RM1x FAQ

Basic RM1x Composing

-----------------------------------------------------

- Use three pattern slots, in order: raw material (named "Song1", for example),
scratch-pad for temporary remixing (no name), and final material (named "Song2".
For example, you could use user patterns 01, 02, and 03.

- First create all or most of your raw material in the first pattern slot. By raw
material, I mean loops, melodies, rhythms, chord progressions, whatever. The main
point is don't add a lot of controller information yet, and don't worry about
muting or unmuting voices -- that can come later, in the remix process. At the end
you should have one or more sections in your raw material. Make sure the length of
each section is at least as long as the longest phrase in each section (there
should be no squiggly lines to the right of the phrase numbers on the "Patch"
screen).

- Now start your remix in your scratch-pad pattern slot. To do this, use the
"Split" button located on the lower right of the button matrix, not the "Split
pattern" job. Starting in the raw material pattern, use the section mode button and
pick which section you want to split first. Then hit the split button, pick the
measures you will use first. Set the destination style and section to be the next
pattern slot (the scratch-pad slot). You don't have to actually split anything, you
can select all measures in the pattern. But it is important to use the "Split"
button, as this process will automatically lengthen all phrases in the destination
section, making them the same length (the length of the pattern). Also, it avoids a
phrase overflow problem that can occur if you don't have a scratch-pad pattern. If
you want to make your short pattern into something much longer, just keep doing
split with different destination sections (but the same source measures).

- Keep splitting your raw material into the scratch-pad until you have filled up
all sections, or you have at least enough sections to mix a portion of your final
song. Put a lot of sections into the scratch-pad, so you can later string them
together to form your final song (or a portion of it).

- Now start working in the scratch pattern. You will notice sections use different
phrase numbers -- no phrases are shared. This is a helpful by-product of the
"Split" button, as you can now overdub controllers or change note data in each
section without affecting other sections. Since you keep your raw material
untouched in separate pattern, you can still make global (pattern-wide) phrase
changes there.

- Go through each section in your scratch pattern, and do one or more of these
things: add controller data; modify note data; overdub play f/x; remove phrases in
the patch screen, so they don't play in certain sections. In this way you can do
build-ups and variations using controllers, play fx, and other manipulations. Each
section is independent of the others.

- When you are happy with the way the sections sound when played in order, and you
have figured out how many times each section should repeat, it is time to mix your
scratch-pad down to the third and final material pattern slot. For this you use two
jobs: "copy pattern" and "append pattern" job. Make sure you are in the scratch-pad
pattern. Select the "copy pattern" job. The source is the scratch-pad slot and the
first section you want played. The destination is the final material slot and the
next empty section there. Hit "Do".
- Now you append all other sections to the copied section. Hit "exit" and go to the
"append pattern" job. The source is the scratch-pad slot and the next section you
want played (it could be a repeat of the first section). The destination is the
final material slot and the SAME section as before. "Keep Original Phrase" should
not be checked - otherwise, you will waste a huge amount of memory, and possibly
run out of phrases. Hit "Do." Keep appending scratch-pad sections to the same final
material section until you have mixed everything you want to mix from the scratch
pad.

- Move to the final material slot and listen to the result. If it is not what you
like, clear that section and all phrases in it (or you could clear the whole
pattern, if it had only one section), and redo the copy/append process.

- If it is what you like, you no longer need the scratch pad, and you should free
the memory used there. Move to the scratch pad and use the "clear pattern" job.

- Repeat this process until the final material is complete. At this point, you have
one or more sections in the final material slot that represent a whole song. You
can use pattern-chain to convert it into a real song.

Remember to back up your original material and final material patterns to a floppy.
The scratch-pad is not as important - you can always re-create that.

This method has the advantages of protecting the original material and conserving
memory and phrase slots. No phrases are wasted anywhere. It took me a long time to
figure out this method. I wish I had learned of the power of the "split" button and
"append pattern" sooner

QUESTION:
When I am in pattern chain mode and go from pattern U01 section A to U02 section B,
for example, there is a slight (but noticable) delay. It doesn't do this when it
transitions from section to section within the same pattern. It is only if they are
different patterns that it does this. I tried to fix it by converting the pattern
chain to song. Sure, this fixes the delay problem, but it introduces another: now
the songs notes are severely clipped and the effects that were in the original
patterns are all screwed up. Sounds like garbage. PLEASE ANYBODY HELP.

