Yamaha Djx 2 Manual
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Chapter 12 Pattern Player Power Tips 41 46Step up to the next Pattern and Vari- ation Here’s a “Variation” on Tip 45 above. This lets you select the next Pattern number and one of its Variations at the same time. Press NEXT and the desired Variation key in the Pattern Player. Both the Pattern number and the Variation number change simultaneously. Naturally, you can do the same with the PREV (Previous) key as well. 47Cool outro Here’s a tip you can use for creating professional endings! While the Pattern is running, press PHRASE1+2+3 of Part Mixer to turn off the basic rhythm and drum parts of the Pattern. Let the Phrase Parts play for about one or two bars, then press PATTERN STOP just after the end of the Pattern — right before the “one” of the next measure.
42 48Creative fill-in 1 Select P03 and start with V1. Then, hit the V1 key in the following rhythm. 49Creative fill-in 2 Select P03 and start with V2. Hit the V2 key repeatedly in the following rhythm, then play the V3 key on the “one” to change the Pattern! 50Using the Activator to lead into the next Variation Here’s a cool technique you can use as a transition or fill to the next Pattern Variation. It’s a slick way to change the rhythm without breaking the flow! Select P06 and A02. Start up V1, and play Activator Loop 1 while the Pattern is running. As soon as Loop 1 plays for a bar or two, stop the Loop and change to a new Variation — by pressing the Loop 1 key and V5 at the same time. OneOne Two Three Four V1 Start! Hit it here... ...and here! OneOne Two Three Four V3 V2 Start! Hit it here......and here!...and here! ...and here!...and here!...and here!
43 Chapter 13 Live Effector Power Tips 51Distortion This little trick can kick your tracks into high gear! Use the Distortion effect selectively, applying it only to certain beats in the Pattern, places you want to add an accent — such as on the 2nd or 3rd beat of the bar. This gives you a massive, in-your-face sound — right on that all-important back- beat — and takes the rhythm to a new level! In a Variation on this technique, bring in the Distortion repeatedly and rhythmically. This punches new accents into the Pattern, and — with the right treatment — creates a completely new Pattern! This technique works extremely well with some of the other effects, such as Ring Mod, Flanger, and Phaser. Naturally, you can record your playing to the Performance Recorder (page 56) and use the new Pattern as a Variation — in real time, without having to re-execute the complicated moves! One Two Three Four Release!This timing!
44 52Auto Pan Tweak the knob until you hit the “sweet spot” — the point at which auto panning syncs up to the bpm and gives you the rhythmic effect you want. Tech tip: The knob positions and the corresponding bpm readings shown here are approximate — let your ears be the final judge! 53Ring Modulation As we pointed out in Tip 16, this effect is a powerful one, so you’ll want to save it for huge, in-your- face intros, transitions and endings. Here’s how you can use Ring Modulation to build to an enor- mous climax: First, set the controls — CONTROL to min and BALANCE to max. Then, hold the effect on (or lock it, as described in Tip 13), and simultaneously move the CONTROL knob toward max — very slowly. Use the effect to build to a fever pitch, then — right at the climactic moment, just before the “one” — turn the effect off and switch to a new Pattern or Variation. 54Flanger 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.) q w e r No modulationFast speed for special effects. 0 1 2 3 45678910 11 12 13 q 1 beat cycleKnob position678910111213 bpm 55 70 90 110 125 145 160 195 w 2 beat cycle Knob position56789 bpm 70 110 140 180 200 e 3 beat cycle Knob position4567 bpm 60 105 165 210 r 4 beat cycle Knob position45 bpm 80 140 qw Turn the knob VERY slowly!
Chapter 13 Live Effector Power Tips 45 55Phaser 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.) 56Slice 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. 57Delay 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 oclock, 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! CONTROL knob position and Delay time The knob position determines the rhythmic division (in note values) of the Delay — automatically synchronizing the Delay to the bpm. One Two Three Four Release!Try hitting the beat with the effect at these points.
