OWNER’S MANUAL MUSIC SYNTHESIZER OWNER’S MANUAL M.D.G., EMI Division, Yamaha Corporation © 1999 Yamaha Corporation V419010 This document is printed on chlorine free (ECF) Paper. 909MWCP25.
SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK).
PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility 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: • This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way.
Introduction Thank you for purchasing the Yamaha S80 Music Synthesizer. Your new S80 synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the creation of super-realistic sounds. You can play these sounds over the 88-note fully-weighted keyboard. It also supports optional Plug-in Boards that provide other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds.
Table of Contents Basics Section Basics Section Reference Section The Controls & Connectors ................................6 Voice Mode........................................................64 Before Use ........................................................12 Voice Play ..............................................................64 Power Supply ........................................................12 Voice Edit ..............................................................68 Connections ..
Basics Section Basics Section The Controls & Connectors Front Panel PITCH bend wheel (Page 43) Controls the pitch bend effect. You can also assign other functions to this controller. MODULATION wheel (Page 43) Controls the modulation effect. You can also assign other parameters functions to this controller. GAIN .....
Basics Section LCD (Liquid Crystal Display) This is a backlit 2-line display. 3.3V [DATA] knob (Page 25) Use this to increase or decrease the value of the parameter at which the cursor is positioned. CARD ASSIGNABLE KNOB SHIFT PAGE A PART/ELEMENT B C 1 2 DATA Knobs [A], [B], [C], [1] and [2] (Page 24) In each Play Mode, these knobs mainly control the functions respectively assigned to them. In each Edit Mode, each knob is used to enter a value for the associated parameter shown in the display.
Basics Section [MASTER KEYBOARD] key (pages 57, 111) The S80 keyboard can work as MIDI master keyboard in Performance mode. When the key is pressed and switched on (the LED will light), the keyboard can play and control multiple MIDI sound modules connected to the S80. [EF BYPASS] key (Page 56) Enables/dsiables the Effect Bypass. Press the key (its LED will light) to bypass the effects used with the current Voice or Performance.
[QUICK ACCESS] key (Page 68) When you press the [QUICK ACCESS] key (its LED will light), you can use BANK keys [A] to [H] to directly select Categories and PROGRAM keys [1] to [16] to quickly select Voices. AC INLET POWER ON / PRE1 PRE 2 INT DRUM EXT PLG1 PLG2 DRUM OFF QUICK ACCESS A B C D E F G H A. PIANO E.
Rear Panel Basics Section POWER switch (Page 19) Use this to switch the synthesizer on or off. AC INLET terminal (Page 12) Plug the female end of the supplied AC power cord in here before plugging it into an AC wall outlet. CARD slot (Page 142) Insert a Memory Card here to transfer various data to/from the instrument. Read carefully the precautions on use of a Memory Card (Page 142) before using a card.
TO HOST terminal Connect a computer here using an optional serial computer cable (Page 16). BREATH jack (Pages 18, 44) Connect an optional breath controller BC3 here. You can use the Breath Controller to change the output level or tone of the sounds according to the strength of your breath. THRU MIDI OUT IN HOST SELECT TO HOST SUSTAIN jack (Pages 18, 44) An optional Foot Switch (FC4 or FC5) can be connected here.
Basics Section Before Use This section explains how to connect to an AC power source, audio and MIDI devices, and a computer system. Only switch the synthesizer on after you have made all the necessary connections. It is recommended that you read this section before using the synthesizer. Power Supply Rear panel AC INLET terminal Power cord (included) 1Make sure that the instrument’s POWER switch is at the OFF position.
Connecting to External Audio Equipment Since the synthesizer has no built-in speakers, you need to monitor its sound output via external audio equipment. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations. Connecting Stereo Powered Speakers A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings.
Speaker Basics Section Amplifier L R Mixer OUTPUT L R Headphones 1 PHONES 2 3 4 5 6 OUTPUT L / MONO 7 8 R 9 10 11 12 13 14 15 16 INDIVIDUAL OUTPUT1 L R INDIVIDUAL OUTPUT2 S80 Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks. However, you cannot monitor the sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones.
You can connect an external MIDI device using a MIDI cable (available separately) and control it from this synthesizer. You can also use an external MIDI keyboard or sequencer to control the synthesizer’s internal sounds. This section introduces several different applications of MIDI. The HOST SELECT switch on the rear panel should be set to “MIDI.” Otherwise, MIDI information will not be transmitted from the synthesizer’s MIDI OUT connector.
