Owner's Manual

SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power supply (adapter). Battery Notice:
DO NOT connect this product to any power supply or adapter other This product MAY contain a small non-rechargeable battery which (if
than one described in the manual, on the name plate, or specifically applicable) is soldered in place. The average life span of this type of
recommended by Yamaha. battery is approximately five years. When replacement becomes
WARNING: Do not place this product in a position where anyone necessary, contact a qualified service representative to perform the
could walk on, trip over ,or roll anything over power or connecting replacement.
cords of any kind. The use of an extension cord is not recom- This product may also use “household” type batteries. Some of
mended! IF you must use an extension cord, the minimum wire size these may be rechargeable. Make sure that the battery being
for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG charged is a rechargeable type and that the charger is intended for
number ,the larger the current handling capacity. For longer exten- the battery being charged.
sion cords, consult a local electrician. When installing batteries, do not mix batteries with new, or with bat-
This product should be used only with the components supplied or; teries of a different type. Batteries MUST be installed correctly. Mis-
a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., matches or incorrect installation may result in overheating and
is used, please observe all safety markings and instructions that battery case rupture.
accompany the accessory product.
Warning:
SPECIFICATIONS SUBJECT TO CHANGE: Do not attempt to disassemble, or incinerate any battery. Keep all
The information contained in this manual is believed to be correct at batteries away from children. Dispose of used batteries promptly
the time of printing. However, Yamaha reserves the right to change and as regulated by the laws in your area. Note: Check with any
or modify any of the specifications without notice or obligation to retailer of household type batteries in your area for battery disposal
update existing units. information.

This product, either alone or in combination with an amplifier and Disposal Notice:
headphones or speaker/s, may be capable of producing sound lev- Should this product become damaged beyond repair, or for some
els that could cause permanent hearing loss. DO NOT operate for reason its useful life is considered to be at an end, please observe
long periods of time at a high volume level or at a level that is all local, state, and federal regulations that relate to the disposal of
uncomfortable. If you experience any hearing loss or ringing in the products that contain lead, batteries, plastics, etc. If your dealer is
ears, you should consult an audiologist. unable to assist you, please contact Yamaha directly.
IMPORTANT: The louder the sound, the shorter the time period
before damage occurs. NAME PLATE LOCATION:
The name plate is located on the bottom of the product. The model
Some Yamaha products may have benches and / or accessory number, serial number, power requirements, etc., are located on this
mounting fixtures that are either supplied with the product or as plate. You should record the model number, serial number, and the
optional accessories. Some of these items are designed to be date of purchase in the spaces provided below and retain this man-
dealer assembled or installed. Please make sure that benches are ual as a permanent record of your purchase.
stable and any optional fixtures (where applicable) are well secured
BEFORE using.
Benches supplied by Yamaha are designed for seating only. No other
uses are recommended. Model
NOTICE:
Service charges incurred due to a lack of knowledge relating to how
a function or effect works (when the unit is operating as designed) Serial No.
are not covered by the manufacturer’s warranty, and are therefore
the owners responsibility. Please study this manual carefully and
consult your dealer before requesting service.
Purchase Date
ENVIRONMENTAL ISSUES:
Yamaha strives to produce products that are both user safe and
environmentally friendly. We sincerely believe that our products and
the production methods used to produce them, meet these goals. In
keeping with both the letter and the spirit of the law, we want you to
be aware of the following:

PLEASE KEEP THIS MANUAL

92-BP (bottom)

2
 PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep these precautions in a safe place for future reference.

WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock,
short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
• Do not open the instrument or attempt to disassemble the internal parts or power switch, disconnect the adaptor plug from the outlet, and have the
modify them in any way. The instrument contains no user-serviceable instrument inspected by qualified Yamaha service personnel.
parts. If it should appear to be malfunctioning, discontinue use immedi- • Use the specified adaptor (PA-5B, PA-5C or an equivalent recommended
ately and have it inspected by qualified Yamaha service personnel. by Yamaha) only. Using the wrong adaptor can result in damage to the
• Do not expose the instrument to rain, use it near water or in damp or wet instrument or overheating.
conditions, or place containers on it containing liquids which might spill • Before cleaning the instrument, always remove the electric plug from the
into any openings. outlet. Never insert or remove an electric plug with wet hands.
• If the AC adaptor cord or plug becomes frayed or damaged, or if there is a • Check the electric plug periodically and remove any dirt or dust which may
sudden loss of sound during use of the instrument, or if any unusual have accumulated on it.
smells or smoke should appear to be caused by it, immediately turn off the

CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the
instrument or other property. These precautions include, but are not limited to, the following:
• Do not place the AC adaptor cord near heat sources such as heaters or day) to prevent the possibility of panel disfiguration or damage to the inter-
radiators, and do not excessively bend or otherwise damage the cord, nal components.
place heavy objects on it, or place it in a position where anyone could walk • Do not use the instrument near other electrical products such as televi-
on, trip over, or roll anything over it. sions, radios, or speakers, since this might cause interference which can
• When removing the electric plug from the instrument or an outlet, always affect proper operation of the other products.
hold the plug itself and not the cord. • Do not place the instrument in an unstable position where it might acci-
• Do not connect the instrument to an electrical outlet using a multiple-con- dentally fall over.
nector. Doing so can result in lower sound quality, or possibly cause over- • Before moving the instrument, remove all connected adaptor and other
heating in the outlet. cables.
• Unplug the AC power adaptor when not using the instrument, or during • When cleaning the instrument, use a soft, dry cloth. Do not use paint thin-
electrical storms. ners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.
• Always make sure all batteries are inserted in conformity with the +/- Also, do not place vinyl, plastic or rubber objects on the instrument, since
polarity markings. Failure to do so might result in overheating, fire, or bat- this might discolor the panel or keyboard.
tery fluid leakage. • Do not rest your weight on, or place heavy objects on the instrument, and
• Always replace all batteries at the same time. Do not use new batteries do not use excessive force on the buttons, switches or connectors.
together with old ones. Also, do not mix battery types, such as alkaline bat- • Use only the stand specified for the instrument. When attaching the stand
teries with manganese batteries, or batteries from different makers, or dif- or rack, use the provided screws only. Failure to do so could cause damage
ferent types of batteries from the same maker, since this can cause to the internal components or result in the instrument falling over.
overheating, fire, or battery fluid leakage.
• Do not operate the instrument for a long period of time at a high or uncom-
• Do not dispose of batteries in fire. fortable volume level, since this can cause permanent hearing loss. If you
• Do not attempt to recharge batteries that are not intended to be charged. experience any hearing loss or ringing in the ears, consult a physician.
• When the batteries run out, or if the instrument is not to be used for a long ■ SAVING USER DATA
time, remove the batteries from the instrument to prevent possible leakage
of the battery fluid. • Always save data to an external device such as the Yamaha MIDI data filer
MDF3 frequently, in order to help prevent the loss of important data due to
• Keep batteries away from children. a malfunction or user operating error.
• If the batteries do leak, avoid contact with the leaked fluid. If the battery
fluid should come in contact with your eyes, mouth, or skin, wash immedi- Yamaha cannot be held responsible for damage caused by improper
ately with water and consult a doctor. Battery fluid is corrosive and may use or modifications to the instrument, or data that is lost or destroyed.
possibly cause loss of sight or chemical burns.
• Before connecting the instrument to other electronic components, turn off Always turn the power off when the instrument is not in use.
the power for all components. Before turning the power on or off for all
components, set all volume levels to minimum. Also, be sure to set the Make sure to discard used batteries according to local regulations.
volumes of all components at their minimum levels and gradually raise the
volume controls while playing the instrument to set the desired listening
level.
• Do not expose the instrument to excessive dust or vibrations, or extreme
cold or heat (such as in direct sunlight, near a heater, or in a car during the
3
(4)-7
 Congratulations on your purchase of the Yamaha DJX-II!
The DJX-II is a complete dance-music workstation that can be used both as a real-time performance instru-
ment and a powerful production tool. Its intuitive interface makes real-time operation exceptionally easy —
whether you have a DJ background or not!
Read this Owner’s Manual carefully while playing your new DJX-II in order to take full advantage of its
various features.

Packing List
Your DJX-II includes the following items:
• DJX-II
• Owner's Manual

How to Use the Manual

What is the DJX-II?.......................................................................................page 5
Introduces the various DJX-II features.

Panel Controls .....................................................................................page 8

Use this section to find out about all of the buttons and controls of the DJX-II.

Setting Up.................................................................................page 12
Explains how to connect up the power adaptor and how to install batteries.

100 tips to be a DJ! ................................................................page 14

This section guides the user step-by-step through 100 important and useful tips in
playing and creating great dance music. Like a game, each tip is a step up toward
the goal of becoming a master DJ.

Appendix .........................................................................page 74
This contains various important lists such as the Voice list, Preset Pat-
tern list, MIDI data format and MIDI implementation chart.

Troubleshooting.......................................................................page 74
If the DJX-II does not function as expected or you have some problem with
the sound or operation, consult this section before calling your Yamaha dealer
or service center. Most common problems and their solutions are covered
here in a very simple and easy-to-understand way.

Glossary.............................................................................................page 78
This section covers various important words and terms related to both the DJX-II
and to dance music in general.

Index ............................................................................................................page 95
This section alphabetically lists virtually all topics, features, functions and operations with
their respective page numbers, letting you quickly and easily find the information you need.

The illustrations and displays as shown in this owner’s manual are for instructional purposes only, and may be differ-
ent from your instrument.
4
What is the DJX-II?

The new DJX-II is a digital DJ powerhouse!

If you’ve dreamed of creating and performing your own cutting-edge, phat ‘n’ funky dance music,
you’ve come to the right place... The DJX-II is a fully digital DJ machine — a revolutionary new
instrument that blends the reliability and clean sound of digital with stunningly powerful and
easy-to-use analog-like controls.

No music knowledge or experience required!

If you’ve got great music in your head, but haven’t had the training to bring it out to the real
world, here’s your chance! You don’t need to know about chords, or how to read and play melo-
dies — all you need is a good sense of rhythm, and the DJX-II can even help you develop that,
too!

Let the DJX-II show you how to become a master DJ!

Whether you’re a complete beginner or a turntable and mixing genius, the DJX-II can help you
fully master the instrument. With the “100 Tips” section, you’re guided step-by-step through 100
tips and trade secrets the pros use in playing and creating great dance music. Like a game, each
tip is a step up toward the goal of becoming a master DJ.

Now let’s take a look at the individual features and functions of the DJX-II.
● Pattern Player ........................................................................................page 14
The DJX-II features a total of 70 dynamic rhythm Patterns, perfect for your DJ performance.
Each Pattern has 10 different Variations.
● Activator ................................................................................................page 18
The DJX-II features a total of 52 Activator kits or programs, each of which contains a variety of
loops, sound effects, and one-shot phrases that can be triggered during a performance, while a
Pattern is playing.
● Powerful Effects ....................................................................................page 22
The DJX-II gives you a ton of amazing sonic control features, including a wide variety of stun-
ning effects that can be manipulated in real time. Use the toggle switch and the knobs to tweak,
warp and mangle your sound as you play.
● Audio bpm .............................................................................................page 67
If you’ve got a favorite beat on CD or vinyl, you can easily sync it up to the DJX-II! The DJX-II
“hears” the beat (from a connected CD player, MD player, etc.) and automatically locks into the
rhythm by auto-adjusting the bpm of the DJX-II’s Pattern.
● Unique, Ultra High-quality Voices ........................................................page 28
The DJX-II also has an enormous variety of dynamic, in-your-face sounds, with 180 voices, 23
drum kits, and a special sampling voice for your own sample.
● Sampler .................................................................................................page 53
The DJX-II has a powerful Sampling function that lets you record your own voice (via a micro-
phone) or any sound from a CD or MD player, and play the sound (from the SAMPLE PADS or
the keyboard). This lets you create your own original sound effects, loops, and one-shot phrases.
● Performance Recorder .........................................................................page 56
The DJX-II allows you to record your original performances (up to a total of six) to memory,
expanding your live performance potential.
● MIDI Compatibility for Even Greater DJ Performance Power ...........page 94
Grow your own Patterns! With MIDI, you can connect a computer to the DJX-II, and send Pat-
terns you’ve created to the DJX-II as Pattern data. Then wail away with your new Patterns on the
DJX-II!
5
 Contents
Packing List...................................................4 Chapter 6
How to Use the Manual.................................4 Part Mixer Basics ................... 29
What is the DJX-II? .......................................5 Tip 27 What is a Part?...................................................... 29
Contents .............................................................6 Tip 28 Take the console and remix the Parts! ................ 29
Panel Controls....................................................8 Tip 29 Combination keys ................................................ 30
Top Panel.......................................................8 Tip 30 Turn them all on! ................................................. 30
Functions of the Keyboard ........................10 Tip 31 Extra texture!........................................................ 31
Rear Panel & Connections .........................11
Setting Up (Power supply connections) ........12 Chapter 7
Switching On the Power ..................................13 Part Selector .......................... 32
Data Backup & Initialization ............................13 Tip 32 Grab a Part and tweak it! ..................................... 32
Tip 33 Combination keys ................................................ 32
Tip 34 Tweak the Activator sound!................................. 33
Tip 35 Select all Parts and tweak them! .......................... 33
Chapter 8
100 Tips to be a DJ! 14 Part Controller........................ 34
Tip 36 Cutoff and Resonance.......................................... 34
Chapter 1 Tip 37 Adjust the Part volume ........................................ 35
Pattern Player Basics.............. 14 Tip 38 Tweak the cutoff................................................... 35
Tip 1 Work out with the Patterns ................................. 14
Chapter 9
Tip 2 Mixing Main and Fill-in Patterns........................ 15
Tip 3 Come down on the “one”! ................................... 15 Key Shifter ............................. 36
Tip 4 Exploring other Patterns...................................... 16 Tip 39 Transpose the key................................................. 36
Tip 5 Go back, go forward............................................. 17 Tip 40 Create your own chord progressions!................. 37
Tip 6 Keep the bpm steady! ........................................... 17 Chapter 10
Chapter 2 Ribbon Controller .................... 38
Activator Basics ...................... 18 Tip 41 Do some scratching on the Ribbon! ................... 38
Tip 7 Work out on the Activator................................... 18 Tip 42 Stop the turntable ................................................ 38
Tip 8 Loops and One Shots ........................................... 18 Chapter 11
Tip 9 Explore the Activator kits! ................................... 19
Tip 10 Put ‘em together!.................................................. 20
BPM/Tap Basics ....................... 39
Tip 43 Change the bpm ................................................... 39
Tip 11 Activator intro textures........................................ 20
Tip 44 Reset to the default bpm...................................... 39
Tip 12 Activator Loop bpm ............................................. 21
Chapter 12
Chapter 3
Live Effector Basics .................22 Pattern Player Power Tips ...... 40
Tip 45 Hitting a new Pattern and Variation
Tip 13 What is the Live Effector? .................................... 22
— at the same time! ............................................. 40
Tip 14 Distortion ............................................................. 23
Tip 46 Step up to the next Pattern and Variation.......... 41
Tip 15 Auto Pan ............................................................... 23
Tip 47 Cool outro ............................................................ 41
Tip 16 Ring Modulation .................................................. 23
Tip 48 Creative fill-in 1 ................................................... 42
Tip 17 Flanger .................................................................. 23
Tip 49 Creative fill-in 2 ................................................... 42
Tip 18 Phaser.................................................................... 24
Tip 50 Using the Activator to lead into the next
Tip 19 Slice ....................................................................... 24
Variation............................................................... 42
Tip 20 Delay ..................................................................... 24
Tip 21 Echo ...................................................................... 25 Chapter 13
Tip 22 Lo-Fi...................................................................... 25 Live Effector Power Tips.......... 43
Tip 23 Wah....................................................................... 25 Tip 51 Distortion ............................................................. 43
Chapter 4 Tip 52 Auto Pan............................................................... 44
Isolator Basics ........................26 Tip 53 Ring Modulation.................................................. 44
Tip 24 Tweak the sound just right! ................................. 26 Tip 54 Flanger .................................................................. 44
Tip 55 Phaser ................................................................... 45
Chapter 5 Tip 56 Slice ....................................................................... 45
The Keyboard .......................... 27 Tip 57 Delay ..................................................................... 45
Tip 25 Play the keyboard ................................................. 27 Tip 58 Echo ...................................................................... 46
Tip 26 Try some different voices!.................................... 28 Tip 59 Lo-Fi ..................................................................... 46

6
 Contents

Tip 60 Wah....................................................................... 46 Tip 95 Toggling on beat, muting in rhythm .................. 68

Tip 61 One-hand Effector control! ................................. 47 Tip 96 Sync applications
Tip 62 Isolator to the max! .............................................. 48 — using the DJX-II as the master ....................... 68
Tip 97 Sync applications
Chapter 14
— using the DJX-II as the slave .......................... 69
Part Mixer Power Tips ............ 49 Tip 98 Get more Patterns! ............................................... 70
Tip 63 Toggle the Part Mix.............................................. 49 Tip 99 Using MIDI Bulk Send ........................................ 71
Tip 64 Cool intro ............................................................. 49 Tip 100 Create your own Patterns!................................... 72
Tip 65 Solo a single Part — instantly!............................. 50
Tip 66 Hit the downbeat!................................................. 50
Tip 67 Custom Combination keys .................................. 50
Chapter 15
Part Controller Power Tips ....... 51
Tip 68 Activator textures ................................................. 51 Appendix 74
Tip 69 Dark mixes and deep grooves
Troubleshooting .............................................. 74
— cut the Cutoff! ................................................. 51
Error Message List.......................................... 76
Tip 70 Instant reset! ......................................................... 52
Specifications.................................................. 77
Tip 71 Pitch Bend for keyboard voices ........................... 52
Glossary........................................................... 78
Chapter 16 Pattern List ...................................................... 80
Sampling ................................. 53 Activator List ................................................... 81
Tip 72 Sample it! .............................................................. 53 Voice List ......................................................... 82
Tip 73 Erase the sample ................................................... 54 Drum Kit List.................................................... 84
Tip 74 Loops and One Shots ........................................... 54 MIDI Data Format MIDI .................................... 87
Tip 75 Play samples from the keyboard!......................... 55 MIDI Implementation Chart............................. 94
Index................................................................. 95
Chapter 17
Performance Recorder .............56
Tip 76 Record your performance.................................... 56
Tip 77 Jamming with Performance Player ..................... 57
Chapter 18
BPM/Tap Power Tips .................58
Tip 78 Tap out the beat! .................................................. 58
Tip 79 Start with a tap...................................................... 58
Tip 80 Down and out!...................................................... 59
Tip 81 Check the bpm ..................................................... 59
Chapter 19
The Outside World ...................60
Tip 82 Expanding your DJ setup..................................... 60
Tip 83 Mute the speakers................................................. 61
Chapter 20
DJ Performance
Master Class ...........................62
Tip 84 Creative fill-in 3.................................................... 62
Tip 85 Break to a new beat .............................................. 62
Tip 86 Switch the drums!................................................. 63
Tip 87 Outro -tro -tro -tro .............................................. 63
Tip 88 Upside down, inside out! ..................................... 64
Tip 89 Buildup to a Variation ......................................... 64
Tip 90 Sync up your samples to the Pattern!.................. 65
Tip 91 Play a Pattern, trigger a Performance.................. 66
Tip 92 Recall your settings with a single shot................. 66
Tip 93 Taking the pulse ................................................... 67
Tip 94 Auto-adjusting the bpm....................................... 67

7
 Panel Controls
Top Panel

@0 !0 !1
P 01 i !2
r u
!3
This is the DJX-II!

o
y

!5 !6 !7
!4

!9

q STANDBY/ON switch................................ 13 y PATTERN/ENTER button ................... 10, 16

Press to toggle the power on or off. (Power is on when This selects the Pattern mode.
the switch is pressed in.) The Pattern mode is the default mode when the power
is turned on.
w MASTER VOLUME .................................... 13
This determines the overall volume of the DJX-II. u ACTIVATOR button................................... 18
This is used to select the activator.
e DEMO button
This is used to play the Demo songs that showcase the i BPM/TAP button................................. 39, 58
sophisticated capabilities of the DJX-II. This is used to change the bpm (tempo) of the selected
Press this button to start/stop the Demo songs. Pattern or Activator.
To select one of the Demo songs, hold the button Each Pattern of the DJX-II has been programmed with
down and simultaneously turn the data dial. a default or standard bpm (tempo); however, you can
change the bpm to any value between 32.0 and 280.0
r LIVE EFFECTOR section ................... 22, 43
beats per minute.
The DJX-II has a wide variety of built-in effects that
This button also determines whether the DJX-II will
affect the entire sound of the DJX-II and can be
use its own internal clock or whether it will use MIDI
manipulated in real time. Use the SELECT button to
clock received from the MIDI IN connector.
call up one of the ten effects, then work the knobs to
change the depth and amount of the effect. o Data dial.................................................... 16
This is used to change the values and settings for the
t VOICE/KEYBOARD button................. 10, 27
Pattern number, Activator number, bpm (tempo), and
Pressing this button changes the DJX-II keyboard to
Voice number.
operate in the Voice mode. When the power is turned
on, the DJX-II is set by default to the Pattern mode;
pressing this button changes to the Voice mode.
8
 Panel Controls

sound from a CD or MD player, and play the sound

(from the SAMPLE PADS or the keyboard).
Use the SAMPLING/STOP button to record (sample)
the desired sound, then trigger the new sample by
e
pressing one of SAMPLE PADS 1 - 6 or by playing the
keyboard.
!4 INPUT LEVEL knob .................................. 53
Use this to adjust the input level of the external audio
source. This affects the microphone or line level when
!8 using the Sampling feature; it also affects the level of
w q
the audio when using the Audio bpm Counter func-
tion (page 67).
!5 PART CONTROLLER knobs .............. 34, 51
These are used to adjust the volume, filter cutoff, and
filter resonance for individual parts of the Patterns.
!6 RIBBON CONTROLLER ........................... 38
This expressive tool lets you control and change the
sound of the DJX-II by simply moving your finger
along the surface. Use the SELECT button to select
the effect you wish to control, then rub your finger
back and forth along the ribbon to change the sound.
!7 ISOLATOR knobs...................................... 26
Use these knobs to change the timbre or tone of the
sound, adjusting the level of each frequency range:
!0 MIDI BULK SEND button ..........................71 Low, Mid, and High. Turning each knob to the right
The DJX-II allows you to send your original Perfor- boosts the level at that frequency, while turning it to
mance Recorder and Sampler data to an external the left cuts it.
MIDI device as bulk data for storage and future recall.
!8 PERFORMANCE RECORDER buttons ... 56
Pressing this button transmits the current bulk data.
The DJX-II allows you to record your original perfor-
!1 AUDIO BPM COUNTER button ................67 mances as digital data, giving you even greater live
The DJX-II has a powerful and convenient function performance power. Up to six separate performances
that lets you synchronize external audio (such as from can be recorded, using the RECORD and 1 - 6 but-
a CD or MD) with the Patterns of the DJX-II. Hold tons. To play back your recorded performance, simply
down this button and adjust the input level while press the appropriate button: 1 - 6.
playing the connected audio device. The DJX-II mon-
!9 Keyboard ................................................... 27
itors the beat from the audio, and automatically locks
The extraordinarily versatile keyboard of the DJX-II
into the rhythm by auto-adjusting the bpm of the
has various different functions. Naturally, it can be
DJX-II’s Pattern. The extracted bpm value is indi-
used as a conventional keyboard, for playing melodies
cated in the display.
and chords. However, for the powerful DJ functions,
!2 PATTERN STOP button.............................14 the keyboard is a large bank of convenient buttons
This button stops playback of the Patterns and Activa- that can be used to trigger and control the various Pat-
tor loops. Start the DJX-II’s Patterns by pressing one terns and sounds of the instrument.
of the PATTERN PLAYER keys and stop them by
@0 Display
pressing the PATTERN STOP button.
This shows important information on certain settings
!3 SAMPLER button ......................................53 and values of the DJX-II.
The DJX-II has a powerful Sampling function that lets
you record your own voice (via a microphone) or the
9
 Panel Controls

Functions of the Keyboard

In a conventional keyboard instrument, the keys are used to play scales, melodies and chords.
The DJX-II, however, is hardly a conventional instrument. For the dynamic DJ functions, it
is better to think of the keyboard as a large bank of convenient buttons that are used to trigger
and control the various Patterns and sounds of the instrument. Depending on the selected
mode, the keyboard functions in one of two ways, as shown below.

