DJXII - Arranger keyboard YAMAHA - Free user manual and instructions

USER MANUAL DJXII YAMAHA

This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha.

WARNING: Do not place this product in a position where anyone

could walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recom- mended! IF you must use an extension cord, the minimum wire size for a 25' cord (or less ) is 18 AWG. NOTE: The smaller the AWG number the larger the current handling capacity. For longer exten- sion cords, consult a local electrician. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound lev- els that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting fixtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are 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. 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) 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. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmental} 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: Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with bat- teries of a different type. Batteries MUST be installed correctiy. Mis- matches or incorrect installation may result in overheating and battery case rupture.

Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. lf your dealer is unable to assist you, please contact Yamaha directly. NAME PLATE LOCATION: The name plate is located on the bottom of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this man- ual as a permanent record of your purchase. Model Serial No. Purchase Date

PLEASE KEEP THIS MANUAL

• Please keep these precautions in a safe place for future reference. À WARNING Always follow the basic precautions listed below to avoid the poss ty 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 modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immedi- ately and have it inspected by qualified Yamaha service personnel. < Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. + Ifthe AC adaptor cord or plug becomes frayed or damaged, or if there is a Ssudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the À CAUTION Always follow the basic precautions listed below to avoid the possibility o p instrument or other property. These precautions include, but are not limited to, the fol + Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Do not connect the instrument to an electrical outlet using a multiple-con- nector. Doing so can result in lower sound quality, or possibly cause over- heating in the outlet. Unplug the AC power adaptor when not using the instrument, or during electrical storms: Always make sure all batteries are inserted in conformity with the +/- polarity markings. Failure to do so might result in overheating, fire, or bat- tery fluid leakage. Always replace all batteries at the same time. Do not use new batteries together with old ones. Also, do not mix battery types, such as alkaline bat- teries with manganese batteries, or batteries from different makers, or dif- ferent types of batteries from the same maker, since this can cause overheating, fire, or battery fluid leakage. Do not dispose of batteries in fire. Do not attempt to recharge batteries that are not intended to be charged: When the batteries run out, or if the instrument is not to be used for a long time, remove the batteries from the instrument to prevent possible leakage of the battery fluid. Keep batteries away from children. Ifthe 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- ately with water and consult a doctor. Battery fluid is corrosive and may possibly cause loss of sight or chemical burns. Before connecting the instrument to other electronic components, turn off 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 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 u)7 power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel. + Use the specified adaptor (PA-5B, PA-5C or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating. + Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. + Checkthe electric plug periodically and remove any dirt or dust which may have accumulated on it. ysical injury to you or others, or damage to the owing: day) to prevent the possibility of panel disfiguration or damage to the inter- nal components. + Do not use the instrument near other electrical products such as televi- Sions, radios, or speakers, since this might cause interference which can affect proper operation of the other products. + Do not place the instrument in an unstable position where it might acci- dentally fall over. + Before moving the instrument, remove all connected adaptor and other cables. + When cleaning the instrument, use a soft, dry cloth. Do not use paint thin- ners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard. + Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors. + Use only the stand specified for the instrument. When attaching the stand or rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over. + Do not operate the instrument for a long period of time at a high or uncom- fortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.

+ 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 à malfunction or user operating error. Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use. Make sure to discard used batteries according to local regulations.

Congratulations on your purchase of the Yamaha DJX-II! The DJX-I 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: + DUX-Il + Owner's Manual ui to Use the Manual €? What is the DJX-II? Introduces the various DJX-II features. & ? Panel Controls 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 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. . 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. Theillustrations and displays as shown in this owners manual are for instructional purposes only, and may be differ- ent from your instrument.

EPA Hat is the DUX-I? The new DJX-I 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-I 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, andthe DJX-II caneven help you develop that, 100! Let the DJX-N show you how to become a master DJ! Whether yow’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 lets take a look at the individual features and functions of the DJX-II. © Pattern Player .… The DJX-II features a total of 70 dynamic rhythm Patterns, perfect for your DJ performance. Each Pattern has 10 different Variations. © Activator . The DJX-II rene ele Astra lon 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 If youve got a Eroilert en Der vinyl, you can exit 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-IPs Pattern. © Unique, Ultra High-quality Voices The DJX-II also has an enormous variety of dynamic, in-your-face sounds, with 180 vices, 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 The DJX-II allows you to record your original performances (up to a total of six 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! page 56 ) to memory,

Contents Packing Li: How to Use the Manual What is the DJX-11? Contents Panel Controls Top Panel Functions of the Keyboard . Rear Panel & Connections Setting Up (Power supply connections) Switching On the Power. Data Backup & Initialization 100 Tips to be a DJ!

