command area, n is the number
of the last operator whose data had been altered by a copy (see above).

(2) Press 0 or [RETURN] to restore the operator. Pressing another key will cancel the function.

★ You may only restore the last operator altered by a copy.

★ This will work even if you modified the data of the last operator obtained by copy.

Saving a voice in the temporary memory (buffer)

Pressing ICTRLl + \S\ has the same effect as the SA command.

Restoring a voice

Pressing [CTRL I + [R] has the same effect as the command.

-37 -

KEYBOARD SPLIT FEATURE

The music keyboard can be split at any note into two sections: one for editing and the other for
comparison. The section of the keyboard designated for editing can played to allow you to hear the
effect of modified voice data as it is entered for the purpose of checking. The voice sounded by the
comparison section of the keyboard will remain unchanged until you reset that section. This allows
sound creation to be carried out in the edit mode while comparing the previous voice on the comparison
section to the new voice on the editing section.

Keyboard for editing

(displayed on command and special-function tables as Instrument — 1)

The section of the keyboard above the split point is designated for editing; it can output a maximum
of seven voices simultaneously. The voice data specified when the edit mode is first selected is the
voice which is automatically set for this portion of the keyboard.

Fig. 36 Keyboard for editing

Keyboard for comparison

(displayed on command and special-function tables as Instrument — 2)

The section below the keyboard split point is a monophonic keyboard to be used for comparison
purposes. The current voice data is set for this keyboard by pressing the EH key in the edit mode.

Fig. 37 Keyboard for comparison

-38 -

The keyboard split point is automatically set as the lowest key on the keyboard when the program is
started. In other words, the keyboard for editing uses all the keys on the keyboard. To change the split
point, first press the 1 SELECT] key. The color of the ( # ) indicator on the line directly below the command
area will change from green to red. Next, press the key on the keyboard corresponding to the desired
split point. The red (•) indicator will return to its original green color and move to the selected position.
The green mark indicates the current position of the keyboard split point. The C on the line shows the
position of C notes on the keyboard to provide you with a relative index of the key position.

Fig. 38 Keyboard split indicator

Fig. 39 Example of change of the keyboard split point

- 39 -

m THE basics of voice creation,

Basics of voice creation using FM sound generation

The most simple algorithm possible for use with FM Sound Generation is one having a single carrier
and a single modulator. The first step is to master the basics of voice creation using only this simple
algorithm. Of course, all 8 algorithms available have 4 operators, so you will have to simply use 2 of
the 4. The “unused" operators can be turned off during editing by pressing ICTRLI plus the number
of the operator. For permanent disabling of an operator, set the output level (O) to zero (0). The
waveform of the sound can be altered by the manipulation of the parameters of the algorighm. The
following items may be altered to obtain major changes in the sound:

Table 3 The fundamental parameters of a sound

Item

Abbreviation in the

FM Voicing Program

min 0 , , max

setting a setting

Output level of carrier

0 (output level) of
each operator

0 <- ->127

Minimum level Maximum level

Output level of modulator

0 <— ->127

Mellow tone Bright tone

Feedback level

Fb (Feedback Level)

Of- — > 7

Normal tone Bright tone (noise)

Carrier frequency

F (frequency) and

IF (Odd-Harmonic
Frequency) of each
operator

0.50 F -> 15

Low pitch High pitch

0.50 f~ IF -> 25.95

Modulator frequency

0.50 f- F — >15

Close harmonics Separated harmonics
0.50 <- -> 25.95

The frequency of the modulator and carrier shown is not the set value. It is, instead, the final frequency
ratio determined by F and IF (refer to page 30). The following items are the same.

Skillful manipulation of the above parameters allows the the use of the FM Sound Generation section
for determining pitch, timbre and volume.

Algorithm

If you are not already there, press [FT] to return to the command window and clear the data of voice
number one using Kl 1, then switch the unit to the EDIT mode (by pressing [FT] key). Enter the following
data:

Algorithm -> 5
OP1, 2 -* ON
OP3, 4 -*• OFF

(OP is the addreviation for operator)

-42 -

Output level of carrier

This can be considered to be the audio signal volume control because the carrier output is converted
to an audio signal output.

OP2 Output level -► 0 ~ 127

Output level of modulator

In the FM Sound Generation process, the modulator output signal modulates the carrier to produce
harmonics which did not exist in the original carrier. This creates the tone or timbre and thus the output
level of the modulator can be considered to be equivalent to the timbre control. (This is an over sim-
plification of this process as modulators can affect volume, and carriers can affect timbre.)

OP1 Output level -► 0 ~ 127

Raising the output level of OP 1 (modulator) will cause the generation of brighter voices.

Feedback level of an operator

Feedback means that the operator (always OP1 in the FM Sound Synthesizer Unit) is frequency mo-
dulating itself. Applying feedback to the carrier (OP1 is a carrier in algorithm 8), will affect timbre in
almost the same way as adjusting the output level of a modulator. However the modulator has this
function in most algorithms. When feedback is applied to operator 1 and that operator is serving as
a modulator (as it does in algorithm 5) , the additional modulation will further strengthen the effect
of that operator and you may wish to lower its output level.

Feedback level — ► 0 ~ 7

Setting the output of the modulator to a high level (more than 115) and then increasing the feedback
level (assuming OP1 is a modulator) will tend to generate noise. The noise components will vary ac-
cording to the set modulator frequency. The same effect can be obtained by employing up to three
modulators in series with one carrier and setting the output of each modulator to a high level.

Carrier frequency

The carrier output is converted to the actual audio signals. When there is one carrier, the pitch of the
audio signal is determined primarily by the carrier frequency (modulators can affect this, too). What
happens when there are two carriers? The following example uses OP4 as well to answer that question.

OP2 ON
OP4 -> ON
OP1, 3 -> OFF

The following three effects can be created by altering the ratio between the pitch of the two carriers.

• When the pitch ratio of the two carriers is set to low integers (1:1 through 1:6)

OP2 Frequency — ► 0 ~ 6
OP4 Frequency — ► 1

The pitch of the two carriers will harmonize to create a new voice (as does the coupler effect of an organ).
In this case, the carrier having the lower frequency determines the perceived pitch.