■ Pattern Mode ..................................................................... When the PATTERN/ENTER button is flashing:

This is the default mode when the power is turned on.
The Pattern mode is used for selecting and playing Patterns.
In this mode, don’t think of the keyboard as a series of pitched keys — think of it as a bank of
buttons, pads and switches for controlling the Patterns and sounds!

KEY SHIFTER PART SELECTOR PART MIXER PATTERN ACTIVATOR

block block block PLAYER block block
Use these keys to Use these keys to Use these keys to Use these keys to Use these keys to
instantly transpose select the individual turn individual instru- select and start the augment the overall
(change the key of) instrument sound you ment sounds of the different Variation sound with special
the bass and phrase wish to tweak with the Pattern on and off, as Patterns. loops and one-shot
parts of the Patterns PART CONTROL- the Pattern plays. phrases.
and Activator phrases. LER knobs.

■ Keyboard Mode ..............................................................When the VOICE/KEYBOARD button is flashing:

In this mode, use the keyboard in the conventional way — for playing melodies and chords.

10
 Panel Controls

Rear Panel & Connections

A standard pair of stereo head-
phones can be plugged in here for
private practice or late-night play- • Do not listen with the head-
ing. The internal stereo speaker phones at high volume for long
system is automatically shut off periods of time. Doing so may
when a pair of headphones is cause hearing loss.
plugged into the PHONES jack.

• Connect the AC adap-

tor (PA-5B, PA-5C or
other adaptor specifi-
cally recommended by • Connect the DJX-II to external
Yamaha) to the power equipment only after turning off
supply jack. power for all devices. To prevent
damage to the speakers, set the
See page 12 for details. volume of the external devices at
the minimum setting before con-
necting them. Failure to observe
these cautions may result in
electric shock or equipment
damage.

The LINE OUT jacks are used to send

the DJX-II output to a DJ mixer, stereo
sound system, mixing console, or tape
recorder.

The DJX-II also features MIDI terminals,

allowing you to interface the DJX-II with
other MIDI instruments and devices. (For
more information, see page 68.)

CD MD

Amplifier

These are for recording an external audio source in

the Sampling functions (page 53).
The MIC jack is for connection to a microphone for • Never connect a line level signal (CD player, cas-
recording vocals and acoustic instruments. sette deck, electronic instrument, etc.) into the
The LINE IN jack is for connecting to and recording MIC input jack! Doing this could damage the
a line level signal, such as that of a CD player or DJX-II and its Sampling functions.
cassette deck.

11
 Setting Up (Power supply connections)
Although the DJX-II will run either from an optional AC adaptor or batteries, Yamaha rec-
ommends use of the more environmentally safe AC adaptor. Follow the instructions below
according to the power source you intend to use.
The batteries should be considered an auxiliary power source for data backup (page 13).

■ Using An Optional AC Power Adaptor • • • • • • • • • • • •

1 Make sure that the STANDBY/ON switch of the DJX-II is

set to STANDBY.
2 Connect the AC adaptor (PA-5B, PA-5C or other adaptor
specifically recommended by Yamaha) to the power sup-
ply jack.
3 Plug the AC adaptor into an AC outlet.

To disconnect the adaptor: Set the STANDBY/ON switch to STANDBY,

then unplug the adaptor from the AC outlet, and then disconnect it from
the DJX-II power supply jack.

• Use ONLY a Yamaha PA-5B or PA-5C AC Power Adaptor (or other adaptor specifically rec-
ommended by Yamaha) to power your instrument from the AC mains. The use of other
adaptors may result in irreparable damage to both the adaptor and the DJX-II.
• Unplug the AC Power Adaptor when not using the DJX-II, or during electrical storms.

■ Using Batteries • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
For battery operation the DJX-II requires six 1.5V SUM-1, “D” size, R-20 or equivalent bat-
teries. When the batteries need to be replaced, the volume may be reduced, the sound may be
distorted, and other problems may occur. When this happens, turn the power off and replace
the batteries.
Replace the batteries as follows:

1 Open the battery compartment cover located on the instrument’s

bottom panel. • Plugging or unplugging the AC
power adaptor while the batteries
2 Insert the six new batteries, being careful to follow the polarity are installed will reset the DJX-II
to the defaults.
markings on the inside of the compartment. • If you play the DJX-II with the vol-
3 Replace the compartment cover, making sure that it locks firmly ume at its maximum level when
the batteries are used, the life of
in place. the batteries will be shorter.

• When the batteries run down, replace them with a complete set of six new batteries.
NEVER mix old and new batteries.
• Do not use different kinds of batteries (e.g. alkaline and manganese) at the same time.
• If the instrument is not to be in use for a long time, remove the batteries from it, in order to
prevent possible fluid leakage from the battery.
12
Switching On the Power
Once you've set up your DJX-II, try turning the power on.
Make sure your sound system's main level/volume control(s) and the DJX-II volume control
are turned all the way down prior to turning the power on.

0J'.
Set the MASTER Turn the power ON by pressing the
VOLUME knob to STANDBY/ON switch.
"min." Press the STANDBY/ON switch
again to turn the power OFF.

• Even when the switch is in the “STANDBY” position, electricity is still flowing to the instru-
ment at the minimum level. When you are not using the DJX-II for a long time, make sure
you unplug the AC power adaptor from the wall AC outlet, and/or remove the batteries from
the instrument.

Data Backup & Initialization

Except for the data listed below, all DJX-II panel settings are reset to their initial settings
whenever the power is turned on. The data listed below are backed up (i.e. retained in mem-
ory) as long as an AC adaptor is connected or a set of batteries is installed.
• User Pattern data.................................................... page 72
• Sampling data ........................................................ page 53
• Performance Recorder data ................................... page 56
All data can be initialized and restored to the factory preset condition by turning on the
power while holding the highest (rightmost) key on the keyboard. “Clr!” will appear briefly
on the display.

C|r'.

• All settings listed above, will be erased and/or changed when the data initialization proce-
dure is carried out.
• Carrying out the data initialization procedure will usually restore normal operation if the
DJX-II freezes or begins to act erratically for any reason.
13
 This is NOT an owner’s manual! At least not an ordinary one. But, then again,
the DJX-II is no ordinary instrument. It’s packed with exciting, easy-to-use dance
music features that instantly sets it apart from run-of-the-mill conventional
instruments!
This collection of 100 hot tips shows you how to get the most out of your new DJX-
II in the shortest time possible. It’s like an expert DJ or mixer taking you by the
hand and showing you the ropes, sharing all the tricks and techniques you need to
be a master DJ yourself! It takes you from the
100 Tips to be a DJ!

bare-bones basics, to advanced power tips that get ◆ The Levels — Work your way up!
you mixing like a pro in no time! .....................Basic operations
...............Intermediate functions
So jump in! .........Advanced tricks and techniques
...Power user features

Chapter 1
Pattern Player Basics
Start your DJ apprenticeship right here! The Patterns are the basic building blocks of the
DJX-II sound — they’re the rhythmic foundation for everything else on this dance machine.

1 Work out with the Patterns

Here’s where it all starts!
Hit one of the keys (1 - 10) in the PATTERN PLAYER section — and the Pattern starts immedi-
ately. Hitting another key instantly switches to a different Pattern (actually, a Variation on the
main Pattern).
Since the DJX-II starts the Pattern right away, be careful to press the key in time with the
rhythm.
Practice this a while — there’s no better way to get your timing tight and develop a solid sense
of rhythm!
To stop the Pattern, press PATTERN STOP.

14
 Chapter 1 Pattern Player Basics

2 Mixing Main and Fill-in Patterns

Try mixing it up!
Fill-in Patterns
Each of the DJX-II’s Patterns has ten different Variations. Play the
main Patterns with the gray keys and the fill-in Patterns with the black
keys. (Fill-in Patterns are usually used as dynamic breaks or transi-
tions.)
In general, the higher the Variation number (1 - 10), the busier or
more complex the Patterns become.
Listen carefully to each Pattern — remember how each of them
sound — then play them one after another for your own special per-
formance!

Main Patterns

3 Come down on the “one”!

The key to great timing is knowing where the “one” is. And the “one” is the first beat in a four-beat
Pattern. Another key to timing is feeling the downbeats (four downbeats to a Pattern). The DJX-II
makes this easy to do!
Check this out:
While the Pattern is playing, the dot in the bpm display flashes rhythmically. (If the bpm display is
not shown, press BPM/TAP.) Each flash indicates a downbeat.

Try hitting a different Pattern key on the “one” downbeat — when you’ve hit it right, you’ll feel it!

One Two Three Four

Hit it here!

This is the best place to start a new Varia-

tion Pattern — right after the previous one
has reached the end of its loop. Don’t hit
the new key too early or too late — try to
hit it right on the “one” downbeat!

15
 4 Exploring other Patterns
Try out some different Patterns now — the DJX-II has a ton of them!
To change the Pattern, first press PATTERN/ENTER then turn the dial.
Check the display to see what you’re selecting. The two numbers on the left indicate the current
Pattern number, and the numbers on the right indicate the new one.
But wait! The new Pattern doesn’t actually start until you press PATTERN/ENTER again! Wait until
the previous Pattern loops through, then press PATTERN/ENTER on the “one” downbeat (remem-
ber Tip 3?) — the Pattern changes immediately!

q
w

Flashes
q w e

p 01 01.03 p 03
Current Pattern — The new Pattern is up and
now playing. playing!

New Pattern — waiting

in standby.

● Exploring other Patterns

Category # Pattern Name Comment
01 Japan Beatz Experimental electronic madness — way cool!
TECHNO
05 Detroit Serious House music — from where it all started!
DISCOMANIA 11 Disco House London’s disco club scene.
CLUB VIBES 17 Hard House Harder than you might expect...
DRUM'N'BASS 34 Jazz D&B Straight from the heart of London — fast and stylish!
50 Light Feel it flow, a real Hip-hop cruiser from L.A.
GANGSTA
52 Female Extra smooth ‘n’ silky R&B-style Hip-hop.
FUNKY HIP HOP 59 Club Funk Funk with a Hip-hop flavor — real nice!
OLD SKOOL 62 Scratchin’ Really dark and hard Hip-hop — with a nice melody on Variation
10.
TRIP HOP 65 Deep Dark and heavy Trip-hop, atmospheric and dreamy.

16
 Chapter 1 Pattern Player Basics

5 Go back, go forward
The NEXT and PREV keys let you select the next or the previous Pattern number. Hit the PREV key
to go back 1 to the previous Pattern number. Hit the NEXT key to go forward 1 to the next Pattern
number.
Watch your timing... The DJX-II changes the Pattern as soon as you hit the key!

PREV/NEXT keys

6 Keep the bpm steady!

Once you’ve started a Pattern, it's better to keep it playing at a steady bpm — unless you’re aiming
for special effects and sudden tempo changes.
Actually, the DJX-II takes care of this for you — automatically! If you change Patterns while a Pat-
tern is playing, the bpm setting stays the same. However, if you stop the Pattern and start a new
one, the bpm is automatically reset to best suit the newly selected Pattern.

While the Pattern is running... When the Pattern is stopped...

01.03 01.03

Change the Pattern... Change the Pattern...

... and the bpm stays the same. ... and the bpm is set to best
suit the selected Pattern.
17
 Chapter 2
Activator Basics
The Activator section adds to the power of the Patterns. It gives you a whole new set of
rhythms and sounds that you can use to augment, complement, and spice up the basic
rhythms of the DJX-II.

7 Work out on the Activator

Try it out now! Just hit the One Shot 1 key in the Activator section — and the Activator sounds. Try
hitting the Loop 1 key — and a special phrase starts. To stop the phrase manually, press the same
key again or press PATTERN STOP.

Each of the keys has a different rhythm or sound — and, naturally, you can add these sounds while
a Pattern is playing back. Improvise while the Pattern is playing, hitting different keys to create
your own sound.
The DJX-II has a total of 52 different Activator kits — each kit with five Loops and eight One Shots.
Go on to the next Tip and learn some more about these!

8 Loops and One Shots

The DJX-II has two kinds of Activator sounds: Loop and One Shot. You can guess from their
names how these two types behave. A Loop sounds when you press one of the Loop keys (1 - 5),
and the sound cycles indefinitely until you press the same key again. The One Shots (1 - 8) sound
only while holding down the key and sound only once — unless the key is pressed repeatedly, of
course. You can stop all Loop sounds simultaneously by pressing PATTERN STOP.
Build up your sound part-by-part and fly in the different Loops and One Shots — while the Pattern
is playing!

18
 Chapter 2 Activator Basics

Loops One Shots

9 Explore the Activator kits!

As we pointed out above, the DJX-II is loaded with a variety of different Activator kits. Select a few
of them now, and try out their sounds. Press ACTIVATOR (the display shows “A 00”) and turn the
dial to change the Activator number.
Activator number 00 is a special kit called “Auto.” When Auto is selected, changing the Pattern
automatically changes the Activator as well. The new Activator kit is the one that best matches the
selected Pattern and its Variations.
In the remainder of the Tips, “Pattern x” will be abbreviated as “P x,” “Variation x” as “V x,” and
“Activator x” as “A x.”

A 00
"A" stands for "Activator."

Currently selected number

19
 10 Put ‘em together!
Get a Pattern going, then play the One Shots rhythmically along with the Pattern. Get into the
rhythm, feel the downbeats and layer the One Shots on top of the main beat.

11 Activator intro textures

Part of the key to a great dance track is how it starts. The DJX-II gives you the power to craft your
own intros, and get people moving right from the get-go!
Try this intro on for size! Here we’ll have a drum fill lead into the main Pattern.
First, select P09 and A05, then press Activator Loop1. Let the Activator Loop play for two bars
(eight beats), then stop the Loop and start the Pattern (V1) at the same time. To do this, press the
same Loop key and the appropriate Pattern key simultaneously.

20
 Chapter 2 Activator Basics

p 09
w

A 05
e

12 Activator Loop bpm

Here’s a real convenient feature! You’ll never have to worry about your loops drifting out of time —
the DJX-II automatically matches up the bpm of the Activator Loops to the bpm of the Pattern.
However, the DJX-II can’t sync up your loops if you don’t play them on time! Be careful to hit the
Loops right on the beat — just as you did with the Patterns.

21
 Chapter 3
Live Effector Basics
The effects of the DJX-II are more than just frosting on the cake — they’re powerful
tools that can completely transform the sounds and rhythms, and put a whole new spin
on your tracks!

13 What is the Live Effector?

Here’s where you can really get down and dirty with your beats!
The Live Effector gives you a wide variety of real-time effects that let you mangle and munge the
sound in wild and exciting ways. All of the sounds of the DJX-II — the Pattern, Activator, and Sam-
pler (→ page 53) — are processed by these versatile sound shapers. You can turn the effects on
and off in time with the rhythm, and adjust a pre-programmed key effect parameter and the balance
(depth) of the effect in realtime as the Pattern plays.

• To keep the effect locked on:

Simultaneously hold the toggle
A continuously lit LED indi- switch on and press SELECT.
cates that the effect is
selected. When the effect is To “unlock” the effect, turn the
turned on, the LED flashes effect on and off again.
in time with the Pattern.

Turns the effect

ON or OFF.
Changes the sound of the effect.
(Each effect lets you control a differ-
ent key parameter.)

Changes the depth of the effect. When

set to "Dry," the effect cannot be heard.
When the effect is set to on, turning the
BALANCE knob may generate noise.

Press this to change the effect type.

When changing the effect type, the new
type is applied immediately from the next
note (with the exception of the Slice type).

• Doing too much at once?

Changing the effect type while the effect is on and a
Pattern is playing back and/or while you’re playing the
keyboard can overload the processing power of the
DJX-II. This could affect the sound in different ways,
making the overall sound softer or changing the
sound of the effect in unexpected or undesirable
ways. For best results, stop the Pattern and/or stop
playing the keyboard briefly before changing the
effect type. Better yet, turn the effect off briefly, then
change the type and turn it back on again as needed.
◆ Tech note:
You can change the effect type while the effect is on
in the "hold" condition; however, it cannot be changed
when holding down the toggle switch manually.

q Start the Pattern or Activator.

w Select the desired effect, turn the Effect on,
and twist the knobs.
e Stop the Pattern or Activator.

22
 Chapter 3 Live Effector Basics

14 Distortion
This popular effect lets you distort the sound — from a soft grunge to a full-on
metallic assault. Turn the CONTROL knob to the right for more crunch and
bite.

15 Auto Pan
Get your sound moving in space! This effect shifts the sound in the stereo
image back and forth between hard left and hard right. Setting the CONTROL
knob toward max speeds up the panning so much, the sound seems to be
modulated — like on a synthesizer!

16 Ring Modulation
Here’s an ultracool effect straight out of analog synthesizers! The Ring Modu-
lator changes the sound dramatically by “overdriving” the oscillator — as set
with the CONTROL knob. This effect completely destroys the original pitch of
the sound and generates a whole new set of pitches and harmonics, for a mas-
sively dynamic metallic sound. Use the CONTROL knob to change the fre-
quency of the oscillator.
Use this sparingly! You’ll want to save this awesome, powerful effect for cer-
tain climactic parts of your performance — and then blow people away!

17 Flanger
This modulation-based effect produces a “swishing” or “tunneling” sound.
Changing the speed of the modulation with the CONTROL knob produces a
characteristic metallic, sweeping effect — much like a jet airplane taking off.

23
 18 Phaser
The Phaser effect is similar to Flanger (in Tip 17 above), but more subtle — not
quite as dramatic. Phaser is good for adding a little bit of warm animation and
movement to the sound. Use the CONTROL knob to change the speed of the
modulation.

19 Slice
Chop up the beat, slice and dice — completely change the feel of the rhythm!
Use the CONTROL knob on this happening effect to change the “slice” Patterns,
and come up with new rhythms on the fly!

20 Delay
Delay is a popular effect that repeats the sound in rhythm. (There’s a related
Echo effect; see Tip 21 below.) And check this out — no rocket science needed!
The DJX-II automatically syncs the delay time to the current bpm, so you don't
even need to re-adjust the knob, even when the bpm is changed. Use the CON-
TROL knob to change the relative delay time to match the rhythmic effect you
want. The DJX-II syncs to note values — 16th, 8th, 4th, triplet, etc.
◆ Be careful — changing the delay time (by changing the CONTROL knob or
bpm) may result in some noise.

24
 Chapter 3 Live Effector Basics

21 Echo
Like Delay (in Tip 20 above), Echo produces repeats of the sound for rhythmic
effect. However, the CONTROL knob is used to change the number of repeats
(also called “feedback”). Naturally, the DJX-II automatically syncs this effect to
the bpm of the Pattern.

22 Lo-Fi
Need to grunge up your sound, but Distortion is too nasty for you? This useful
effect lets you slap that retro, lo-rez sound onto your beats — just like they do
in hip-hop, trip-hop and other styles. Lo-Fi gives the sound just a little bit of
“dirt” — and lets you add a vintage analog-like touch to your performance.

23 Wah
Wah is a special moving filter effect that gives a funky feel to the sound. Use
the CONTROL knob to change the speed of the filter motion. Setting this toward
the maximum produces a trembling sound.

25
 Chapter 4
Isolator Basics
More sonic control to you! The Isolator lets you tailor the sound just the way you want
it — phat and round, thin and edgy, or big and banging!

24 Tweak the sound just right!

Need a beefier low end? Want to put some edge and shimmer in the top? Tweak these knobs to
your heart’s content, and get the sound just the way you want it! Try turning the Low and High
knobs of the Isolator a little bit to the right, and make the sound more punchy. Try other settings as
well to get the sound just right!
Each of these knobs boosts or cuts a general frequency band of the sound. Technically, the range
for each knob is -12dB to +12dB.
◆ Be careful with this, though — if the Master Volume is at or near the max, boosting these fre-
quencies can result in some nasty distortion!
◆ Helpful hint: Avoid boosting the level (when possible). For example, if you want to emphasize
the highs and lows, add a gentle mid cut instead.

Boosted low end, slightly

crisper high end.

Low Mid High

Very tinny sound — almost

no bass, very bright and brit-
tle high end.

Low Mid High

Flat response — normal set-

tings.

Low Mid High

26
 Chapter 5
The Keyboard
Hidden among the many wonders of the DJX-II is — surprise, surprise! — a conven-
tional keyboard.

25 Play the keyboard

You may not have realized it, but the DJX-II also has a regular, conventional keyboard in addition to
its DJ Pattern-based one.
Simply press VOICE/KEYBOARD to call up the Keyboard Mode, and play the keyboard normally. To
switch back to the DJ functions — called the Pattern Control Mode — press PATTERN/ENTER.
Naturally, you can switch back and forth between the Keyboard Mode and Pattern Control Mode
even while the Pattern and Activator are running.

27
 Chapter 5 The Keyboard

26 Try some different voices!

The DJX-II is chock full of a stunning variety of dynamic voices. Try some of them out right now!
To get at these voices and play them, press VOICE/KEYBOARD (the display shows “Vxxx”), then
turn the dial.

U003
Indicates the currently
selected voice.

● Try some different voices!

Category # Voice Name Comment
HYPER MIX 000 DJX-II Various human voices from all over the world, plus scratches from the U.S.
SYNTH PAD 015 Wave 2001 Lush, atmospheric sweep pad, great for Trance and Chill-out styles.
GUITAR 036 Dist. 5th Heavy, chainsaw-like power chords. Put some metal in your mix!
SQUARE LEAD 054 Square Lead 2 Classic analog synthesizer wave — with great low-end, atonal bass.
056 Break it Brash and fat lead synth sound — perfect for Euro styles and Rave.
SAW LEAD
065 Saw Lead 2 Slightly buzzy analog synth sound from the 80’s.
092 Hyper Essential bass voice for all different styles
ANALOG BASS
094 Dist-Syn Quirky and funky — great for Acid, and for adding some in-your-face punch!
DRUM LOOP 177 Drum Loop H2 A sliced Hip-hop loop (keys C3 - A3) — play them in any order and come up
with your own happening rhythms!
HYPER DRUM KIT 192 DJX Kit A different drum or percussion sound on almost evey key — plus some wild
sound effects! Mix and match, and make your own beats!

28
 Chapter 6
Part Mixer Basics
Now that you’ve got your rhythm chops up to speed and some DJ tricks up your sleeve,
it’s time to work on the Parts! This chapter — and the two that follow — give you the
keys to building interesting arrangements and instrumental textures. Not to mention
some slammin’ and smokin’ tracks!

