Conference napalm::commusic_v1

    I thought the magic of the sound sheet was in the PATCHES, not in
    the wind controller.  They promised a book that would contain the
    patches *if* you bought the controller.  Kind of like charging 
    $700 for the book and $100 for the controller.  The patches were
    *really* good.  Made me proud to have my Z, and anxious to get that
    book!  Could not believe how good the strings were, in particular.
    The other instruments were very well emulated.  I even considered
    going in with somebody to get the controller just for the patches.
    Because of the sound page, I believe that within a year patches
    for the Z will mature and there will be some wonderful stuff out
    there.  I don't figure the patches advertized in the back of KEYBOARD
    are anything like what was on that sound page, but I hope that in
    about a year they will be.
    
    Steve_who_is_anxiously_waiting_for_AFTERTOUCH's_promised_DX7_to_
    Z_conversion_article

    Wow. 1 reply and I'm headed down a rat-hole....
    
    What's with the DX-7 to TX81Z conversion? I can't see how, seeing
    as they are 2 different archetectures. Is it an actual conversion
    table or just a text on how to approximate the DX-7 using the
    alternative waveforms of the TZ?
    
    The scaling factors are different between the TZ and The DX-7. The
    only *easily* convertable 4->6 op conversion is the DX-9 -> DX-7.
    Upward compatable, not down (6 -> 4).
    
    Can you elaborate??
    
    Edd

	I got the latest AFTERTOUCH issue in the mail yesterday and noticed
something in there about conversion procedue.  It seems to use an 
'approximation' approach.

	Dan

    An aproximation is all I expect.  By the way, seein's how we're
    getting all these DX7 patches, once I get going I'll be happy to
    post 'conversions' and welcome anyone else to do it as well.  Don't
    recall if there is a separate note for Z patches, but if not we
    ought to get one.  I didn't get the issue of AFTERTOUCH that had
    the Z patches.  Anyone care to post it?
    
    Steve

    
    I just heard the soundsheet, it's in Feb. issues of EM.
    
    !!!!!!!!!!!!!!!! WOW !!!!!!!!!!!!!!!!!!!!!!!
    
    I agree that the *patches* are the real news, although it's possible
    that the *expression* aspects of using the WX-7 helped somewhat.
    
    Geez, first it's synth users wanting to sound like Steinways, now
    we get sax players who want to be Yngwie, Larry Graham and Segovia
    8^) 8^) 8^)
    
    BTW, the EM ish also has a very good review of the Akai/Steiner
    controllers and discusses *why* they chose *not* to make a straight
    MIDI controller but instead a breath-controllable synth.  Worth
    reading for anybody.
    
    Question:  If Yamaha can come up with killer patches like those
    two basses and the lead guitar on that demo, why the f**k don't
    they provide them as presets in their synths in the first place
    instead of the drivel that passes as factory presets these days.
    ???????????????????????????????????????????????????????????????????
    
    

    I agree with .5. I've never heard any factory FM presets that come
    close to those on the EM soundsheet! I was really impressed by the
    guitar, violin, and string section sounds. They said in the ad that
    these sounds and almost all the others (except 2) were TX81Z patches
    (the other 2 were DX7 patches).
    Made me want to run out and buy one right away -- until I heard
    people in here complain about how lame the factory TX81Z presets
    are (I've never heard them, I've only heard DX7 and FB01 factory
    presets).
    I think they are kinda pullin' a fast one by making you think that
    the wind controller is making the TX81Z sound that good when really
    it's the killer patches they've been holding back on us!
    
    Mike D

    My understanding about the sound sheet (in the June '87 issue of 
    Aftertouch, which sounds like it's the same as in the latest EM) is
    that the patches were not designed by Yamaha, but by Sal Gallina.
    In Aftertouch, they promised a book entitled _Expressive FM Applications_ 
    by Sal which included his patches and be published by Yamaha Music 
    Foundation.   According to the article, the book would be 86 pages and 
    would be included with purchase of the WX7 or available from book stores 
    or dealers in the fall of '87.  My guess is that the book is about to 
    come out now and the patches are being re-released as far as publicity 
    goes.  Has *anybody* seen the book, yet?  I'd buy it in a second just for 
    the patches.
    
    Steve

    I own one of the WX7 wind controller and have it plugged into both
    a DX7 and an FB-01. For those of you that have heard the demo record
    don't believe it. What Yamaha doesn't tell you is that you need
    another $2000 of effects processors to get those sounds- SPX90,
    REV7 reverb, distortion. I have played sax for over 20 years and
    was in the studio and on the road for a while, so Playing the WX7
    is interesting to say the least. It's not quite like playing the
    horn, but it still is wonderful. Overall, I am happy, but I'm still
    sorting through my 1000 or so DX7 patches to find ones that work
    well.
    
    The book and tape that comes with the WX7 is a standard publication
    by Hal Leonard Publications- "Expessive FM Applications" by Sal
    Gallenia (spelling may be incorrect). I think you could order it
    from any good music store. It comes with a tape for the TX81Z and
    the DX7-II with the patches on it.
    
    If anyone would like to hear it. Call me.
    

Well, I've had my $300 (that was the real cost including shipping) WX7
since Thursday and have put in about 2 -3 hours playing it.  I am
not a reed player (I'm a brass player and wanne be keyboardist :)
but this is great fun.  I plan on practicing all the time to get good at
this thing.  I not trying to look at it as an electronic sax or clarinet but
rather as an instrument of its own.  It is well worth the money if this sort
of thing interests you.