- 43 -

• When the pitch ratio of the two carriers is set to high integers (1:7 through 1:15)

OP2 Frequency — ► 7 ~ 15

The pitch of the two carriers is far apart and two separate sounds can be heard: a high one and a low
one. If the pitch ratio does not have harmonics of 2, 3 or 5 (for example 1:7), the pitch of the two carriers
will not harmonize and a dissonant sound will be heard.

• When the ratio is a non-integer

OP2 Frequency — ► 1
OP2 IF value — > 1 ~ 3

The pitch ratio can be made to be a non-integer through the use of the Odd-Harmonic Frequency
feature. There will be absolutely no harmonization and the sound will seem to come from two separate
sources.

Voice effects which can be created by altering the pitch ratio of the carriers

Pitch ratio

Effect

Low integer 1:1 ~ 1:6

Perfect harmonization of the two carriers

A new voice is created (Coupler effect)

High integer 1:7 ~ 1:30 (= 0.5:15)

The two sounds seem separated

Non-integer 1:1.41 ~ 1:51.9 (= 0.5:25.95)

The two sounds are totally separate

Modulator frequency

The modulator is the signal which, when fed into the carrier, creates harmonics which were not in the
original carrier. This produces the timbre characteristics of various voices. The modulator frequency
(or, more correctly, the frequency ratio in relation to the carrier) determines the frequency of the har-
monics to be produced. The modulator output level determines the relative level of each harmonic. A
feel for the use of this function is very important when creating original voices.

Al — > 5

OP1, 2 ON

OP3, 4 OFF

OP1 Output level — ► 115
Feedback level -> 0

— 44 —

• When the pitch of the modulator is higher than that of the carrier

Leave the pitch of the carrier (OP 2) at 1 and raise the pitch of the modulator (OP 1 ).

OP1 Frequency (F) — ► 0 ~ 15
DPI IF value 0 ~ 3

Moderately increasing the frequency of the modulator (raising the pitch ratio in relation to the carrier)
will cause the generation of higher-frequency harmonics and a brighter tone. Further increases will
create higher harmonics while simultaneously creating harmonics lower than the carrier pitch. As the
pitch ratio of the modulator to the carrier approaches the maximum, the normal pitch relationship
may be destroyed and the timbre may suddenly change to a new one. This effect is created when the
higher harmonics extend beyond the audible range and the lower pitch takes over the control of the
pitch effects.

• When the pitch of the modulator is lower than that of the carrier

This permits the creation of various effects through the manipulation of the carrier (OP2 in this case).

OP1 Frequency 0
OP1 IF value -► 0
OP2 Frequency — ► 0~ 15
OP2 IF value -► 0 ~ 3

The concept of algorithms

Algorithms affect a great number of voice attributes. The algorithm currently being used for exper-
imentation can create a large number of voices, but even more can be created with different algorithms.
For the sake of clarity, the following description classifies algorithms by the number of carriers they
contain.

Algorithms having one carrier (1 — 4)

When one of the operators is being used as a carrier, the rest may function as modulators. This means
that bright sounds will probably be produced. Switching between the algorithms and comparing the
generated voices will show that algorithm patterns having one carrier are used for the brightest sounds.

OP1 ~ 4 Output level — ► 110
Feedback level — > 0
Algorithm — * 1 ~ 4

When algorithm one is selected, setting the feedback and output levels of all the operators at their
maximum, produces a voice containing excessive noise components.

Algorithm 1

OP1 ~ 4 Output level — ► 127

Feedback level — > 7

OP4 Frequency -» 15

OP4 IF value -*> 3

- 45 -

This sound is called white noise. There is absolutely no pitch created by the carrier because all fre-
quencies are present already. White noise means that noise components are randomly generated
across the entire audio frequency range. This is similar to the sound of hiss when you blow through
closed teeth, or the sound of the wind. (Analog synthesizers use a special noise generator to create
this sound.)

Algorithm patterns using one carrier can be used to create voices having extreme harmonics, but subtle
voices having complex waveforms can also be generated. It depends on the specific value selected
for the output level of each modulator. This kind of algorithm is most appropriate for the creation of
single instrument sounds.

Algorithms having two carriers (5)

This type of algorithm is an all-purpose pattern which permits a wide variety of voices to be created.
Elaborate voices can be produced because there are two modulators in addition to the two carriers.
Shifting the pitch of the two carriers can create a chorus effect, or the algorithm can be divided into
two halves, each with completely different sounds, for more complex voices. For example, algorithm
five can be used to create a flute voice. Operators three and four can be used to create the basic flute
“pure tone” sound, while operators one and two add a breathy character.

Algorithms having three or four carriers (6 — 8)

This type of algorithm pattern is used for the creation of rich and textured voices. For example, shifting
the pitch of each carrier slightly will result in a chorus effect similar to the sound of a number of in-
struments being played simultaneously. Select algorithm eight and use the DETUNE feature to slightly
shift the pitch of each of the four carriers relative to each other. This allows the creation of a ensemble
(string, vocal, etc.). Algorithms, such as number eight which has four carriers, are perfect for the creation
of organ-like voices through the coupler effect.

The concept of voice creation

The following is an actual example howto create a voice from scratch. The example used is the creation
of the voice of an electronic piano.

Voice creation flow chart

There are a number of different procedures for the creation of voices. The approach outlined below
is a reasonable way to proceed.

- 46 -

Operation

Parameter of FM Voicing Program

K! command

L ' and IF
o

EG A, 0, S, D and R
Ks, Kd and Rk

LEO, Dt and Vs

Initialization of voice data

Initialize voice number one by using the KILL command. This is done by entering Kl 1 followed by
IRETURNI . Initialization of voice data means that the voice data is set to a state which can be likened
to that of a blank sheet of paper. This does not mean there is no data but, instead, it means that there
are certain parameters which create a “pure" sound which is then edited to obtain the desired voice.