27 What is a Part?
The DJX-II Patterns are made up of eight different instrument Parts: Kick, Snare, Hi-Hat, Percus-
sion, Bass, and Phrases 1 - 3. Each Part has its own unique function and sound within the rhythm.
The Part Mixer puts you in the producer’s seat — it lets you instantly throw Parts in and drop Parts
out in real time, allowing you to arrange on the fly!
The drum sounds (Kick, Snare, Hi-Hat, and Percussion) are assigned to the gray keys, whereas the
pitched sounds (Bass, Phrases 1 - 3) are assigned to the black keys.

28 Take the console and remix the Parts!

Step up to the mixer and start juggling the arrangement around! In the
Part Mixer section, each press of a key alternately sounds or mutes the
respective instrument.
While the Pattern is playing, the lamp above the key flashes to indicate
the Part is on. Turn it off (mute it), and the lamp goes off, too. Bril-
liantly easy to understand, and a great help while playing live — since
you can see at a glance which parts are active!
Try it now! Press some of the keys. Turn the Parts on and off — and
check out how each Part sounds, both on its own and with the others.

29
 29 Combination keys
Sometimes you’ll want to mute or sound a group of Parts at the same
time. Rather than having to grab several keys simultaneously, you can
use the special combination keys, and turn several parts on or off
together — instantly!
The combination keys are: BASS+KICK, PHRASE1+2+3, and KICK+HI-
HAT. For example, if you press BASS+KICK, the Bass and Kick Parts
switch on and all the other Parts turn off. Try using these convenient
arranging keys in your own performance for dynamic breakdowns!

30 Turn them all on!

Here’s a helpful tip! You can turn on all Parts instantly by simulta-
neously pressing BASS+KICK, PHRASE1+2+3, and KICK+HI-HAT
together.

30
 Chapter 6 Part Mixer Basics

31 Extra texture!
Work on your instrument textures. All the mixmasters and mixologists do it! Why? Because it
works like a charm!
Try turning all the Parts off — except the BASS Part — then select P05 and start V1.

q w e

p 05

Let the Bass carry on for a while. Then bring in the Kick. Let those two instruments simmer for a
while, then start up the Hi-Hat. Pull in the Snare for a powerful beat. Then fly in some Percussion
to spice things up. Finally, get all the Parts happening, so the whole Pattern is playing.
Experiment with other instrument combinations and orders, let your ears be the judge... and have
fun! After all, this is the way the pros build up the sound.

31
 Chapter 7
Part Selector
Now that you’ve learned about the Parts and had a chance to fool around with them,
let’s see what other magic you can work with them...

32 Grab a Part and tweak it!

If you thought tweaking the effects (Tips 13 - 23 above) was a blast, wait till you start working on
the Parts. This is where the fun really begins!
Introducing the Part Selector and the Part Controller. By itself, the Part Selector doesn’t make any
sound. It simply lets you select the Part you’re going to be tweaking with the Part Controller.

For example, if you’ve selected BASS with the Part Selector keys, and turn the CUTOFF knob, only
the Bass Part will be affected by changing the Cutoff. Likewise, if Hi-Hat is selected and you turn
the VOLUME knob, only the Hi-Hat’s volume will be changed.
Notice that this function only works on one Part at a time. Select a Part, turn a knob — only that
Part is affected. When you press one of the normal Part Selector keys (BASS, KICK, SNARE, etc.),
that Part is enabled for control and the others are ignored.

33 Combination keys
Did we say you could only control one Part at a time? Sorry! Actually, the Part Selector has three
combination keys that let you call up several Parts at once for tweaking.
For example, press the BASS+KICK key — then use the Part Controller knobs to tweak both the
Bass and Kick Parts simultaneously. Naturally, the PHRASE1+2+3 and KICK+HI-HAT keys work in
similar fashion for those combined Parts.
32
 Chapter 7 Part Selector

34 Tweak the Activator sound!

Guess what? The Activator is fair game for the Part Controller, too! Press the ACTIVATOR key in
the Part Selector section, and you’ve just called up all of the Activator sounds for tweaking. In other
words, the Part Controller affects ALL keys in the Activator at the same time.

35 Select all Parts and tweak them!

Here’s where things get wild and wooly! Press the three keys BASS+KICK, PHRASE1+2+3 and
KICK+HI-HAT at the same time, and all Parts — as well as all Activator sounds — are selected.
Turn the CUTOFF knob or another knob and hear how the overall sound radically changes — that’s
because all Parts and all Activator sounds are controlled together by the knobs.

33
 Chapter 8
Part Controller
In the last chapter you did some tweaking of the Parts. Now it’s time to dig in a little
deeper and explore the Part Controller section. These little knobs can really open up
your sound!

36 Cutoff and Resonance

The CUTOFF and RESONANCE knobs control the filter effects. And what are “filter effects,” you
ask? Well, filters have been used for a long time with analog synthesizers, and in the right hands
they are capable of turning static, boring sounds into something really dynamic and animated.
Turn CUTOFF to the left and the sound becomes darker or “muffled.” Turn CUTOFF to the right and
the sound becomes brighter. The RESONANCE knob controls how sharp the peak of the filter is.
Turn RESONANCE to the right and the filter peak becomes sharp and pronounced. Turn the RESO-
NANCE left and the filter becomes flat.

Darker Brighter

Volume Volume
Cutoff frequency
Resonance

Frequency (pitch) Frequency (pitch)

These frequencies are

“passed” by the filter.

Try tweaking CUTOFF while RESONANCE is at about 2 or 3 o'clock (see below). The filter becomes
sharper, and you can actually hear the filter peak moving according to the CUTOFF knob position.
There’s no way to adequately describe this effect in words — you just have to try it out for yourself,
and hear how awesome it can make your music sound!

34
 Chapter 8 Part Controller

37 Adjust the Part volume

Yes, the VOLUME knob is a simple control for the volume of the Part — but the simplicity is deceiv-
ing. By letting you adjust the volume for each Part, you can perform various arranging tricks on the
fly, like fading specific parts in and out of the overall mix — while the Pattern is running!

38 Tweak the cutoff

Set RESONANCE to about 2 or 3 o'clock, then select PHRASE1+2+3 with the PART SELECTOR.
Slowly turn the CUTOFF knob to create a slow sweeping effect. Twiddle the knob back and forth
quickly and create a wah-like trembling effect.

e Select PHRASE1+2+3. q Start the Pattern.

w Set RESONANCE to about 2 or 3
o'clock.

r Turn the CUTOFF knob.

t Stop the Pattern.

35
 Chapter 9
Key Shifter
As a dance production powerhouse, the DJX-II naturally excels in the realm of rhythm.
However, it’s got important harmonic bases covered as well. One of these is the conve-
nient Key Shifter.

39 Transpose the key

The Key Shifter section of the DJX-II lets you take the pitch (or “key”) of the overall sound, and
transpose it up or down — instantly!
Believe it or not, changing the key of the overall sound makes subtle but fundamental changes to
the character of the sound as well. Use higher keys (+1 to +6) to make the sound more tense or
brighter, and use the lower keys (-1 to -5) to make the sound more relaxed and subdued.
Key Shifter is especially convenient when you’re using the DJX-II with an external sound source,
such as CD or vinyl — letting you match the key of the Pattern to the key on the external source!

CD MD

w Adjust the key. q Start the Pattern or Activator.

e Stop the Pattern or Activator.

36
 Chapter 9 Key Shifter

40 Create your own chord progressions!

Naturally, you can use the Key Shifter to change chords on the fly, and create your own original
chord progressions — as you perform!
Let’s try it out. For example, select P08 and start V1. Then press the Key Shifter keys as shown
below. Remember to keep the beat and stay in time!

p 08

One Two Three Four One Two Three Four

+3 +1
0 +5

Since many of the DJX-II Patterns have their own pre-programmed chord progressions, shifting
the key in the middle of a Pattern may result in unexpected or unusual twists. Experiment! Try dif-
ferent Patterns. Try using only two keys, alternating between them every other bar. Try changing
key only once every four bars, especially for Patterns that change chords several times over their
four-bar cycle. In this simple feature there’s a huge world of musical possibilities!

37
 Chapter 10
Ribbon Controller
The DJX-II is packed with knobs, pads, switches and dials that let you work the sound
with your fingers. And here’s one more expressive tool that gives you hands-on control!

41 Do some scratching on the Ribbon!

Work out on the amazing Ribbon Controller! It sounds just like scratching a turntable — and it
takes up a whole lot less space!
Select Scratch 1 (press the SELECT button). Now touch the Ribbon Controller and hear the charac-
teristic vinyl “noise.” Next, move your finger along the Ribbon to get scratching sounds. For a dif-
ferent scratch sound, use Scratch 2.
As always, play along with the rhythm, and stay in the pocket!

42 Stop the turntable

You’ve heard the effect — where the whole track drops in pitch and slows down to a grinding halt!
Guess what — you can do the same thing on the DJX-II, and have fingertip control over it, too!
Select Pitch&BPM (press the SELECT button), and the Ribbon Controller switches to control both
pitch and bpm simultaneously. Put your finger at the center of the Ribbon, then slowly slide it to
the left — and hear the pitch go down and the bpm slow down. Sliding your finger all the way to
the left brings everything to a grinding halt — just like turning off the power on a turntable!
Let go of the Ribbon, and the “turntable” starts up again! The Pattern starts at low pitch and bpm,
and gradually works its way back up to speed. An awesome effect that cranks up the excitement
factor a couple more notches!

38
 Chapter 11
BPM/Tap Basics
Control over bpm means control over the dance floor! Some mixologists have this down
to a science. Use these tips to get started with your own bpm explorations.

43 Change the bpm

Another sure-fire way to stir things up is to play with the bpm. Turn up the bpm and turn up the
heat!
Press BPM/TAP once and turn the dial. For you techies, the bpm range is 32.0 - 280.0. try starting
the Pattern at a slower-than-normal bpm, then gradually bring the bpm up in speed to get the
groove really happening!
◆ Be careful! If the Pattern is stopped and you turn the dial past 280.0, “Sync” appears in the dis-
play and the DJX-II goes into the Sync Mode (see page 69). To get out of this mode, simply turn
the dial to the left, until bpm values appear in the display again.

Sync Mode (page 69).

(Only selectable when
Pattern is stopped.)

32.0 280.0 SYnc

44 Reset to the default bpm
Want to get back to the original pre-programmed default bpm? Simply press and hold down BPM/
TAP — and the bpm of the currently selected Pattern is instantly reset to its original speed.

39
 Chapter 12
Pattern Player
Power Tips
45 Hitting a new Pattern and Variation
— at the same time!
There will be times when you’ll want to change not only to a new Pattern, but to a specific Variation
— instantly and at the same time. Here’s the best way to do that!
First, press PATTERN/ENTER and turn the dial to call up the new Pattern number. Then, while the
first Pattern is playing, press the desired Variation key. Both the Pattern number and the Variation
number change simultaneously.

Flashes
q

q 01.03
Current Pattern —
now playing.

New Pattern —
waiting in standby.

p 03
The new Pattern is up
and playing!

40
 Chapter 12 Pattern Player Power Tips

46 Step up to the next Pattern and Vari-

ation
Here’s a “Variation” on Tip 45 above. This lets you select the next Pattern number and one of its
Variations at the same time. Press NEXT and the desired Variation key in the Pattern Player. Both
the Pattern number and the Variation number change simultaneously.
Naturally, you can do the same with the PREV (Previous) key as well.

47 Cool outro
Here’s a tip you can use for creating professional endings!
While the Pattern is running, press PHRASE1+2+3 of Part Mixer to turn off the basic rhythm and drum
parts of the Pattern. Let the Phrase Parts play for about one or two bars, then press PATTERN STOP just
after the end of the Pattern — right before the “one” of the next measure.

41
 48 Creative fill-in 1
Select P03 and start with V1. Then, hit the V1 key in the following rhythm.
One Two Three Four One

Start! Hit it here... ...and here!

V1

49 Creative fill-in 2
Select P03 and start with V2. Hit the V2 key repeatedly in the following rhythm, then play the V3
key on the “one” to change the Pattern!
One Two Three Four One

...and ...and ...and

Start! Hit it here... ...and here! here! here! here! ...and here!

V2
V3

50 Using the Activator to lead into the

next Variation
Here’s a cool technique you can use as a transition or fill to the next Pattern Variation. It’s a slick
way to change the rhythm without breaking the flow!
Select P06 and A02. Start up V1, and play Activator Loop 1 while the Pattern is running. As soon
as Loop 1 plays for a bar or two, stop the Loop and change to a new Variation — by pressing the
Loop 1 key and V5 at the same time.

42
 Chapter 13
Live Effector Power
Tips
51 Distortion
This little trick can kick your tracks into high gear! Use the Distortion effect selectively, applying it
only to certain beats in the Pattern, places you want to add an accent — such as on the 2nd or 3rd
beat of the bar. This gives you a massive, in-your-face sound — right on that all-important back-
beat — and takes the rhythm to a new level!

In a Variation on this technique, bring in the Distortion repeatedly and rhythmically. This punches
new accents into the Pattern, and — with the right treatment — creates a completely new Pattern!
This technique works extremely well with some of the other effects, such as Ring Mod, Flanger, and
Phaser. Naturally, you can record your playing to the Performance Recorder (page 56) and use the
new Pattern as a Variation — in real time, without having to re-execute the complicated moves!

One Two Three Four

This timing! Release!

43
 52 Auto Pan
Tweak the knob until you hit the “sweet spot” — the point at which auto panning syncs up to the
bpm and gives you the rhythmic effect you want.
q

w Knob
position 6 7 8 9 10 11 12 13
q 1 beat cycle
bpm 55 70 90 110 125 145 160 195
Knob
9 10 11 12 5 6 7 8 9
e 7
8 13
w 2 beat cycle position
6 bpm 70 110 140 180 200
r 5
4
Fast speed Knob
for special 4 5 6 7
3
2 effects. e 3 beat cycle position
1
0
bpm 60 105 165 210
Knob
No modulation 4 5
r 4 beat cycle position
bpm 80 140

◆ Tech tip:
The knob positions and the corresponding bpm readings shown here are approximate — let your
ears be the final judge!

53 Ring Modulation
As we pointed out in Tip 16, this effect is a powerful one, so you’ll want to save it for huge, in-your-
face intros, transitions and endings. Here’s how you can use Ring Modulation to build to an enor-
mous climax:
First, set the controls — CONTROL to min and BALANCE to max. Then, hold the effect on (or lock
it, as described in Tip 13), and simultaneously move the CONTROL knob toward max — very
slowly. Use the effect to build to a fever pitch, then — right at the climactic moment, just before the
“one” — turn the effect off and switch to a new Pattern or Variation.

q w

Turn the knob

VERY slowly!

54 Flanger
Tweak the knob until you hit the “sweet spot” — the point at which the Flanger’s modulation cycle
syncs up to the bpm and gives you the rhythmic effect you want. (See the illustration in Tip 52 for
details on how the knob settings relate to bpm.)
44
 Chapter 13 Live Effector Power Tips

55 Phaser
Tweak the knob until you hit the “sweet spot” — the point at which the Phaser’s modulation cycle
syncs up to the bpm and gives you the rhythmic effect you want. (See the illustration in Tip 52 for
details on how the knob settings relate to bpm.)

56 Slice
The different rhythm feels that Slice creates depends on the Pattern you’ve selected as well as the
CONTROL knob setting. Experimentation is the key! Try different Patterns and see how they
morph when you change the CONTROL knob setting. Move the knob slowly, and find your favorite
settings.

57 Delay
Clever use of Delay is a cornerstone in many different styles of dance music — especially dub. For
a dub flavor, set the BALANCE knob to around 2 or 3 o'clock, and turn on the effect only for certain
beats. Play around with this — experiment and try to hit the “sweet spot,” the point where the
Delay locks into the groove and gives you the feel you want!

One Two Three Four

Try hitting the beat with

the effect at these points. Release!

◆ CONTROL knob position and Delay time

The knob position determines the rhythmic division (in note values) of the Delay — automatically
synchronizing the Delay to the bpm.

45
 58 Echo
Many styles of dance music use echo effects in surprising, unique ways. The DJX-II’s Echo effect
lets you use the popular 3/4 beat delay to build up dramatic rhythmic rolls and fills. It also gives
you some fascinating echo textures to use in transitions and endings.

Here’s a cool trick you can use in your own music! Select P08 and start up V1 with only the Kick.
Set CONTROL to about 2 o’clock and BALANCE to roughly 12 o’clock (center). Turn on the effect,
then stop the Pattern and let the Kick repeats fade out. Just before the Kick disappears, start the
Pattern with all the Parts on!

59 Lo-Fi
Though you may have personal preferences of your own, Lo-Fi is often best when set to the
extreme settings — with CONTROL at max and BALANCE at wet.

To get an even more authentic AM radio sound, set the Isolator LOW and HIGH knobs to min. Work
these controls in rhythm, and try to bring the sound back to normal right on the “one” downbeat —
turning the effect off and bringing the LOW and HIGH knobs to center as quickly as you can!

60 Wah
Tweak the knob until you hit the “sweet spot” — the point at which the Wah’s modulation cycle
syncs up to the bpm and gives you the rhythmic effect you want. (See the illustration in Tip 52 for
details on how the knob settings relate to bpm.)

46
 Chapter 13 Live Effector Power Tips

61 One-hand Effector control!

This technique may take a little practice and some digital dexterity — but once you’ve got it down
and are able to play in the pocket, you’re on your way to being a true DJ wizard!
Grab the Control knob with your forefinger and thumb, and use your middle finger or ring finger to
flick the effect switch on and off. This lets work the effect in rhythm — and still have your right
hand free to change Patterns and trigger Activator loops and one-shots. Or use your right hand to
further mangle the sound with the Isolator or Part Controller knobs!
As always, keep the rhythm steady — a master DJ is only as good as his time!

Left hand Right hand

47
 62 Isolator to the max!
Play the Isolator in real time! Get the Pattern running, then tweak the knobs to their extreme set-
tings for radical changes to the sound — on the fly!
For example, try cutting back Low and Mid to zero, and bring High up to the max — for a really brit-
tle, tinny sound. Or try boosting Low to the max while taking Mid and High all the way down — for
a boomy, bass-only sound. Or go for the sound of an AM radio by setting Mid to max and cutting
Low and High.
Since the effect of the Isolator controls depends in part on the selected Pattern, you’ll need to do
some playing around. Stick to one Pattern and some of its Variations, then experiment with the
Isolator to find some hip settings.
For maximum dramatic effect, make these changes as quickly as you can, bringing the knobs up or
down instantly, if possible. Also, rhythm rules — so, make your moves on the downbeat, right in
time! Practice your moves and get them down so you can tweak the sound as you perform!

Brittle, tinny sound

Boomy, bass-only sound

AM radio sound

48
 Chapter 14
Part Mixer Power
Tips
63 Toggle the Part Mix
Here’s a quick and really powerful way to break up the beat! The Toggle key lets you switch
between two opposite arrangements of the rhythm.
For example, if the Bass is off and all the rest of the Parts are on, pressing the Toggle key instantly
switches the Pattern so that only the Bass is on, and all the rest of the Parts are off. What a great
way to turn the sound around!

64 Cool intro
Here’s a specific example to get you started arranging your own tracks!
Select P07 and start V6, and set Part Mixer so that only Phrase 1, 2 and 3 are playing. Then try
adding the Kick, Bass, Hi-Hat and Snare Parts one-by-one until you’ve got the whole Pattern hap-
pening. Try this “one-by-one” arranging technique on other Patterns as well.

p 07

49
 65 Solo a single Part — instantly!
Here’s another useful mixing and arranging trick! Use this after a climactic part, and bring the
whole sound down to one certain instrument — like the Bass, or one of the Phrases.
Here’s how: When all the Parts are on, press one of the Part keys and the Toggle key simulta-
neously. This turns all Parts but the selected one off — instantly soloing your selected Part!

66 Hit the downbeat!

We said it before, we’ll say it again— make sure you keep it in the pocket! That means making all
your hits right on the beat, so that the whole rhythm grooves.
Hitting the downbeat is a little bit tricky, though. When you turn on a Part, you’ll probably have to
hit the key a fraction of a second before the actual downbeat to make everything flow smoothly and
stay in the pocket. Turning off a Part is easier and more forgiving — basically do it whenever you
want, or wherever feels good!
One Two Three Four

For example,
just before this
timing!

67 Custom Combination keys

For times when the Combination keys don’t have quite the right combination, you can add the
needed Parts to them. For example, if you want to turn on only the Bass, Kick and Hi-Hat, first
press BASS+KICK, then immediately follow that with the HI-HAT key. Provided you’re fast enough,
all three Parts should kick in simultaneously — and smoothly!

50
q w
 Chapter 15
Part Controller
Power Tips
68 Activator textures
Here’s a key to getting the same smooth, shifting textures you hear in a lot of pro mixes!
Select the Activator key in the Part Selector and turn the Part Controller volume to zero. Now, with
the Pattern playing, trigger one of the Activator Loops, and bring up the volume gradually. Hear
how the Activator Loop slowly fades into the mix, adding more texture to the sound. Turn the Vol-
ume knob back down, and the Activator Loop fades out.

Fade in the Activator

Loop.

Fade out the Activator

Loop.

69 Dark mixes and deep grooves — cut

the Cutoff!
Here’s a powerful trick to instantly darken up your tracks — if that’s what you’re after. It’s also
great for getting a phat, bottom-heavy sound!
Select all of the Parts with the Part Selector, then set the Cutoff and Resonance to zero. Notice how
all the high end disappears from the sound, and all your left with is a pulsing bass! You can accen-
tuate this effect even more by boosting the Isolator Low knob to the maximum and setting Mid and
High to the minimum.

From this starting point, try bringing up the Resonance to max. Then play with the Cutoff knob in
time with the rhythm for some stunning filter sweep effects. It’s a great way to fade in the other
rhythm parts — plus bring in some killer textures!
To bring things back to normal, turn the Cutoff and Resonance knobs to their center
positions. Do it on the “one”!

51
 70 Instant reset!
Once you’ve made a few changes to the Part Controller settings — especially if you’ve tweaked
more than one Part — it’s not so easy to get back to where you started! Often, you’ll want to be
able to backtrack and reset all the Parts to their original sound. In such a case, the best and easiest
way to return to home base is to re-select the Pattern.
Press PATTERN/ENTER so that the Pattern number appears in the display. Then turn the dial for-
ward one step (+1) and then back again (-1), to return to the currently selected Pattern. Finally,
press PATTERN/ENTER again. Doing this fools the DJX-II into thinking you’ve selected a new Pat-
tern! However, this effectively starts the same Pattern with all its original settings, including reset-
ting the Key Shifter to “0” — and puts you back at home base!

p 36

Flashes

Flashes

36.37 36.36 p 36
Current New Pattern Current New Pattern
Pattern (in standby) Pattern (in standby)

71 Pitch Bend for keyboard voices

Play some of the Synth Lead voices of the DJX-II and work out on the Pitch Bend!
Set the Ribbon Controller to PITCH BEND, and use this expressive device to give your playing a
more dynamic, human feel! Naturally, Pitch Bend can be used on any of the voices — and you
should try some of those out! — but it’s especially effective on Synth Lead.
For the technically inclined, the Pitch Bend range is +/- two semitones. When you release your fin-
ger from the ribbon, the pitch returns to center.
Try using Pitch Bend for some wild and fun effects on the human voices (V123 - V171), or even
your own sampled voices (V203). (For info on making your own samples, see the next section, Tip
72!)