Controlling Another MIDI Device via MIDI THRU Basics Section External MIDI sequencer External MIDI synthesizer MIDI OUT MIDI IN MIDI IN MIDI THRU HOST SELECT PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN External MIDI synthesizer S80 With the above MIDI connections, you can send MIDI data from the MIDI OUT connector while MIDI data from the external sequencer can be sent to an external MIDI synthesizer via the MIDI THRU jack.
Basics Section 2: MIDI Interface to MIDI IN and OUT Using the computer’s MIDI interface HOST SELECT PC-2 PC-1 MIDI Mac Serial cable MIDI IN MIDI OUT Personal System/V PS/V MIDI OUT MIDI IN Personal System/V IBM Computer with MIDI interface S80 Using an external MIDI interface HOST SELECT MIDI Interface PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN MIDI IN MIDI OUT Computer S80 You will need to an appropriate MIDI application (sequencer, editor, etc.) for your computer platform.
Connecting Various Controllers Basics Section The S80 has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT CONTROLLER, FOOT VOLUME and BREATH. You can connect optional controllers like a Foot Switch (the FC4 or FC5), Foot Controller (the FC7) and Breath Controller (BC3, etc.) to control tone, volume, pitch and other parameters. Details about how to these controllers are given on Page 44.
Basics Section Powering Up Power-on Procedure When you have made all the necessary connections between your synthesizer and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures the smooth flow of signals from the first device to the last (first MIDI, then audio).
Basics Section If you have a Memory Card inserted in the instrument’s CARD slot or an optional Plug-in Board installed, you may see other screens before the Voice or Performance Play Mode screen is displayed. If a previously used Memory Card is inserted in the CARD slot, you will see a screen while files in EXT Memory are being loaded. If a new Memory Card (one never used on the instrument) is inserted in the CARD slot, you will see a screen while a basic file is being created in EXT Memory.
Basics Section Basic Operations This section gives some basic explanations about operating the synthesizer. Selecting a Mode There are several operation Modes — Voice Play Mode, Performance Play Mode, etc. — each of which enables you to work efficiently with the synthesizer’s various functions. An overview of each Mode is given on Page 35. There are separate Play Modes for Voices and Performances.
Basics Section Job Modes Other Modes When in each Play Mode, you can swiftly switch to each respective Job Mode by simply pressing the [JOB] key (its LED will light). 5 Utility Mode (Page 134) Press the [UTILITY] key (its LED will light) to enter Utility Mode. To exit to another Mode, simply press the respective key for that Mode. 4 Voice Job Mode (Page 105) Press the [JOB] key in Voice Play MSTR TG) Vol NoteShift Tune Sys 127 +63 +102.3c Mode.
Some Modes have more screens. In this case, you can use the [PAGE] knob while holding down the You can switch between screens using the [PAGE] [SHIFT] key to switch to a specific screen. knob and pressing [SHIFT], [PROGRAM/PART], For example, if you use the [PAGE] knob while hoilding down the [SHIFT] key in Voice Edit [EXIT] and [ENTER] keys. Mode, the following screen is shown.
Basics Section [ENTER] Key Moving the Cursor Normally, the [ENTER] key is used to apply parameter settings. In some cases, however, the following screen appears prompting you to press the [ENTER] key. By using a knob ([A], [B], [C], [1] or [2]) while holding down the [SHIFT] key, you can move the cursor (≥) to the respective parameter on the screen without affecting its value.
[DATA] Knob OSCíOut) EL1234 SHIFT PAGE A Level ≥ 96 B Delay 0 C 1 There are many ways to set parameters. Some parameters require you to directly enter numerical settings or alphabetic characters. With others, you can choose from a number of available settings. Furthermore, some types of parameters are “absolute” whereas others are “relative.” InsEF ins2 2 For example, the absolute parameter in the following illustration can be set to either “Mono” or “Poly.
Basics Section Demo Playback Several demo songs are supplied with this synthesizer. You can play them back as follows. Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on Page 12. At the “SEQ Demo” screen, any data in the instrument’s internal memory (System, Internal Voices or the like) will be overwritten by the data for the demo song. Important data should be saved to Memory Card (Page 144) beforehand. 1Press the [SEQ PLAY] key to enter Sequence Play Mode.