Pattern Player Basics Tip1 Work out with the Patterns 14 Tip2 Mixing Main and Fill-in Patterns 15 Tip3 Come down on the “one” 15 Tip4 Exploring other Pattern: 16 Tip5 Go back, go forward. 17 Tip6é Keep the bpm steady

Isolator Basics Tip 24 Tweak the sound just right!

The Keyboard. 27 Tip25 Play the keyboard. 27 Tip 26 Try some different voices!

Part Controller... Tip 36 Cutoff and Resonance. Tip 37 Adjust the Part volume Tip 38 Tweak the cutoff Tip 39 Transpose the key. Tip 40 Create your own chord progression!

Ribbon Controller... Tip 41 Do some scratching on the Ribbon Tip42 Stop the turntable …

Tip 46 Step up to the next Pattern and Variation .41 Tip47 Cool outro.. .41 Tip48 Creative fill-in 1 .42 Tip 49 Creative fill-in 2. 42 Tip 50 Using the Activator to lead into the next Variation … 42

Sampling Tip72 Sample i Tip73 Erase the sample. Tip 74 Loops and One Shots Tip 75 Play samples from the keyboard!

Performance Recorder . Tip 76 Record your performance. Tip 77 Jamming with Performance Player …

BPM/Tap Power Tips. Tip78 Tap out the beat! .… Tip79 Start with a tap. Tip 80 Down and out! Tip81 Checkthe bpm

The Outside World . Tip 82 Expanding your DJ setup Tip83 Mute the speakers.

DJ Performance Master Class Tip 84 Creative fill-in 3. Tip 85 Break to a new beat Tip 86 Tip 87 Tip 88 Tip 89 Tip 90 Switch the drums!. Outro -tro -tro -tro .… Upside down, inside out! Buildup to a Variation Sync up your samples to the Pattern! Tip91 Play a Pattern, trigger a Performance. 66 Tip 92 Recall your settings with a single shot 66 Tip93 Taking the pulse … Tip 94 Auto-adjusting the bpm Contents Tip95 Toggling on beat, muting in rhythm Tip96 Sync applications — using the DJX-IT as the maste Tip97 Sync applications — using the DJX-II as the slave Tip98 Get more Patterns! … Tip99 Using MIDI Bulk Send Tip 100 Create your own Patterns! Appendix Troubleshooting. Error Message List. Specifications. Glossary. Pattern List Activator MIDI Data Format MIDI... MIDI Implementation Chart. Index.

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

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

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. M Pattern Mode 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! .… When the PATTERN/ENTER button is flashing: 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 instant 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 soünd 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.

HE Keyboard Mode © Mano When the VOICE/KEYBOARD button is flashing: LUN Ju In this mode, use the keyboard in the conventional way — for playing melodies and chords.

Rear Panel & Connections A standard pair of stereo head- phones can be plugged in here for private practice or late-night play- ing. The internal stereo speaker syStem is automatically shut off when a pair of headphones is plugged into the PHONES jack. À CAUTION + Do not listen with the head- Phones at high volume for long periods of time. Doing so may cause hearing loss. À WARNING Connect the AC adap- tor (PA-5B, PA-5C or other adaptor specifi- cally recommended by Yamaha) to the power supply jack. Acaurion + Connect the DJX-II to external equipment only after turning off 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 CC = bte n moi ) electric shock or equipment ï 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. e © N © © . \ The DJX-I also features MIDI terminals, { | allowing you to interface the DUX-II with } other MIDI instruments and devices. (For KC DA Bees more information, see page 68.) a) . (_) Ampitier » Beol 11 = DIT ES These are for recording an external audio source in /\ CAUTION the Sampling functions (page 53). The MIC jack is for connection to a microphone for recording vocals and acoustic instruments. The LINE IN jack is for connecting to and recording a line level signal, such as that of a CD player or cassette deck. + Never connect a line level signal (CD player, cas- sette deck, electronic instrument, etc.) into the MIC input jack! Doing this could damage the DUX-ll and its Sampling functions.

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). HE Using An Optional AC Power Adaptoreeeseessesse 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. L\ WARNING 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 DUX-II. Unplug the AC Power Adaptor when not using the DUX-II or during electrical storms. M Using Batteries seccscsscsossssscssscsccsssscccescccseee 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 ar satog ui reset the DIX markings on the inside of the compartment. 2 I you play the DAX with the vot ume at its maximum level when the batteries are used, the lite of the batteries will be shorter. 3 Replace the compartment cover, making sure that it locks firmly in place. À CAUTION + 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. + Ifthe 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.