Selection of algorithm

After the voice data has been initialized (using [FT] , then Kl 1), switch from the command mode to
the edit mode. Voice number 1 was initialized so 1 is entered and the IRETURNI key pressed. The in-
itialized voice data from voice 1 will be displayed on the screen. Algorithm 8 is selected for the initial
voice. A different algorithm which is more suitable for the sound of an electronic piano is selected. Set
Ai to 5 for the selection of algorithm 5. This algorithm pattern has two carriers, is easy to use, and allows
the creation of a relatively wide variety of sounds. In this example, OP1 and 2 are used for the main
piano tone while OP3 and 4 are used to create a metallic echo-like “tine" sound.

Fig. 40 Algorithm

Feedback

Modulator

Carrier

Modulation signal

Audio signal

-47 -

Setting of operator frequency

The next step is to set the frequency of each of the operators. The frequency can be set by F and IF,
but in this example only f is set. The frequency of OP3, which is the modulator of OP4, is set to 10 in
order to create a metallic ring. The other operators are all left at 1 .

Setting output level of operators

This step alters the output level of the modulators to adjust the timbre. When adjusting the level of
OP 1 . set OP 3 and 4 to OFF ( [CTRLl + l3l . ICTRLI + 0 ) so that sound is output only from OP 1
and 2. Set OP 1 to about 1 15 for a fairly bright sound, and set OP 3 to 80 so the pitch sensitivity is not
decreased and a metallic echo-like sound is produced. There is only feedback for OP1, and it is set
to 2 in order to increase the brightness of the voice.

Setting EG

It is now time to set the volume and timbre envelopes. This will transform the voice, which now sounds
like an organ, into that of an electronic piano. OP 1 ~ 2 and OP 3 ~ 4 should be adjusted separately,
then put together in the final stage to let you hear the total sound. OP 1 ~ 2 are adjusted first. The
attack of this portion of the voice is given greater emphasis by altering the OP1 and OP2 envelopes.
OP 1 is the modulator. There will be a greater number of harmonics, but only on the attack, after which
the character of the voice changes very little.

ATTACK

Ist-DECAY

SUSTAIN

2nd-DECAY

RELEASE

OP1

OP2

Fig. 41 Envelop shape for OP1 and OP2

EG of OP1

EG of OP2

The settings of OP3 and of 4 are adjusted next. This is the metallic echo effect, so an envelope sharper
than that of OP1 and 2 is desired. The setting of the carrier (OP4) is the same as that for OP2, and is
adjusted later by key scaling. Set the envelope of the modulator (OP3) so that there is relatively little
change in the character of the voice.

ATTACK

Ist-DECAY

SUSTAIN

2nd-DECAY

RELEASE

OP3

OP4

-48 -

Fig. 42 Envelop shape for OP3 and OP4

EG of 0P3

EG of 0P4

Key scaling

The above setting will create a voice very similar to that of an electronic piano. Next, use key scaling
to shorten the high notes and compensate for the high timbre notes which are too bright. Rate scaling
adjusts the attack and release times of the notes, while level scaling is used for tonal character and
volume. The level scaling curve is 0 in order to reduce the intensity of higher pitched sounds.

OP1

OP2

OP3

OP4

The use of this key scaling procedure to edit the envelope shortens the overall length of the envelope
across the keyboard, through more or higher notes. The original EG settings were selected with this
scaling in mind. The length of the envelopes can be adjusted by the individual operator EG settings.

Re-adjustment of voice data

The setting of the voice components is now complete. However slight changes in almost any setting
such as the EG, can still change the voice. The final voice can be “fine tuned” by the adjusting the
output level of the operators and the level of feedback. For example, if you think the metallic echo is
too strong, the output level of operator four can be reduced. There will be cases where the maximum
or minimum frequency of the operators is exceeded and the sound will thus automatically be lowered
or raised by one octave. This is changed manually by the transposing (Tr) feature.

The volume is more likely to become too high in cases where there are two carriers, such as in the
example given here, compared to when there is only one carrier. Thus, sometimes you will want to lower
the volume while considering the balance between the carriers. The adjust feature (Aj ) is useful for this.
Setting only the Aj of the carriers allows the total volume to be adjusted without changing the balance
between the carriers.

-49 -

Adding of effects

Effects such as tremolo or chorus are added in this final step to make the created voice resemble that
of an electronic piano even more.

The tremolo effect is added by the use of the LFO. Set the the LFO to 1 , then select waveform two (triangle
wave) for a moderate tremolo effect. The speed is then set to an appropriate setting of approximately
1 90 to 1 95. Use the Amd feature for setting the depth of the tremolo. There is a close relationship between
the Arris and Amd features. Set Amd at 10, which gives little range to Ams. Change Ams to 1 for a
very slight tremolo effect. Pmd and Pms are set to zero because this voice does not use a vibrato effect.
The chorus effect is created by shifting one of the carriers slightly, and a phase effect is created by
shifting one of the modulators slightly. This richer sound is sound is obtained by setting the Dt of OP
1 to -3 and the Dt of OP 4 to 3.

Velocity sensitivity

Finally, since the voice created is that of a piano, set the velocity to control the volume and voice
character. The simplest way to do this is to set the Vs of all the operators to 1.

The velocity data can be changed, and the sound checked by the use of the (F2j and [F3] keys. If you
are using a Music Keyboard (YK-01 orYK-10/20). If you are using a MIDI Keyboard, the velocity sensitivity
setting can be checked immediately.

- 50 -

.SOME EXAMPLES OF SOUND CREA TION —

There is a shortcut which can be used to create sounds much more easily. This is through the copying
of existing voices. This is not simply wholesale imitation, but instead is the process of creating a new
voice while checking it against the sound of an existing voice. It is often much easierto modify an existing
voice to fit your image of some original sound you wish to create than to start from scratch. This section
chooses a number of voices from those stored in the FM Sound Synthsizer unit and explains the process
of sound creation after the voice has been initialized.

The creation of brass voices

Let’s create a voice in the FM Sound Synthesizer unit from scratch. This example uses voice three
(TRUMPET) as a base. Be sure to follow the following steps carefully when creating a voice from scratch.

