Yamaha DX7 Product Manual - Page 58
like the E.P-BRS BC Electric piano-Brass Breath Con
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ent modulator output levels for each combination of 50. Then press [BREATH CONTROLLER-AMPLI- Pitch modulation with the BC-1 53 frequencies, since this can make a world of difference in TUDE] and turn it ON. Within the voice itself, the Turn on the pitch modulation (we assume the range is the sound. amplitude modulation sensitivity of one or more opera- still set between 50 and 99). You will also need to set the tors must be set to 1 or higher. In this case, the BC-1 pitch modulation sensitivity within the voice itself to a Ensemble voices may differ from may alter the volume, the timbre, or both depending on value of 1 or higher (check this in EDIT mode, and solo voices whether the AM sensitivityisturned up on the carriers) change if necessary). Hold down a key, and blow on the When a musician plays an instrument as part of an or modulator(s). Play the instrument and blow into the breath controller. You should hear a vibrato effect - the ensemble, whether 2 or 70 people are playing, the BC-1 to hear what happens. speed has nothing to do with how you blow since it is sound of his instrument will interact with the other sounds. There is a certain balance to be struck between blending with the other instruments, yet retaining a distinct identity. The need to retain an identity in the midst of this complex group texture (even if the "group" is nothing more than tape recorded Overdubs of the same DX synthesizer) calls for a more "penetrating" sound, sometimes one with more exaggerated LFO modulation or a slightly "edgy" harmonic structure. The same voice might sound too harsh or exaggerated in a NOTE If you have to blow too hard while playing a voice which is known to be modulation sensitive, you may want to adjust the sensitivity of the BC-1 itself. Use a small slot-blade screwdriver to turn the recessed screw on the bottom of the unit. You can also cover up the small vent hole in the BC-1 with your finger or adhesive tape; this will increase the effectiveness of your breath, but will restrict the playing style somewhat (it also quiets the BC-1). set by the LFO speed which is programmed into the voice - your breath affects the vibrato depth. Breath controller techniques You can use the breath controller several ways. Take it into your mouth and grip it with your teeth. Touch a key on the keyboard, and begin to blow gently If the voice is set up for breath controller EG bias, the note will begin to sound, and will become louder the harder you blow If the voice is set up for pitch modulation, the vibrato solo performance. When you are programming a voice, be sure to evaluate it in the musical context where it will be used. You may want to program and store two variations of the same voice, one for ensemble and one for solo use. Some of the preset voices include the term "ensemble" (ENS) in their title; these voices often work better in an ensemble than as solo voices. Breath controller applications and hints There are certain types of instruments that are difficult to phrase or articulate with a keyboard, such as brass or vocal sounds. The BC-1 breath controller may be used to phrase and shape the envelope or to add modulation of pitch and amplitude. The BC-1 is sensitive to pressure; the harder you blow into it, the more voltage it applies to the synthesizer's Breath Controller input. This voltage can be programmed to affect different aspects of the voice. The changes it brings about can be made very quickly - a great asset when performing. However, in order to use the breath controller, various parameters must be programmed into both the voice and the FUNCTION mode of the instrument. To explore the use of the breath controller, select a voice which includes amplitude modulation sensitivity such as the "SAX-BC1" voice from the Master Group. Then plug in the Yamaha BC-1 breath controller. EG BIAS modulation with the BC-1 When you turn up the EG bias (99 max), the actual level of each operator whose AM sensitivity is above 0 will go down. With a maximum AM sensitivity of 3, and EG BIAS of 99, the operator level will be zero. Then, when you blow hard into the BC-1, the level comes back up to the maximum level permitted by the envelope at any given instant; you must have played the note first on the keyboard so that the EG bias is bringing up the level within the programmed envelope. The rates of the envelope remain unchanged, but the sound will disappear instantly if the BC-1 is not blown. For creating a voice like the "SAX - BC1" preset, where you may want all the sound controlled by the BC1, you might set all the operators' amplitude modulation sensitivities to 3, and the BC range to 99. In something like the E.P-BRS BC (Electric piano-Brass Breath Controlled) voice in the complex & effects group, the piano portion of the voice is not affected by the breath controller because these operators' AM sensitivities are at 0, but the operators in the brass portion of the voice have their AM sensitivities set at 3; the [BREATH CONTROLLER-RANGE] should be 99 for this voice. With the "Sax - BC1" voice you may want to use the BC-1 for phrasing (EG bias), use after touch for vibrato (Pitch), and use the foot control for overall volume. The Modulation Wheel can be used to apply LFO amplitude will increase as you blow harder. If the voice is set up for amplitude modulation, the tremolo and/or wah-wah will increase as you blow harder. The EG bias is perhaps the most interesting modulation for the breath controller. When you blow normally. the notes start softly By tongueing the note (forming the breath with a "T" sound), you can get a harder edge. By finishing the blowing with a "T" sound, you can get the note to end abruptly Of course, you have to coordinate the blowing with the playing of the notes on the keyboard. Given maximum EG bias modulation and maximum amplitude modulation sensitivity within the voice, there will be no sound when you play a key; the sound will come only when you hold the key and then blow into the BC-1. It may take some practice to achieve the proper coordination. You can achieve a "growling" effect by humming into the BC-1 while you are blowing. This can create an occasionally useful "gritty" sound for playing saxophone. for instance, or an overdriven lead guitar. You'll want to experiment with combinations of humming, tongueing by means of "T-ing", "D-ing" or "F-ing", and so forth. An "F" or "CH" sound may be better for whistles, while a "too-kah" sound may do the job for a birdsong. The possibilities are particularly exciting when you blend the breath controller effect with the pitch bend wheel or other modulation sources. Amplitude modulation with the BC-1 modulation. Special effects from [DATA ENTRY] while Press the [FUNCTION] button and then press in PLAY mode [BREATH CONTROL-RANGE] and set the range to The DX7 [DATA ENTRY] section continues to be