52
 Chapter 16
Sampling
Sampling has become such an important music-making tool — in virtually all styles of
modern music. Thanks to the DJX-II’s Sampler functions, you can use it for your music,
too!

72 Sample it!
Roll your own samples! With the DJX-II, you can record any audio source — such as a CD or MD
player, or your own voice with a microphone — and create and play your own original samples. It’s
simple! Just follow the easy steps here, and you’re off!
1 Set up the source.
Connect the external audio source (CD player, MD player, cassette deck, microphone, etc.) to the
appropriate rear panel jack on the DJX-II.

• Never connect a line level signal (CD player, cassette deck, electronic instrument, etc.) into
the MIC input jack! Doing this could damage the DJX-II and its Sampling functions.

Start playing back the audio. If your audio source has a level (volume) control, make sure that is
set appropriately. Also, adjust the INPUT LEVEL knob on the DJX-II so that the level is high enough
to record properly, but not so high that there is distortion.

CD MD

◆ Helpful hint:
While you’re playing back the audio during setup, start one of the Patterns of the DJX-II — prefera-
bly one you plan on using with the sample. With the Master Volume up to an appropriate level, this
lets you set the level of the external audio so that it will be heard properly as a sample.
2 Set Sampling to standby.
Stop the audio, then simultaneously hold down the SAMPLING/STOP button and
press one of the SAMPLE PADS (1 - 6). You’re ready to record!
● Sampling indications
Notice that while you hold down the SAMPLING/STOP button, the display indi-
cates the level of the signal. Also, when you set Sampling to standby, the letters
“SAmp” flash; when sample recording starts, the letters light continuously.
3 Start/stop recording.
Start the audio source, or sing into the microphone — sampling starts automati-
cally! Maximum sample time for one pad is three seconds and maximum sample
time for all pads is six seconds. To stop recording (if your sample is shorter than
three seconds), press SAMPLING/STOP again.
4 Play the sample.
Simply press the appropriate Sample Pad to play the sample. The DJX-II gives you
six pads for recording your samples.
◆ Be careful!
Avoid pressing three or more panel buttons simultaneously (for example, in trying
to play three samples at the same time, etc.). Doing so can cause the DJX-II to
53
behave erratically.
 73 Erase the sample
Want to erase a sample and start from scratch? Easy! Simultaneously hold down
the SAMPLING/STOP button and press the appropriate Sample Pad (the one con-
taining the sample you wish to erase). After about three seconds, the sample data
is erased.
When the sampled voice is selected for playing (Tip 75), you cannot erase the sam-
ple.

74 Loops and One Shots

The DJX-II has two different kinds of Sample Pads — One Shot and Loop — that let you play back
the samples two different ways.
If you record a sample to a One Shot Pad, that sample plays back once and then stops — hence the
name, “One Shot.” If you record a sample to a Loop Pad, that sample plays back repeatedly (or
“loops”) — until you stop it by pressing the same Pad again.
The One Shot Pads are useful for little chunks of audio — such as sound effects, hits (like cymbal
crashes, orchestra hits, etc.), and voice sound bites — that you don’t intend to loop. The Loop
Pads are for audio that you want to repeat, especially for rhythmic effect — such as drum and per-
cussion rhythms and arpeggiator phrases. Loop Pads are also good for sustaining sounds that you
want to continue indefinitely.
Loop

Sample
One Shot

Sample

54
 Chapter 16 Sampling

75 Play samples from the keyboard!

Create melodies with your original samples. Pitch them low and slow down the speed for special
effects. Pitch them high and speed them up. Or play several samples together as a chord. You can
even play complex rhythms and stutter Patterns with them.
All of this — and more — is possible by playing samples from the keyboard. To do this, simply
switch to the Keyboard mode and select V203.
Playing a sample from one of the Sample Pads results in the same pitch. When you play the same
sample from the keyboard, that sample is given a different pitch (and speed) depending on the key
you play. Try it out — and see what wild stuff you can come up with!

U203

◆ Tech Talk
The recorded samples are assigned to the keyboard according to the following simple rules:
• The original sound of the Pad is assigned to the central F key. Lower keys play at lower
pitches; higher keys play at higher pitches.
• If all Pads have recorded samples, each Pad’s sample occupies one entire octave (12 keys),
except Pad 6, which is assigned to the remaining single key.
• When only one Pad has a recorded sample, it is assigned to the entire keyboard.
• When two to five Pads have recorded samples, or if one or more Pads have been erased, each
Pad’s assignment moves to take over the “unoccupied territory” of its adjacent Pad.
• Changes made to the Key Shifter also affect the playback pitch and key assignment of the sam-
ples. For example, if the Key Shifter is set to “+1,” all samples will play back one semitone
lower than normal; in this case, the original sound will play at E instead of F.
• When all pads have been recorded...
The original sound of the Pad is assigned to the central F key.

Pad1 Pad2 Pad3 Pad4 Pad5

Pad6

• When only one pad has been recorded...

Original sound

All keys are available for the recorded pad.

• When some of the pads have been recorded...

55
Pad1 Pad3 Pad4
 Chapter 17
Performance Recorder
By now, you’re well on your way to becoming a master DJ. In fact, you’ve probably got a
slew of hip ideas and cool moves that you’d like to record for posterity. Enter the Perfor-
mance Recorder!

76 Record your performance

Here’s another powerful DJX-II function you’ll love! Record all your DJ moves to this
amazing Performance Recorder, and play them back — any time you want! Six Perfor-
mance Recorder buttons give you recording space for up to six performances. Really
easy to use, too! Here’s how:
1 Enable recording.
Simultaneously hold down the RECORD button and press one of the PLAYER Pads
(1 - 6). You’re ready to record! Flashes

2 Start recording.
Start performing on the DJX-II — recording starts automati-
cally! Just about anything can be used to start — playing a Pat-
tern or Activator key, pressing one of the Sample Pads,
scratching the Ribbon Controller (with Scratch 1 or 2), or even
by tapping the BPM/TAP button four times (see Tip 79).

3 Stop recording.
To stop recording, press PATTERN STOP or RECORD.
Performance Recorder records the following performances. or
• Mode status (Pattern or Keyboard)
• Keyboard performance (Keyboard mode)
• Voice number
• Pattern Player settings and performance (Pattern mode)
• Pattern number • Live Effector settings and performance
• bpm (including BPM/TAP performance ) • Sample Pad settings and performance
• Key Shifter performance (Pattern mode) • Ribbon Controller settings and performance
• Activator settings and performance (Pattern mode) • Part Controler settings and performance

If you’ve recorded to a Pad when the external clock is set to “Sync,” the bpm value is not
recorded. This means that when you play back the performance, it will play at the current bpm
value, and not necessarily the one intended.
◆ Tech tips:
• The length of your recorded performance is quantized to the next downbeat. This ensures that the recorded data
makes rhythmical sense — even if you stop a Pattern between downbeats. Be careful, though! Always try to stop
slightly before the downbeat, or the recorded performance may carry through to the next beat!
• A maximum of 2500 events (for all six Pads) can be recorded to the Performance Recorder. What constitutes an
“event” differs depending on the control used. For example, pressing a button or a key is a single event, but turn-
ing a knob or working the Ribbon Controller use up dozens of events at a time.
4 Play the performance.
Simply press the appropriate PLAYER Pad to play the recorded performance. The DJX-
II gives you six pads for six separate performances.
Playback continues repeatedly until you press PATTERN STOP.
Pressing the same Pad during playback instantly re-starts the recorded performance
from the beginning. Pressing a different Pad during playback stops playback of the pre-
vious Pad and starts playback of the pressed Pad.
Naturally, you can record your entire performance to one button. Or you may want to divide your performance up into
several parts, and record each separately, one-by-one. This lets you change the order of playback as you see fit, and it
lets you repeat individual performances as many times as you like, and string them all together in various orders and...
well, you get the idea! It’s an awesome tool for live performance!
56
 Chapter 17 Performance Recorder

77 Jamming with Performance Player

Wow! This is like having an extra pair of hands — or even more — to help you onstage!
Let the Performance Player take care of the basics while you work out on the Activator. Or while
you arrange on the fly with the Part Mixer. Or while you tweak and mangle the sound with the Part
Controller and Live Effector.
Which means you can sound like a whole battalion of DJs — just on one machine!
Let’s say for example, you want to have different Patterns and Variations play in succession, com-
plete with various Cutoff and Resonance moves, plus some twiddling on the Live Effector controls.
Just try and do that with one set of hands! To perform all that live by yourself would be difficult, if
not impossible!
However, if you record your Pattern playback plus the Cutoff and Resonance tweaking to the Per-
formance Recorder beforehand, you can work the Live Effector controls onstage as much as you
want, while the DJX-II plays back your recorded performance!

Record

◆ NOTE:
To erase the recorded performance, simultaneously hold down the RECORD button and press the
appropriate PLAYER Pad (the one containing the performance you wish to erase). After about three
seconds, the performance data is erased. 57
 Chapter 18
BPM/Tap Power Tips

78 Tap out the beat!

Change the bpm in real time! Tap the BPM/TAP button twice rhythmically, while the Pattern is run-
ning — and the bpm automatically changes to the tapped speed.

BPM

120.0
The Pattern changes
bpm according to your
tapping.

79 Start with a tap...

You can also get the Pattern going at whatever speed you like by simply tapping it out. Select a Pat-
tern, then instead of hitting one of the Pattern Player, tap the BPM/TAP button — four times, in
rhythm — and the Pattern starts automatically at the bpm you’ve tapped.
While you’re tapping, the display shows each of your four taps, then displays the resulting bpm.
◆ Tech note
Only two taps are needed to start Pattern 42, since that Pattern is in 2/4 time.

One Two Three Four

The Pattern starts at the

bpm of your tapping.

BPM BPM BPM BPM

58
 Chapter 18 BPM/Tap Power Tips

80 Down and out!

In Tip 42, you learned how to recreate the sound of a turntable grinding to a halt — here’s a Varia-
tion on that trick. This slows down the speed of the Pattern without changing the pitch.

While the Pattern is running and the bpm display is active (press BPM/TAP), turn the dial and slow
down the bpm gradually. After the bpm gets as slow as you want, wait until the right downbeat,
then press PATTERN STOP to stop the Pattern.

81 Check the bpm

Need to know what the bpm of a certain track on CD or vinyl is? Here’s a convenient tool! Just tap
out the rhythm of the music as you listen to it, and the DJX-II displays the bpm for you — automat-
ically! (Make sure to turn down the MASTER VOLUME to keep the DJX-II Pattern from sounding.)

120.0

59
 Chapter 19
The Outside World
Here are a couple of tips that get you started interfacing the DJX-II with external gear.
Go for it, and get your sound out there!

82 Expanding your DJ setup

The DJX-II can easily do double-duty as part of a larger DJ setup. For example, you can connect
the LINE OUT jacks to two of the inputs of a DJ mixer. Hook up a turntable to the other channels of
the DJ mixer, and you’ve got a full dance production setup to rival the pros! This way you can play
the DJX-II as well as your favorite vinyl tracks, and mix and switch them with the controls on the DJ
mixer.

DJ mixer
Turntable

LINE PHONO
IN IN

LINE
OUT

Amplifier

Naturally, you can also hook your DJX-II up to an MD recorder or cassette deck and record your DJ
performances to disk or tape.

60
 Chapter 19 The Outside World

83 Mute the speakers

If you’re routing the DJX-II’s sound to a DJ mixer or external amplifier/speaker system, you may
want to cut off the sound of the DJX-II’s built-in speakers. Easy! Simply insert a phone plug into
the PHONES jack — or hook up a set of stereo headphones for monitoring the DJX-II sound.
Naturally, even when the built-in speakers are muted in this way, audio is still output through the
LINE OUT jacks.

61
 Chapter 20
DJ Performance
Master Class
Take it up to the next level! Use these advanced tips as a springboard to explore all the
amazing DJ possibilities — and become a true mixing virtuoso!

84 Creative fill-in 3
Here’s a cool technique for stopping the Pattern and coming back in with the rhythm. Select P14
and start with V1. Then, hit PATTERN STOP and the same Variation as shown. You may want to
slow down the bpm — to better help you hear where to play the changes!
One - and Two - and Three - and Four - and One - and

Start! Break here... ...and come back in here!

V1 V1

85 Break to a new beat

Here’s a trick that lets you switch between two different rhythms. Select P16 and A02, then start
V1. Let the Pattern loop a while, then just before the “one” downbeat (of the bar you want to
change at), press PATTERN STOP to stop the Pattern. Then, right on the “one,” press Loop1. If
you do it just right, there will be a short break in the rhythm, just before the Loop kicks in — right
on the beat! It’s just like switching between two turntables!
One Two Three Four One Two Three Four One Two Three Four

This timing! This timing!

To go back from the Loop to the Pattern, press V2 and Loop1 at the same time — right on the
“one”!

Start the new Variation. Stop Loop 1.

62
 Chapter 20 DJ Performance Master Class

86 Switch the drums!

Try this slick trick! Here, you’ll keep the Phrase Parts of a Pattern going, but slip in a different
rhythm to back it up. This is a technique the pros use to switch the beat around, yet still maintain
the flow!
Select P17 and A02, then start V8. Then, on the “one,” press PHRASE1+2+3 of the Part Mixer and
Activator Loop1 simultaneously. The Pattern drums drop out and the Activator Loop kicks in — all
on the same beat! To go back, press ALL of the Part Mixer just before the “one,” and press Activa-
tor Loop1 right on the “one.”
The trick is to switch the drums smoothly. Change the groove, but stay with the flow!

Pattern Phrase parts + Activator Drum

Pattern all parts The Activator stops.

87 Outro -tro -tro -tro

Here’s another popular technique from the producer’s bag of tricks — ending with an echo!
Select the Delay or Echo effect. Then, on the very last beat (or last two beats) of the last bar of the
Pattern, switch and hold the effect on. Then press PATTERN STOP just before the “one” of the next
bar to stop the Pattern. Don’t forget to keep holding the effect on! The Delay or Echo hits just the
last notes of the rhythm and fades them out in a delayed repeat. Awesome!

63
 88 Upside down, inside out!
Sometimes when you play certain Parts in a Pattern by themselves, it’s difficult to hear where the
downbeat is. Especially in an intro. Your ears may fool you into hearing and expecting a com-
pletely different downbeat! Then, when the rest of the rhythm kicks in, it turns your feet (and whole
body!) around. Like with this tricky intro!
Select P18 and set only the Bass Part to play (with the Part Mixer). Then start V1. Let the Bass play by
itself for a few bars, and try to feel the downbeat. Don’t worry if you can’t — the other Parts will cue you
into it! Now, turn on the Hi-hat, and let that play a while. Then, bring in the Kick. As soon as the Kick
plays, the beat turns around, and you finally “hear” the rhythm!

89 Buildup to a Variation
Remember Tip 64, where you built up an intro, Part-by-Part, until the whole rhythm kicked in?
Here’s a slightly more advanced version of that technique — in this case, the buildup leads into a
different Variation!
Select P20 and set only the BASS+KICK to play (with the Part Mixer). Then start V1. Let the Bass play
by itself for four bars, then bring in the Snare, Hi-hat and Percussion at the same time. Let all of that
heat up for another four bars. Then — on the “one” of the next measure — turn on all of the Parts and
press V3 at the same time. This is a really slick way to get the textures happening and build up your
sound — and then explode into a new rhythm!

64
 Chapter 20 DJ Performance Master Class

90 Sync up your samples to the Pat-

tern!
By now, you’ve probably got a few really hot samples recorded to the DJX-II. And maybe you’re
itching to use them with the Patterns. Well, here’s how you can do just that — and keep everything
in sync!
While playing one of your Sample Loops, listen carefully for the beat and tap it out on the BPM/TAP
button.

BPM

120.0
The Pattern starts automatically at the same bpm as the Sample Loop. If the Loop and Pattern drift
out of sync, adjust the bpm accordingly and re-start the Pattern at the “one” downbeat of the Loop.
Alternately, you may want to re-start the Loop every four bars (or whatever is necessary) by dou-
ble-clicking the Loop Pad. Make sure to do it on the “one”!

65
 91 Play a Pattern, trigger a Performance
Work on using the Pattern Player and Performance Player in tandem for your onstage mixes —
both give you so much more than you get with either one alone!
When you're playing a Pattern, press one of the Performance Player Pads — to instantly switch
over to a recorded performance. Then, instantly switch back to the Patterns again, simply by
pressing one of the Pattern Player keys.
It's a good idea have a bank of your specially recorded performances loaded and ready to trigger —
bringing them into your live performance when needed and using the Pattern Player and/or Activa-
tor to augment them.

92 Recall your settings with a single shot

The Performance Recorder does double duty as a panel control “reset” function — letting you store
your favorite settings for instant recall!
Start recording to one of the Player Pads and make all your desired settings — for example, setting the
Part Controller and Isolator knobs to specific positions, turning on the desired Part in the Part Selector
section, and selecting Parts in the Part Mixer. Then, when you want to use those settings in perfor-
mance, just press the appropriate pad, and hit one of the Pattern Player keys — and you’re happening!

Record your favorite settings,

like shown here...

...then, press the Pad

to recall the settings,
and hit the Pattern!

66
 Chapter 20 DJ Performance Master Class

93 Taking the pulse

The DJX-II has a variety of bpm-related tools that help you get the proper bpm — such as tapping
it out (Tip 78) or capturing the bpm from an external source (Tip 94 below). Sometimes you may
find it difficult or impossible to get an accurate reading, however. In the end, the best tools are your
ears!
Use the AUDIO BPM COUNTER or Tap function to zero in (as close as possible) on the bpm of an
external source. Then, to fine tune the bpm reading, start the Pattern Player on the “one” downbeat
of the source music. If the beats stay in sync for several bars, you’ve got the right bpm! If the
beats drift apart, try adjusting the bpm manually, re-starting the Pattern on the “one” each time.
Eventually, you’ll hone in on the proper bpm!

94 Auto-adjusting the bpm

Got a favorite beat on CD or vinyl that you want to sync to the DJX-II? This powerful function lets
you do just that!
The DJX-II “hears” the beat (from a connected external sound source) and automatically locks into
the rhythm by auto-adjusting the bpm of the currently playing Pattern.
To use this, connect a CD player or turntable and mixer (as shown), and play the source music.
Then, press and hold the AUDIO BPM COUNTER button and adjust the INPUT LEVEL dial until the
lamp flashes. The optimum setting is when the lamp flashes only at each downbeat in the source
music. For best results, try narrowing in on the bpm roughly at first by tapping it out (Tip 78), then
using the auto-adjust function.
Most dance music (such as techno or house) that have a prominent kick and bass sound only on
the downbeat are ideal for this function. Keep in mind, however, that some kinds of source music
may not work with this. If that’s the case, again use the Tap function (Tip 78) to lock into the bpm.

CD MD

67
 95 Toggling on beat, muting in rhythm
Now that you’ve got your rhythm skills down, try out some of these more compli-
cated maneuvers!

Try using the TOGGLE key (in the Part Mixer) rhythmically. Set the Part Mixer up so
that only Phrase 1, 2, and 3 are playing — then play the TOGGLE key on every beat
of the Pattern, so that the Parts alternate in rhythm. Try other playing Patterns as
well — such as hitting TOGGLE twice every beat (in 1/8 notes), or playing even
more complicated, syncopated rhythms.

To get a simple dropout at the end of a bar, whip the Master Volume down on the
4th beat, and bring it back up instantly on (or just slightly before) the “one.”

96 Sync applications — using the

DJX-II as the master
The advanced sync features of the DJX-II let you lock it together with the rhythm and bpm of
another device, such as a DJX-IIB, another DJX-II, or an external sequencer. No drift, no slipping
out of sync — the two devices stay perfectly in the same groove! This is just one of the enormous
advantages of digital-based music. Try syncing two turntables together, and you’ll see what we
mean!
Although this is really just one feature, we’ve divided it into two separate tips: using the DJX-II as
the master device, and using it as the slave (in Tip 97 below). If you’ve got a second device, try it
both ways!
When the DJX-II is used as the master, you can play the Patterns of the DJX-II and have sequenced
Patterns and music on an external sequencer lock into the bpm of the DJX-II.

1 Set up the DJX-II and the external device.

Use a standard MIDI cable to connect the two devices as shown.

MIDI clock External sequencer

(RM1x, etc.)
MIDI OUT MIDI IN

2 Set the external device to “external sync.”

For specific instructions on changing the sync setting, refer to the owner’s manual of the exter-
nal device.
3 Play the DJX-II.
When you start and stop the Patterns of the DJX-II, the songs or Patterns on the external device
start and stop at the same time. Likewise, changing the bpm on the DJX-II automatically
changes the bpm of the external device. All playback operations function in perfect sync
between the two machines, with the DJX-II as the master.
68
 Chapter 20 DJ Performance Master Class

97 Sync applications — using the

DJX-II as the slave
Here we’ll do the opposite of Tip 96 above. This sophisticated application lets you play sequenced
Patterns and song data on an external sequencer and have the Patterns of the DJX-II lock into the
bpm of that device.

1 Set up the DJX-II and the external device.

Use a standard MIDI cable to connect the two devices as shown.

MIDI clock External sequencer

(RM1x, etc.)
MIDI IN MIDI OUT

2 Set the DJX-II to “external sync.”

Simultaneously hold down BPM/TAP and turn the data dial clockwise, a couple of turns past the
maximum of 280.0, until “Sync” appears in the display.

SYnc
Indicates “external
sync.”

3 Play the DJX-II.

When you start and stop the song or Pattern on the external device, the Patterns of the DJX-II
start and stop at the same time. Likewise, changing the bpm on the external device automati-
cally changes the bpm of the DJX-II. All playback operations function in perfect sync between
the two machines, with the external device as the master and the DJX-II as the slave.

69
 98 Get more Patterns!
One of the great things about the DJX-II is how open-ended the system is! You can get additional
Patterns from the DJX Internet Site (www.yamahadjx.com), and — with the downloadable
Pattern Launcher software — load that Pattern data right into your DJX-II!
Once new Pattern data is loaded, select one of the Patterns U1 - U5 to play the desired Pattern. (U1
- U5 appear only when User Pattern data has been loaded to the DJX-II.) Up to five Patterns can be
loaded at one time.

Pattern data
(Bulk data)

MIDI IN MIDI OUT

■ Connecting to a Personal Computer • • • • • • • • • • • • • • • • • • • • • • • • •

● When the computer has a MIDI interface installed, connect the MIDI OUT terminal of the
personal computer to the MIDI IN terminal of the DJX-II.

MIDI OUT MIDI IN

MIDI IN MIDI OUT

● When using a MIDI interface with a Macintosh series computer, connect the RS-422 termi-
nal of the computer (modem or printer terminal) to the appropriate MIDI interface, then
connect the MIDI OUT terminal on the MIDI interface to the MIDI IN terminal of the DJX-II,
as shown in the diagram below.

Computer
(sequencer software)
MIDI
interface MIDI IN
RS-422

MIDI OUT

● When the computer has a USB interface, use the Yamaha UX256.

UX256
USB cable
MIDI OUT MIDI IN

MIDI IN MIDI OUT

For details on using the Pattern Launcher software, refer to the online Help file in the software.