ANSWER:
Yes, the problem arrises because the effect settings, voice settings, and levels
are sent out at the begging of a new Style (song). This happens with sofware
sequencers as well. Cubase recommends that you keep the 1st bar of Song empty and
just have Controller info and Voice setups sent, so that everything is correct. So
this causes a sequencer "hiccup".

Supposedly there are some harware sequncers that don't do this, but I believe the
effects settings stay the same between transitions

Q:
My question is after I record basic note data Iwould like to overdub controler
data, (Pitch bend, mute, volume harmonize, etc) over several measures, until the
end of the song, not just over the length of the phrease How can I do this? Also is
there a special key command to erase these other controler recordings while the
machiene is running in record, similar to the way you can remove notes using the
shift key?

A:
My friend, you have run into a common problem. The manual does not explain any
composing methods at all.

There are two ways to acheive your goal. Using "append pattern": set the section
length to be the at least the length of the longest phrase (in patch screen). Then
append a section to itself. Make sure the check box at the bottom is unchecked, or
you waste memory. Check the box if you need the original phrases. "append pattern"
will make all phrases the longer simultaneously (the length of the destination).

The "split" button (not the split job) is another way to do it. Like "append
pattern", the split button will automatically create new phrases, all of them the
same length as the destination pattern. The "split" button does not change the
source pattern at all.

I describe how to use the split button below. This is the first draft of a tutorial
I hope to write. You can email me by removing the NOSPAM.

QUICKIE:
real time fx can be recorded in overdube record mode,
section changes only in pattern chain mode
mutes only in song mode
transposition? I never tried this

Q:
Unwanted Program Change
A:
(1)
Your problem with the RM1X is very simple to solve:
The RM1X has special "VOICE" parameter called "PHRASE"
If the parameter "Voice" is set to "PHRASE" the RM1X will
automatically choose the voice via programchange with which the phrase was
recorded. This feature is very useful when useing presetphrases.
But the problem or BUG is that the RM1X ignores the settings of the midifilter
when "VOICE" is set to "PHRASE"
So when you hook up external equipement to the RM1X:
MAKE SHURE THAT ON
NONE OF THE 16 TRACKS THE PARAMETER "VOICE" IS SET TO "PHRASE
(2)
The problem is that if you use the preset styles, they often use all the tracks,
and they often change voices between sections, so to use it with external gear
you'd have to reserve some tracks for the external gear and make sure the phrases
for those tracks (in all sections) don't switch voices. That should happen when you
set the BANK parameter to other than Phrase for that track.(see pg. 63)

The midi filter doesn't seem to apply to all data going through the midi ports, as
switching off prog changes doesn't get rid of the voice changes mentioned above.
The midi filter for Program Change only works on data INSERTED into the sequence,
and not on prog changes that occur because of phrases changing voices between
sections on a particular track.

Another source of getting unwanted prog changes is if you save a pattern as

SMF+TG Header type. (see pg. 43 of manual) as it inserts some prog change
data etc. for the Tone Generator in front of the standard midi data.

Main thing is: if you're getting unexplained data sent out the Midi, check what
events are actually in that pattern (using Pattern - Edit mode). And if you're
using
the preset styles with external Midi gear, you will probably have to edit the
patterns
so that they do not use tracks that you have reserved for the external gear, or at
least make sure that the Voice Bank parameter is not set to 'phrase' for those
tracks.
ALSO:
Press the VOICE button and make sure you change the bank away from "phrase".
After I changed it to ANYTHING other than that (i.e. . . GM, Sy&Bas,
whatever) I could then enter the correct patch # (bank & program change) for
the synth sound I wanted. However when I select that user style (switching
from another) I can still see the #1 patch fly by before it switches to the
correct one.

QUESTION:
I have a Roland A-30 connected to my RM1x. The problem is that when I select a
channel or kbd-mode from the Roland, the keyboard sends out patch information
(CC00-CC32-PC-PB-etc.etc.etc). Is there a way of disabling external control except
noteon-noteoff (pulling the plug isn't a real option)?