Algorithm

The algorithm of BRASS 1 is 3. This pattern uses one carrier, and is perfect for the creation of brilliant
brass sounds. The three modulators each with its own EG, permit the generation of a wide range of
changes within the harmonic structure.

Operator output level and Feedback

The output level of the carrier OP4 can be left at 127. The output level of OP1 ~ 3 can be moderately
adjusted within the range of 90 ~ 110. Feedback is very important for this voice and is set to its highest
value(7).

Frequency of operators

The basic setting of all the operators can be 1. OP2 can be set to 2 for a slight metallic echo, further
improving the sound of the brass instrument. The output level of OP2 is set at 94 for a very subtle sound.

The EG is also very important for creating a brass voice. All of the operators have a slow attack. Set
attack, or A, for the modulator (OP1) so that it is slightly slower than any of the carriers. This creates
the special attack characteristic that brass instruments have. If carrier (OP4) attack is slower than the
modulator attack, there will be no character change detectable in the attack section, and the sound
will resemble that of an organ. The A data (attack) of the three modulators should all differ slightly to
create even more realistic character changes.

Key scaling

The sharpness of the higher keys will be lost when a slow attack envelope is set. The rate scaling feature
corrects this so that the voice sounds natural when fast passages are played. Rate scaling is set at 1
to 2 for all operators to preserve the rapid attacks of the higher notes of brass instruments.

LFO

With brass instruments, the pitch of notes played for a long time is going to waver no matter how good
the musician is. This effect is emulated by the LFO. Set the vibrato effect to a barely detectable level
(LFO assigned to pitch via Pmd and Pms).

- 51 -

Fig. 43 Settings for a brass voice

> 1 < i )

! < B R A SS 1) ! L F 0 1

Code 1 ! f' " | I S y c 0

Tr 0 i A 1 3 [ m L -EM- ! Wf 2A

LR 11 ! Fb 7 _ Spcj200

Pins 2 i N+ 0 • Pmd 30

Q] FI

A13«

D em

S 14HH

D 21^

0112HH

IF 0
Dt 0
Ks 0
Kd 5
Rk 2
Vs 5

A j 0

Pi 15mm ! Dt 2

D Bm !Ks 0

S 14MM ! Kd 4
D 0 ! R k 1

R 8MI !Vs 5

0 95M * A j 0

GD f i

A 21 mmm

D 14IM

S 1 3HHB

D 0

01043m

IF 0
Dt 0
Ks 0
Kd 4
Rk 0
Vs 5
A j 0

0 f i : i f 0

A18M ! Dt 1

D 31 !Ks 1

S 13BM ! Kd 2
D 0 ! Rk 1

R 8^ IVs 4

0127BBM 1 A J 0

The creation of string voices

The next example uses as its base STRING 1 , which is voice number 4.

Algorithm

Algorithm pattern 3 is also used for STRING 1 . This has one carrier and three modulators, an algorithm
used for voices having a high degree of character change. It is used in this example to reproduce the
complex sounds of string instruments.

Frequency of operators

OP1 , 3 and 4 remain at 1 . The pitch of OP2 is set to 5 for creating the delicate texture associated with
string instruments.

Output level of operators and Feedback

The output level of the modulator must not be too high. The appropriate setting is about 80 to 120. If
the output level of the modulators is raised above this, the voice will begin to resemble that of a horn
instrument, with some additional noise components. The feedback is used to reproduce the feeling
of the vibrating string, and is set to 7.

String instruments also have a slow attack, so that attack, or A, of the carrier is slowed down slightly
by setting it between 13 and 15. The modulators are set faster than the carrier. The R (release) of the
carrier is also slowed down slightly (5-6) to simulate the sound of an ensemble. This causes the sound
to linger after the key has been released.

LFO

Vibrato is one the most important characteristics of string instruments. However, since this is an or-
chestral sound, there is no need for the deep vibrato heard with solo string instruments.

Transposing

Transposing lowers the pitch by one octave to obtain a richer middle and lower range sound.

-52 -

Fig. 44 Settings for a string voice

> 4 < 1 >

„ . ! (STRINS1) ! LFO 1

Code 1 i i — i I b y c 0

Tr - 12 ! A1 3 “Q 1 — ! W? 2/\

LR 11 ! Fb 7 ! Spd202

Ams 8 Ne 0 dHlj ! Amd 3

Pms 3 ! N-f 0 w ! Pmd 60

CD fi

A 25mmmm

T 10H

S 14i^H

J> 0

R 5m
O103BH

IF 0
J>t 1
Ks 0
Kd 2
Rk 1
Vs 2
A j 0

d am

S 10H

D 0

012oSm

I F 0
Dt 1
Ks 0
Kd 5
Rk 1
Vs 1
A j 0

GQ FI”

a 2 smmmm

D 13H

S 13HH

J> 0

o ssSLn

“IF 0
J>t 0
Ks 0
Kd 4
Rk 1
Vs 2

A j 0

E) FI

A^’jL 4hi

D 4m

s ±5mmm

D 0

012?SLh

IF 0
3>t 1
Ks 1
Kd 1
Rk 1
Vs 5
A j 0

The creation of pipe-organ voices

The final example uses PORGAN 1 which is voice number 14. This voice uses two carriers.

Algorithm

PORGAN 1 uses algorithm pattern 5, which has two carriers and two modulators. This "all-mighty”
voice allows close control over the sound because the voice components can be divided into two parts.
In this example, the voice is divided into the set of OP3 and 4, used for the deep reverberations of the
pipe organ, and the set of OP1 and 2 for the high-frequency reverberations. Both of these can be
programmed independently.

Frequency of operators

OP3 ancL4 are set at 0 for the deep, low reverberations of the pipe organ. OP1 and 2 for the high-fre-
quency reverberations of the organ are set to 8 and 4 respectively. The harmonic ratios are thus 1:2
and 4:8. This produces the couple effect of the organ (two pitches harmonizing to create a new sound).