70
 Chapter 20 DJ Performance Master Class

99 Using MIDI Bulk Send

Here is another rock-solid reason to go digital! With the use of a MIDI data filer (such as the
Yamaha MDF3), you can save your valuable Performance Recorder and Sampler data for future
recall. What’s more, this frees up extra memory space on the DJX-II for additional recording and
sampling at the same time!
Bulk Send is also used for transferring Pattern data (with the help of special Pattern Launcher soft-
ware) from a Mac or Windows compatible computer to the DJX-II. (See Tip 98 above.)

■ Sending Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
1 Set up the device for recording the data.
Use a standard MIDI cable to connect the two devices as shown.
Save Performance
Recorder and Sampler
data to the MDF3.
Yamaha MDF3, etc.
MIDI OUT MIDI IN

Once you’ve connected the DJX-II to the other device, you may need to take additional steps to
set up that device. (Refer to the relevant owner’s manual for details.)
2 Press MIDI BULK SEND to enable the operation.
Flashes

bSnd
3 Press MIDI BULK SEND again to actually send the data.
If you’re not quite ready to receive data on the other device, you can cancel the operation by press-
ing PATTERN STOP.

bStp
■ Receiving Data• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Once you’ve saved your DJX-II data, you can easily reload it back to the DJX-II.
1 Set up the device for sending the data.
Use a standard MIDI cable to connect the two devices as shown.
Load Performance
Recorder and Sampler
data from the MDF3.
Yamaha MDF3, etc.
MIDI IN MIDI OUT

Make the proper connections and insert the appropriate (floppy) disk containing the data to the
data filer. (Refer to the relevant owner’s manual for details, if necessary.)
On the DJX-II side, make sure that the DJX-II is not in the middle of an operation, such as Per-
formance Recording, Sampling, MIDI Bulk Send, etc.
2 Start sending the data from the connected device.
Refer to the relevant owner’s manual for details. The DJX-II automatically receives the data, and
loads it to the proper memory location. 71
 100 Create your own Patterns!
Roll your own! Yes, you can even create your own Patterns — for mangling, mucking about, and
mashing on the DJX-II!
Simply use a conventional MIDI sequencer software (such as XG Works) to record your original
Patterns as MIDI data — then import the data to the DJX-II using the special Pattern Launcher soft-
ware. Data for up to five Patterns (maximum of 85 KB) can be loaded to the DJX-II.

Pattern data
(Bulk data)

MIDI IN MIDI OUT

How to Create Your Own Pattern Data

As mentioned above, you can create your own original Pattern data (on an external MIDI sequencer or a
computer with sequencer software) and load it to the DJX-II with the Pattern Launcher software.

■ Connections • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Connect a MIDI keyboard and the DJX-II to the computer or sequencer as shown below. You’ll be
using the MIDI keyboard to enter data to the computer and play the sounds of the DJX-II.

Sequence
Software
MIDI OUT MIDI IN MIDI OUT MIDI IN

External keyboard
Computer

■ Creating the Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• Creating the data is a relatively simple procedure. How- ● Recording each Variation
ever, make sure that you follow the instructions below • Make sure to record the Variations in the order listed
very carefully to ensure proper creation and loading of below. Also, enter a “marker meta-event” at the begin-
the data. ning of each Variation exactly as shown.
◆ NOTE:
● Recording the Parts
Timing indications in these instructions are based on a
• Record each instrument Part over its own MIDI channel
resolution of 480 clocks per quarter note, and are
as listed below. (The DJX-II’s internal tone generator
shown in a measure:beat:clock format. For example,
responds according to these channel assignments.) To
“1|1|000” indicates clock “000” of the first beat of the
determine the specific voice used, insert appropriate
first measure.
program changes for each Part. (Refer to the Voice List
on page 82 for program change numbers and voices.) • Enter the following System Exclusive message at the
very beginning of the sequence (1|1|000), before any
Part MIDI Ch.
other data:
Kick 9
Snare 10 F0, 43, 73, 6F, 30, 00, F7 (TG Reset)
Hi-Hat 11
• The first measure (1|1|000 - 1|4|479) is reserved for
Percussion 12
Bass 13 Initial Setup data. The second measure (2|1|000)
Phrase1 14 through to the end of Variation 10 is used for the actual
Phrase2 15 Pattern data. (See chart below.)
Phrase3 16
72
 Chapter 20 DJ Performance Master Class

• The timings indicated in the chart below are for example • Variation 2 begins from the top of the measure directly
purposes only. The actual timing of the Variations and following the last measure of Variation 1. In the chart,
the marker meta-events (starting with Variation 2) this is listed as 4|1|000; however, the actual timing
depends on the length of the recorded Patterns. (The depends on the length of Variation 1.
length of each Pattern can be up to 256 measures.) • The following charts indicate the valid MIDI events for
Marker both the Initial Setup data and the Pattern data. Make
Timing Meta- Contents sure to NOT enter any events marked with a dash (—),
Event
1|1|000 nor any events not listed here.

Initial Setup
1|1|000 TG Reset
1|2|000 Channel Message
: Initial Setup Events Initial
Event Pattern
1|4|479 Setup
2|1|000 1 Variation 1 Note Off — OK
: 2 bars Pattern Note On — OK
3|4|479 (up to 256 bars) Program Change OK OK
4|1|000 2 Variation 2 Pitch Bend OK OK
: 1 bar Pattern Control #0 (Bank Select MSB) OK OK
4|4|479 (up to 256 bars)
Control #1 (Modulation) OK OK
5|1|000 3 Variation 3
: 1 bar Pattern Control #6 (Data Entry MSB) OK —
5|4|479 (up to 256 bars) Control #7 (Master Volume) OK OK
6|1|000 4 Variation 4 Control #10 (Panpot) OK OK
: 2 bars Pattern Control #11 (Expression) OK OK
7|4|479 (up to 256 bars) Control #32 (Bank Select LSB) OK OK
8|1|000 5 Variation 5 Control #38 (Data Entry LSB) OK —
Source Pattern

: 2 bars Pattern Control #71 (Harmonic Content) OK OK

9|4|479 (up to 256 bars)
Control #72 (Release Time) OK —
10|1|000 6 Variation 6
Control #73 (Attack Time) OK —
: 2 bars Pattern
11|4|479 (up to 256 bars) Control #74 (Brightness) OK OK
12|1|000 7 Variation 7 Control #84 (Portamento Control) — OK
: 1 bar Pattern Control #91 (Reverb Send Level) OK OK
12|4|479 (up to 256 bars) Control #93 (Chorus Send Level) OK OK
13|1|000 8 Variation 8 Control #100 (RPN LSB) OK —
: 1 bar Pattern Control #101 (RPN MSB) OK —
13|4|479 (up to 256 bars)
14|1|000 9 Variation 9 RPN & NRPN
: 2 bars Pattern
15|4|479 (up to 256 bars) Initial
Event Pattern
Setup
16|1|000 10 Variation 10
: 2 bars Pattern RPN (Pitch Bend Sensitivity) OK —
17|4|479 (up to 256 bars) RPN (Fine Tuning) OK —
RPN (Null) OK —
• Enter all voice and effect settings in the last three beats System Exclusive
of the Initial Setup area (1|2|000 - 1|4|479). Do not Initial
Event Pattern
include any note event data here. Setup
TG Reset OK —
• Start recording Variation 1 data from the second mea- Sys Ex XG Parameter Change OK —
sure (2|1|000). The length of the data can be from 1 to (Effect1)
Reverb Type OK —
256 measures. All measures must be of one of the fol- Chorus Type OK —
lowing time signatures: 2/4, 3/4, 4/4, or 5/4.

■ Saving and Loading the Sequence Data ••••••••••••••••••••••••••••••••

• Save the completed sequence data to your computer.
• Save the file using Standard MIDI File Format 0 and make sure that the file extension “.mid” is included in the name.
• Load the Pattern file to the DJX-II using the Pattern Launcher software. (Refer to the online Help file in the software
for specific operation instructions.)

■ About the User Pattern Data • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

As you create your own Patterns and use them with the DJX-II, keep in mind that these User Patterns differ from the
built-in preset Patterns of the DJX-II in the following ways:
• The Activator’s Auto kit (00) does not apply to the User Patterns. Select from any of the other kits (01 - 51) to use the
Activator with a User Pattern.
• The actual number of taps needed to tap start a Pattern (Tip 79) depends on the time signature of the User pattern. For
example, in the case of a Pattern created in 3/4 beet, tap the BPM/TAP button three times to start the Pattern. 73
 Appendix

Troubleshooting

PROBLEM POSSIBLE CAUSE/SOLUTION

The speakers produce a “pop” sound when- This is normal and is no cause for alarm.
ever the power is turned ON or OFF.

When using a mobile phone, noise is pro- Using a mobile phone in close proximity to the DJX-II may pro-
duced. duce interference. To prevent this, turn off the mobile phone or
use it further away from the DJX-II.

The volume is reduced or the sound is distort- The batteries probably need to be replaced. Either replace all
ed. six batteries, or use an AC power adaptor.

The sound quality has gotten progressively

worse.

Performance Recorder/Sampler data will not

play back properly.

The display goes blank and all panel controls

are reset.

The selected voice cannnot be played via the Check whether the DJX-II is set to the Pattern mode (page 10)
keyboard. or not. When set to the Pattern mode, the keyboard of the
DJX-II does not function as a conventional keyboard.

Not all of the voices seem to sound, or the The DJX-II is polyphonic up to a maximum of 32 notes. If Sam-
sound seems to be cut off. ples and Activator phrases are playing simultaneously with a
Pattern, some notes/sounds may be omitted (or “stolen”) from
one or more of those sections.

There is no sound even when the keyboard is Check that nothing is connected to the PHONES jack on the
played or when a Pattern is being played rear panel. When a set of headphones is plugged into this jack,
back. no sound is output.

The panel buttons do not function. Check whether MIDI bulk data is being transmitted or re-
ceived. If a MIDI Bulk Send operation is in process, none of
the panel buttons (with the exception of PATTERN STOP)
function.

The Pattern does not start even when a PAT- • Check whether the DJX-II is set to the Keyboard mode (page
TERN PLAYER key is pressed. 10) or not. When set to the Keyboard mode, the keyboard of
the DJX-II functions as a conventional keyboard and cannot
The Activator does not start even when an start the Pattern or Activator.
ACTIVATOR key is pressed. • Check whether the BPM is set to "Sync" or not by pressing
the BPM/TAP button. When this is set to “Sync,” only an ex-
ternal MIDI device can start the DJX-II Patterns.

Some parts of the Pattern do not seem to • Check the Part Mixer settings.
sound. • The volume of the corresponding part might have been set
to 0 by using the VOLUME knob of the PART CONTROL-
LER.

74
 Appendix

Troubleshooting

PROBLEM POSSIBLE CAUSE/SOLUTION

The sound is distorted or noisy. • Many of the DJX-II sounds have been deliberately pro-
cessed or created with a “lo-fi” or “grunge” sound to suit cer-
tain styles of music.
• Using the CUTOFF and RESONANCE knobs at or near the
maximum settings (especially when the MASTER VOLUME
knob is also at maximum) may result in distortion.
• If this applies to the “Sampled” voice, you may have recorded
the sample(s) at too high a level.

Sample recording begins too soon or too late. Make sure that the INPUT LEVEL knob is set appropriately.
The lower the input level, the louder the signal must be to start
sampling. It is important to avoid setting the input level too
high: at high levels, recording start may be triggered too soon
by unintentional noise (room noise, noise on the line, etc.).

Sample recording or Performance Recording If recorded data has exceeded the maximum limit, a “Full”
doesn’t work. message appears and no further data can be recorded. De-
lete any unnecessary data and try again.

75
 Appendix

Error Message List

ERROR MESSAGE DESCRIPTION

This appears when the MIDI reception buffer of the DJX-II has filled up, and process-
Err1 ing is not possible. Try decreasing the amount of data or increasing the interval time
and transmit the data once again.

This appears when a MIDI data reception error occurs, such as that caused by an
Err2 improper connection or by use of an excessively long MIDI cable.

This appears when the received bulk data contains illegal data. The illegal data is
Err3 automatically cleared.

This message appears when the internal memory becomes full and no additional
data can be recorded.
Attempting to record to the Sampler or Performance Recorder when the internal
Full memory is full causes this message to appear, and the DJX-II automatically stops
recording.
Delete unneeded data and attempt recording again.

This appears briefly when initializing the DJX-II to the factory preset data, by simul-
C|r taneously holding down the highest (rightmost) key and turning the power on. See
page 13 for details.

76
 Appendix

Specifications
● KEYBOARD 61 keys (C1~C6) ..without Touch Response ● PERFORMANCE RECORDER
6 pads
● PATTERNS Total 700 Preset Patterns and Variations RAM Capacity 18 KB....................Approximately 2500
Preset 70 Patterns events for all six Pads
User 5 Patterns.............Up to 85 KB for all User
Patterns ● DISPLAY
Variation 10 Multi Display 7-seg. LED x 4 digits
Keyboard LED LED x 27
● ACTIVATORS Panel LED LED x 23
Preset 52 Kits ..................Including Auto function
(00) ● DEMONSTRATION
Variation 13 .........................Loop: 5, One Shot: 8 3 songs

● VOICES ● AUXILIARY JACKS

Preset 203 .......................180 Voices + 23 Drum Kits MIDI MIDI IN .................MIDI Clock In, Remote
User Sampled 1 Control, Tone Generator,
Bulk Receive
MIDI OUT .............MIDI Clock Out,
● POLYPHONY 32 notes max. Bulk Send
Audio PHONES
● EFFECTS LINE OUT (L, R)...RCA Pin
Live Effector 10 Presets ............Distortion, Auto Pan, MIC IN
Ring Modulator, Flanger,
Phaser, Slice, Delay, LINE IN.................RCA Pin
Echo, Lo-Fi, Wah
Reverb 11 Presets ............Can be set only via MIDI ● AMPLIFIERS 6W + 6W ..............(when using PA-5C power
Chorus 7 Presets ..............Can be set only via MIDI adaptor)
3 Bands Isolator
-12dB~+12dB ● SPEAKERS 12cm x 2...............Bass Reflex,
Key Shifter (Transpose) 4.5-liter enclosure x 2
-5~0~+6
BPM (Tempo) 32~280 ● POWER SUPPLY
Audio BPM Counter Adaptor PA-5B, PA-5C
Batteries 6 x “D” size or SUM-1 or R-20
● CONTROLLERS
Ribbon Controller ● POWER CONSUMPTION
Scratch 1, Scratch 2, Pitch Bend, 20W
Pitch & BPM
Part Controller Knobs ● DIMENSIONS (W x D x H)
Volume, Cutoff, Resonance 933 x 370 x 129 mm
Isolator Knobs (36-3/4" x 14-5/8" x 5-1/6")
Low, Mid, High
Live Effector Knobs ● WEIGHT 6.7kg (14 lbs., 12 oz.)
Control, Balance
Other Knobs Input Volume, Master Volume
● SUPPLIED ACCESSORIES
Part Mixer Owner’s Manual x 1
Part Selector
● OPTIONAL ACCESSORIES
● SAMPLER Headphones HPE-150, HPE-3
6 pads ..................Loop: 3, One Shot: 3 Keyboard Stand
Quality 22kHz/8bit L-2L, L-2C
RAM Capacity 128 KB .................About six seconds for all
pads (maximum three
seconds for one pad)

* Specifications and descriptions in this owner’s manual are for information

purposes only. Yamaha Corp. reserves the right to change or modify prod-
ucts or specifications at any time without prior notice. Since specifications,
equipment or options may not be the same in every locale, please check
with your Yamaha dealer.

77
 Appendix

Glossary
amplifier, these let you tailor the sound just the way you like
A to hear it.
Activator................................. Tips 7 - 12, 34, 50, 68
On the DJX-II, the Activator section contains various
rhythms and sounds. You can use these to break up or
interrupt the Patterns, or to add textures and accents to the
K
Patterns. key ........................................................... Tips 39, 40
The word “key” refers to the basic pitch of a piece of music.
Audio bpm Counter.........................................Tip 94 There are twelve keys: C, Db (or C#), D, Eb (or D#), E, F, F#
This powerful function lets you synchronize external audio (or Gb), G, Ab (or G#), A, Bb (or A#), and B. On the DJX-
(such as from a CD, MD, or vinyl record) with the Patterns II, you can change the key by using the Key Shifter. (Know-
of the DJX-II. The DJX-II monitors the beat from the ing the names of the keys isn’t important. On the DJX-II,
audio, and automatically locks into the rhythm by auto- you change the number — the amount by which the key is
adjusting the bpm of the DJX-II’s Pattern. shifted.)
Changing keys (also called “transposing”) adds variety to
the music. It also is capable of changing the character of a
B piece, making the music brighter and more upbeat, or
darker and more subdued.
bpm......................................... Tips 6, 43, 44, 78 - 81
Abbreviation for “beats per minute.” Obviously, a rhythm
playing at 120 bpm would have two beats every second. The
bpm value determines the speed of the rhythm — the
L
higher the bpm, the faster the rhythm. This is also called Live Effector............................. Tips 13 - 23, 51 - 61
“tempo.” Effects are used to process the sound and change it in vari-
ous ways. In modern recording studios, almost every
Bulk Send.........................................................Tip 99 recorded sound is processed in some way. On the DJX-II,
Bulk Send is a MIDI function that allows you to transfer the Live Effector section provides ten different, high-quality
important data among various MIDI devices. With the use effects — the same effects used by the pros in creating hot
of a MIDI data filer (such as the Yamaha MDF3), Bulk Send tracks.
allows you to save your original DJX-II Performance All of the DJX-II sounds — the Pattern, Activator, and
Recorder and Sampler data for future recall. This not only Sampler — are processed by these effects. A toggle switch
lets you keep an archive of those settings, it also frees up lets you turn the effect on and off in time with the rhythm,
extra memory space on the DJX-II for additional recording and special CONTROL and BALANCE knobs let you tweak
and sampling. Bulk Send is also used with the Pattern the effects as the Pattern plays.
Launcher software for transferring Pattern data from a Mac
or Windows compatible computer to the DJX-II.
Loop..................................................... Tips 8, 12, 74
A loop is a (usually) short audio passage or phrase that is
repeated indefinitely, or “looped.” Originally used with tape
F recorders (tape loops), loops have infiltrated the world of
filter ....................................................Tips 36, 38, 69 sampling and music making in general. Sometimes loops
Filters were originally used to process sound on analog syn- are used to create sustained sound. More commonly (and
thesizers. The DJX-II uses the same basic filter setup to pro- especially on the DJX-II), loops are mainly for rhythmic
cess the sound of the Parts. More than just “process,” the phrases — drum and percussion rhythms, arpeggiator
filter is capable of radically altering and completely chang- phrases, etc. In sampling, Loop is the opposite of One Shot.
ing the character of the sound! The filter is controlled by The DJX-II Patterns are made up entirely of loops. The
the CUTOFF and RESONANCE knobs in the Part Control- Activator and Sampler both have special Loop keys and
ler section. pads that cycle indefinitely, creating a continous rhythmic
Pattern.

I
Isolator .....................................................Tips 24, 62
M
The Isolator section provides three separate controls — MIDI....................................................... Tips 96 - 100
Low, Mid, and High — for adjusting the tone or timbre of MIDI (Musical Instrument Digital Interface) allows elec-
the sound. Like the Bass and Treble controls on a stereo tronic instruments of various types and manufacturers to

78
 Appendix

Glossary

“communicate” with each other. At the most basic level, Pattern may be eight beats long (two measures) or sixteen
MIDI allows you to play one instrument’s sounds from the beats long ( four measures), but all Patterns cycle around a
controls or keyboard of another instrument. More sophisti- basic count of “1-2-3-4.” The key to developing good
cated uses included synchronizing two or more instruments rhythm and using the Patterns musically involves knowing
together, exchanging data between compatible devices, or this four-beat count and feeling it in your body!
having a whole studio’s worth of keyboards, synthesizers,
samplers, and rhythm machines controlled from a single
computer.
S
Naturally, the DJX-II is MIDI compatible, and can be used
Sampler .................................................. Tips 72 - 75
effectively in any of the above scenarios. You can sync two
Sampling is an important music-making technique in
DJX-IIs together (or the DJX-IIB), and have the bpm’s of
which short recorded audio passages are played back, usu-
both machines lock for synchronized playback. With the
ally from a keyboard or from pads. The Sampler on the
special Pattern Launcher software and a computer, you can
DJX-II lets you record any audio source — such as from a
even load new and original Patterns to the DJX-II!
CD, or with a microphone — and play it back as a Loop or
as a One Shot.

