The "Algorithms" is for configuring the "oscillators" (here they are called operators which is really an oscillator (sine only in the original DX's) plus a dedicated amp envelope). You have 2 kinds of operators in a DX synth; it could be either a "Carrier" (the one that produces the audible tone) which holds the main pitch of the timbre, or a "Modulator" which is kinda acts as a dynamic(because of the dedicated envelope of the operator) LFO - but in audio rates of course! The algorithm simply decides which operator acts as carrier and which one should be the modulator. If you know Native Instrument's FM7 that is the best implementation of the fm synths because theres no pre-set algorithms rather you configure it yourself in a simple matrix. (you can use it like an additive synth as well that way if you think about it!) Fm synthesis is maybe tedious to program but it isn't difficult at all. Cheers!
yeh theres no way to reach the attack decay sustain or release.. in the synth itself .. except for the attack decay sustain and release KNOBS .. that are MODULATOR 1 2 3 .. on the panel .. so yeh there IS a way to reach them and there are knobs specifically designed to do so .. on the panel of the synth ... the ONLY thing that ISNT there is access to all 6 operators.. Everything else is actually accessible from the panel ..
The algorithms determine which oscillators are carriers and which ones are modulators. For example, an algorithm might have two oscillators that are only carriers ( but in FM synthesis, that just means they are sine wave generators.) And then you might have two carriers which with a modulator. And you edit the carriers and modulators to get different sounds ( timbres.) What's not obvious, at all, is what the numbers do. For example, if you set the modulator frequency to some specific multiple of the carrier, what will it sound like? That's the confusing part, because even if you knew how the equations worked, you won't know what it sounds like without a fair amount of work.
I believe the basic equation showing the relationship between the carrier, and modulator is - f(t) = A sin[F*t*g(t)]. Where t is time, A is amplitude of carrier, F is frequency and g(t) is the function defining the modulator. And the g(t) is simply another sin wave function with it's own amplitude and frequency. Differences in the frequency of the carrier and the modulator create more complex waveforms ( adding sidebands for example.) While pure sine waves can in theory be used to approximate any periodic function, there's a limit on how many sine waves can be handled ( especially back in the days of the DX7 - they needed custom hardware to do what it did.) So another way was to use frequency modulation to create complex waveforms with just a handful of operators. Add a filter to that process, and one should have a lot of options for timbre, but few people knew how to get the timbre they wanted by changing a bunch of numbers tied to equations - math people could understand the equations, but that's different than understand what it would sound like
Hmmm . The dx 200 has the plg dx card inside which can load dx 7 patches . So you sa the envelopes on the editor are adsr , while normaly the should be 8stage envelopes , time/level envelopes / I wonder if yamaha somehow made a shortcut .
Nice vid. One remark though. Filters are not that rare on Yamaha FM synths at all. They are not on the DX's but when Yamaha started to combine FM with PCM (which they named AWM) in hte SY series filters also became standard. Some tips: You could get hold of a new cap for that knob. Most caps for a similar ticknes of shaft should fit. Opening up the box and sparying the actual pot with contact spray will help to lose the weird stepping for some time but you could even have the actual pot replaced by a handy electronics repair man or good amateur. I'll surely be on the lookout. It's has got all the 6 operator depth but also the hands on stuff most others missed.
Doh! It's obvious why only some functions are on the front of the machine! It's because those controls can be automated and the ones most likely to be used in a performance. Those wanting to edit the sounds in more depth then have the opportunity to do this in the editor...
07:30 Are you sure the filters on the dx 200 are the same as on the an 200 and an1x ? I think they are just awm2 filters , like in yammies romplers and samplers Fs1r also has an1x filters ,
Great tutorial! Just got my hands on one. :D Tempo seems to be stuck on 'ext.' And the data knob is not doing much. And would you have any tips on how/where to get XGworks for Windows 7? I believe it is a nessesairy evil to get the editor to work.
finally a good review of the dx200. I also saw your an1x video, a kind note, plz tell your camera man to stand still, this handheld hell is crippling this video sorry to say. I have a dx200 (and an200) and what I find immensely annoying is that sounds and seq share memory spots. I wanna scroll sounds while the sequence is running or vice verse. My cure is to play seq via midi to the other. I picked up my dx for €160, an was €140.
thank, yeah we are very noobish with the video and video editing stuff, promise to improve :) agreed, thats a great point about the voice and seq of the patches, would have been a huge workflow boost if they weren't locked together. thanks for the comment mate!
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The "Algorithms" is for configuring the "oscillators" (here they are called operators which is really an oscillator (sine only in the original DX's) plus a dedicated amp envelope). You have 2 kinds of operators in a DX synth; it could be either a "Carrier" (the one that produces the audible tone) which holds the main pitch of the timbre, or a "Modulator" which is kinda acts as a dynamic(because of the dedicated envelope of the operator) LFO - but in audio rates of course! The algorithm simply decides which operator acts as carrier and which one should be the modulator. If you know Native Instrument's FM7 that is the best implementation of the fm synths because theres no pre-set algorithms rather you configure it yourself in a simple matrix. (you can use it like an additive synth as well that way if you think about it!)
Fm synthesis is maybe tedious to program but it isn't difficult at all.
Cheers!
Sound begins 14:25 .... before is blah blah only.....
THX for that !