Output level of the operators and feedback

Output level of the modulators must be prevented from becoming too high. There is no need for
feedback.

The attack of the pipe organ is probably not as slow as you think. If it is too slow, the sound will begin
to resemble the old foot pedal-driven organs. The appropriate level of the A of the carrier is 16 to 18.
Taking the construction of a pipe organ and the conditions of the hall where it played into account,
together with the intention of causing some reverberation to remain after the keys are released, the
R setting of both the carrier and modulator is between 5 and 7.

Key scaling

Rate scaling corrects the overly long reverberation that tends to occur after the higher keys are released.
Level scaling is applied to the modulators and limits the frequency modulation on the higher keys for
a clearer voice.

-53 -

Detune

The sound is made richer by the use of the detune feature with the two carriers and two modulators.
This provides both a chorus and a phase effect.

- 54 -

INTRODUCTION TO THE FM SOUND SYNTHESIS

Basic knowledge needed to create sound

A piano and a flute both cause air to vibrate, which we perceive as sound. Both can play an “A” at
440 Hz or so, depending on their tuning, yet each instrument has its distinctive sound, Differences in
the way each instrument creates sounds are identifiable, and explain why they sound different. Syn-
thesizers can be programmed to create sounds with similar pitches, but with different harmonic content,
volume “envelopes”, and so forth — factors that aid in creating widely varied sounds.

The FM Voicing program II lets you create various sounds by controlling the factors which comprise
and particular sound. Before the FM Voicing Program II can be fully enjoyed, the factors that govern
the sound must be understood.

What is sound?

Sound can be considered to originate from the vibration of a object. This vibration passes through
the air and reaches our ears as “sound”. It is difficult to imagine the components of this sound because
sound can not be perceived by the eye.

To help you visualize sound, a microphone can be used to convert the vibration of the air (changes
in air pressure) into electric signals. These electric signals can then be converted into visual images
by connecting the microphone to an oscilloscope. The visual images which appear on the screen of
the oscilloscope are referred to as waveforms. This explanation will frequently refer to the term
waveform. It is best to simply consider waveforms to be the same as the visual image of a wave.

Fig. 46 Visualisalization of a waveform

Sound

Source

Vibration of air

Electric signals

Oscilloscope

Preamplifier

The three components of sound

• The pitch

A piano or guitar produces a sound which has a fundamental frequency (or pitch) proportional to the
length of the struck or plucked string. The pitch of the sound can be changed by altering the length
of the vibrating section of the string. This alters the number of times that the string will vibrate in a
given time period. For example, a low pitch means that the string is vibrating relatively slowly. This
principle allows the pitch of the sound to be expressed in terms of the number of vibrations per second
(frequency).

• The timbre

However, while the pitch of a certain note is the same for a piano and guitar, the waveform and tonal
character (timbre) are quite different. This is determined by the way that the sound is generated. The
size and shape of these instruments are going to result in the strings of the instruments vibrating dif-
ferently. The way the vibration is produced can be expressed by a waveform. The shape of many musical
instrument waveforms may appear at first glance to have no rhyme or reason to them, but actually

- 56 -

all waveforms are composites of sine waves. If we state this in reverse, a waveform of any shape desired
can be created by combining sine waves together. For example, the diagram shows what happens
when sine waves which are multiples (double, triple, etc.) of the original sine wave are added. The wave
begins to resemble a saw tooth wave as higher-multiple sine waves are added to the original sine wave.
The original sine wave is called the fundamental and subsequent sine waves are composed of differing
harmonics. The tone or timbre (waveform) of an instrument is determined by the number and relative
volume level of harmonics.

Fig. 47 Sawtooth waveform as a superposition of sine waveforms

Amplitude

The following BASIC program will display the above diagram on your monitor screen, showing how
addition of harmonics progressively approximates the sawtooth waveform. This program also allows
for similar representation of square and triangular waveforms. To stop this program, press ICTRL1
+ ISTOPl

10 DIM U ( 160) :P=ATN(1)/20:SCREEN 0:COLOR 15 , 4 „ 7 : PRINT "Wh i c h wave form? PRINT
20 PRINT ,f 1“ Saw tooth": PRINT "2=Squa re” : PRINT "3=T r i ang Le " : PRINT : PRINT rr 1 /2/3 ? ' r :

30 A$=INPUT$ ( 1 ) : IF INSTRi "123" ,A$)=0 THEN RUN 10 ELSE C-VAL(A$)

40 SCREEN 2: COLOR 15,4,7 : OPEN "GRP : "AS1 : H-0 : N=1

50 ON C GOSUB 120 , 130 , 140 : IF A<>0 THEN H=H+1:CLS:0N C GOSUB 170 , 180 , 190 : ELSE 90
60 PRESETC16, 180) :PRINT#1, "Fundamental"; :IF N>1 THEN PRINT#1 . "+ " : H-l ; "Ha r moni c s "
70 GOSUB 200 : PRESET (100,0) : PRINTrfl , "Hi t Space Bar"

80 IF INKEY$oCHR$ (32) 1 HEN 80

90 N=N+1 : IF H<10 THEN 50 ELSE LINE (0 , 0) -STEP ( 255 , 8) , 4 , BF
100 PRESET (16,0) : PR I NT# 1 , "Hi t Space Bar to restart"

110 IF INKEY$=CHR$<32> THEN RUN 10 ELSE 110
120 A=2/N/P: RETURN

130 IF N MOD 2=0 THEN A=0 ELSE A=3/N/P: RETURN

140 IF N MOD 2=0 THEN A=0: RETURN: ELSE S=(N-l)/2

150 IF S MOD 2=0 THEN A=1 ELSE A=-l

160 A=A/10/ (N*P) ^2 : RETURN

170 PSET (40,90) :DRAU)"U80 F160 U80 L160" : RETURN

180 PSET (40,90) :DRAW"U60 R80 D120 R80 U60 L160" : RETURN

190 LINE (40, 90) -STEP (160,0) : LINE ( 40 , 90) -STEP (40 , -80 ) : LINE STEP ( 0 , 0) -STEP (80 , 160)
: LINE STEP(0,0)-STEP(40,-80) : RETURN

200 F=0 : FOR 1=2 TO 160 STEP 2 : HR=A*SIN ( I*P*N ) : Ul( I ) =U ( I ) +HR

210 PSET (40+1, 90. 5-HR) : LINE ( 38+1 , 90 . 5-Ui ( 1-2 ) ) - (40+1 , 90 . 5-W ( I ) ) : NEXT: RETURN

-57 -

The pitch of the sound is determined by the number of times per second (frequency) at which the
fundamental vibrates. Strictly speaking, pitch is a subjective value and also depends on absolute volume
level. We often use the term pitch when we are really concerned with the fundamental frequency.

