How to Upload Patches on Yamaha Dx7

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Transferring data from Yamaha DX7 patches onto my DX7IID

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Hey guys!
So I'm learning a lot about the Yamaha DX7IID that I recently caused. Obviously, I'm completely new to FM synthesis and operating a synthesizer in general. I did, still, manage to transfer the SysEx files for the original DX7 audio banking concern onto my DX7IID, and information technology worked out smoothly. I now have all those archetype patches uploaded and it sounds amazing.
I am having a bit of an issue with some of the data in the patches. None of these patches include aftertouch or modulation. The values for the modulation wheel and later touch seem to take been lost one time I uploaded them onto my synth. The 'P modern', 'A mod', 'EG bias' and 'P bias' (the last one being specifically for later affect) are all ready to aught for every patch. I'thousand unsure if this even exists, but is at that place whatsoever information, transmission or file that gives the original data/values for each of those patch settings on the DX7? I'm hoping to manually assign them for every patch and salvage them onto my DX7IID. Cheers in accelerate!

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So I've washed more inquiry and stumbled upon the program 'DX7 Librarian'. There seems to be a lot of information for the patches that are uploaded there. I would need an access key to go through the data, but there doesn't seem to be any more support for this programme. Would anyone take suggestions on where I could go from here?

Gear Guru

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Quote:

Originally Posted past Bignatius ➡️

Have you tried Dexed?

I have, I used the ROM A patches from Dave Benson's and Bobby Blue'south website. In that location aren't any parameters set for the modulation/aftertouch when I pull up the screen. I might be reading values wrong though. Could whatsoever of the settings on the main controls have those specific values?

Edit: I added a screenshot of the program

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Quote:

Originally Posted by Bignatius ➡️

Have you tried Dexed?

Here are the settings for the modulation/aftertouch, all values set up to zero by default.

Attached Thumbnails

The original DX7 does not save the performance controllers information within the voice sysex data, so there'southward no fashion for the DX7II to read what the mod wheel or afterwards touch on, etc did to the voice on the DX7 MkI.

The best way to movement on from that is to manually set up the controllers for each vocalisation on the DX7II after transmitting the vox data sysex and save them in the DX7's internal memory.

I personally observe the private performance memories on the DX7II more of a nuisance than a benefit, specially when working with ROM cartridges where the controllers are reset every time yous modify a preset and cannot be stored, unless copied to the synth'southward internal retentiveness, overwriting the existing patch and defeating the purpose of storing the common voices on a convenient cartridge. I much prefer the global performance retentivity every bit in the MkI, which doesn't cause these problems.

Have fun with the MkII, it's a fantastic synth regardless. I've had three MkII DX7 in my synthing life and three MkI's before finally deciding to settle with ane MkI with Supermax + TX7 for layering without sacrificing the polyphony.

Gear Guru

Quote:

Originally Posted by Arder ➡️

The original DX7 does non salve the performance controllers information within the vocalisation sysex data, so there'due south no mode for the DX7II to read what the modernistic wheel or after touch, etc did to the voice on the DX7 MkI.

The best way to movement on from that is to manually set up up the controllers for each vocalisation on the DX7II after transmitting the voice information sysex and save them in the DX7's internal retention.

I personally find the private performance memories on the DX7II more of a nuisance than a do good, specially when working with ROM cartridges where the controllers are reset every time you lot modify a preset and cannot exist stored, unless copied to the synth'due south internal retentiveness, overwriting the existing patch and defeating the purpose of storing the common voices on a convenient cartridge. I much prefer the global operation retention as in the MkI, which doesn't cause these problems.

Have fun with the MkII, information technology'due south a fantastic synth regardless. I've had three MkII DX7 in my synthing life and three MkI's earlier finally deciding to settle with one MkI with Supermax + TX7 for layering without sacrificing the polyphony.

What's this Supermax you refer to?

Surely not the prison in Colorado.

Supermax is a tertiary political party expansion lath for the outset revision of the DX7. For me, the two key features are 16 internal retentivity banks and morphing between two patches. The latter role is a tremendous source of new patch ideas as I take any two of my custom patches and slowly movement the mod wheel listening for unexpected sweet spots. Sometimes that sweet spot becomes but a partial in a new patch and sometimes the whole sound is interesting as is.

Supermax characteristic list from the web (with annotations):

- Memory EXTENSION: 512 Memory locations for sounds and functions.
- ARPEGIATOR: the most sophisticate (sic!) on the market today! [probably not hahahaha]
- Filibuster: use a new process! [than what?]
- SOUND STACK: 3 stacking modes (8×ii, 5×3 or 4×4) with Volume, COARSE TUNE and FINE TUNE settings on each vocalism. [but you are stuck with the same patch layered so you can only practice intervals and detune - add a TX7 for real stacking]
- SOUND CREATOR: Morphs between existing sounds and allows to save the consequence at whatsoever time
- ROLLING Style: allows using upward to 4 sounds per patch!!! [yes, very exciting]
- VELOCITY Cantankerous-SWITCH: allows switching from ane sound to other by velocity.
- TEMPERAMENT: can be fix on each key on the keyboard
- And many other features: programmable MASTER Volume, KEYBOARD ZONES, several MIDI-OUT modes, MIDI DELAY, LOCAL CONTROL, MIDI implementation update (OMNI Manner, MIDI-OUT channel selection, "all keys off", …) [all keys off rocks if you hate the DX7 sound.]

Gear Guru

Quote:

Originally Posted by Arder ➡️

Supermax is a tertiary party expansion board for the first revision of the DX7. For me, the ii key features are 16 internal retention banks and morphing between 2 patches. The latter part is a tremendous source of new patch ideas as I take any 2 of my custom patches and slowly move the mod bicycle listening for unexpected sweet spots. Sometimes that sweet spot becomes only a partial in a new patch and sometimes the whole sound is interesting every bit is.

Supermax characteristic listing from the web (with annotations):

- MEMORY EXTENSION: 512 Memory locations for sounds and functions.
- ARPEGIATOR: the most sophisticate (sic!) on the market today! [probably not hahahaha]
- Filibuster: utilise a new process! [than what?]
- SOUND STACK: iii stacking modes (8×2, 5×3 or 4×4) with Volume, Coarse TUNE and FINE TUNE settings on each voice. [simply you lot are stuck with the same patch layered and then you can only practice intervals and detune - add together a TX7 for real stacking]
- Sound CREATOR: Morphs between existing sounds and allows to save the result at any fourth dimension
- ROLLING Fashion: allows using up to 4 sounds per patch!!! [yeah, very exciting]
- VELOCITY Cross-SWITCH: allows switching from one sound to other by velocity.
- TEMPERAMENT: tin can exist set on each key on the keyboard
- And many other features: programmable MASTER VOLUME, KEYBOARD ZONES, several MIDI-OUT modes, MIDI DELAY, LOCAL CONTROL, MIDI implementation update (OMNI MODE, MIDI-OUT channel selection, "all keys off", …) [all keys off rocks if y'all hate the DX7 sound.]

Thanks.

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Source: https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/1293130-transferring-data-yamaha-dx7-patches-onto-my-dx7iid.html

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