O scratch, scratching......................................... Tip 41

One Shot ....................................................Tips 8, 74 This comes from turntable playing, in which the DJ rocks
One Shots are audio samples that are meant to be played the record back and forth with the needle down, creating a
back once and then stopped. On the DJX-II, the Activator scratching-like noise. On the DJX-II, scratching is done
and Sampler both have special One Shot keys and pads that with the Ribbon Controller.
play short chunks of audio — such as sound effects, hits
(like cymbal crashes, orchestra hits, etc.), and voice sound
bites. In sampling, One Shot is the opposite of Loop. T
Tap ............................................... Tips 78, 79, 81, 93
The DJX-II has a convenient Tap function that allows you to
P change or set the bpm of the instrument simply by tapping
Part .......................... Tips 27 - 38, 63 - 71, 86, 88, 89 out a steady rhythm on the BPM/TAP button. This can be
The DJX-II Patterns contain up to eight separate instru- used to automatically start a Pattern at the tapped speed, or
ment Parts — each of which has its own special function it can be used to instantly change the bpm of a currently
and sound within the rhythm. Specifically the Parts are: playing Pattern.
Kick, Snare, Hi-Hat, Percussion, Bass, and Phrases 1 -3.
Depending on the Pattern, each Part may have a completely
different sound. For example, the Bass Part on one Pattern V
might be an soft acoustic upright bass, while on another
Variation .................................. Tips 2, 45, 46, 50, 89
Pattern it may be a buzzy synthesizer bass.
Each of the 70 Patterns of the DJX-II actually contains ten
The DJX-II gives you enormous flexibility in using, control- separate Patterns, called “Variations.” Each Variation, as its
ling, and tweaking the sound of the Parts. Each Part can be name implies, is a different version of the basic Pattern
played alone or in virtually any combination with the others rhythm. There are two types of Variations, main and fill-in.
(using the Part Mixer). You can single out a Part (with the Main Variations are used for the constant rhythm of the
Part Selector), and change the sound of that Part as it plays music, while fill-in Variations are usually used as dynamic
by turning the Part Controller knobs. breaks and transitions. In general, the higher the Variation
number, the busier or more complex the rhythm becomes.
Pattern........................................... Tips 1 - 6, 45 - 50
Patterns are the basic building blocks of the DJX-II sound. Voice ........................................................ Tips 25, 26
Each Pattern is a discrete musical/rhythmic passage, that When the DJX-II is set to the Keyboard mode, the keys can
loops (or repeats) continuously. The Patterns contain dif- be used in the conventional way — to play a single instru-
ferent instrumental Parts — such as bass, kick drum, snare ment sound across the entire keyboard. These instrument
drum, hi-hat, percussion, and (depending on the Pattern) sounds are called “voices.” Although only one voice can be
other pitched instruments such as guitar, organ, strings, etc. played at one time, the DJX-II is packed with many differ-
Each main Pattern has ten Variations, which can be used ent voices — such as piano, organ, guitar, strings, synthe-
together for greater variety in performance. sizer, and many others.
Different Patterns have different lengths, but all are based
on four-beat lengths called “measures.” In other words, a
79
 Appendix

Pattern List
Pattern Pattern
Category Name Pattern Name Category Name Pattern Name
No. No.
00 Berlin Techno 35 Hard Hip Hop
01 Japan Beatz 36 Hardcore
HIP HOP
02 Detroit 2000 37 Pop
TECHNO
03 Parade Beat 38 Rock Hop
04 French Techno 39 Futuristic
05 Detroit 40 SPACE HOP Cosmic
06 Acid Techno 41 Universal
07 UNDERGROUND German Underground 42 Live
08 Loop Techno 43 Miami
09 UK Disco 44 SWING HOP Jazzy
10 DISCOMANIA US Disco 45 Los Angeles
11 Disco House 46 Mechanical
12 Dub House 47 Psyco
13 Dark House 48 Bangin'
14 Chicago House 49 Smooth
CLUB VIBES GANGSTA
15 Ibiza 50 Light
16 Progressive House 51 R&B
17 Hard House 52 Female
18 Hard Trance 53 Soul
19 Acid Trance 54 Busy
INTELLIGENT
20 Euro Trance 55 Laid Back
TRANCE TRAXX
21 Goa 56 Landscape
22 Dream Trax 57 Cool
23 Eurobeat 58 Jam'n
FUNKY HIP HOP
24 Elektro Beat 59 Club Funk
25 ELEKTRO Breakdance 60 Hard Funk
26 EMPIRE Elektromix 61 80's
27 Technolectro 62 Scratchin'
OLD SKOOL
28 London Underground 63 Breakz
29 GARAGE Speed Garage 64 Beat Street
30 UK Garage 65 Deep
31 Jungle Beatz 66 Ambient
32 Breakbeat 67 TRIP HOP Dreamy
DRUM'N'BASS
33 Hard Step 8th 68 Grunge
34 Jazz D&B 69 Dark

80
 Appendix

Activator List
Activator Activator
Category Name Activator Name Category Name Activator Name
No. No.
0 AUTO Auto 28 Hip Hop X-tra 1
1 Techno X-tra 1 29 Hip Hop X-tra 2
2 Techno X-tra 2 30 HIP HOP X-TRA Hip Hop X-tra 3
3 TECHNO X-TRA Techno X-tra 3 31 Hip Hop X-tra 4
4 Techno X-tra 4 32 Hip Hop X-tra 5
5 Techno X-tra 5 33 Groove Elements 1
6 Basic DJ Tools 1 34 Groove Elements 2
GROOVE
7 Basic DJ Tools 2 35 Groove Elements 3
ELEMENTS
8 BASIC DJ TOOLS Basic DJ Tools 3 36 Groove Elements 4
9 Basic DJ Tools 4 37 Groove Elements 5
10 Basic DJ Tools 5 38 Vinyl Lab 1
11 Robots E-Werk 1 39 Vinyl Lab 2
12 Robots E-Werk 2 40 Vinyl Lab 3
VINYL LAB
13 ROBOTS E-WERK Robots E-Werk 3 41 Vinyl Lab 4
14 Robots E-Werk 4 42 Vinyl Lab 5
15 Robots E-Werk 5 43 Vinyl Lab 6
16 In Da House 1 44 Jazzy Zone 1
JAZZY ZONE
17 In Da House 2 45 Jazzy Zone 2
18 IN DA HOUSE In Da House 3 46 SCRATCH Scratch Masters 1
19 In Da House 4 47 MASTERS Scratch Masters 2
20 In Da House 5 48 Freestylers Era 1
21 Mystic Horizons 1 49 Freestylers Era 2
MYSTIC HORIZONS FREESTYLERS ERA
22 Mystic Horizons 2 50 Freestylers Era 3
23 Acid Vibes 1 51 Freestylers Era 4
24 Acid Vibes 2
25 ACID VIBES Acid Vibes 3
26 Acid Vibes 4
27 Acid Vibes 5

81
 Appendix

Voice List
Bank Select MIDI Bank Select MIDI
Voice Voice
Program Voice Name Program Voice Name
# MSB LSB # MSB LSB
Change# Change#
HYPER MIX SQUARE LEAD
000 0 123 96 DJX-II 051 0 116 80 Alien
KEYBOARD 052 0 115 80 Psyche
001 0 112 4 Funky EP 053 0 112 80 Square Lead1
002 0 0 1 Bright Piano 054 0 113 80 Square Lead2
003 0 0 7 Clavi 055 0 0 80 Square Lead3
004 0 0 9 Glocken SAW LEAD
005 0 0 11 Vibes 056 0 122 81 BreakIt
006 0 0 12 Marimba 057 0 117 80 MC-Line
ELECTRIC PAD 058 0 117 81 Scary
007 0 112 17 Jazz Organ 059 0 120 81 MoveIt
008 0 112 18 Rock Organ 060 0 119 81 Robot Lead
009 0 113 16 Cheez Organ 061 0 116 81 Fat
010 0 114 17 Miss U 062 0 115 81 Seq Ana
011 0 115 17 R&B Organ 063 0 118 81 Stab
012 0 0 17 Perc Organ 064 0 112 81 Saw Lead1
SYNTH PAD 065 0 113 81 Saw Lead2
013 0 112 90 Sequenza 066 0 0 81 Saw Lead3
014 0 112 94 Insomnia ACOUSTIC LEAD
015 0 112 95 Wave 2001 067 0 112 73 Coco Flute
016 0 113 91 Amber 068 0 112 61 Bright Brass
017 0 112 91 Trance 069 0 114 62 Techno Brass
018 0 0 89 Warm Pad 070 0 113 62 Jump Brass
019 0 0 90 Poly Synth Pad 071 0 0 56 Trumpet
020 0 0 92 Bowed Pad 072 0 0 59 Mute. Trumpet
021 0 0 94 Halo Pad 073 0 0 61 Brass Section
022 0 0 95 Sweep Pad 074 0 0 62 Synth Brass1
ACOUSTIC PAD 075 0 0 63 Synth Brass2
023 0 112 48 Strings 1 076 0 0 65 Alto Sax
024 0 112 50 Syn Strings 077 0 0 73 Flute
025 0 113 50 String Pad RESONANCE BASS
026 0 0 48 Strings 2 078 0 113 38 Techno Bass
027 0 0 49 Strings 3 079 0 116 38 Kickin'B
028 0 0 52 Choir Aah 080 0 114 38 Bassline
GUITAR 081 0 117 38 NuFloor
029 0 113 26 Octave 082 0 115 38 Fish303
030 0 112 27 Clean 1 083 0 119 38 NuSwing
031 0 113 27 60's Clean 084 0 112 38 Synth Bass1
032 0 112 28 Muted 085 0 0 38 Synth Bass2
033 0 0 26 Jazz ANALOG BASS
034 0 0 27 Clean 2 086 0 112 39 Analog Bass
035 0 0 30 Dist. 087 0 114 39 Snap Bass
036 0 112 30 Dist.5th 088 0 115 39 Old Mini
SYNTH LEAD 089 0 116 39 Power Bass
037 0 115 84 Fuzz line 090 0 117 39 Dub Bass
038 0 113 84 Talkbox 091 0 118 39 Factory
039 0 114 84 Acid Sync 092 0 119 39 Hyper
040 0 112 84 Adrenaline 093 0 120 38 Hard-Syn
041 0 112 85 Fragile 094 0 120 39 Dist-Syn
042 0 112 83 Cut Glass 095 0 121 39 Techno
043 0 0 82 Calliope Lead 096 0 113 39 Blip Bass
BASS LEAD 097 0 118 38 H-Bass
044 0 112 87 Killer S 098 0 121 38 Sin Bass
045 0 118 87 Reso-X 099 0 122 38 OB Bass
046 0 117 87 Choppy 100 0 122 39 Sub Osc
047 0 115 87 Happy Vibes 101 0 0 39 Syn Bass
048 0 116 87 Tri Touch BASIC BASS
049 0 119 87 Sync 102 0 112 33 Finger Bass
050 0 0 87 Bass&Lead 103 0 112 34 Pick Bass

82
 Appendix

Voice List

Bank Select MIDI Bank Select MIDI

Voice Voice
Program Voice Name Program Voice Name
# MSB LSB # MSB LSB
Change# Change#
104 0 112 35 Fretless 160 0 123 40 I am Your DJ (robot) (1)
105 0 0 32 Aco. Bass 161 0 123 41 I am Your DJ (robot) (2)
106 0 0 35 Fretless 162 0 123 42 I am Your DJ (robot) (3)
SCRATCH 163 0 123 48 Rock The House (robot) (1)
107 0 123 80 Scratch 1F 164 0 123 49 Rock The House (robot) (2)
108 0 123 81 Scratch 1B 165 0 123 50 Rock The House (robot) (3)
109 0 123 82 Scratch 2F 166 0 123 44 Feel The Vibe (robot) (1)
110 0 123 83 Scratch 2B 167 0 123 45 Feel The Vibe (robot) (2)
111 0 123 84 Scratch 3F 168 0 123 46 Feel The Vibe (robot) (3)
112 0 123 85 Scratch 3B 169 0 123 52 The Real Bass (robot) (1)
113 0 123 86 Scratch 4F 170 0 123 53 The Real Bass (robot) (2)
114 0 123 87 Scratch 4B 171 0 123 54 The Real Bass (robot) (3)
SFX DRUM LOOP
115 0 123 56 Reverse 172 0 123 68 Drum Loop T1
116 0 112 126 Turntble 173 0 123 69 Drum Loop T2
117 0 0 96 Rain 174 0 123 70 Drum Loop T3
118 0 0 101 Goblins 175 0 123 71 Drum Loop T4
119 0 0 102 Echoes HOP LOOP
HIT 176 0 123 64 Drum Loop H1
120 0 113 55 Sharp Hit 177 0 123 65 Drum Loop H2
121 0 113 115 Claps-X 178 0 123 66 Drum Loop H3
122 0 0 113 Agogo 179 0 123 67 Drum Loop H4
HUMAN VOICE HYPER DRUM KIT
123 0 123 0 Ain't Going Out (1) 180 127 0 5 Analog Kit1
124 0 123 1 Ain't Going Out (2) 181 127 0 8 Analog Kit2
125 0 123 2 Beat 182 127 0 10 Analog Kit3
126 0 123 3 Clap Your Hands 183 127 0 13 Analog Kit1D
127 0 123 4 Club 184 127 0 14 Analog Kit2D
128 0 123 5 Com On 185 127 0 12 RhBox Kit
129 0 123 6 DJ 186 127 0 9 Hard Kit
130 0 123 7 Feel The Bass (1) 187 127 0 11 Break Kit
131 0 123 8 Feel The Bass (2) 188 127 0 6 Dance Kit
132 0 123 9 Feel The Bass (3) 189 127 0 4 Electronic Kit1
133 0 123 10 Huhh 190 126 0 0 Electronic Kit2
134 0 123 11 Kickin'It 191 126 0 1 B900 Kit
135 0 123 12 Massive 192 126 0 2 DJX Kit
136 0 123 13 MoveIt 193 126 0 3 BD Kit
137 0 123 14 My Flow Is Tight (1) 194 126 0 4 SD Kit
138 0 123 15 My Flow Is Tight (2) 195 126 0 5 HH Kit
139 0 123 16 My Flow Is Tight (3) 196 126 0 6 Human Kit
140 0 123 17 OK 197 126 0 7 Scratch Kit
141 0 123 18 Peace BASIC DRUM KIT
142 0 123 19 Play That Beat (1) 198 127 0 0 Standard Kit1
143 0 123 20 Play That Beat (2) 199 127 0 1 Standard Kit2
144 0 123 21 Play That Beat (3) 200 127 0 2 Room Kit
145 0 123 22 Respect Is Due (1) 201 127 0 3 Rock Kit
146 0 123 23 Respect Is Due (2) 202 127 0 7 Jazz Kit
147 0 123 24 Respect Is Due (3) SAMPLER
148 0 123 25 Scratchin' 203 - - - Sampler
149 0 123 26 The House
150 0 123 27 Uuh!
151 0 123 28 What's Going Down (1)
152 0 123 29 What's Going Down (2)
153 0 123 30 What's Going Down (3)
154 0 123 31 Wow
155 0 123 32 Yeah What's Up (1)
156 0 123 33 Yeah What's Up (2)
157 0 123 34 Yeah What's Up (3)
158 0 123 35 Yo Baby (1)
159 0 123 36 Yo Baby (2)
83
 Appendix

Drum Kit List

• : Same as Standard Kit1.
• : Same as the kit to the immediate left.
• The Keyboard Note Numbers (#) and Note names shown in this list apply to
all kits, with the exception of Voice #190 (Electronic Kit2), #191 (B900 Kit),
#192 (DJX Kit), #196 (Human Kit) and #197 (Scratch Kit).
• In order to properly hear Voices #190 (Electronic Kit2), #191 (B900 Kit), and
#192 (DJX Kit), play notes on the keyboard one octave lower than indicated.
• In order to properly hear Voices #196 (Human Kit) and #197 (Scratch Kit),
play notes on the keyboard one octave higher than indicated.
• Key Off & Alternate Assign : These are applicable only for kits whose Bank
MSB#=127.

Voice # 198 199 200 201 189 180 188 202 181 186
Bank MSB# 127 127 127 127 127 127 127 127 127 127
Bank LSB# 0 0 0 0 0 0 0 0 0 0
Program # 0 1 2 3 4 5 6 7 8 9
Keyboard MIDI Key Alternate Electronic
Standard Kit1 Standard Kit2 Room Kit Rock Kit Analog Kit1 Dance Kit Jazz Kit Analog Kit2 Hard Kit
Note# Note Note# Note off assign Kit1
25 C# 0 13 C# -1 3 Surdo Mute
26 D 0 14 D -1 3 Surdo Open
27 D# 0 15 D# -1 Hi-Q
28 E 0 16 E -1 Whip
29 F 0 17 F -1 4 Scratch H
30 F# 0 18 F# -1 4 Scratch L
31 G 0 19 G -1 Finger Snap
32 G# 0 20 G# -1 Click
33 A 0 21 A -1 Metronome Click
34 A# 0 22 A# -1 Metronome Bell
35 B 0 23 B -1 Seq Click L
36 C 1 24 C 0 Seq Click H
37 C# 1 25 C# 0 Brush Tap
38 D 1 26 D 0 O Brush Swirl
39 D# 1 27 D# 0 Brush Slap
40 E 1 28 E 0 O Brush Swirl W/Attack Reverse Cymbal
41 F 1 29 F 0 O Snare Roll
42 F# 1 30 F# 0 Castanet Hi Q
43 G 1 31 G 0 Snare H Soft Snare H Soft2 SD Elec M Snare L SD Elec H2 SD Analog 2 SD T8 1 SD Hard 1
44 G# 1 32 G# 0 Sticks
45 A 1 33 A 0 Bass Drum L Bass Drum L2 Bass Drum H Bass Drum H BD Analog 2 BD Analog BD Hard 1
46 A# 1 34 A# 0 Open Rim Shot Open Rim Shot2 SD Analog Open Rim SD Hard 2
47 B 1 35 B 0 Bass Drum M Bass Drum H3 BD Rock BD Analog 1L BD Analog 3 BD T8 2 BD Hard 2
48 C 2 36 C 1 Bass Drum H Bass Drum H 2 BD Rock BD Rock 2 BD Analog 1H BD Analog 4 BD Jazz BD T8 3 BD Hard 3
49 C# 2 37 C# 1 Side Stick Analog Side Stick 1 T8 Side Stick
50 D 2 38 D 1 Snare L Snare L2 SD Room L SD Rock SD Elec M SD Analog 1H SD Analog 3 SD Jazz L SD T8 3L SD Hard 3
51 D# 2 39 D# 1 Hand Clap
52 E 2 40 E 1 Snare H Hard Snare H Hard2 SD Room H SD Rock Rim SD Elec H SD Analog 1L SD Analog 4 SD Jazz H SD T8 3M SD Hard 4
53 F 2 41 F 1 Floor Tom L Room Tom 1 Rock Tom 1 E Tom 1 Analog Tom 1 Jazz Tom 1 T8 Tom 1 Hard Tom 1
54 F# 2 42 F# 1 1 Hi-Hat Closed Analog HH Closed1 Dance HH Closed1 T8 HH 1 Closed1
55 G 2 43 G 1 Floor Tom H Room Tom 2 Rock Tom 2 E Tom 2 Analog Tom 2 Jazz Tom 2 T8 Tom 2 Hard Tom 2
56 G# 2 44 G# 1 1 Hi-Hat Pedal Analog HH Closed2 Dance HH Closed2 T8 HH 1 Closed2
57 A 2 45 A 1 Low Tom Room Tom 3 Rock Tom 3 E Tom 3 Analog Tom 3 Jazz Tom 3 T8 Tom 3 Hard Tom 3
58 A# 2 46 A# 1 1 Hi-Hat Open Analog HH 1 Open HH Open2 T8 HH 1 Open 1
59 B 2 47 B 1 Mid Tom L Room Tom 4 Rock Tom 4 E Tom 4 Analog Tom 4 Jazz Tom 4 T8 Tom 4 Hard Tom 4
60 C 3 48 C 2 Mid Tom H Room Tom 5 Rock Tom 5 E Tom 5 Analog Tom 5 Jazz Tom 5 T8 Tom 5 Hard Tom 5
61 C# 3 49 C# 2 Crash Cymbal 1 Analog Cymbal
62 D 3 50 D 2 High Tom Room Tom 6 Rock Tom 6 E Tom 6 Analog Tom 6 Jazz Tom 6 T8 Tom 6 Hard Tom 6
63 D# 3 51 D# 2 Ride Cymbal 1
64 E 3 52 E 2 Chinese Cymbal
65 F 3 53 F 2 Ride Cymbal Cup
66 F# 3 54 F# 2 Tambourine
67 G 3 55 G 2 Splash Cymbal
68 G# 3 56 G# 2 Cowbell Analog Cowbell
69 A 3 57 A 2 Crash Cymbal 2
70 A# 3 58 A# 2 Hand Clap 1
71 B 3 59 B 2 Ride Cymbal 2
72 C 4 60 C 3 Bongo H
73 C# 4 61 C# 3 Bongo L
74 D 4 62 D 3 Conga H Mute Analog Conga H
75 D# 4 63 D# 3 Conga H Open Analog Conga M
76 E 4 64 E 3 Conga L Analog Conga L
77 F 4 65 F 3 Timbale H
78 F# 4 66 F# 3 Timbale L
79 G 4 67 G 3 Agogo H
80 G# 4 68 G# 3 Agogo L
81 A 4 69 A 3 Cabasa
82 A# 4 70 A# 3 Maracas Analog Maracas
83 B 4 71 B 3 O Samba Whistle H
84 C 5 72 C 4 O Samba Whistle L
85 C# 5 73 C# 4 Guiro Short
86 D 5 74 D 4 O Guiro Long
87 D# 5 75 D# 4 Claves Analog Claves
88 E 5 76 E 4 Wood Block H
89 F 5 77 F 4 Wood Block L
90 F# 5 78 F# 4 Scratch Push
91 G 5 79 G 4 Scratch Pull
92 G# 5 80 G# 4 2 Triangle Mute
93 A 5 81 A 4 2 Triangle Open
94 A# 5 82 A# 4 Shaker
95 B 5 83 B 4 Hand Clap 2
96 C 6 84 C 5 Hand Clap 3
97 C# 6 85 C# 5 Bell Tree 2
98 D 6 86 D 5 Bell Tree 3
99 D# 6 87 D# 5 BD T8 2
100 E 6 88 E 5 SD T8 4
101 F 6 89 F 5 SD T8 3H
102 F# 6 90 F# 5 T8 HH 2 Closed1
103 G 6 91 G 5 T8 Cowbell
104 G# 6 92 G# 5 T8 HH 2 Closed2
105 A 6 93 A 5 T8 Tambourine
106 A# 6 94 A# 5 T8 HH 2 Open
107 B 6 95 B 5 T8 Guiro
108 C 7 96 C 6 Metal