ANSWER:
Go to the system/utility/midi screen. There's a MIDI filter that tells the RM1x
what type of events to receive, send or echo back (as defined in the general midi
settings).
Just tick the appropriate boxes on the screen and you'll be able to filter out
whatever type of event you like
Question:
What the hell is an event?
ANSWER:
To undestand what an event is it's easy. Just put the cursor on any *non empty*
track (either in song or pattern, it is not relevvant, but it must be a track with
some music in it OK?).
Then push the EDIT button once: the display will change to shaw ALL THE EVENTS that
compose that track.
If you play EDIT again you will be able to select the types of events you want to
see in your tracks.

An EVENT is basically and information that the sequencer will read. These
instructions (the events) are the ones that are used to play notes, select a voice,
pan left or right the sound, and so forth.

The typicall (and essential) events you will find in a track are NOTES.
The display is usually like this (when you EDIT a track):
1:1:000 C1 01:000 090 where each event has its own line.

1:1:000 -- is the position of the event (here it is first measure, first beat)
C1 -- is the value of the Note (here it's C1, could be C2, an ocatve higher (also
equal to 12 semitones higher) or A3, or whatever
01:000 -- is the length (or duration) of the note, here it will last 1beat. You
should know that one beat is equal to 480 clocks (hence 1:000 = 0:480 but the
latter is never used). This value is called GATE TIME.
090 -- this the VELOCITY of the note, it represnts the loudness of the note. The
velocity can be 001 (the note will not sound) up to 127 (the loudest).

Other events are PC (program change), PB (Pitch Bend), CC (Control Change) etc.
Theyt are used to control other parameters of the music.

The EVENTS are expressed in a language that is called MIDI (Musical Instrument
Digital Interface) which is actually a powerful and intelligent language that is
understood (and sometimes spoken as well) buy a wide array of musical instruments
(MIDI instruments).
The RM1x speaks MIDI very well, with MIDI it talks to the internal tone generator
(its own voice), but with MIDI it can speak to other instruments via a MIDI cable
(you can have the RM1x control a sampler, another synth, an effects patch etc.).

I suggest you learn a little about MIDI, and you will be amazed at what the RM1x
can actually do when you put some effort in understanding its language.

And last, to answer you question, the event jobs are used to modify, cut, past,
transpose etc. the events.
Q:
Hi there!

My rm1x has the old os 1.12 chip and when i have the phrase quantise set to 1
measure (so that it only switches to the new section at the end of the current
measure), the damn thing switches to the new section at the right time but swithces
all of the phrase transpose settings straight away! ARGH!

Does anyone now if this is cos of the old os? will getting version 1.13 sort this
out for me?

cheers for any help you can give.

regards,

dunk
A:
I think i get what you mean.

When doing this in pattern mode you will probably be better off using seperate
phrases as you said (the long winded way).

The only other way round this is to leave the track with no transposition changes
at all across your sections and when you convert your pattern into song mode,
overdub any transposed effects that way at the correct measures. This way you don't
have to mess around with using and editing numerous phrases in the first place.

I usually tend to leave a lot of my editing until it's been converted and just make
notes of what changes need to be made in the final edit.
It's much quicker (and stress free) that way.

Hope this is of some help, if not get back to me.

Q:
Example:
You're in section A (8 measures), you're performing live and it is playing measure
3. If you press section B it changes to it without waiting for the end of section
A, this is a nice feature, but isn't there a key combination, or something, that
makes it change only at the end?

This way you have to be very precise when changing from one section to another or
your live performance might get screwd up.
A:
Never mind, I found it. It was the pattern quantizing, or something like that...

Q:
when i copy a pattern and attempt to edit the copy, the original pattern gets
edited as well. this is pretty damn frustrating. (i do understand that what is
going on is that the phrase number is being copied, not the actual midi data.) so i
guess i'm asking if there is a way to copy a pattern and assign a new user phrase
number to the copy so i can edit it without changing the original pattern
A:
What your doing when you edit a track in pattern mode is actually edit the phrase
which is associated to that track. You can see this buy pressing the pattern key 2
times. When you copy a pattern to another pattern or a track to another track, or a
section to another section, you are effectively copying the phrases which are
attached to each track. To overcome this, goto job menu, select copy phrase (Make
sure you copy your phrase to an empty phrase location!!) now select the next
section you want to work with, press pattern twice, hold down track and select the
track you want to edit, Then turn the 2nd selector knob from the left till you come
to the patch number of the copied patch..then presto!! you can now change the track
to your heart's content without effecting the track on the previous section.
Q:

Does anyone know how to delete an individual note (i.e. drum beat) for the entire
length of a song (not a pattern)?