Stop talking, play sounds for Gods sake.
yeh theres no way to reach the attack decay sustain or release.. in the synth itself .. except for the attack decay sustain and release KNOBS .. that are MODULATOR 1 2 3 .. on the panel .. so yeh there IS a way to reach them and there are knobs specifically designed to do so .. on the panel of the synth ... the ONLY thing that ISNT there is access to all 6 operators.. Everything else is actually accessible from the panel ..
lol, umm no ;) you mis-understood, but because of your know-it-all rude comment, you can find out for yourself what it means, good luck
please link to the dx200 editor for PC .. thanks
The algorithms determine which oscillators are carriers and which ones are modulators. For example, an algorithm might have two oscillators that are only carriers ( but in FM synthesis, that just means they are sine wave generators.) And then you might have two carriers which with a modulator. And you edit the carriers and modulators to get different sounds ( timbres.) What's not obvious, at all, is what the numbers do. For example, if you set the modulator frequency to some specific multiple of the carrier, what will it sound like? That's the confusing part, because even if you knew how the equations worked, you won't know what it sounds like without a fair amount of work.
I believe the basic equation showing the relationship between the carrier, and modulator is - f(t) = A sin[F*t*g(t)]. Where t is time, A is amplitude of carrier, F is frequency and g(t) is the function defining the modulator. And the g(t) is simply another sin wave function with it's own amplitude and frequency. Differences in the frequency of the carrier and the modulator create more complex waveforms ( adding sidebands for example.) While pure sine waves can in theory be used to approximate any periodic function, there's a limit on how many sine waves can be handled ( especially back in the days of the DX7 - they needed custom hardware to do what it did.) So another way was to use frequency modulation to create complex waveforms with just a handful of operators. Add a filter to that process, and one should have a lot of options for timbre, but few people knew how to get the timbre they wanted by changing a bunch of numbers tied to equations - math people could understand the equations, but that's different than understand what it would sound like
Hmmm .
The dx 200 has the plg dx card inside which can load dx 7 patches .
So you sa the envelopes on the editor are adsr , while normaly the should be 8stage envelopes , time/level envelopes /
I wonder if yamaha somehow made a shortcut .
Nice vid. One remark though. Filters are not that rare on Yamaha FM synths at all. They are not on the DX's but when Yamaha started to combine FM with PCM (which they named AWM) in hte SY series filters also became standard.
Some tips: You could get hold of a new cap for that knob. Most caps for a similar ticknes of shaft should fit. Opening up the box and sparying the actual pot with contact spray will help to lose the weird stepping for some time but you could even have the actual pot replaced by a handy electronics repair man or good amateur.
I'll surely be on the lookout. It's has got all the 6 operator depth but also the hands on stuff most others missed.
great additional info, thanks for the post!
Marc Brassé what do you guys think is a good price for one these days?
250-400$ range i would say
Faxi Nadu
Thanks!
Doh! It's obvious why only some functions are on the front of the machine! It's because those controls can be automated and the ones most likely to be used in a performance. Those wanting to edit the sounds in more depth then have the opportunity to do this in the editor...
07:30
Are you sure the filters on the dx 200 are the same as on the an 200 and an1x ?
I think they are just awm2 filters , like in yammies romplers and samplers
Fs1r also has an1x filters ,
I had one of these. It was pretty fantastic. I think I paid like $100 on eBay?
yes its crazy the prices they can be found sometimes. still one of my favorites to just tweak, always surprises.
the behringer bcr 2000 is just waiting for the yamaha dx200
right on!
Are there no voices on 1, 4, and 8? I just got this unit and I'm just making sure I didn't get a defective unit.
Awesome review dude! Thanks a lot
ciao, can you tell me where did you get the editor ? is it working on mac ?
yamaha website. not sure about mac or not check their site :)
Can you record more than one note per step in the Sequencer? Like Chords?
Is there a place where i can find those banks? I can only find dx7 presets but cannot load them directly into the editor like you did.
Great tutorial! Just got my hands on one. :D
Tempo seems to be stuck on 'ext.' And the data knob is not doing much.
And would you have any tips on how/where to get XGworks for Windows 7?
I believe it is a nessesairy evil to get the editor to work.
The sy77 and sy99 had filters back in 88
fair point
amazing in depth! thank you!
thaanks fabian!
how do you get the editor window that big? :D
i am just using a bit screen resolution :)
You sell it ?
which is the operating system where you installed the editor?
win xp sp3
Can you please ad a link to get the editor. I dont seem to find it
download.yamaha.com/search/product/?language=en&site=usa.yamaha.com&category_id=16244&product_id=623651
finally a good review of the dx200. I also saw your an1x video, a kind note, plz tell your camera man to stand still, this handheld hell is crippling this video sorry to say.
I have a dx200 (and an200) and what I find immensely annoying is that sounds and seq share memory spots. I wanna scroll sounds while the sequence is running or vice verse. My cure is to play seq via midi to the other. I picked up my dx for €160, an was €140.
thank, yeah we are very noobish with the video and video editing stuff, promise to improve :)
agreed, thats a great point about the voice and seq of the patches, would have been a huge workflow boost if they weren't locked together.
thanks for the comment mate!
I have the same knob issue with mine.
Mr.Sound dankt und schreibt er Liebt 1. DICH 2. deine Musik !!!
DX200 is complete with an AN200 and a RS7000 controlling it all. The software is useless when you control it with the RS7000
Oh my GOD the camerawork is nauseating though
new cool way to control this from us:
th-cam.com/video/Hn7DWDbM_14/w-d-xo.html
Lol nobody knows what ops and algo does...cmon
do you? :)
@@faxinadu nope of course i don’t care, its only 35 years that i play wit it!😂
toooo much words, less demonstration