Yamaha FM enthusiasts, help me hone my live setup

[Hallu]

Hello Vintage Synth

This might cause some debate among FM enthusiasts. I am one myself, and I am struggling
I need your help

I own two FM synthesizers (a Yamaha DX7 + TX81Z)
I own one sequencer (MMT8)
I own one MIDI controller (Behringer BCR-2000)
I own one digital effects unit w/ MIDI control (BOSS SE-70)

I am thinking of the best way to control everything. I am wanting ways to control tone of the FM synthesizers live; similar to how people will use knobs on analog synths for filter sweeps or envelope changes, but with a decidedly FM bent (these are obviously different ways of synthesis, so similar concepts do not apply)

The BCR 2000 has 32 encoders for realtime control

For the effects unit, all I want is a dedicated knob for changing the delay effect's rate and one and feedback level

That brings me down to 30 encoders

I have an idea of how to control the sounds with the knobs live, but it may be wonky. I don't do a lot of sustained notes, and the repeated notes tend to be short. A number of parameter changes won't affect until the next note, but that is negligible since I am not doing pads

I am thinking of making every operator coarse frequency and output level accessible. Output levels can make a tone go from airy to clashy, and wavers the harmonic content in a very loose way similar to filter sweeps, and frequency tone changes also are reminiscent of filter sweeps but in this alien, otherworldly tone

If I chose to add those, I'd have twenty less knobs, being down to 10 free encoders

I would want LFO control on the MIDI module, so I'd want rate, PMD and AMD, and shape
I would have LFO data set up to be controlled on the DX7 (I feel comfortable only switching between LFO settings on the data slider live)

That brings me down to six free encoders

Does this sound like a fun way to control FM synths live so far? Should I not do output levels or coarse frequency? What should I do with my remaining knobs? Something tells me the top row of BCR-2000 knobs could be used to do multiple CC changes at once (I just got one and read the manual, not strong on its full specifics), which would be perfect for doing envelope changes to every operator at once to give sounds a single ENV sorta tone for snappy bass lines

How could I control my FM tones more efficiently?

[CS_TBL]

Unless you have the Jellinghaus DX7 controller, you'll not have enough knobs.



I can live mousing around (with FM8), for the simple reason I know what I'm doing and I only need to change one controller at a time while playing/testing a sound. What's important is that you can have quick access to each controller, even if you only use a few at a time.

Also, there's no such thing as less or more important functions. I can spend minutes tweaking the envelope and the scaling alone, often the operator waveforms are however set in an early stage and I rarely need to change them afterwards. The beauty of FM is that all functions are handy, the downside is that it means you actually need all functions.

[Virgule]

I don't know how much of it is possible but you'd need midi mergers to allow input data from the behringer and or sequencer/other keyboards.

Found this clip after a quick youtube search.

[Jabberwalky]

I haven't tried the BCR with FM yet, but from what everyone has told me, the DX synths cannot handle lots of parameter changes at once. It's all Sysex, and chokes up when you move a knob too quickly.

[Hallu]

I haven't tried the BCR with FM yet, but from what everyone has told me, the DX synths cannot handle lots of parameter changes at once. It's all Sysex, and chokes up when you move a knob too quickly.

They don't handle a lot in real time, but as I said I do a lot of "plinky" sounds. I also don't plan on doing lots of tweaks in a short time, moreso gentle fades. Think of it like how someone would slowly work delay and EQ settings in a dub techno set, but for weirdo electronic sounds. Also when the DX synths choke it sounds neat in a glitchy way, which is a main draw for me using them in my set.

The envelope scaling is a good point though, and while operator output levels do make a large difference they are one of the parameters that lag from initial change to when it affects the synth. So should I do scaling instead?

Also, there's no such thing as less or more important functions. I can spend minutes tweaking the envelope and the scaling alone, often the operator waveforms are however set in an early stage and I rarely need to change them afterwards. The beauty of FM is that all functions are handy, the downside is that it means you actually need all functions.

I know all have a vast importance to sound, but I'm wanting parameter changes that affect the tone of the patch without veering so far off the initial sound I started with is destroyed. Lets say I am using a conga drum patch. I want to have a set of parameters to change the sound so the conga sound mutates, but stays conga. I was figuring coarse tone and output level would leave a number of parameters, like envelopes, the same that define the "conga" so I can get wacky with the rest. This is only for live use, not for making patches or working at home for what I will play (I use MIDI Quest for patches).

[karmag]

Tweaking coarse frequency seems like something that would turn that conga who-knows-what as soon as you touch it. But perhaps that's just me, it might work.

I think I'd want to have some control over the modulator envelopes too, the carrier envelope(s) maybe not.

Either way, sounds like it would be fun!

[zukskywalker]

You can pretty much match to the era of your boards with an old MOTU Midi timepiece II, which is an 8x8 midi router. A wee bit of programming and everything talks to everything.
Oh, and there's the old "knobby" DX200. It's DX FM, all knobs transmit, and is a bit of a beast unto itself.
Not sure about sysex, but control over midi to modules works fine here.