46 58Echo Many styles of dance music use echo effects in surprising, unique ways. The DJX-II’s Echo effect lets you use the popular 3/4 beat delay to build up dramatic rhythmic rolls and fills. It also gives you some fascinating echo textures to use in transitions and endings. Here’s a cool trick you can use in your own music! Select P08 and start up V1 with only the Kick. Set CONTROL to about 2 o’clock and BALANCE to roughly 12 o’clock (center). Turn on the effect, then stop the Pattern and let the Kick repeats fade out. Just before the Kick disappears, start the Pattern with all the Parts on! 59Lo-Fi Though you may have personal preferences of your own, Lo-Fi is often best when set to the extreme settings — with CONTROL at max and BALANCE at wet. To get an even more authentic AM radio sound, set the Isolator LOW and HIGH knobs to min. Work these controls in rhythm, and try to bring the sound back to normal right on the “one” downbeat — turning the effect off and bringing the LOW and HIGH knobs to center as quickly as you can! 60Wah 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.)
Chapter 13 Live Effector Power Tips 47 61One-hand Effector control! This technique may take a little practice and some digital dexterity — but once you’ve got it down and are able to play in the pocket, you’re on your way to being a true DJ wizard! Grab the Control knob with your forefinger and thumb, and use your middle finger or ring finger to flick the effect switch on and off. This lets work the effect in rhythm — and still have your right hand free to change Patterns and trigger Activator loops and one-shots. Or use your right hand to further mangle the sound with the Isolator or Part Controller knobs! As always, keep the rhythm steady — a master DJ is only as good as his time! Left hand Right hand
48 62Isolator to the max! Play the Isolator in real time! Get the Pattern running, then tweak the knobs to their extreme set- tings for radical changes to the sound — on the fly! For example, try cutting back Low and Mid to zero, and bring High up to the max — for a really brit- tle, tinny sound. Or try boosting Low to the max while taking Mid and High all the way down — for a boomy, bass-only sound. Or go for the sound of an AM radio by setting Mid to max and cutting Low and High. Since the effect of the Isolator controls depends in part on the selected Pattern, you’ll need to do some playing around. Stick to one Pattern and some of its Variations, then experiment with the Isolator to find some hip settings. For maximum dramatic effect, make these changes as quickly as you can, bringing the knobs up or down instantly, if possible. Also, rhythm rules — so, make your moves on the downbeat, right in time! Practice your moves and get them down so you can tweak the sound as you perform! Brittle, tinny sound Boomy, bass-only sound AM radio sound
49 Chapter 14 Part Mixer Power Tips 63Toggle the Part Mix Here’s a quick and really powerful way to break up the beat! The Toggle key lets you switch between two opposite arrangements of the rhythm. For example, if the Bass is off and all the rest of the Parts are on, pressing the Toggle key instantly switches the Pattern so that only the Bass is on, and all the rest of the Parts are off. What a great way to turn the sound around! 64Cool intro Here’s a specific example to get you started arranging your own tracks! Select P07 and start V6, and set Part Mixer so that only Phrase 1, 2 and 3 are playing. Then try adding the Kick, Bass, Hi-Hat and Snare Parts one-by-one until you’ve got the whole Pattern hap- pening. Try this “one-by-one” arranging technique on other Patterns as well. p07
50 65Solo 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! 66Hit the downbeat! We said it before, we’ll say it again— make sure you keep it in the pocket! That means making all your hits right on the beat, so that the whole rhythm grooves. Hitting the downbeat is a little bit tricky, though. When you turn on a Part, you’ll probably have to hit the key a fraction of a second before the actual downbeat to make everything flow smoothly and stay in the pocket. Turning off a Part is easier and more forgiving — basically do it whenever you want, or wherever feels good! 67Custom 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! One Two Three Four For example, just before this timing! qw