A:
The way to take out individual notes, controller messages, sysex etc. is to use the
EXTRACT EVENT job. Here you can remove ANY type of event, through any range (of
notes, values etc.) thru any range of time in the song. It will ask you what track
you want the extracted notes to be copied to (as this function can also be used to
suck notes out of drum tracks for separate mixing) just turn the target track to
"OFF" and it will simply be erased.

Author: <mailto:mattwagner@mindspring.com?subject=RM1X Book> (user-

33qt0fc.dialup.mindspring.com)
Date: 07-17-1999 06:33

The RM1X Book

Version 0.3
7/15/99 - July 15th, 1999
By the Teklab HWSEQ List Members

(Note: The following information is guaranteed to be out of date and wrong.)

-------------
Introduction
-------------

Welcome to the RM1X Book.

------------------
Table of Contents
------------------
Section (1) : Features & Specs
Section (2) : Basic Use
Section (3) : Sequencing
Section (4) : Synth Editing
Section (5) : Tips and Tricks
Section (6) : FAQ
Section (7) : Web Links

-------------------------------
* Section 1 : Features & Specs
-------------------------------

The following information comes from Yamaha's US & UK webistes.

(Features)

RM1x:
The incredible Yamaha RM1x is a complete dance-music workstation that is both
a Real-time performance instrument and a powerful production tool. An
intuitive "hands-on" interface makes real-time operation easy for artists with
a DJ background, while in-depth sequencing and editing functions make it
possible to create the most complex original pattern from scratch.

The RM1x for Performance:

The RM1x also features a great-sounding tone generator with an enormous
selection of great dance sounds built in. If dance is your style and you want
the most powerful performance and production tools right at your fingertips,
it doesn't get much better than this: the Yamaha RM1x Sequence Remixer.

RM1x - Your Main Remix Machine:

You can instantly switch between 16 "sections" included in each pattern simply
by tapping keys on the RM1x's large keyboard and use the real-time controller
knobs to bend, twist, and shape your sound on the fly. It's a snap to mute and
un-mute tracks during playback. A single RM1x is all you need to keep the
dance floor jumping all night long. Furthermore, you can combine the RM1x with
other MIDI-compatible music gear for even greater versatility.

The RM1x for Production:

If you're into serious music production as well as real-time tweaking, the
RM1x gives you everything you need. In addition to a top-quality tone
generator with 700 voices which can be edited to create precisely the sound
your grooves require, the RM1x features a fully blown, powerful sequencer that
lets you create and edit original patterns with total control.

Variety of Record Modes:

You can record original material by using a variety of record modes --realtime
replace, real-time overdub, punch-in, step and grid. These modes are designed
to work for many different types of musicians. The grid mode provides a
programming interface that many artists with a DJ background will already be
familiar with. You can edit the recorded material and add effects to polish
and refine the final sound.

MIDI Compatible:
RM1x is MIDI compatible and includes a full complement of MIDI functions makes
it an ideal core device for a sophisticated MIDI dance production system.

Dance Oriented Sounds:

An extensive arsenal of 700 outstanding dance-oriented sounds.

Styles, Patterns and Phrases:

An awesome assortment of 50 preset styles, 960 patterns and 7,726 phrases.

Assignable Control Knobs:

Eight assignable real-time control knobs, a large LCD display with 4 display
knobs and a large multi-function keyboard.

Style:
Each "style" has up to 16 "sections" which can be switched in real time during
playback via the RM1x keyboard.

16 Track Sequencer:
Powerful 16 track sequencer with 110,000 note memory and 480 clocks/quarter
note resolution lets you record original material via the RM1x keyboard or an
external MIDI keyboard using a versatile range of record modes: real-time
replace, real-time overdub, punch-in, step and grid.

Sequence Editing Functions:

In-depth sequence editing functions make it possible to create and refine
complex patterns and musical textures with extraordinary precision.

Edit Voices:
Edit and refine the RM1x voices to create sounds that most ideally suit your
own music.

Multi-Effect System:
A sophisticated multi-effect system can be used to add anything from subtle
ambience to wild variations.

Play Effects:
Real-time "Play Effects' including harmonize with unison and octave functions,
beat stretch, clock shift, gate time, and velocity offset

Floppy Disk:
Built-in floppy disk drive for convenient, low cost data storage and retrieval.