84
 Appendix

Drum Kit List

Voice # 198 182 187 185 183 184 190

Bank MSB# 127 127 127 127 127 127 126
Bank LSB# 0 0 0 0 0 0 0
Program # 0 10 11 12 13 14 0
Keyboard MIDI Key Alternate Standard Kit1 Analog Kit3 Break Kit RhBox Kit Analog Kit1D Analog Kit2D Electronic Kit2
Note# Note Note# Note off assign
25 C# 0 13 C# -1 3 Surdo Mute
26 D 0 14 D -1 3 Surdo Open
27 D# 0 15 D# -1 Hi-Q
28 E 0 16 E -1 Whip
29 F 0 17 F -1 4 Scratch H
30 F# 0 18 F# -1 4 Scratch L
31 G 0 19 G -1 Finger Snap
32 G# 0 20 G# -1 Click
33 A 0 21 A -1 Metronome Click
34 A# 0 22 A# -1 Metronome Bell
35 B 0 23 B -1 Seq Click L
36 C 1 24 C 0 Seq Click H
37 C# 1 25 C# 0 Brush Tap
38 D 1 26 D 0 O Brush Swirl
39 D# 1 27 D# 0 Brush Slap
40 E 1 28 E 0 O Brush Swirl W/Attack Reverse Cymbal
41 F 1 29 F 0 O Snare Roll
42 F# 1 30 F# 0 Castanet Hi Q
43 G 1 31 G 0 Snare H Soft SD T9 1 SD Break 1 SD RhBox 1 SD Elec H2 SD T9 Dist 1
44 G# 1 32 G# 0 Sticks
45 A 1 33 A 0 Bass Drum L BD Analog BD Break 1 BD RhBox 1 BD Ana Dist 3 BD Analog
46 A# 1 34 A# 0 Open Rim Shot SD Break 2 SD RhBox 2
47 B 1 35 B 0 Bass Drum M BD Jungle 4 BD Break 2 BD RhBox 2 BD Ana Dist 1 BD Jungle 4
48 C 2 36 C 1 Bass Drum H BD T9 1 BD Break 3 BD RhBox 3 BD Ana Dist 2 BD T9 Dist 1 BD T8 2
49 C# 2 37 C# 1 Side Stick T9 Side Stick Analog Side Stick 1 Analog Side Stick 1 T9 Side Stick BD T8 2Long
50 D 2 38 D 1 Snare L SD T9 4L SD Break 3 SD RhBox 3 SD Ana Dist 1 SD T9 Dist 4L BD T8 3
51 D# 2 39 D# 1 Hand Clap SD T8 1
52 E 2 40 E 1 Snare H Hard SD T9 4H SD Break 4 SD RhBox 4 SD Ana Dist 2 SD T9 Dist 4H SD T8 3M
53 F 2 41 F 1 Floor Tom L T9 Tom 1 Analog Tom 1 Hard Tom 1 Hard Tom 1 SD T8 4
54 F# 2 42 F# 1 1 Hi-Hat Closed T9 HH 1 Closed1 RhBox HH Closed 1 Ana HH Clsd Dist 1 T9 HH 1 Clsd Dist 1 SD T8 5
55 G 2 43 G 1 Floor Tom H T9 Tom 2 Analog Tom 2 Hard Tom 2 Hard Tom 2 T8 Conga 1
56 G# 2 44 G# 1 1 Hi-Hat Pedal T9 HH 1 Closed2 RhBox HH Closed 2 Ana HH Clsd Dist 2 T9 HH 1 Clsd Dist 2 T8 Cowbell
57 A 2 45 A 1 Low Tom T9 Tom 3 Analog Tom 3 Hard Tom 3 Hard Tom 3 T8 Conga 2
58 A# 2 46 A# 1 1 Hi-Hat Open T9 HH 1 Open 2 Rh Box HH Open Ana HH Opn Dist T9 HH 1 Opn Dist 2 T8 Maracas
59 B 2 47 B 1 Mid Tom L T9 Tom 4 Analog Tom 4 Hard Tom 4 Hard Tom 4 T8 Conga 3
60 C 3 48 C 2 Mid Tom H T9 Tom 5 Analog Tom 5 Hard Tom 5 Hard Tom 5 T8 Conga 4
61 C# 3 49 C# 2 Crash Cymbal 1 Rh Box Cymbal Analog Cymbal T8 Side Stick
62 D 3 50 D 2 High Tom T9 Tom 6 Analog Tom 6 Hard Tom 6 Hard Tom 6 T8 Clave
63 D# 3 51 D# 2 Ride Cymbal 1 T8 Clap
64 E 3 52 E 2 Chinese Cymbal T9 HH Half Open
65 F 3 53 F 2 Ride Cymbal Cup T8 Tom 1
66 F# 3 54 F# 2 Tambourine T8 HH 1 Closed1
67 G 3 55 G 2 Splash Cymbal T8 Tom 2
68 G# 3 56 G# 2 Cowbell Analog Cowbell T8 HH 1 Closed2
69 A 3 57 A 2 Crash Cymbal 2 T8 Tom 3
70 A# 3 58 A# 2 Hand Clap 1 T8 HH 1 Open
71 B 3 59 B 2 Ride Cymbal 2 T8 Tom 4
72 C 4 60 C 3 Bongo H Analog Cymbal
73 C# 4 61 C# 3 Bongo L
74 D 4 62 D 3 Conga H Mute Analog Conga H
75 D# 4 63 D# 3 Conga H Open Analog Conga M BD T9 1
76 E 4 64 E 3 Conga L Analog Conga L BD T9 3n
77 F 4 65 F 3 Timbale H BD Jungle 4
78 F# 4 66 F# 3 Timbale L T9 HH 1 Open 2
79 G 4 67 G 3 Agogo H SD T9 1L
80 G# 4 68 G# 3 Agogo L SD T9 2
81 A 4 69 A 3 Cabasa SD T9 1M
82 A# 4 70 A# 3 Maracas Analog Maracas SD T9 3
83 B 4 71 B 3 O Samba Whistle H SD T9 1H
84 C 5 72 C 4 O Samba Whistle L SD T9 4L
85 C# 5 73 C# 4 Guiro Short T9 Side Stick
86 D 5 74 D 4 O Guiro Long SD T9 4M
87 D# 5 75 D# 4 Claves Analog Claves T9 Clap
88 E 5 76 E 4 Wood Block H SD T9 4H
89 F 5 77 F 4 Wood Block L T9 Tom 1
90 F# 5 78 F# 4 Scratch Push T9 HH 1 Closed1
91 G 5 79 G 4 Scratch Pull T9 Tom 2
92 G# 5 80 G# 4 2 Triangle Mute T9 HH 1 Closed2
93 A 5 81 A 4 2 Triangle Open T9 Tom 3
94 A# 5 82 A# 4 Shaker T9 HH 1 Open 2
95 B 5 83 B 4 Hand Clap 2 T9 Tom 4
96 C 6 84 C 5 Hand Clap 3 T9 Crash 1
97 C# 6 85 C# 5 Bell Tree 2 Bell Tree 2 T9 Ride
98 D 6 86 D 5 Bell Tree 3 Bell Tree 3 T9 Crash 2
99 D# 6 87 D# 5 BD T8 2 BD T8 2
100 E 6 88 E 5 SD T8 4 SD T8 4
101 F 6 89 F 5 SD T8 3H SD T8 3H
102 F# 6 90 F# 5 T8 HH 2 Closed1 T8 HH 2 Closed1
103 G 6 91 G 5 T8 Cowbell T8 Cowbell
104 G# 6 92 G# 5 T8 HH 2 Closed2 T8 HH 2 Closed2
105 A 6 93 A 5 T8 Tambourine T8 Tambourine
106 A# 6 94 A# 5 T8 HH 2 Open T8 HH 2 Open
107 B 6 95 B 5 T8 Guiro T8 Guiro
108 C 7 96 C 6 Metal Metal
85
 Appendix

Drum Kit List

Voice # 191 192 193 194 195 196 197

Bank MSB# 126 126 126 126 126 126 126
Bank LSB# 0 0 0 0 0 0 0
Program # 1 2 3 4 5 6 7
Keyboard MIDI Key Alternate B900 Kit DJX Kit BD Kit SD Kit HH Kit Human Kit Scratch Kit
Note# Note Note# Note off assign
25 C# 0 13 C# -1 3
26 D 0 14 D -1 3
27 D# 0 15 D# -1
28 E 0 16 E -1
29 F 0 17 F -1 4
30 F# 0 18 F# -1 4
31 G 0 19 G -1
32 G# 0 20 G# -1
33 A 0 21 A -1
34 A# 0 22 A# -1
35 B 0 23 B -1
36 C 1 24 C 0 BD1 SD1 HH1 Ain'tGoingOut(1)
37 C# 1 25 C# 0 BD2 SD2 HH2 Ain'tGoingOut(2)
38 D 1 26 D 0 O BD3 SD3 HH3 Beat
39 D# 1 27 D# 0 BD4 SD4 HH4 ClapYourHands
40 E 1 28 E 0 O BD5 SD5 HH5 Club
41 F 1 29 F 0 O BD6 SD6 HH6 ComOn
42 F# 1 30 F# 0 BD7 SD7 HH7 DJ
43 G 1 31 G 0 BD8 SD8 HH8 FeelTheBass(1)
44 G# 1 32 G# 0 BD9 SD9 HH9 FeelTheBass(2)
45 A 1 33 A 0 BD10 SD10 HH10 FeelTheBass(3)
46 A# 1 34 A# 0 BD11 SD11 HH11 Huhh
47 B 1 35 B 0 BD12 SD12 HH12 Kickin'It
48 C 2 36 C 1 BD Jungle 4 BD00 T9 Distortion BD13 SD13 HH13 Massive Scratch1-F
49 C# 2 37 C# 1 BD T8 2Long BD04 T9 BD14 SD14 HH14 MoveIt Scratch1-R
50 D 2 38 D 1 BD Jungle 1 BD09 T8 Low Long BD15 SD15 HH15 MyFlowIsTight(1) Scratch2-F
51 D# 2 39 D# 1 BD Jungle 2 BD28 T8 BD16 SD16 HH16 MyFlowIsTight(2) Scratch2-R
52 E 2 40 E 1 BD T8 2Cont BD47 Hard Distortion BD17 SD17 HH17 MyFlowIsTight(3) Scratch3-F
53 F 2 41 F 1 BD Jungle 5 BD55 Jungle BD18 SD18 HH18 OK Scratch3-R
54 F# 2 42 F# 1 1 BD HipHop1 SD00 T8 BD19 SD19 HH19 Peace Scratch4-F
55 G 2 43 G 1 BD HipHop2 SD03 higher BD20 SD20 HH20 PlayThatBeat(1) Scratch4-R
56 G# 2 44 G# 1 1 SD Jungle 1 SD12 T9 4 BD21 SD21 HH21 PlayThatBeat(2) Scratch L
57 A 2 45 A 1 SD Jungle 2 SD23 brutal BD22 SD22 HH22 PlayThatBeat(3) SCR 1M
58 A# 2 46 A# 1 1 SD Jungle 3 SD24 high metal BD23 SD23 HH23 RespectIsDue(1) SCR 2M
59 B 2 47 B 1 SD Jungle 4 SD31 Elect.2 BD24 SD24 HH24 RespectIsDue(2) SCR 3M
60 C 3 48 C 2 SD HipHop1 SD43 T9 4 BD25 SD25 HH25 RespectIsDue(3) SCR 4M
61 C# 3 49 C# 2 SD HipHop2 SD47 noisy scratch BD26 SD26 HH26 Scratchin' SCR 6ML
62 D 3 50 D 2 SD HipHop3 SD49 T8 3 BD27 SD27 HH27 TheHouse SCR 7ML
63 D# 3 51 D# 2 SD Elect.1 HH00 MS Closed BD28 SD28 HH28 Uuuuugh TurnTable
64 E 3 52 E 2 SD Elect.2 HH00 MS Open BD29 SD29 HH29 What'sGoingDown(1)
65 F 3 53 F 2 SD Elect.3 HH06 T9 Hard Closed BD30 SD30 HH30 What'sGoingDown(2)
66 F# 3 54 F# 2 SD Elect.4 HH06 T9 Hard Open BD31 SD31 HH31 What'sGoingDown(3)
67 G 3 55 G 2 SD T8 3M HH07 T8 Closed BD32 SD32 HH32 Wow
68 G# 3 56 G# 2 SD 78 HH07 T8 Open BD33 SD33 HH33 YeahWhat'sUp(1)
69 A 3 57 A 2 HH 1 Closed HH08 FX1 Closed BD34 SD34 HH34 YeahWhat'sUp(2)
70 A# 3 58 A# 2 HH 2 Closed HH08 FX1 Open BD35 SD35 HH35 YeahWhat'sUp(3)
71 B 3 59 B 2 HH 2 Open HH19 T9 Closed BD36 SD36 HH36 YoBady(1)
72 C 4 60 C 3 HH 3 Closed HH19 T9 Open BD37 SD37 HH37 YoBady(2)
73 C# 4 61 C# 3 HH 78 Open HH29 T6 Closed BD38 SD38 HH38 IamYourDJ(robot)(1)
74 D 4 62 D 3 HH 4 Closed HH29 T6 Open BD39 SD39 HH39 IamYourDJ(robot)(2)
75 D# 4 63 D# 3 HH 4 Open HH31 Nat Closed BD40 SD40 HH40 IamYourDJ(robot)(3)
76 E 4 64 E 3 PC Snap HH31 Nat Open BD41 SD41 HH41 RockTheHouse(robot)(1)
77 F 4 65 F 3 PC Tamb2 HH37 FX2 Closed BD42 SD42 HH42 RockTheHouse(robot)(2)
78 F# 4 66 F# 3 BD Jungle 4Long HH37 FX2 Open BD43 SD43 HH43 RockTheHouse(robot)(3)
79 G 4 67 G 3 BD Analog HH40 T9Low Closed BD44 SD44 HH44 FeelTheVibe(robot)(1)
80 G# 4 68 G# 3 Hit 1L HH40 T9Low Open BD45 SD45 HH45 FeelTheVibe(robot)(2)
81 A 4 69 A 3 Hit 1M HH52 T8Metal Closed BD46 SD46 HH46 FeelTheVibe(robot)(3)
82 A# 4 70 A# 3 Hit 1H HH52 T8Metal Open BD47 SD47 HH47 TheRealBass(robot)(1)
83 B 4 71 B 3 O Hit 2L HH56 T9Filt. Closed BD48 SD48 HH48 TheRealBass(robot)(2)
84 C 5 72 C 4 O Hit 2M HH56 T9Filt. Open BD49 SD49 HH49 TheRealBass(robot)(3)
85 C# 5 73 C# 4 Hit 2H PC00G# Clave BD50 SD50 HH50
86 D 5 74 D 4 O Hit Brass 1 PC02C Pulse SD51
87 D# 5 75 D# 4 SCR 1L PC02C# Pulse SD52
88 E 5 76 E 4 SCR 1M PC02D Pulse SD53
89 F 5 77 F 4 SCR 1H PC02D# BD SD54
90 F# 5 78 F# 4 SCR 2L PC02E Tom SD55
91 G 5 79 G 4 SCR 2M PC02F SD SD56
92 G# 5 80 G# 4 2 SCR 2H PC02F# Pulse&Noise SD57
93 A 5 81 A 4 2 SCR 3L PC02G Pulse&Noise SD58
94 A# 5 82 A# 4 SCR 3M PC02G# Snaps SD59
95 B 5 83 B 4 SCR 3H PC02A Noise Echo SD60
96 C 6 84 C 5 SCR 4L PP Perc.C3 SD61
97 C# 6 85 C# 5 SCR 4M PP Perc.F3 SD62
98 D 6 86 D 5 SCR 4H PP Snaps SD63
99 D# 6 87 D# 5 SCR 6L PP Claps Bb2 SD64
100 E 6 88 E 5 SCR 6ML PP Claps C3 SD65
101 F 6 89 F 5 SCR 6MH SD66
102 F# 6 90 F# 5 SCR 6H SD67
103 G 6 91 G 5 SCR 7L SD68
104 G# 6 92 G# 5 SCR 7ML SD69
105 A 6 93 A 5 SCR 7MH SD70
106 A# 6 94 A# 5 SCR 7H SD71
107 B 6 95 B 5 Hit Brass 2
108 C 7 96 C 6 Analog Cymbal
86
 Appendix

MIDI Data Format MIDI

Many MIDI messages listed in the MIDI Data Format are expressed
as decimal numbers, binary numbers or hexadecimal numbers.
Hexadecimal numbers may include the letter “H” as a suffix. Also, “n”
can freely be defined as any whole number.
To enter data/values, refer to the table below.

Decimal Hexadecimal Binary Decimal Hexadecimal Binary Decimal Hexadecimal Binary Decimal Hexadecimal Binary
0 00 0000 0000 32 20 0010 0000 64 40 0100 0000 96 60 0110 0000
1 01 0000 0001 33 21 0010 0001 65 41 0100 0001 97 61 0110 0001
2 02 0000 0010 34 22 0010 0010 66 42 0100 0010 98 62 0110 0010
3 03 0000 0011 35 23 0010 0011 67 43 0100 0011 99 63 0110 0011
4 04 0000 0100 36 24 0010 0100 68 44 0100 0100 100 64 0110 0100
5 05 0000 0101 37 25 0010 0101 69 45 0100 0101 101 65 0110 0101
6 06 0000 0110 38 26 0010 0110 70 46 0100 0110 102 66 0110 0110
7 07 0000 0111 39 27 0010 0111 71 47 0100 0111 103 67 0110 0111
8 08 0000 1000 40 28 0010 1000 72 48 0100 1000 104 68 0110 1000
9 09 0000 1001 41 29 0010 1001 73 49 0100 1001 105 69 0110 1001
10 0A 0000 1010 42 2A 0010 1010 74 4A 0100 1010 106 6A 0110 1010
11 0B 0000 1011 43 2B 0010 1011 75 4B 0100 1011 107 6B 0110 1011
12 0C 0000 1100 44 2C 0010 1100 76 4C 0100 1100 108 6C 0110 1100
13 0D 0000 1101 45 2D 0010 1101 77 4D 0100 1101 109 6D 0110 1101
14 0E 0000 1110 46 2E 0010 1110 78 4E 0100 1110 110 6E 0110 1110
15 0F 0000 1111 47 2F 0010 1111 79 4F 0100 1111 111 6F 0110 1111
16 10 0001 0000 48 30 0011 0000 80 50 0101 0000 112 70 0111 0000
17 11 0001 0001 49 31 0011 0001 81 51 0101 0001 113 71 0111 0001
18 12 0001 0010 50 32 0011 0010 82 52 0101 0010 114 72 0111 0010
19 13 0001 0011 51 33 0011 0011 83 53 0101 0011 115 73 0111 0011
20 14 0001 0100 52 34 0011 0100 84 54 0101 0100 116 74 0111 0100
21 15 0001 0101 53 35 0011 0101 85 55 0101 0101 117 75 0111 0101
22 16 0001 0110 54 36 0011 0110 86 56 0101 0110 118 76 0111 0110
23 17 0001 0111 55 37 0011 0111 87 57 0101 0111 119 77 0111 0111
24 18 0001 1000 56 38 0011 1000 88 58 0101 1000 120 78 0111 1000
25 19 0001 1001 57 39 0011 1001 89 59 0101 1001 121 79 0111 1001
26 1A 0001 1010 58 3A 0011 1010 90 5A 0101 1010 122 7A 0111 1010
27 1B 0001 1011 59 3B 0011 1011 91 5B 0101 1011 123 7B 0111 1011
28 1C 0001 1100 60 3C 0011 1100 92 5C 0101 1100 124 7C 0111 1100
29 1D 0001 1101 61 3D 0011 1101 93 5D 0101 1101 125 7D 0111 1101
30 1E 0001 1110 62 3E 0011 1110 94 5E 0101 1110 126 7E 0111 1110
31 1F 0001 1111 63 3F 0011 1111 95 5F 0101 1111 127 7F 0111 1111

• Other messages not listed above include: 144-159(decimal)/9nH/1001 0000-

1001 1111(binary) denotes the Note On Message for each channel (1-16).
176-191/BnH/1011 0000-1011 1111 denotes the Control Change Message
for each channel (1-16). 192-207/CnH/1100 0000-1100 1111 denotes the
Program Change Message for each channel (1-16). 240/FOH/1111 0000 de-
notes the start of a System Exclusive Message. 247/F7H/1111 0111 denotes
the end of a System Exclusive Message.
• aaH (hexidecimal)/0aaaaaaa (binary) denotes the data address. The address
contains High, Mid, and Low.
• bbH/0bbbbbbb denotes the byte count.
• ccH/0ccccccc denotes the check sum.
• ddH/0ddddddd denotes the data/value.

87
 Appendix

MIDI Data Format MIDI

■ Channel/Mode/Realtime Messages
o : available

Status byte 1st Data byte 2nd Data byte MIDI

MIDI Events
Status Data (HEX) Parameter Data (HEX) Parameter Transmitted Recognized

Key Off 8nH (n:channel no.) kk Key no. (0 - 127) vv Velocity (0 - 127) x o

Key On 9nH kk Key no. (0 - 127) vv Key On :vv=1 - 127

x o
Key Off :vv=0

Control Change BnH 0 (00H) Bank Select MSB 0 (00H) Normal

x o
126, 127 (7FH) Drum kit

32 (20H) Bank Select LSB x o

1 (01H) Modulation 0 - 127 (...7FH) x o

6 (06H) Data Entry MSB 0 - 127 (...7FH) o

x
38 (26H) Data Entry LSB 0 - 127 (...7FH) x

7 (07H) Main Volume 0 - 127 (...7FH) x o

10 (0AH) Panpot 0 - 127 (...7FH) x o

11 (0BH) Expression 0 - 127 (...7FH) x o

64 (40H) Sustain (Damper) 0 - 127 (...7FH) x o

71 (47H) Harmonic Content 0 - 127 (...7FH) x o

72 (48H) Release Time 0 - 127 (...7FH) x o

73 (49H) Attack Time 0 - 127 (...7FH) x o

74 (4AH) Brightness 0 - 127 (...7FH) x o

84 (54H) Portamento Control 0 - 127 (...7FH) x o

91 (5BH) Effect1 Depth 0 - 127 (...7FH)

x o
(Reverb Send Level)

93 (5DH) Effect3 Depth 0 - 127 (...7FH)

x o
(Chorus Send Level)

96 (60H) Increment 0 - 127 (...7FH)

x o
97 (61H) Decrement 0 - 127 (...7FH)

100 (64H) RPN LSB 0 - 127 (...7FH)

x o
101 (65H) RPN MSB 0 - 127 (...7FH)

Mode Message BnH 120 (78H) All sound off 0 x o

121 (79H) Reset all controllers 0 x o

123 (7BH) All note off 0 x o

124 (7CH) All note off 0 x o

125 (7DH) All note off 0 x o

126 (7EH) MONO 0 - 16 (...10H) x o

127 (7FH) POLY 0 x o

Program Change CnH pp Voice number - -

x o
(0 - 127)

Pitch Bend Change EnH cc LSB dd MSB x o

RealTime Message F8H MIDI Clock - - o o

FAH Start - - o o

FCH Stop - - o o

FEH Active Sensing - - x o

88
 Appendix

MIDI Data Format MIDI

■ System Exclusive Messages

Universal System Exclusive o : available
MIDI Event Data Format Transmitted Recognized
MIDI Master Volume F0H 7FH 7FH 04H 01H l l mm F7H x o
ll mm Volume (mm = 0 - 7f, ll = Ignored)
or
F0H 7FH XN 04H 01H l l mm F7H
XN when N is received N=0-F,whichever is received.
X = Ignored
ll mm Volume (mm = 0 - 7f, ll = Ignored)

XG standard
MIDI Event Data Format Transmitted Recognized
XG Parameter Change F0H 43H 1nH 4CH hh mm l l dd ... F7H x o
hh mm ll Address
dd Data
Bulk Dump F0H 43H 0nH 4CH aa bb hh mm l l dd ... dd cc F7H x o
0n Device Number (0 - f (receive))
aa bb Byte Count (aa << 7) + bb
hh mm ll Address
dd Data

Bulk dump
MIDI Event Data Format Transmitted Recognized
Performance Recorder data F0H 43H 73H 6FH 06H 0AH aa bb cc dd hh mm ll [BULK DATA] sum F7H o o
Bulk Dump 6FH Model ID
06H Bulk ID
0AH Bulk No.
aa ByteCount MSB
bb ByteCount LSB
cc Data size (MSB)
dd Data size (LSB)
hh Address High
mm Address Mid
ll Address Low
[BULK DATA] Sequence data (1byte,2byte....7byte,MSBdata)
sum Check Sum = 0-sum (BULK DATA)
User Pattern Data F0H 43H 73H 6FH 06H 07H aa bb cc dd hh mm ll [BULK DATA] sum F7H x o
Bulk Dump 6FH Model ID
06H Bulk ID
07H Bulk No.
aa ByteCount MSB
bb ByteCount LSB
cc Data size (MSB)
dd Data size (LSB)
hh Address High
mm Address Mid
ll Address Low
[BULK DATA] User Pattern data (1byte,2byte....7byte,MSBdata)
sum Check Sum = 0-sum (BULK DATA)
Sampling data F0H 43H 73H 6FH 06H 0DH aa bb cc dd hh mm ll [BULK DATA] sum F7H o o
Bulk Dump 6FH Model ID
06H Bulk ID
0DH Bulk No.
aa ByteCount MSB
bb ByteCount LSB
cc Data size (MSB)
dd Data size (LSB)
hh Address High
mm Address Mid
ll Address Low
[BULK DATA] Sampling data (1byte,2byte....7byte,MSBdata)
sum Check Sum = 0-sum (BULK DATA)

Others
MIDI Event Data Format Transmitted Recognized
Master Tune F0H 43H 1n 27H 30H 00H 00H mm ll cc F7H x o
1n Device Number (0 - f (receive))
mm ll cc (mm << 4) + ll (1step/1cent), cc = Ignored
TG RESET F0H 43H 73H 6FH 30H 00H F7H x o

89
 Appendix

MIDI Data Format MIDI

■ MIDI Parameter Change Table

MIDI PARAMETER CHANGE TABLE (EFFECT)
Address Size Data
Parameter Transmitted Recognized Description Default
(H) (H) (H)
2 1 0 2 00-7F REVERB TYPE MSB x o Refer to “MIDI Effect Map.” 01 (=HALL1)
00-7F REVERB TYPE LSB 00 : basic type 00
2 1 20 2 00-7F CHORUS TYPE MSB x o Refer to “MIDI Effect Map.” 41 (=CHORUS1)
00-7F CHORUS TYPE LSB 00 : basic type 00
2 1 40 2 00-7F VARIATION TYPE MSB x o* Refer to “MIDI Effect Map.” 00 (=DJ DISTORTION)
00-7F VARIATION TYPE LSB 00 : basic type 00

* Between MIDI messages and panel operation (Live Effector), the last message will take priority.