Basics Section Voices and Performances Playing a Voice Based on an AWM2 synthesis engine, this synthesizer offers various kinds of preset Voices (256 Normal Voices and 8 Drum Voices). You can also create your original Voices and store them into the instrument’s internal memory (INT) or an external Memory Card (EXT). The internal and external memory can each contain up to 128 Normal Voices and 2 Drum Voices. You can freely select and play Voices from both groups of memories, as explained in the following.
Basics Section The Drum Voices are held in separate areas of each Memory, and are accessed as follows. Details about selecting Voices using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 66. • To access the Preset Drum Memories (PRE:DR1 ~ DR8): Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key. You can also select Voices using a combination of BANK and PROGRAM/PART keys, using the Quick Access feature, or using the Category Search feature.
In Performance Play Mode, you can select and play any of 128 internal and 64 external (Memory Card) Performances. A Performance is a set of Voices used with the built-in (or an external) sequencer. Performances also let you set the synthesizer up for multitimbral operation. Each Performance can contain up to 16 Parts assigned to different Voices, plus extra Parts for A/D INPUT and Plug-in Boards. If the Layer Switch (Page 123) parameter is switched on for any Parts, those Parts can be play in unison.
Basics Section 3 Select a Performance Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Performance Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Performance Number.
In this section, an overview of the many features of the S80 is given. The S80 hardware is made up of a number of sections, as shown in the following diagram. Controller Section Keyboard Controllers Sequencer Section Tone Generator Section Song File Playback Arpeggiator AWM2 Plug-in Board Effects Section Controller Section This section consists of the keyboard, Pitch Bend and Modulation Wheels, Control Sliders, Assignable knobs and so on.
Tone Generator Section Basics Section This section plays back sounds according to information received from the keyboard and controllers. The following example illustrates the path taken by the signal from an Element in Voice Mode. Tone Generator Section OSC (Oscillator) Outputs the waveform of each Element. Each Voice consists of up to four Elements. PITCH FILTER Controls the pitch of each Element output from OSC. Changes the tonal quality of each Element output from PITCH.
• Virtual Acoustic Plug-in Board (PLG150-VL) With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional Breath Controller (BC3) or MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments.
Basics Section Effects Section The effects can be used to change the sound of a Voice or Performance. There are two Insertion Effect Units plus a Reverb Unit (with 12 types of reverb) and a Chorus Unit (with 23 types of chorus). Each of the Insertion Effect units offers a variety of effects, and the units themselves can be connected in parallel or in series.
About the Modes Voice Mode Basics Section The S80 has various Modes which you can select according to the task you wish to perform.
Basics Section Voices A Voice is a sound created from the many parameters set in the synthesizer. In Voice Play Mode, you can select and play any of these Voices. In Performance Play Mode, several different Voices (known as Parts in this Mode) can be layered and played simultaneously via keyboard or a sequencer. Four groups of Voices are available (Preset 1, Preset 2, Internal and External). Up to two further groups of Voices are available if optional Plug-in Boards have been installed.
Each Voice consists of up of up to four Elements. Each Element itself uses a high-quality waveform. Voice Element 1~4 Element Wave form AWM2: 553 Preset waveforms Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of Drum Voice assignments is known as a Drum Kit.
Basics Section Waves Waves are waveforms used as Elements that make up a Voice. 553 high quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters.
A Performance consists of up to 19 Parts, each of which can a Normal Voice, Drum Voice, A/D Input Part or Plug-in 1/2 Part. By switching on the Layer Switch parameter for different Parts (up to four), you can play back rich layered sounds in Performance Play Mode. You can also create splits so that different Parts are assigned to different areas of the keyboard. If you assign a different MIDI channel number to each Part, each track of a sequencer can play back a different Part.
Basics Section Ideal for Playing Live Many features of this synthesizer make it ideal for live performances. These features are explained here. 2 Using the Controllers (Page 43) 1 Using the Arpeggiator (Page 41) A wide variety of arpeggio patterns can be created automatically by just holding down a set of notes on the keyboard.
2Turn Knob [A] fully anti-clockwise until Common is displayed on the bottom line. Voice Edit Mode consists of two different Edit screens: Common The arpeggiator is particularly suited to Edit (for parameters common to all Drum dance/techno music genres. You can assign any keys/Elements) and Drum key/Element Edit. The of 128 Arpeggio Types to each Voice, Performance Arpeggiator parameters are found in the Common and adjust the tempo. You can also set the Edit screens that you have now selected.