• The volume

The amplitude of the vibrations (in the above example, the height of the sawtooth waveform) corre-
sponds to the volume of the sound.

Thus, we can say that the subjective differences that we perceive in sounds are a product of the dif-
ferences in pitch, tone, and volume. The three components of sound that affect these differences are
the frequency of the fundamental, the waveform (or harmonic structure) and the amplitude.

Changes in sound over a period of time

There is another principle which must be grasped regarding the differences in sound. When a note is
played on, for example, a piano, an initial sound (attack) will be heard when the key is first struck. The
sound will gradually change as the key is held down. In terms of volume, there is a sudden, loud initial
sound which then gradually diminishes. In terms of harmonics, the beginning of the note will contain
a large number of harmonics but the number will decrease as the note decays. Many complex changes
occur in the note from the instant it is produced until the point where is decays to inaudibility. We refer
to this relationship between time and the change in the sound as the “envelope”. This is very important
from the viewpoint of sound creation because differences in the envelopes of two voices will result in
two completely different voices even though the frequency of the fundamental and each harmonic
may match exactly. There are envelopes for overall volume, as well as for harmonic structure. However,
the harmonic envelope is nothing more than a series of volume envelopes: one for each individual
harmonic.

Fig. 48 Volume envelope model for the (har- Fig. 49 Voice envelope model fundamental of a
monic envelope) piano note for a piano

Volume

Timbre (number of harmonics)

Key is struck

Complex waveform with many
harmonics during attack
Harmonics decrease and waveform
begins to resemble

.Ar sine wave

Time

What is sound synthesis?

The electric signals visualized in Fig. 46 can be re-converted into sound by using an amplifier/speaker
system. Actually, an electric guitar is working according to this principle: the sound created by the string
vibrations is converted into electric signals by microphones, then the electric signals are sent to an
appropriate amplifier. This amplifier is provided with several control functions such a volume, tone,
etc., allowing for an easy control of the output sound, that is impossible with acoustic instruments.
Sound synthsizers use a different method: electronic circuitry directly produces electric signals. Thus,
a synthesizer does not produce sound by itself and, as a consequence, the electric signals generated
by a synthesizer are completely free of ambient noises. A sound synthesizer essentially consists in a
multitude of oscillators (circuits generating elementary waveforms) associated with several control
functions allowing you to combinate elementary waveforms in order to obtain a desired resulting
waveform.

-58 -

FM sound generation

What is FM?

You probably associate the word “FM" with a type of radio transmission. The “FM’’ band on your radio
and the “FM”of “FM Sound Generation” are the same. They both stand for “Frequency
Modulation:”. This is the technique of varying the frequency of a sound by the use of another frequency.

Although both the FM of your radio and the FM of FM Sound Generation have the same narrow,
technical meaning, the application is quite different.

The audio signals (contents of the brodcast)of an FM bradcast ride on a very high frequency radio
carrier. The frequency of the carrier is changed slightly by the audio signals. The carrier frequency is
the frequency allocated to each station, the same as that which appears on your dial. This frequency
is extremely high (millions of Hz) so as to permit the transmission of radio waves through the air and
reception with small antennas. The audio signals are in the range audible to the human ear (approx.
20 to 20,000 Hz) and are known as the modulation signal. The difference in frequency between the
carrier and audio signal modulator (so called because it modulates the frequency of the carrier) is
great. Therefore, the carrier frequency changes about 1% at most due to the modulation, and its
waveform is not greatly affected.

What happens when the frequency of he carrier is lowered, thus making the frequency of the modulator
and carrier closer to one another? In this case, when both carrier and modulator are in the audio
frequency range, the carrier waveform will be altered significantly, and a wide range of high and low
frequency components will be produced. This is the operating principle used to generate the sound

Frequency modulated waveform

of musical instruments through FM synthesis.

Fig. 50 Changes in the waveform caused by FM

Carrier waveform

FM Sound Generation allows direct control of the frequency, timbre and volume of sounds. This is a
radical departure from analog synthesizers which have been used up to now. Analog synthesizers
function by filtering out unwanted harmonics from harmonic-rich waveforms created in the
sound-generation section (oscillator) to obtain a desired waveform. FM Sound Generation allows the
desired waveform to be created directly by adding and modulating sine waves, allowing a much wider
range of possible sounds with more precise control of harmonic structure. Traditional electric organs
have used purely additive synthesis, where sine waves had to be supplied for each harmonic, but FM
creates additional harmonics through the interaction of sine waves (modulation), and is therefore
more efficient. The efficiency of FM makes it possible to synthesize more complex sounds with far less
complex circuitry than additive synthesis.

The following BASIC program will display diagrams similar to Fig. 50, giving also the waveform resulting
from a pure additive synthesis (two carriers) for comparison. You may vary the amplitude of operator
1 by using the [f| and [J] cursor keys; the (*E3 and E3 cursor key control its frequency. Press the
space bar to enter the selected values. To stop this program, press ICTRU + ISTOPI . For each setting,
the FM waveform structure is more complex than the structure of the waveform obtained by pure ad-
dition. You can also observe that a small change in modulator amplitude causes significant changes
in the FM waveform.