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. PSE LILI. MASTER VOLUME Setthe MASTER Tum the power ON by pressing the VOLUME knob to STANDBY/ON switch. "min." Press the STANDBY/ON switch again to turn the power OFF. À CAUTION 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 DUX-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-IT 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 AÏl 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.

sranoey / | 2 ON À CAUTION + 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 DUX-I freezes or begins to act erratically for any reason.

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. a> 1 Work out with the Patterns %æ

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.

Chapter 1 Pattern Player Basics

a> 2 Mixing Main and Fill-in Patterns % CC —n 2 Try mixing it up! Fill-in Patterns Each of the DJX-Il's Patterns has ten different Variations. Play the EL] main Patterns with the gray keys and the fill-in Patterns with the black PALTERN RL keys. (Fill-in Patterns are usually used as dynamic breaks or transi- + + ee») 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 > ZT Come down on the “one”! æ 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 KO OX OX PATTERN PLAYER, De» 0 èrp | 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” downbeatl

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! + ACTIVATOR NEParTERN) DéevreR Voice, © KEVBGARD oO) a] n 174 © CR CET) CE) r Lil lui lt ui Current Pattern — The new Pattern is up and now playing. playing! New Pattern — waiting in standby. e Exploring other Patterns Category #__[Pattern Name | Comment TECHNO 01 | Japan Beatz Experimental electronic madness — way cool! 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. ONE 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 TRIP HOP 65 |Deep Dark and heavy Trip-hop, atmospheric and dreamy.

Chapter 1 Pattern Player Basics

a> & 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-Il changes the Pattern as soon as you hit the key! PREV/NEXT keys > & Keep the bpm steady! %æ È— 2 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! 1f 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... Voice GKEVBOARD Change the Pattern... Change the Pattern... .… and the bpm stays the same. … and the bpm is set to best suit the selected Pattern.

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. a> Z 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. ACTIVATOUR PYCTIVATOR ONE SHOT.

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!

As we pointed out above, the DJX-Il 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" stands for "Activator." Currently selected number

a> 10 Put ‘em together! C—_ 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.

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 PO9 and A05, then press Activator Loop. 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.

> 12 Activator Loop bpm %æ CC — Here’s a real convenient feature! You’ll never have to worry about your loops drifting out of time — the DJX-Il automatically matches up the bpm of the Activator Loops to the bpm of the Pattern. However, the DJX-I1 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.

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! a> 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. à 4 + To keep the effect locked on: Simultaneouslÿ hold the toggle A continuously lit LED indi- switch on and press SELECT. cates that the effect is selected. When the effect is turned on, the LED flashes in time with the Pattern. To “unlock” the effect, turn the effect on and off again. Turns the effect ON or OFF. Changes the sound of the effect. (Each effect lets you control a differ- ent key parameter.) asroRrnon)8{ Aura pan TS RING MOD © FLANGER © PHASER © SLICE © DELAY © Echo © 10-10 WAn O 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-Il. 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. @ Start the Pattern or Activator. @ Select the desired effect, turn the Effect on, and twist the knobs. @) Stop the Pattern or Activator.

a> 14 Distortion æ CC —n 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.

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 à 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.

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. D 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.

(Tip) 21 Echo æ 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. D 22 Lori 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. D 23 Wah œ 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. 100 à maèse F seurer

7/ Chapter 4 Isolator Basics More sonic control to you! The Isolator lets youtailor the sound just the way you want it — phat and round, thin and edgy, or big and banging! = NN = = D 24 Tweak the sound just right! æ Need a beefier low end? Want to put some edge and shimmer in the top? Tiweak 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 à gentle mid cut instead. Boosted low end, slightiy crisper high end. Very tinny sound — almost no bass, very bright and brit- tle high end. Flat response — normal set- tings. Low Mid High

7/ 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.

Chapter 5 The Keyboard

a> 26 Try some different voices!

The DJX-Il 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. ° AcrIvATOR are À AVEEYBOARD © Try some different voices! Indicates the currently selected voice. Category # [Voice Name Comment HYPER MIX 000 |DUx-11 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. Sth Heavy, chainsaw-like power chords. Put some metal in your mix! SQUARE LEAD 054 |Square Lead2 | Classic analog synthesizer wave — with great low-end, atonal bass. a 056 |Breakit Brash and fat lead synth sound — perfect for Euro styles and Rave. 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 rythms! HYPER DRUMKIT | 192 [DIX Ki À different drum or percussion sound on almost evey key — plus some wild sound effects! Mix and match, and make your own beats!