Using the Arpeggiator Basics Section Use Knob [1] to set the Arpeggiator Switch parameter to “on.” You can hold down multiple notes to create complex arpeggio patterns. ARPíType) Type Tempo Common≥BigBeat2:Dr 92 SHIFT PAGE A B Switch on C 1 1The Note Limit parameters can be set in the ARP Limit screen, which follows immediately after the ARP Type screen mentioned in step 3 (earlier). Use the [PAGE] knob to switch to the screen.
Using the Arpeggiator Hold With Arpeggiator Hold switched on, the arpeggiator will continue to play back, even after you have released your fingers from the notes on the keyboard. The same arpeggio pattern will be played back until you press another set of notes on the keyboard. The S80 is equipped with Pitch Bend and Modulation Wheels. Either of the S80 is equipped with front panel Knobs [A], [B], [C], [1] and [2], with which you can control many different parameters.
Knobs [A]/[B]/[C]/[1]/[2] Foot Controller Basics Section In Voice/Performance Play Mode, Knobs [A], [B], [C], [1] and [2] can be used as real-time controllers. Knobs [A], [B] and [C] are assigned to control the equalizer gain of, respectively, EQ Low, EQ Mid and EQ Hi. With Knobs [1] and [2], you are free to assign different parameters per Voice.
Aftertouch Aftertouch lets you, for example, add vibrato to a sound by applying further pressure to a note on the keyboard while it is being held down. This allows real-time expression and control. Aftertouch can be used to control a wide variety of parameters (Page 74). Control Sets Aside from their default parameters, keyboard aftertouch, the controllers and some of the knobs on the front panel can be assigned with various parameters, as explained on Page 43.
Basics Section Control Sets and External MIDI Control Assigning Parameters to Knobs [A], [B] and [C] In a Control Set, the controllers are assigned to the internal parameters of the synthesizer. However, some controllers were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer.
The following procedure explains how you can assign a desired parameter to Knob [1] or [2]. You can assign controllers to each Voice (or Part in a Performance). Control Settings can be assigned as a Control Set, and a each Controller can be used to control multiple parameters (although this varies according to the type of Voice). Here we introduce an example of how to set up Control Set 1 for Internal Voice 001 (A01) by assigning PCHCrs (Pitch: Coarse) to Knob [1].
Basics Section 3 Use Knob [C] to select “01:ModWheel” (Modulation Wheel). Controlling Parameters by Foot Controller By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can control various parameters by foot without having to use your hands. In the following example, we introduce how to set up Foot Controller to work as Modulation Wheel.
Basics Section 1 Press the [UTILITY] key to enter Utility Mode. MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT STORE COMPARE 2 Use the [PAGE] knob to switch to the CTRL Other (System Control Other) screen. CTRL Other) FS Sys 088[ ------ ] SHIFT PAGE A B C 1 2 DATA PART/ELEMENT 3 Use Knob [B] to select "099:PC Inc" (Program Change Increment).
Voice Edit Basics Section There are 256 Normal Voice presets and 8 Drum 1 Selecting a Voice to Edit Voice presets. You can edit these to create new Enter Voice Play Mode by pressing a [VOICE] key. Voices, or build completely new Voices from scratch. You can then store up to 128 of these new/edited Normal Voices and up to 2 new/edited Drum Voices to internal user memory or external Memory Card.
After selecting a Common Edit screen or a edit screen for an Element (1 to 4), use the [PAGE] knob to switch to other screens. Element2 COMMON AMP Scale)Ofst1 EL12_34 + 0 Element3 SHIFT PAGE A B Ofst2 + 0 C Pfst3 - 21 1 Ofst4 - 35 2 DATA Element4 PART/ELEMENT There are many parameters available within a screen. To make editing easier, the knobs below the LCD are assigned to each of the parameters in the screen.
Basics Section • QED (Common Quick Edit) These parameters mostly control the volume and tone of the Voice and you can easily change the overall sound. QEDíLevel) C 1234 Vol 127 Pan RevSend ChoSend C 127 127 4 OSC (Oscillator) Screens In these screens, you can mainly set the parameters controlling the waveforms on which the Voice is based. You can select the Wave used for the Element, the volume and note range of each Element and so on. • OSC Wave Select the waveform (Wave) used for each Element.