LCD Display:
The RM1x backlit LCD displays panel is undoubtedly the largest and most
comprehensive available on a production tool in its class, making operation
extraordinarily easy and efficient - and it even has a cool-looking "negative"
display mode. Whether you're editing detailed sequence parameters, adjusting
track pan or volume, or tweaking effect send levels, the RM1X display and
control interface offer unprecedented ease and efficiency.

Knobs and Function Buttons:

The four knobs and function buttons located immediately below the display
directly control corresponding parameters on the display. No need for time-
consuming incrementing or decrementing of numbers when you're in the middle
of a show or trying to turn a creative brainstorm into real sound -- just
grab a knob and turn to get the effect you want.

Real Time Controller Knobs:

One of the features that makes
realtime controller knobs that
real-time during playback. The
frequency, pitch bend, add and
available parameter
the RM1x a great performance tool is its
let you tweak the corresponding parameters in
knobs can be set to sweep filter cutoff
modify effects or control just about any

Controller Knob Features:

Edits you make with the controller knobs can actually be recorded in realtime,
or applied to the sequence data later by using the appropriate editing job.
You can hear the results as you are recording or editing make it easier than
ever to pinpoint the groove you're after. Whether you're editing material
originally created on the RM1x or "remixing" MIDI sequence data created on
other equipment, the RM1x offers easy intuitive control that can lead to truly
inspired creations.

Eight Controller Knobs:

You have instant access to multiple parameters, and you can control more than
one parameter at the same time. There's also a KNOB button, which switches
between two sets of parameters for all 8 knobs. The parameters listed on the
panel are the default assignments, but other parameters can be assigned as
required. In addition to controlling internal RM1x parameters these knobs as
transmit MIDI control change data-ideal for real-time control of other
external MIDI instruments and devices.

Main Modes-

PATTERN and PATCH:

The Patterns mode provides access to most of the RM1x's performance and
recording functions as well as the powerful, convenient Patch function.

Patch Function:
The Patch function make it easy to select phrases from the huge selection of
7,726 provided with the RM1x or phrases you've recorded yourself, and "patch"
them together to create complete patterns. This ability to mix and match a
variety of rhythm, bass, and chordal/melodic phrases lets you create a
virtually unlimited range of new patterns quickly and easily.

Pattern Chain:
Another feature that is deal for dance-music production, the PATTERN CHAIN
mode, allows preset and/or original patterns to be easily "chained" together
for automatic sequential playback.

Sub Modes-

Groove:
The RM1x Grid Groove function makes it possible to adjust the note offset,
clock shift, gate offset, and velocity offset of the notes in a specified
track via a 1-measure 16 th-note grid to create "grooves" that would not be
possible with precise sequencer-like programming.

Harmonize Play Effect:

The Harmonize feature adds considerable flexibility to the RM1x play effects
by allowing unison harmonization to create deliberate out-of-phase effects,
octave harmony, and the addition of 2 parallel harmony lines.

Arpeggio:
The ability to create simple arpeggios via an easy-to use grid interface adds
a greatly to the versatility and depth of the RM1x. In addition to data
transmission via MIDI, it can be recorded to internal sequencer.

Effect:
Detailed effect editing to add finishing touches to your sound with Yamaha's
professional studio-quality reverb, delay, modulation, distortion, and an
extensive range of other effects.

Voice Edit:
This sub mode provides access to in-depth voice editing parameters that you
can use to customize voices for your own personal sound. A comprehensive range
of envelope generator, LFO, filter and other parameters make it a breeze to
match the RM1x sound to your music.

Setup:
The SETUP sub mode includes a LOW BOOST function with a wide 24dB range for
ground shaking bass (mind those speakers -- low boost is POWERFUL!), knob
assignment for the RM1x's real-time control knobs, and individual output
channel assignments for the internal tone generator and MIDI transmission.

Job:
The JOB sub mode gives you access to the RM1x's extensive range of PATTERN,
PATERN CHAIN, and SONG jobs. The PATTERN mode, for example, offers a range of
36 jobs to perform functions such as quantization, transposition, creating
crescendos and glides, creating rolls, and much, much more.