7/ Chapter 6 Part Mixer Basics Nowthat you’ve got your rhythm chops up to speed and some DJ tricks up your sleeve, its 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! a> 27 What is a Part? %æ

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. PART MIXER — —— es PART MER TE, CF vo Je mur eme

a> 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 Partis 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 activel Try itnow! 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.

a> 249 Combination keys C—_n 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! a> 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. RTE ee,

a> 31 Extra texture! %w C—_n 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 PO5 and start V1. 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. Nat De = er L.]

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... a> T2 Grab a Part and tweak it! CC — 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. lt simply lets you select the Part you're going to be tweaking with the Part Controller. ——— — PART SELECTOR — ——— © LE GE NT SEERTO Rs CRE)

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.

Chapter 7 Part Selector

PART SELECTOR cuTorF RESONANCE

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.

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. > 34 Tweak the Activator sound! æ a> 35 Select all Parts and tweak them! æ

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! a> 36 Cutoff and Resonance w È— 2 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. CUT 0FF Darker Brighter Volume

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!

Chapter 8 Part Controller

D 37 Adjust the Part volume C—_n 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. @) Select PHRASE 1+2+3. @ Start the Pattern. @ Set RESONANCE to about 2 or 3 o'clock. @ Stop the Pattern.

Keuy 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. ——Y D 34 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-Il 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! @ Adjust the key. @ Start the Pattern or Activator. KEY SHIETER

€) 40 create your own chord progressions! % = 2 0 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! Three Four vi LE Ou 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! Three Four One Two OX XX x

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! a> 1 Do some scratching on the Ribbon! CC — Work out on the amazing Ribbon Controller! lt 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! scrarœu 2

RIBBON CONTROLLER SHEN

> 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! SCRATEH 10 f Ÿ SCRATCH 2 © \ SAS OC os-E RIBBON CONTROLLER sure)

7/ Chapter 11 BPM/Tap Basics Control over bpm means controlover the dance floor! Some mixologists have this down to a science. Use these tips to get started with your own bpm explorations. a> 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! lfthe 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). (Oniy selectable when Pattern is stopped.) 1 Far 1 C0: (l CR]

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.

7/ Chapter 12 Pattern Player Power Tips Tip) 45 Hitting a new Pattern and Variation = — at the same time! — 2 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. + ACHVATOR ÉA\ Current Pattern — ee now playing. ME en New Pattern — waiting in standby. PATTERN LAVER, The new Pattern is up and playing!

Tip) 46 Step up to the next Pattern and Vari- = ation Là a 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. PATTERN AYER, Êa En 2 le ee FALL > Æ47 Cool outro ss CC — 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 ofthe 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. RE he +

Select P03 and start with V1. Then, hit the V1 key in the following rhythm. One Two Three Four One HT LL ET ET L mure. )\ À and here! Start! > 449 Creative fill-in 2 vw È— 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 Tuo Three Four One

and and and Start! Hitit here... and herel here! | | ‘herel here! and herel Tip) 50 Using the Activator to lead into the = next Variation Là A 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.

> Live Effector Power > Tips a> 51 Distortion ve È— 2 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 à 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 X OX OX OX This timing! À Release! osrornon}#{

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€) 52 Auto Pan vw È— z 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. (D 1 beat cycle mm) 6 | 7 | 8 | 9 | to 11 | 12 | 13 bpm| 55 | 70 | 90 | 110 | 125 | 145 | 160 | 195 Knob @2beatoyce [psmr) 5 | 6 | 7 | 8 | 9 bpm| 70 | 110 | 140 | 180 | 200 Fast speed Knob Sn Osbeatoye [esinl 1 S 1817 bpm| 60 | 105 | 165 | 210 Knob @abeatoyde [sin] * | 5 bpm| 80 | 140 + Tech tip: The knob positions and the corresponding bpm readings shown here are approximate — let your ears be the final judge! D 53 Ring Modulation ve CC — 2 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. 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.)

> 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.) D 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! Three Four

\ Releasel One Two X > Try hitting the beat with the effect at these points.

a> 58 Echo ss C—_n Many styles of dance music use echo effects in surprising, unique ways. The DJX-Il'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 PO8 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! D 59 Lori e%

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! D 60 Wah e%

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.)

C—_n a> 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! Right hand

a> 62 Isolator to the max! es C—_n 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- île, 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

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! Rio DEN mn. Bi (Tip) 64 Cool intro ss

Here’s a specific example to get you started arranging your own tracks! Select PO7 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. PART, mn érie+ RÉ er ee | RTE

a> 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!

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! For example, just before this (Tip) 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!