Note Limit C-2 - G 8 Vel Limit 1 - 127 6 FLT (Filter) and FEG (Filter EG) Screens You can use the filter to change the tonal characteristics of each Element, by adjusting overtones (harmonic tones) included in the waveform from the Element. There are several types of filters, but its basic idea is similar.
Basics Section 7 AMP (Amplitude) and AEG (Amplitude EG) Screens 8 LFO (Low Frequency Oscillator) Screens Set the volume of each Element after the OSC (Oscillator), PITCH and FILT (Filter) parameters have been applied, and also the final overall volume of the signal sent to the outputs. The signal of each Element is sent at the specified volume to the next Effect Unit. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time.
Effects in Voice Mode In the final stages of programming, you can set the effects parameters to further change the sound’s character. To generalize, System Effects apply to the overall sound, whether it is a Voice, a Performance, a Song, etc. Insertion Effects, on the other hand, can be applied individually to each Voice. This synthesizer has two System Effect Units (Reverb and Chorus) plus two Insertion Effect Units.
System Effects Mixer Basics Section Reverb Chorus Insertion Effect 1/2 1 2 3 4 5 6 16 Part 1~16 Effect Bypass You can temporarily switch effects off or on by pressing the [EF BYPASS] key. To use this function, you will need to specify the effect to be bypassed in the MSTR EF Bypass screen of Utility Mode (Page 135). You can also specify more than one effect.
As previously explained, your Synthesizer provides several convenient features that you can make use of in a live show or the like. Here we introduce some examples to combine those features to meet your specific purposes. 2Select “Common” using the Knob [A], then open the General Master Keyboard (GEN M. Kbd) page using the [PAGE] knob. GENíM.
Basics Section 9Turn the [PAGE] knob and open the ARP Type In the following example, Zone 1 is set up for performance by the Arpeggiator, Zone 2 for bass (Arpeggio Type) page. Set “on” for “Switch.” sound, Zone 3 manual solo performance, and Zone 4 ARPíType) Type Tempo Switch Hold for playing an external MIDI tone generator.
MKBíTransmit) Zone01 TrnsCh Ch01 TG on 9Use again the Knob [A] to switch to the MKB Note screen for “Zone03”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest. )Use the Knob one more time [A] to switch to the MKB Note page for “Zone04”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest. Note that this key range setting will make a overlapped range with Zone 3.
Basics Section %As in the same manner in steps ! to #, set up 1Press the [PERFORM] key, followed by the for Zone 3. Turn the Knob [A] and select [EDIT] key (each LED will light) to enter “Part03”. Next go to the Mix Voice (MIX Vce) Performance Edit Mode. Then, press the page using the [PAGE] knob, and select a Voice [MASTER KEYBOARD] key to activate Master for manual solo performance. Then, use the Keyboard Mode (its LED will light).
8As in the same manner in steps 5 to 7, set up for the Upper Part. Select “PartP1” for the Lower Part, go to the Mix Voice (MIX Vce) page using the [PAGE] knob, and select another Voice (Plug-in Voice) for the Lower Part. Also, go to the Layer Mode (LYR Mode) page to set the Layer Switch (Layer) to “off” and the MIDI Receiving Channel (RcvCh) to “2.” Note Limit setups are provided for setting Master Keyboard Mode, Part , and Voice. They are associated to one another as follows.
Basics Section Using as a Multitimbral Tone Generator (Performance Mode) Performance Mode lets you use your synthesizer as a 4Next, use the [PAGE] knob to switch to the multitimbral tone generator for use with computerMix Level screen, then set the volume for the based music software or external sequencers. If each piano Part as well as, if necessary, its pan track in a song file uses a different MIDI channel, position, chorus and reverb Send levels.
Part 1 Solo-type Voice Layer=on Part 2 Piano-type Voice Receive Ch. 2 Track 2 Bass Transmit Ch. 3 Part 3 Bass-type Voice Receive Ch. 3 Track 3 Drums Transmit Ch. 10 Part 10 Song File Track 1 Piano Transmit Ch. 2 While playing back the song file with the piano, bass and drum Parts assigned earlier, you can set up the Performance so that you can also play another Part live. Playback using keyboard Performance Part 1 Song File Track 1 Piano Transmit Ch.