Tap/Enter Button:
Tap BPM entry lets you define tempos the way you feel them rather than with
numbers. (ed note: this feature is not very effective, almost unusable)

Multi-function Keyboard and Mode Buttons:

This 26-note keyboard makes it possible to program the RM1x without having to
connect an external MIDI keyboard. It's even polyphonic (the RM1x has a 64
note polyphony), so you can directly enter chords as well as single notes. The
keyboard also acts as an easy-to-use real-time interface for a range of
functions including track selection, transposition, numeric data entry, track
mute/solo, and section selection.

Black Keys:
The "black keys" also perform a range of other functions, such as selecting
specific mute track ranges and memorizing a number of track mute setups.

Mute Memory:
The mute memory function lets you specify groups of tracks, which can then be
instantly muted or un-muted, by pressing a single-key.

Floppy Disk Drive:

You can conveniently save and load RM1x data at any time and load SMF
(Standard MIDI File) data created on other sequencers or computer-based
systems. You can then use the RM1x's editing features and/or real-time control
capabilities to "remix" the data to create the groove you require.

(Specifications)

Sequencer:
Memory Capacity: 110,000 notes
Timing Resolution: 1/480 quarter-note
Polyphony Maximum: 64 simultaneous notes
Tempo: 25.0-300.0
Recording Methods: Real-time(Replace, Overdub, Punch-in), Step, Grid Step(X0X)
Sequencer Tracks: 16-tracks
Tracks Per Pattern: 16 tracks
Preset Patterns: 960 (60 styles x 16 sections)
User Patterns: 800 ( 50 styles x 16 sections)
Preset Phrases: 4,000 patterns
User Phrases Per Style: 256 Phrases
Pattern Chain: 20 songs
Songs: 20 Songs
Edit: Song edit, Phrase edit
Jobs: 36 pattern jobs, 8 pattern chain jobs, 28 song jobs
Split Slip song, Split pattern
Grooves:
Grid Groove (Note Offset, Clock Shift, Gatetime Offset, Velocity Offset);
Play Effects (Beat Stretch, Clock Shift, Gatetime, Velocity Offset);
Harmonize (Unison, Octave, Harmonize(Unison, Octave, Harmonize 1/2)
MIDI Delay: MIDI Delay edit, Feedback edit
Arpeggios: Type (up, Down, Alternate 1, Alternate 2, Random), Sort Hold,
Octave Range
Sequence Format: RM1x format, SMF (Format 0)

Synth Engine:
Tone Generation: AWM2(Advanced Wave Memory, 4 Meg Wave ROM)
Polyphony: Maximum 32 simultaneous notes
Multi-Timbral: Max 16 timbres(last-note priority with element reserve, DVA)
Preset Voices: 654 normal voices, 46 drum-kit voices (excl. GM normal voices
and GM drum-kit voices)
Effects: 11 Reverb types, 11 Chorus types, 43 Variations
Digital Bass Boost: +24db/50hz-2.0khz

General:
Display: 64x240 dot backlit graphic LCD (adjustable contrast)
Connectors: Phones, Output x 2 (L/Mono, R), Foot Switch, DC IN, MIDI IN & OUT
Disk Storage: 3.5-inch 2DD/2HD floppy disk drive
Dimensions: (W x D x H) 420 x 282 x 98 mm
Weight: 4.4 Kg
ACCESSORIES: Demo Disk (incl. 3 Demo songs)
OPTIONS: Foot Switch YAMAHA FC4/FC5, Hard Case LC-RM1XH(Japan)

-------------------------------
* Section 2 : Basic Use
-------------------------------

This is a beginner tutorial on using the RM1X.

-------------------------------
* Section 3 : Sequencing
-------------------------------

This is a tutorial on sequencing with the RM1X.

-------------------------------
* Section 4 : Synth Editing
-------------------------------

This is a tutorial on editing patches on the RM1X.

-------------------------------
* Section 5 : Tips & Tricks
-------------------------------

-Toby Boudreaux
This may be old to some but i just discovered it and i love it-
do this:
(i'm not sure if it works on the internal sounds but it should.)
have drum sounds mapped across your rm1x keyboard- record a short sequence-
twist the harmonize2 knob and it incorporates local sounds (the neighbors of
the original sounds) into the pattern...

-------------------------------
* Section 6 : FAQ
-------------------------------

Q: How much does the RM1X cost?