I've had more success up to now playing my D50 with it than my TX16W but haven't
tweaked any patches yet to try to take advantage of its strengths.  I am
of the opinion that this is one really expressive and capable instrument but
that this potential is only really realized with patches developed/heavily
tweaked with this instrument in mind.  Witness the sound-page vs. reality
for the TX81Z sounds.  By this I mean (besides effects) that the patches
were tweaked for this thing, they weren't "keyboard" patches.  Playing
analog-synth-string-type patches is really neat with the WX7 because legato
playing on the WX7 is easy and these patches seem to work well.  Anyway,
I hope to tweak some sax samples and some D50 wind patches to take advantage
of it.  One day I'll put something on a COMMUSIC tape played on this.

More as I learn about it.

Chad

Hi Chad,

I have been interested in the WX7 for a long time, but held off buying one
for 3 main reasons:

1. Cost too high (around $1k) originally
2. I am a sax player, but don't practice enough to keep my chops up. Practice
   time is a big factor. My keyboard chops are still ok from years of gigging,
   so don't require lots of practice.
3. Warm, moist air (breath) and electronics don't mix very successfully. I
   figured maintenance would be a real problem.

Now that the price is reasonable, do you have any maintenance tips? Since
embouchure is not such a big factor, is it much easier to play than a real
sax? (I realize you are not a reed player)
 Please keep us posted as you spend more time with it and investigate
various techniques.

dave

still interested, just skeptical

re. < Note 988.10 by SUBSYS::ORIN "Quid, me vexarius?" >
                              -< well wax my sax >-

Hi Dave,

I too just bought the WX7 (see the note on pricing).  Though I personally
haven't had much time to play the thing I can tell you the following:  my 
fiancee, an accomplished alto sax player *loves* the thing.

>I have been interested in the WX7 for a long time, but held off buying one
>for 3 main reasons:
>
>1. Cost too high (around $1k) originally

The sale at Sam Ash *may* be over - if you want one for $300 I'd call them
*SOON*.

>2. I am a sax player, but don't practice enough to keep my chops up. Practice
>   time is a big factor. My keyboard chops are still ok from years of gigging,
>   so don't require lots of practice.

Playing the thing is a piece of cake - even I can do it and I've NEVER been a
reed player!

>3. Warm, moist air (breath) and electronics don't mix very successfully. I
>   figured maintenance would be a real problem.

I was actually a little worried about this too, especially after seeing all the
gunk dribbling out of the drain hole at the end, but no problems yet.  There's
no way to *clean* it on the inside like a real sax, so I assume that most of
the internal stuff exposed to the saliva is mositure-resistant.

>Since embouchure is not such a big factor, is it much easier to play than a real
>sax? (I realize you are not a reed player)

Yes!!!  Incredibly easy.  It's kind of funny, it even has a setting so that it
can play without any breath going through it - you just have to play the keys
(unfortunately all the notes run together :) but interesting nevertheless!).
Jill has been having a hard time getting used to the embouchure (it *is*
different) but it hasn't been much of a problem.

>still interested, just skeptical

I'm over my skepticism and find the thing quite interesting!

Dan

Dave,

It is the most fun thing I've played in a while.  Maybe the novelty hasn't 
worn off yet, I dunno.  As things go on I'll post any maintenance tips,
problems etc.  A cursory glance at the thing leads me to believe that
the electronic parts are separated from the air channel.  There is a "spit
valve" at the end.  Just don't lay it down on your 'board as the spit
can dribble out the end and get inside your keys :-) :-#  (smirk of yuckiness)

If you want one, you best order one before they are gone.  We called around
last Friday and no one else had them anywhere near that cheap and we called
Sam Ash again (Dan Gosselin's brother wanted one) and they were a
"as supplies last" and he said they were going fast.  Or some such remark,
I wasn't the one on the phone.

My only complaint is that it is hard to keep a plastic reed moist and your
mouth and the reed get dry a bit fast.

There are two different lip-modes.  Tight lip (where embrochoure (spelling)
is more important -- less lip pressure bends down, more up) and loose
lip mode where no pressure or bite is normal playing and pressure only bends
up.

It comes with a "special" cloth for keeping it clean, which they recommend
after every sitting.  It also comes with an extra MIDI cable.

This is one of the few "hot" y* products IMHO.

Chad

I've had mine since Nov. 87 - no maintenance problems at all. Getting the 
thing adjusted was another problem. In fact, playing it one night at Dave 
Orin's and hooking it up to his monitor helped finalize it. 

I paid $850.00 for mine - almost feel like a fool - cost me $550 to have it 
for 16 months - maybe that's not too bad.

About the only thing I do is clean the mouthpiece when it starts to taste like 
swamp water. I also bought an AC adapter - the thing eats batteries.

Geoff

    A new Y-word controller to hit the streets soon: the Windjammer.
    
    This is being sold *not* through the keyboard division but band
    instruments....it's a WX-like controller married to a sound module with
    four-part multitimbrality of unspecified polyphony.  Controller may use
    either saxopohone or recorder fingerings.  You can drive the internal
    sounds or MIDI out, also play the internals from MIDI.
    
    List price, a mere $625!!!!
    
    							Brian

    
    
    re .14
     
    
      I saw it months ago in the Yamaha showroom on 57th ST.
    Sure *looks* like a toy. Accompanying cardboard cutout showed some
    buffoon jamming with himself on the beach, complete with admiring
    bimbos. Yuk. =*^}
    
    
    
    RichC
                     

    ... but, I LIKE being surrounded by admiring bimbos.