Reference Section Voice Mode Voice Mode Voice Play Memory/Voice Program Number PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset Drums, INT to Internal, EXT to External, PLG1 to Plugin Board 1 and PLG2 to Plug-in Board 2. All voice Program Numbers within each memory fall in the range 001 to 128. Drum Voices are DR1 to DR8.
Voice Program Selection 3.Voice Category/Name • Using the BANK/PROGRAM keys • Using the [DEC/NO] and [INC/YES] keys • Using the [DATA] knob • Using the Category Search The two characters to the left of the Voice Name denote the category of instrument or sound to which the voice belongs. Details about Category names are given on Page 70. Voice Name Using the BANK/PROGRAM Keys This consists of up to 10 characters. 1Press a MEMORY key to select a Voice Memory.
Using [INC/YES] and [DEC/NO] Keys PRE1 Press the [INC/YES] key to select the next Voice and the [DEC/NO] key to select the previous one. PRE 2 INT DRUM EXT PLG1 PLG2 DRUM DEC/NO INC/YES Voice Mode Previous Number Next Number The voice is selected by pressing just the [INC/YES] or [DEC/NO] key. This method is useful when selecting a Voice that is located near the currently selected Voice.
VCE Srch) PRE1 PRE 2 INT EXT PLG1 SHIFT DRUM PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search PLG2 PAGE A B C 1 2 DATA DRUM PART/ELEMENT 2 3 4 5 6 7 Set a Voice Category Select a Voice Memory 8 Search Select a Program Number 9 10 11 12 13 14 15 1Turn Knob [B] to select a Voice Memory. You can select Voice Memories other than those on PLG1/2. 16 2Turn Knob 1 to select a Voice Category. The Voice Category in the LCD will blink.
within the current Voice Memory, [------] is displayed in the LCD and you will not be able to use Knob [2]. Press the [ENTER] key to start searching in the next Memory. Voice Edit There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following is an explanation of the parameters used to edit each kind of Voice. Using the Quick Access Details about Voices are given on Page 36.
Element1 Voice Store COMMON Element3 When creating a new Voice from scratch, it can be useful, prior to editing, to clear the settings for the current Voice using the Initialize Voice function in Voice Job Mode (Page 105). Element4 The í Indicator Normal Voice If you alter any parameters in Voice Edit Mode, the í indicator will be displayed in the top left of the screen. This gives a quick indication that the current voice has been modified but not yet stored.
Voice Mode FLT Sens (Filter Sensitivity) FEG VelSens (FEG Velocity Sensitivity) FEG Time FEG Level FEG Release FLT KeyFlw (Filter Key Follow) FLT Scale (Filter Scale Break Point) FLT Scale (Filter Scale Offset) Element Amplitude AEG VelSens (AEG Velocity Sensitivity) AEG Time AEG Level AEG Release AMP KeyFlw (AMP Key Follow) AMP Scale (AMP Scale Break Point) AMP Scale (AMP Scale Offset) Element LFO (Low Frequency Oscillator) LFO Wave LFO Depth Element EQ (Equalizer) EQ Type EQ Param (EQ Parameter) 85 85 8
GEN Other (General Other) Common Quick Edit There are various parameters for Micro Tuning and for controlling how the generated sound is output. Various parameters control the sonic properties of the Voice. There are four screens. Assign single QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) MicroTuning 31:Indian ■ Mode Select monophonic or polyphonic playback.
■ Sustain Set the level of the Voice maintained while the note on the keyboard is being held down. QED Filter (Quick Edit Filter) These parameters control filters which affect the tonal quality of the Voice. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter page only affects LPF.
■ Switch Switch the Arpeggiator on or off. If the Arpeggio Category is set to Ct, you will not hear any sounds unless you select “direct” here. ■ Hold Switch the Arpeggiator Hold on or off. ■ Vel Mode (Velocity Mode) Set the playback velocity of the Arpeggio. There are 2 modes. ❏ Settings: syncoff (see below), off, on syncoff The first time you press a key, the first note of the arpeggiator pattern is played.
Common Controller CTL Bend (Pitch Bend) There are eight Control Settings. You can set the Controller parameters for Portamento, the Pitch Bend Wheel, and for each Element in a Voice. You can set the amount by which the Pitch Bend Wheel changes the pitch of the Voice.