A: List Prices- UK: ?, USA: $899.95, Canada: ?
Common Prices- UK: ?, USA: $700, Canada: ?

Q: How can I check what OS version I have?

A: Hold down the Pattern, Patt Chain, and Utility buttons while
powering up.

Q: Where can I find PDF versions of the RM1X manual and List Book?
A: Manual - http://www.yamaha.co.uk/eurohome/library/rm1x/rm1xe1.pdf
List book - http://www.yamaha.co.uk/eurohome/library/rm1x/rm1xe2.pdf

(The following was written by Larry Steinke, srp12196.alcatel.ch)

Q: Why am I getting all this program change data out the midi port resetting
my external gear?

A: You need to set a Bank parameter value in the Voice submode for every track
that you are using for using external gear. Set it to something other than '
phrase' because if it is on 'phrase' it well send voice setup data (ie program
change and bank select) whenever a phrase changes which voice it uses. Often
it will send this everytime a section is triggered. This voice setup data is
also sent when you ffwd and rewind, if Event chase is set ON and when you
press the Stop button if the Jump value is other than off. This 'phrase'
setting is for use with internal voices. It allows the preset phrases to
switch between voices on a track, and the Event chase and Jump functions
behave so that any internal voice changes are updated when the sequence

Q: Why doesn't the midi filter work with program change data?

A: The midi filter does not act on program change data that occurs due to the
'phrase' setting the voice (see previous question). It only acts on events
recorded or inserted into the track (view the events using Edit mode)

Q: Why am I getting a delay on my external gear when I trigger a section?

A: If you have set each track to a midi channel and turned off the TG for all
tracks in Setup - Outchannel, and the voice - bank parameters for each track
are set to 'phrase', then the RM1x will send program change and bank change
data for every track every time a section is triggered. When the TG is set ON
for a track then it will only send it for that track if the voice on that
track changes. The best way to stop it is to set the voice-bank parameter on
each external track to a value other than 'phrase'.

Q: When I copy a section and edit the copy, why do the edits affect the
original section?

A: When you copy a pattern to a different section, you are just copying the
phrase allocations to that section. You are not copying the actual phrase
data, so if you then tried to overdub that track you'd change the phrase in
the original section as well because both sections are using the same phrase.
In atch mode you can edit the new pattern to use different phrases on
different tracks but if you want different notes, you need to copy the phrase
then edit it.

Q: How do midi channels relate to tracks?

A: A patterns consist of midi events recorded on up to 16 tracks. For any

given style, there is a setting for each track that determines where the track
data is sent. see Setup-Outchannel (pg. 75) There are seperate settings for
the Tone Generator and Midi Out, so that each of these can be set to midi
channels 1 to 16 or OFF.

-------------------------------
* Section 7 : Web Links
-------------------------------

Yamaha UK RM1X Info:

http://www.yamaha.co.uk/synth/html/current/midiseq/d_rm1x.htm

Yamaha US RM1X Info:

http://www.yamaha.com/cgi-win/webcgi.exe/DsplyModel/?gSEQ00005RM1X

Yamaha Japan RM1X Info:

http://www.yamaha.co.jp/product/decbx/sequence/rm1x/

Sound On Sound RM1X Review:

http://www.sospubs.co.uk/sos/feb99/articles/yamaharm1x.htm

Sonic State RM1X User Reviews:

http://www.sonicstate.com/bbsonic/synth/comments.cfm?synthID=869

RM1X and QY70/700 Mailing List:

http://www.teklab.com/services/mailinglists/hwseq-list.html

RM1X and QY70/700 Message Board:

http://www.teklab.com/forums/list.php3?num=8&

Up To Date RM1X Links:

http://members.brabant.chello.nl/~h.megens/rm1x/

...is because rm1x is on the end of the midi chain. in your case, go from midi out
from rm1x to midi in of computer, then midi out of same into midi in of rm1x. this
means any notation data and control data (ie. panning, cutoff, res, vol, etc...)
should be recorded ( I don't use cakewalk, but this should be generic amongst most
sequencing programs). or alternatively.... if you have assignable controllers on
your midi keyboard, you could use them in real time to record control data. just
create a new track using the same channel as that of the track you want to filter
or whatever. then, when you play the track back thru the rm1x in should integrate
the control data and effect the track just how you recorded it. you will only be
able to record note or control data on your computer using whatever is plugged into
the computer's midi in cable.