10 SCREEN 2: COLOR 15,3,7: CLS : OPEN "GRP : "AS1

20 P=ATN (1 ) / 12 : F--3 : L-20 : DIN U <3 , 1 '> , SUi (96) : IL-11 : GOSUB 130

30 PRESET (32,116) : DRAUJ"C1 R8 BR16 R8 ND16 BR32 R8 U20 L8 R8 D10 R40 fr

40 GOSUB 140 : J0-0 : GOSUB 170 : J0=1 : IL=3

50 IF INKEY$-CHR$ ( 32) THEN RESTORE :F0R 1=1 TO 3:

60 IF INKEY$=CHR$(32) THEN RESTORE 280:GOSUB 130: GOSUB 170

70 S-STICK (0) : IF S MOD 2-0 THEN 60 ELSE IF S=1 THEN L-L+2 ELSE IF S=5 THEN L = L-2
80 IF L<0 THEN L-0 : BEEP : GOTO 60 ELSE IF L>100 THEN L=100 : BEEP : GOTO 60
90 IF S=3 THEN F-F+l ELSE IF S=7 THEN F-F-.5
100 IF F> . 5 THEN F-INT(F)

110 IF F< . 5 THEN F= . 5 : BEEP : GOTO 60 ELSE IF F>10 THEN F=10 : BEEP: GOTO 60
120 GOSUB 140: GOTO 60

130 FOR 1=1 TO IL : READ XI , Yl , X2 , Y2 , X3 , Y3 , C , A3 : GOSUB 160 : NEXT : RETURN
140 LINE (16, 68) -STEP (96, 8) , 9 , BF : PSET ( 17 , 69 )

150 PRINT #1 , "F= " ; RIGHT $ ( STRS ( F ) ,2) ; ,r L= " ; RIGHTS ( STR$ (L. ) . 3 ); "% ,r : RETURN

160 LINE ( XI, Yl ) -STEP (X2, Y2> , C , BF : PSET (X1+X3 , Y1 + Y3) , C : PRINT#1 , A$ : RETURN

170 FOR J = J0 TO 3 : U ( J , 0) =0 : NEXT : A-L/4 : FOR 1-2 TO 96 STEP 2:B=I*P

130 FOR J=0 TO 3: ON J+l GOSUB 190 , 200 , 210 , 220 : NEXT J, I: RETURN

190 UIC0, 1)=25*SIN(B) : SW ( I ) =UI (0 , 1 ) : X-144+I : Y=38 . 5 : GOSUB 230: RETURN

200 U ( 1 , 1 ) =A*SIN < F*B ) : X-16+I : Y=38 . 5 : GOSUB 230 : RETURN

210 UK 2 , .1 ) =25*SIN ( B + U.J ( 1 , 1 ) /2 . 5 ) : X= 1 6+1 : Y= 1 62 . 5 : GOSUB 230:RETURN

220 UJ (3,1) =W (1,1) +SU ( I ) : X-144+I : Y-142 . 5 : GOSUB 230 : RETURN

230 LINE (X-2 , Y — UJ ( J , 0) ) - (X , Y-U ( J , 1 ) ) : UJ ( J , 0) =Ui ( J , 1 ) : RETURN

240 DATA 16,0,8,8,1,1,6,1,144,0,8,8,1,1,6,2

250 DATA 16,108,16,16,5,5,6,1,40,108,16,16,5,5,6,2

260 DATA 80,88,16,16,5,5,6,1,80,108,16,16,5,5,6,2

270 DATA 144, 8,96, 60, 0, 0,4, ,,H , 144, 68, 96, 8, 1,1, 9, "F= 1 L.=100%"

280 DATA 16,8,96,60,0,0,4, " " , 16, 132 ,96,60,0 ,0,4 , " " , 144,92,96, 100,0,0,4, ""

FM Sound-Generation System

Instead of an oscillator, something, called an operator is used in the actual FM Sound-Generation
System. The operator is a digital, computer-like equivalent of a sine wave oscillator, with envelope
generator and modulation capability. This operator can be used to create either a carrier or a modulator,
as shown below. Each operator receives the instructions (data) for determining the frequency and the
output level, then reads the sine wave from the memory according to that input data. An envelope is
added to the wave which was read from the memory, and the resultant wave is output. If the output
is to be used as an audio signal, this operator is the carrier. If the output is sent to the next operator
to control modulation, the operator is a modulator.

- 60 -

Fig. 51 Configuration of operators

Operator

Envelopes are produced by the envelope generator. The envelope controls the change in output level
over a period of time for the carrier (which controls the volume), and the change in output level for the
modulator over a period of time (which controls the timbre).

The FM Sound Synthesizer unit uses up to four operators to create each sound. Since eight sounds
can be generated simultaneously by this unit, there are 32 operators in all.

The way the four operators in a given voice are “connected”, and how they function as carriers or
modulators, follow specific patterns. These patterns are called algorithms. If there is only one carrier
and one modulator, a simple FM sound (voice) can be generated. The use of four operators allows for
the creation of voices having very complex harmonic structures.

Given four operators, there are large number of possible patterns, but eight of the most useful algorighm
patterns have been selected for the FM Sound Synthesizer unit in order to make the creation of sounds
more predictable.

Fig. 52 Example of an aigorighm

Modulator

Carrier

Modulating signal

Audio signal

Feedback means that a fraction of the signal output by an operator is re-injected in the same operator,
resulting in a special auto-modulation. Feedback is used to obtain a large number of harmonics (bright
sound) and to create noise.

- 61 -

Envelope generator

The concept of envelopes, which was introduced on page 58, plays an important role in the creation
of sounds. The FM Sound Synthesizer unit is equipped with an envelope generator for each operator
(EG). The EG of each operator controls the output level of that operator over a period of time. The
way that the sound changes over a period of time can be programmed according to the five components
of the EG: attack rate, 1st decay rate, sustain level, 2nd decay rate, and release rate. These five
components have the following functions.

(1 ) Attack rate: the rate at which the output level of the EG reaches its maximum value when the key
is struck.

(2) 1st Decay rate: the rate at which the EG level falls from its maximum level to the sustain level setting

(3) Sustain level: the level sustained after the note moves from 1st decay.

(4) 2nd decay rate: the rate at which the EG level falls to zero from the level set as the sustain level.