■ Effect Map
REVERB BLOCK
Type MSB Type LSB
DEC 00 16 17 19
001 HALL 1 HALL 2
002 ROOM ROOM 1 ROOM 2
003 STAGE STAGE 1 STAGE 2
004 PLATE PLATE 1 PLATE 2
005...127

If the received value does not contain an effect type in the TYPE LSB, the LSB will be set to TYPE LSB 0.

CHORUS BLOCK
Type MSB Type LSB
DEC 00 02 08 17
001...064 NO EFFECT
065 CHORUS CHORUS 2
066 CELESTE CHORUS 1
067 FLANGER FLANGER 1 FLANGER 2
068...127 NO EFFECT

If the received value does not contain an effect type in the TYPE LSB, the LSB will be set to TYPE LSB 0.

VARIATION BLOCK
Type MSB Type LSB
DEC 00
001 DJ DISTORTION
002 DJ FLANGER
003 DJ PHASER
004 DJ DELAY
005 DJ ECHO
006 DJ RING MOD
007 DJ SLICE
008 DJ AUTO PAN
009 DJ WAH
010 DJ LO-FI

If the received value does not contain an effect type in the TYPE LSB, the LSB will be set to TYPE LSB 0.

90
 Appendix

MIDI Data Format MIDI

■ About MIDI remote control

About MIDI IN channel and DJX-II parts
The individual Parts of the DJX-II respond to incoming data over the MIDI channels as listed below.

MIDI IN channel
channel
1 Keyboard (Note / ProgramChange)
2 Sampler PAD
3 Scratch
4 Remote
5 ---- Reserved ----
6 ---- Reserved ----
7 ---- Reserved ----
8 ---- Reserved ----
9 Pattern Kick
10 Pattern Snare
11 Pattern Hi-Hat
12 Pattern Percussion
13 Pattern Bass
14 Pattern Phrase 1
15 Pattern Phrase 2
16 Pattern Phrase 3

Data received over channel 4 (Remote) is used to control the various panel controls of the DJX-II.

About MIDI remote control

Remote Control Data
Functions Panel Operation MIDI Data Format

Activator ACTIVATOR ** = Note On (7FH), Note Off (00H)

LOOP1 Note (93H, 54H, **H)
LOOP2 Note (93H, 55H, **H)
LOOP3 Note (93H, 56H, **H)
LOOP4 Note (93H, 57H, **H)
LOOP5 Note (93H, 58H, **H)
ONE SHOT1 Note (93H, 59H, **H)
ONE SHOT2 Note (93H, 5AH, **H)
ONE SHOT3 Note (93H, 5BH, **H)
ONE SHOT4 Note (93H, 5CH, **H)
ONE SHOT5 Note (93H, 5DH, **H)
ONE SHOT6 Note (93H, 5EH, **H)
ONE SHOT7 Note (93H, 5FH, **H)
ONE SHOT8 Note (93H, 60H, **H)

Activator Kit number selection ** = Activator Kit Number (00H - 33H)

Bank Select MSB (B3H, 00H, 00H)
Bank Select LSB (B3H, 20H, 02H)
Program Change (C3H, **H)

91
 Appendix

MIDI Data Format MIDI

Functions Panel Operation MIDI Data Format

Pattern Pattern Player ** = Note On (7FH), Note Off (00H)

Pattern Player 1 Note (93H, 48H, **H)
Pattern Player 2 Note (93H, 49H, **H)
Pattern Player 3 Note (93H, 4AH, **H)
Pattern Player 4 Note (93H, 4BH, **H)
Pattern Player 5 Note (93H, 4CH, **H)
Pattern Player 6 Note (93H, 4DH, **H)
Pattern Player 7 Note (93H, 4EH, **H)
Pattern Player 8 Note (93H, 4FH, **H)
Pattern Player 9 Note (93H, 50H, **H)
Pattern Player 10 Note (93H, 51H, **H)
PREV Note (93H, 52H, **H)
NEXT Note (93H, 53H, **H)

Pattern number selection Bank Select MSB (B3H, 00H, 00H)

Bank Select LSB (B3H, 20H, 01H)
Program Change (C3H, **H) ** = Pattern Number
Preset: 00H - 45H
User: 46H - 4AH

PART MIXER setting ** = Note On (7FH), Note Off (00H)

BASS+KICK Note (93H, 3CH, **H)
PHRASE1+2+3 Note (93H, 3DH, **H)
KICK+HI-HAT Note (93H, 3EH, **H)
BASS Note (93H, 3FH, **H)
KICK Note (93H, 40H, **H)
SNARE Note (93H, 41H, **H)
PHRASE1 Note (93H, 42H, **H)
HI-HAT Note (93H, 43H, **H)
PHRASE2 Note (93H, 44H, **H)
PERC Note (93H, 45H, **H)
PHRASE3 Note (93H, 46H, **H)
TOGGLE Note (93H, 47H, **H)

PART SELECTOR setting ** = Note On (7FH), Note Off (00H)

BASS+KICK Note (93H, 30H, **H)
PHRASE1+2+3 Note (93H, 31H, **H)
KICK+HI-HAT Note (93H, 32H, **H)
BASS Note (93H, 33H, **H)
KICK Note (93H, 34H, **H)
SNARE Note (93H, 35H, **H)
PHRASE1 Note (93H, 36H, **H)
HI-HAT Note (93H, 37H, **H)
PHRASE2 Note (93H, 38H, **H)
PERC Note (93H, 39H, **H)
PHRASE3 Note (93H, 3AH, **H)
ACTIVATOR Note (93H, 3BH, **H)

Part Controller Knobs CUTOFF knob Brightness (B3H, 4AH, **H)

RESONANCE knob Harmonic Content (B3H, 47H, **H)
VOLUME knob Volume (B3H, 07H, **H) ** = 00H - 7FH

Ribbon Controller TYPE Select Switch Bank Select MSB (B3H, 00H, 00H)
Bank Select LSB (B3H, 20H, 03H)
SCRATCH1 Program Change (C3H, 00H)
SCRATCH2 Program Change (C3H, 01H)
PITCH BEND Program Change (C3H, 02H)
PITCH&BPM Program Change (C3H, 03H)

Ribbon Controller operation

Overall pitch control Breath Controller MSB (B3H, 02H, mmH)
(Pitch&BPM) Breath Controller LSB (B3H, 22H, llH) mm, ll: 00H - 7FH

92
 Appendix

MIDI Data Format MIDI

Functions Panel Operation MIDI Data Format

Live Effector ON/OFF switch

Hold/On Soft Pedal (B3H, 43H, 7FH)
Hold/Off Soft Pedal (B3H, 43H, 00H)

Effect Type selection Bank Select MSB (B3H, 00H, 00H)

Bank Select LSB (B3H, 20H, 04H)
DISTORTION Program Change (C3H, 00H)
AUTO PAN Program Change (C3H, 01H)
RING MOD Program Change (C3H, 02H)
FLANGER Program Change (C3H, 03H)
PHASER Program Change (C3H, 04H)
SLICER Program Change (C3H, 05H)
DELAY Program Change (C3H, 06H)
ECHO Program Change (C3H, 07H)
LO-FI Program Change (C3H, 08H)
WAH Program Change (C3H, 09H)

CONTROL knob Effect4 Depth (B3H, 5EH, **H)

BALANCE knob Effect5 Depth (B3H, 5FH, **H) ** : 00H - 7FH

Key Shifter KEY SHIFTER setting ** = Note On (7FH), Note Off (00H)
0 Note (93H, 24H, **H)
1 Note (93H, 25H, **H)
2 Note (93H, 26H, **H)
3 Note (93H, 27H, **H)
4 Note (93H, 28H, **H)
5 Note (93H, 29H, **H)
6 Note (93H, 2AH, **H)
-5 Note (93H, 2BH, **H)
-4 Note (93H, 2CH, **H)
-3 Note (93H, 2DH, **H)
-2 Note (93H, 2EH, **H)
-1 Note (93H, 2FH, **H)

SAMPLE PAD SAMPLE PAD on ** = Note On (7FH), Note Off (00H)

ONE SHOT 1 Note (93H, 1EH, **H)
ONE SHOT 2 Note (93H, 1FH, **H)
ONE SHOT 3 Note (93H, 20H, **H)
LOOP 1 Note (93H, 21H, **H)
LOOP 2 Note (93H, 22H, **H)
LOOP 3 Note (93H, 23H, **H)

SAMPLING/STOP button Channel Pressure (D3H, 06H)

BPM setting Data dial General Purpose Controller

Absolute tempo value MSB (B3H, 10H, **H)
Absolute tempo value LSB (B3H, 30H, **H)
Relative tempo value MSB (B3H, 11H, **H)
Relative tempo value LSB (B3H, 31H, **H)

Other buttons VOICE/KEYBOARD button Channel Pressure (D3H, 00H)

PATTERN/ENTER button Channel Pressure (D3H, 01H)
ACTIVATOR button Channel Pressure (D3H, 02H)
BPM/TAP button Channel Pressure (D3H, 03H)
PATTERN STOP button Channel Pressure (D3H, 05H)

93
 Appendix

MIDI Implementation Chart

YAMAHA [ DJ-GEAR ] Date :17-MAR-2000
Model DJX-II MIDI Implementation Chart Version : 1.0

Transmitted Recognized Remarks

Function...
Basic Default x 1 - 16
Channel Changed x 1 - 16

Default x 3
Mode Messages x x
Altered ************** x

Note x 0 - 127
Number : True voice ************** 0 - 127

Velocity Note ON x o 9nH,v=1-127

Note OFF x o 9nH,v=0 or 8nH

After Key's x x
Touch Ch's x x

Pitch Bend x o

0,32 x o Bank Select

1 x o Modulation wheel
6,38 x o Data Entry
7,10 x o
Control 11 x o Expression
64 x o Sustain
Change 71-74 x o Sound Controller
84 x o Portamento Control
91,93 x o Effect Depth
96,97 x o RPN Inc,Dec
100,101 x o RPN LSB,MSB

Prog x o 0 - 127
Change : True # **************

System Exclusive o * o *

: Song Pos. x x
Common : Song Sel. x x
: Tune x x

System : Clock o o
Real Time: Commands o o
Aux :All Sound OFF x o(120,126,127)
:Reset All Cntrls x o(121)
:Local ON/OFF x x
Mes- :All Notes OFF x o(123-125)
sages:Active Sensing x o
:Reset x x
Notes: * For details, see "MIDI Data Format" on page 89.

Mode 1 : OMNI ON , POLY Mode 2 : OMNI ON ,MONO o : Yes

94 Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF,MONO x : No
 Appendix

Index

A I
AC adaptor .......................................................................... 12 initialization.........................................................................13
Activator...................................................8, 10, 18, 33, 51, 78 Input Level .................................................................9, 53, 67
Activator List....................................................................... 81 intro................................................................................20, 49
AUDIO BPM COUNTER ........................................ 9, 67, 78 Isolator .......................................................................9, 26, 48
Auto (Activator).................................................................. 19
Auto Pan........................................................................ 23, 44
K
key ......................................................................30, 32, 36, 50
B Key Shifter......................................................................10, 36
Balance (Live Effector) ........................................... 22, 44, 45 keyboard ....................................................8, 9, 10, 27, 52, 55
Bass .......................................................................... 29, 32, 49 Keyboard Mode ...................................................................10
bpm ..............................................................17, 21, 39, 59, 78 Kick ....................................................................29, 32, 49, 79
bpm, auto-adjust................................................................. 67 Knob..................................................... 8, 9, 13, 22, 26, 32, 34
bpm, tapping....................................................................... 58
bulk.......................................................................... 71, 72, 78
L
LINE (SAMPLING/AUX IN) jack ................................11, 53
C LINE OUT jacks ......................................................11, 60, 61
combination keys.......................................................... 30, 32 Live Effector .........................................................8, 22, 43, 78
Control (Live Effector) ........................................... 22, 44, 45 Lo-Fi...............................................................................25, 46
Cutoff............................................................32, 34, 35, 51, 78 Loop ...................................................................18, 21, 54, 78
Low (Isolator) ............................................................9, 26, 48
D
data backup ......................................................................... 13 M
Data dial ................................................................................ 8 MIC (SAMPLING/AUX IN) jack .................................11, 53
Delay.............................................................................. 24, 45 Mid (Isolator) ............................................................9, 26, 48
Demo..................................................................................... 8 MIDI .............................................. 5, 9, 11, 68, 69, 70, 72, 78
Display............................................................................. 9, 13 MIDI Bulk Send...............................................................9, 71
Distortion...................................................................... 23, 43 MIDI Data Format ..............................................................87
Drum Kit List...................................................................... 84 MIDI Implementation Chart..............................................94

E N
Echo............................................................................... 25, 46 NEXT .............................................................................17, 41
effects....................................................................5, 22, 43, 78
endings (outro)............................................................. 41, 63
Error Message List .............................................................. 76
O
One Shot ..................................................................18, 54, 79

F P
fill-in ...................................................................15, 42, 62, 79 Part .................................................................................29, 79
filter ......................................................................... 34, 51, 78 Part Controller.....................................................9, 34, 51, 79
Flanger........................................................................... 23, 44 Part Mixer ..........................................................10, 29, 49, 79
Part Selector...................................................................32, 79
G Pattern..................................................................5, 10, 14, 79
Glossary............................................................................... 78 Pattern Launcher ...............................................70, 71, 72, 79
Pattern List...........................................................................80
Pattern Mode .......................................................................10
H Pattern Player.............................................................5, 14, 40
High (Isolator) .......................................................... 9, 26, 48
PATTERN STOP............................................9, 14, 18, 41, 59
Hi-Hat ..........................................................29, 32, 49, 72, 79
HOLD.................................................................................. 22 PATTERN/ENTER ..................................8, 10, 16, 27, 40, 52
Patterns, creating your own ................................................72
Percussion ......................................................................29, 72

95
 Appendix

Index

Performance Recorder .....................................5, 9, 13, 56, 66

Phaser ............................................................................ 24, 45
PHONES ....................................................................... 11, 61
Phrase ............................................................................ 29, 49
Pitch Bend ..................................................................... 52, 73
Pitch&bpm .......................................................................... 38
PREV/NEXT keys ............................................................... 17

R
Recording ................................................................ 53, 56, 71
Resonance...........................................................34, 35, 51, 78
Ribbon Controller ...............................................9, 38, 52, 79
Ring Modulation........................................................... 23, 44

S
sample.................................................................53, 54, 55, 65
Sample Pad...................................................................... 9, 53
Sampler ..................................................................... 5, 53, 79
sampling .............................................................13, 53, 71, 78
SAMPLING/AUX IN .......................................................... 11
SAMPLING/STOP.......................................................... 9, 53
scratch ........................................................................... 38, 79
sequencer............................................................68, 69, 70, 72
Slice................................................................................ 24, 45
Snare ...................................................................29, 32, 49, 72
Specifications ...................................................................... 77
STANDBY/ON.......................................................... 8, 12, 13
SYNC ....................................................................... 39, 65, 69

T
Toggle key................................................................ 49, 50, 68
transpose ....................................................................... 10, 36

V
Variation.................................................14, 15, 19, 31, 40, 79
Voice ...................................................................27, 28, 52, 79
Voice List ............................................................................. 82
VOICE/KEYBOARD............................................8, 10, 27, 28
Volume .................................................................8, 13, 35, 68

W
Wah................................................................................ 25, 46

96
 FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! with FCC regulations does not guarantee that interference will not occur in
This product, when installed as indicated in the instructions contained in all installations. If this product is found to be the source of interference,
this manual, meets FCC requirements. Modifications not expressly which can be determined by turning the unit “OFF” and “ON”, please try to
approved by Yamaha may void your authority, granted by the FCC, to use eliminate the problem by using one of the following measures:
the product. Relocate either this product or the device that is being affected by the
2. IMPORTANT: When connecting this product to accessories and/or interference.
another product use only high quality shielded cables. Cable/s supplied Utilize power outlets that are on different branch (circuit breaker or fuse)
with this product MUST be used. Follow all installation instructions. Failure circuits or install AC line filter/s.
to follow instructions could void your FCC authorization to use this product In the case of radio or TV interference, relocate/reorient the antenna. If the
in the USA. antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial
3. NOTE: This product has been tested and found to comply with the type cable.
requirements listed in FCC Regulations, Part 15 for Class “B” digital If these corrective measures do not produce satisfactory results, please
devices. Compliance with these requirements provides a reasonable level contact the local retailer authorized to distribute this type of product. If you
of assurance that your use of this product in a residential environment will can not locate the appropriate retailer, please contact Yamaha Corpora-
not result in harmful interference with other electronic devices. This equip- tion of America, Electronic Service Division, 6600 Orangethorpe Ave,
ment generates/uses radio frequencies and, if not installed and used Buena Park, CA90620
according to the instructions found in the users manual, may cause inter- The above statements apply ONLY to those products distributed by
ference harmful to the operation of other electronic devices. Compliance Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

OBSERVERA! Entsorgung leerer Batterien (nur innerhalb Deutschlands)

Apparaten kopplas inte ur växelströmskällan (nätet) sá länge som den ar Leisten Sie einen Beitrag zum Umweltschutz. Verbrauchte Batterien oder
ansluten till vägguttaget, även om själva apparaten har stängts av. Akkumulatoren dürfen nicht in den Hausmüll. Sie können bei einer Sam-
ADVARSEL: Netspæendingen til dette apparat er IKKE afbrudt, sálæenge melstelle für Altbatterien bzw. Sondermüll abgegeben werden. Informieren
netledningen siddr i en stikkontakt, som er t endt — ogsá selvom der or Sie sich bei Ihrer Kommune.
slukket pá apparatets afbryder.
(battery)
VAROITUS: Laitteen toisiopiiriin kytketty käyttökytkin ei irroita koko laitetta
verkosta.

(standby)
 Limited Warranty
90 DAYS LABOR 1 YEAR PARTS

Yamaha Corporation of America, hereafter referred to as Yamaha, warrants to the original consumer of a product included in the categories listed
below, that the product will be free of defects in materials and/or workmanship for the periods indicated. This warranty is applicable to all models
included in the following series of products:

PSR SERIES OF PORTATONE ELECTRONIC KEYBOARDS

If during the first 90 days that immediately follows the purchase date, your new Yamaha product covered by this warranty is found to have a defect
in material and/or workmanship, Yamaha and/or its authorized representative will repair such defect without charge for parts or labor.
If parts should be required after this 90 day period but within the one year period that immediately follows the purchase date, Yamaha will, subject
to the terms of this warranty, supply these parts without charge. However, charges for labor, and/or any miscellaneous expenses incurred are the
consumers responsibility. Yamaha reserves the right to utilize reconditioned parts in repairing these products and/or to use reconditioned units as
warranty replacements.
THIS WARRANTY IS THE ONLY EXPRESS WARRANTY WHICH YAMAHA MAKES IN CONNECTION WITH THESE PROD-
UCTS. ANY IMPLIED WARRANTY APPLICABLE TO THE PRODUCT, INCLUDING THE WARRANTY OF MERCHANT ABILITY
IS LIMITED TO THE DURATION OF THE EXPRESS WARRANTY. YAMAHA EXCLUDES AND SHALL NOT BE LIABLE IN ANY
EVENT FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES.
Some states do not allow limitations that relate to implied warranties and/or the exclusion of incidental or consequential damages. Therefore, these
limitations and exclusions may not apply to you.
This warranty gives you specific legal rights. You may also have other rights which vary from state to state.

CONSUMERS RESPONSIBILITIES
If warranty service should be required, it is necessary that the consumer assume certain responsibilities:
1. Contact the Customer Service Department of the retailer selling the product, or any retail outlet authorized by Yamaha to sell the product for
assistance. You may also contact Yamaha directly at the address provided below.
2. Deliver the unit to be serviced under warranty to: the retailer selling the product, an authorized service center, or to Yamaha with an explanation
of the problem. Please be prepared to provide proof purchase date (sales receipt, credit card copy, etc.) when requesting service and/or parts
under warranty.
3. Shipping and/or insurance costs are the consumers responsibility.* Units shipped for service should be packed securely.
*Repaired units will be returned PREPAID if warranty service is required within the first 90 days.
IMPORTANT: Do NOT ship anything to ANY location without prior authorization. A Return Authorization (RA) will be issued that has
a tracking number assigned that will expedite the servicing of your unit and provide a tracking system if needed.
4. Your owners manual contains important safety and operating instructions. It is your responsibility to be aware of the contents of this manual and
to follow all safety precautions.

EXCLUSIONS
This warranty does not apply to units whose trade name, trademark, and/or ID numbers have been altered, defaced, exchanged removed, or to fail-
ures and/or damages that may occur as a result of:
1. Neglect, abuse, abnormal strain, modification or exposure to extremes in temperature or humidity.
2. Improper repair or maintenance by any person who is not a service representative of a retail outlet authorized by Yamaha to sell the product, an
authorized service center, or an authorized service representative of Yamaha.
3. This warranty is applicable only to units sold by retailers authorized by Yamaha to sell these products in the U.S.A., the District of Columbia,
and Puerto Rico. This warranty is not applicable in other possessions or territories of the U.S.A. or in any other country.

Please record the model and serial number of the product you have purchased in the spaces provided below.

Model___________________________ Serial #________________________________ Sales Slip #________________________________

Purchased from____________________________________________________________ Date______________________________________

(Retailer)

YAMAHA CORPORATION OF AMERICA

Electronic Service Division
6600 Orangethorpe Avenue
Buena Park, CA 90620

KEEP THIS DOCUMENT FOR YOUR RECORDS. DO NOT MAIL!

For details of products, please contact your nearest Yamaha or the Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
authorized distributor listed below. Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante. Para detalles sobre productos, contacte su tienda Yamaha más cercana
o el distribuidor autorizado que se lista debajo.

NORTH AMERICA ITALY ASIA

CANADA Yamaha Musica Italia S.P.A., HONG KONG
Yamaha Canada Music Ltd. Home Keyboard Division Tom Lee Music Co., Ltd.
135 Milner Avenue, Scarborough, Ontario, Viale Italia 88, 20020 Lainate (Milano), Italy 11/F., Silvercord Tower 1, 30 Canton Road,
M1S 3R1, Canada Tel: 02-935-771 Tsimshatsui, Kowloon, Hong Kong
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Yamaha Corporation of America Ctra. de la Coruna km. 17, 200, 28230 PT. Yamaha Music Indonesia (Distributor)
6600 Orangethorpe Ave., Buena Park, Calif. 90620, Las Rozas (Madrid) Spain PT. Nusantik
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PANAMA AND OTHER LATIN Tel: 09 618511 Singapore
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MK7 8BL, England Siemensstraße 22-34, 25462 Rellingen, THE PEOPLE’S REPUBLIC OF CHINA
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IRELAND Tel: 04101-3030
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Tel: 01-2859177 Tel: 053-460-2317
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Siemensstraße 22-34, 25462 Rellingen, Tel: 053-460-2312
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FRANCE Tel: 053-460-2312
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Division Claviers
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-3273
[PK] 19
Yamaha PK CLUB (Portable Keyboard Home Page)
http://www.yamaha.co.jp/english/product/pk/
M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
© 2000 Yamaha Corporation

V560170 00?PO???.?-01A0 Printed in China