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ent modulator output levels for each combination of

frequencies, since this can make a world of difference in

the sound.

Ensemble voices may differ from

solo voices

When a musician plays an instrument as part of an

ensemble, whether 2 or 70 people are playing, the

sound of his instrument will interact with the other

sounds. There is a certain balance to be struck between

blending with the other instruments, yet retaining a

distinct identity. The need to retain an identity in the

midst of this complex group texture (even if the "group"

is nothing more than tape recorded Overdubs of the

same DX synthesizer) calls for a more "penetrating"

sound, sometimes one with more exaggerated LFO

modulation or a slightly "edgy" harmonic structure. The

same voice might sound too harsh or exaggerated in a

solo performance. When you are programming a voice,

be sure to evaluate it in the musical context where it will

be used. You may want to program and store two varia-

tions of the same voice, one for ensemble and one for

solo use. Some of the preset voices include the term

"ensemble" (ENS) in their title; these voices often work

better in an ensemble than as solo voices.

Breath controller applications

and hints

There are certain types of instruments that are difficult

to phrase or articulate with a keyboard, such as brass or

vocal sounds. The BC-1 breath controller may be used

to phrase and shape the envelope or to add modulation

of pitch and amplitude. The BC-1 is sensitive to pres-

sure; the harder you blow into it, the more voltage it

applies to the synthesizer's Breath Controller input. This
voltage can be programmed to affect different aspects of

the voice. The changes it brings about can be made

very quickly — a great asset when performing. However,

in order to use the breath controller, various parameters
must be programmed into both the voice and the

FUNCTION mode of the instrument.

To explore the use of the breath controller, select a

voice which includes amplitude modulation sensitivity

such as the "SAX-BC1" voice from the Master Group.

Then plug in the Yamaha BC-1 breath controller.

Amplitude modulation with the BC-1

Press the [FUNCTION] button and then press

[BREATH CONTROL-RANGE] and set the range to

50. Then press [BREATH CONTROLLER-AMPLI-

TUDE] and turn it ON. Within the voice itself, the

amplitude modulation sensitivity of one or more opera-
tors must be set to 1 or higher. In this case, the BC-1

may alter the volume, the timbre, or both depending on

whether the AM sensitivity is turned up on the carriers)

or modulator(s). Play the instrument and blow into the

BC-1 to hear what happens.

NOTE If you have to blow too hard while playing a

voice which is known to be modulation sensitive, you

may want to adjust the sensitivity of the BC-1 itself.

Use a small slot-blade screwdriver to turn the recessed

screw on the bottom of the unit. You can also cover up

the small vent hole in the BC-1 with your finger or

adhesive tape; this will increase the effectiveness of

your breath, but will restrict the playing style some-

what (it also quiets the BC-1).

EG BIAS modulation with the BC-1

When you turn up the EG bias (99 max), the actual

level of each operator whose AM sensitivity is above 0

will go down. With a maximum AM sensitivity of 3, and

EG BIAS of 99, the operator level will be zero. Then,

when you blow hard into the BC-1, the level comes

back up to the maximum level permitted by the enve-

lope at any given instant; you must have played the

note first on the keyboard so that the EG bias is bringing

up the level within the programmed envelope. The rates

of the envelope remain unchanged, but the sound will
disappear instantly if the BC-1 is not blown.

For creating a voice like the "SAX - BC1" preset,

where you may want all the sound controlled by the BC-

1, you might set all the operators' amplitude modulation

sensitivities to 3, and the BC range to 99. In something

like the E.P-BRS BC (Electric piano-Brass Breath Con-

trolled) voice in the complex & effects group, the piano

portion of the voice is not affected by the breath control-
ler because these operators' AM sensitivities are at 0, but
the operators in the brass portion of the voice have their

AM sensitivities set at 3; the [BREATH CONTROL-

LER-RANGE] should be 99 for this voice.

With the "Sax - BC1" voice you may want to use the

BC-1 for phrasing (EG bias), use after touch for vibrato

(Pitch), and use the foot control for overall volume. The

Modulation Wheel can be used to apply LFO amplitude

modulation.

Pitch modulation with the BC-1

Turn on the pitch modulation (we assume the range is

still set between 50 and 99). You will also need to set the
pitch modulation sensitivity within the voice itself to a

value of 1 or higher (check this in EDIT mode, and

change if necessary). Hold down a key, and blow on the

breath controller. You should hear a vibrato effect — the

speed has nothing to do with how you blow since it is
set by the LFO speed which is programmed into the

voice — your breath affects the vibrato depth.

Breath controller techniques

You can use the breath controller several ways. Take it

into your mouth and grip it with your teeth. Touch a key

on the keyboard, and begin to blow gently If the voice is

set up for breath controller EG bias, the note will begin

to sound, and will become louder the harder you blow

If the voice is set up for pitch modulation, the vibrato

will increase as you blow harder. If the voice is set up for

amplitude modulation, the tremolo and/or wah-wah will

increase as you blow harder.

The EG bias is perhaps the most interesting modula-

tion for the breath controller. When you blow normally.

the notes start softly By tongueing the note (forming the
breath with a "T" sound), you can get a harder edge. By
finishing the blowing with a "T" sound, you can get the

note to end abruptly Of course, you have to coordinate

the blowing with the playing of the notes on the key-

board. Given maximum EG bias modulation and maxi-

mum amplitude modulation sensitivity within the voice,

there will be no sound when you play a key; the sound

will come only when you hold the key and then blow

into the BC-1. It may take some practice to achieve the

proper coordination.

You can achieve a "growling" effect by humming into

the BC-1 while you are blowing. This can create an

occasionally useful "gritty" sound for playing saxophone.

for instance, or an overdriven lead guitar. You'll want to
experiment with combinations of humming, tongueing