(5) Release time: the rate at which the EG level falls from the point where the key is released to when
it becomes 0.

The period of time the key is hold down is called the gate time.

The period of time sound is emitted is called the note length.

Fig. 53 The parameters controlled by envelope generator

Note length

Key is pressed Key is released

Gate time

- 62 -

The relationship between FM Sound Generation and the EG

The Envelope Generators of the FM Sound Synthesizer unit control the operators, which, in turn, de-
termine the changes in volume and timbre over a period of time.

The envelopes for volume and those for harmonics (timbre) are created by using the EG of different
operators. Changes in volume are performed by the EGs of the operators which are used as carriers;
changes in timbre are performed by the EGs of operators which are used as modulators. Thus, the
effect of the EG will change depending on whether the operator is a modulator or a carrier.

Fig. 54 Relationship between FM sound generation and the EG

- 63 -

Key scaling feature

What is key scaling?

The volume and timbre envelopes of the high and low sections of a piano will differ slightly. This is true
not only of the piano but of all acoustic instruments. The FM Sound Synthesizer unit has key scaling
features which allow the envelope generation to be changed according to the notes played. The key
scaling feature allows subtle nuances of the sound to programmed to change with the position of the
keys being played.

Two types of key scaling

There are two types of key scaling which allow the volume and timbre response to be precisely tailored
to the position at which the keys are being played. These two features are key scaling for EG level
and key scaling for EG rate.

• Level scaling

Level scaling changes the EG level according to the position of the keys. It can be set independently
for each operator, allowing the volume>and timbre responses to be adjusted separately.

For example, a setting which will reduce the volume as the higher keys are played or a setting which
makes the sound more full-bodied, are both possible.

The level scaling can be adjusted according to two different laws of variation, which are represented
in Fig. 55 as two families of curves. One shows the level decreasing as the keys become higher in pitch
(straight lines). The other shows the level decreasing as the keys become lower in pitch. Both are set
by the depth of level scaling.

Fig. 55 Level scaling

LOW NOTE

HIGH NOTE

- 64 -

• Rate scaling

Rate scaling changes the rates within the envelope according to the position of the keys. This allows
a sharp attacking, short decaying envelope to be introduced as the keys become higher. The amount
of rate scaling is also determined by the degree of depth determined for each operator.

Fig. 56 Rate scaling

- 65 -

Voice memory

- 6i

MIDI keyboard
(with SFG-05)

Floppy disk drive
(with SFG-05 or SFK-05)

ERROR MESSAGES

The voice number of the voice data stored in the temporaty storage buffer (Save Buffer) is usually
displayed on the right side of the screen. However, other messages also are displayed in this area when
the necessity arises. The meaning of these messages are as follows:

Message

Cause

Remedy

Bad argument

The data following the command
is incorrect.

Enter the correct data.

Bad command

The command was not correctly
entered.

Enter the correct command.

Read error

An error occurred during the
loading of data.

Check connections.

Write error

An error occurred during the
saving of data.

Check connections.

Bad name

The file name is not correct.

Designate the correct
file name.

Not a voice

The data saved on the floppy disk
or Data Memory Cartridge in not
a voice data.

Swap the disk or cartridge
with one containing
voice data.

Not ready

Designated external storage device is
not connected.

Connect the device.

Not found

Designated file was not found.

Check the file name and
designate the correct
file name.

W protect

The floppy disk is write protected.

Remove the write protection.

FD not ready

The floppy disk is not inserted into
the disk drive.

Insert the floppy disk
properly into the drive.

Disk full

Saving onto full floppy disk was
attempted.

Delete unnecessary files,
or use a new disk.

- 67 -

MM IMPLEMENTA TION CHART .

[ FM Voicing Program II ] Date : 1 9 3 5 . 3.1 6

Model YRM-52 Implementation Chart V e r s i on : 1.0

Func t ion ...

Transmitted

Reco^ni zed

Remarks

Basic Default
Channel Changed

1 ch
X

Mode

Default

Messages

Alterd

mode 3

(123,1 26,127)

mode 3
X
X

Note

Number I True voice

36 -

★ ★ * ★

0 - 127
0-127

Velocity Note ON
Note OFF

*9n, v=1 - 127
8n , v - 6 4

9 n , v =1
8 n , v -0

1 27

★fixed

After

Touch

Key 1 s
Ch *s

Pitch Bender

Cont ro l
Change

SUSTAIN (64)

Prog

Change 1

True #

+ -

- 4-

System Exclusive

System 1

Song Pos

Song Se l

Common 1

Tune

System

IClock

+ -

• T

Real Time

(Commands

Aux iLocal ON/OFF

I All

Notes Ol-F

123

Mes- lActive Sense

sages 1 Reset

+ -

- 4-

Notes

d * + —

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON ,

Mode 4 :

MONO

o : Yes

x : No

OMNI OFF, MONO

gALPABETJC INDEX u

Algorithm (Al) 26, 61

Code 37

Detune (Dt) 29

Envelop (A, D, S, D, R) 30, 50, 62

Envelop generator 62, 63

Feedback (Fb) 26

Instrument — 1/2 38

Keyboard split point 38, 39

Key click 15

Key scaling (Ks, Kd, Rk) 31 , 64, 65

LFO 31, 32, 33

LFO enable (LFO) 33

LFO Synchronization (Syc) 33

Loading 23, 24

Noice generator (Ne, Nf) 36

Operator frequency (F, IF, Dt) 28, 29

Operator level (O, Aj) 28

Printing 13, 14, 15, 21, 22

Save buffer 13, 19, 66

Saving 23, 24

Transpose (Tr) 36

Tremolo (Wf, Spd, Pmd, Pms) 31, 32, 33

Velocity 35

Velocity sensitivity (Vs) 35

Vibrato (Wf, Spd, Amd, Ams) 31 , 32, 33

- 69 -

- O YAMAHA

NIPPON GAKKI CO . LTD. HAMAMATSU. JAPAN

OMD-138M 85 08 2.0 Printed in Japan

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