■ Dest (Destination) Set the parameter to be controlled by the Control Set in Src. There are various settings for the LFO. The LFO is used to generate low frequency signals and can be used to create vibrato, wah, tremolo and other effects when applied to pitch/filter/amplitude/etc. parameters. For example, variations can be simultaneously applied to both pitch and filter parameters, and to parameters specific to individual Elements. The following four settings are available.
■ KeyReset (Key on Reset) Set whether the LFO is reset each time a note is pressed. The following three settings are available. trpzd ❏ Settings: off, each-on, 1st-on Voice Mode off The LFO is self-running (no synchronization) and starts a waveform at any phase when you play on the keyboard. S/H 1 Time Key on S/H 2 each-on The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (see below). Time ■ Speed Set the speed of the LFO Wave modulation.
■ Hold Set the length of time during which the LFO is held at its maximum level. A higher value means a longer Hold time. LFO Fade FadeIn 127 Hold FadeOut 127 127 ❏ Settings: 0 ~ 127 Voice Mode LFOíFade) Delay C 1234 127 Hold ■ Delay Set the delay time before the LFO comes into effect. A higher value means a longer delay time. Max ❏ Settings: 0 ~ 127 Time Short delay ■ FadeOut (Fade-Out) Set the time taken for the LFO effect to be faded out (after the Hold time has elapsed).
■ Dest (Destination) Set the parameters which will be controlled (modulated) by the LFO Wave. EFFíEF2) Ctgry Type Dry/Wet [ENTER] C 123DLY:DelayLCR D
EFF Rev (Reverb) Element OSC (Oscillator) You can select the Reverb Effect Type, then press the [ENTER] key to set its parameters. You can set the parameters for the Elements (Waves) which make up the Voice. Each Voice can consist of up to four Elements, and the following four screens are available for each. Return [ENTER] 127 to Edit OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Limit (Oscillator Limit) ■ Type (Reverb Effect Type) Set the Reverb Effect Type.
OSC Limit (Oscillator Limit) Long Delay You can set parameters controlling the note range of each Element and the velocity. OSCíLimit) EL1234 Note Limit C-2 - G 8 Vel Limit 1 - 127 Key on Voice Mode ■ Note Limit Set the lowest and highest notes of the keyboard range for each Element. Each Element will only sound for notes played within its specified range. ■ InsEF (Insertion Effect) Set the Insertion Effect to which the output signal from each Element is sent.
■ Coarse Adjust the pitch of each Element in semitones. ■ Hold (Hold Time) Set the Hold Time. ❏ Settings: -48 ~ 0 ~ +48 ❏ Settings: 0 ~ 127 ■ Attack (Attack Time) Set the Attack Time. ■ Fine Fine-tune the pitch of each Element. ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. ■ Random Set the amount by which the pitch of each Element is varied at random for each note you press. A setting of zero means the original pitch is not changed. ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time.
■ Time (Release Time) Set the Release Time. ■ Center (Center Key) Set the basic pitch used by the Pitch parameter. ❏ Settings: 0 ~ 127 ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. ■ Level (Release Level) Set the Release Level.
Element Filter LPF24D (Low Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic LPF with a strong Resonance. You can set Filter parameters to change the tonal characteristics of each Element. The following ten screens are available.
• HPF (High Pass Filter) This only passes signals above the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Two types of HPF are available. BPF6 (Band Pass Filter 6dB/oct) The combination of a -6dB/oct HPF and LPF. Level Cutoff range Range passed Cutoff range -6db/oct Voice Mode Level Frequency BPF12D (Band Pass Filter 12dB/oct Digital) The combination of a -12dB/oct HPF and LPF.
■ EGDepth Set the sensitivity of the Filter to note velocity. A positive setting will produce large filter changes for notes played harder, and a setting of zero will produce no filter changes at all. With a negative setting, the EG envelope will be inverted. ❏ Settings: 0 ~ 255 ■ Reso (Resonance)/Band/Width This parameter’s function varies according to the selected Filter Type. If an LPF or HPF has been selected, this parameter is used to set the Resonance.
Voice Mode FEG Time FEG Release You can set various Time parameters for the Filter Envelope Generator (FEG). Combined with the FEG Level and FEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. You can set Release Time and Release Level parameters for the Filter Envelope Generator (FEG).
■ Cutoff Set the Filter Key Follow ratio (the amount by which the Filter Cutoff varies according to note position) for each Element. A Center Key setting of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect. You can set four Filter Scaling Break Points for each Element.
■ Attack (Attack Time) Set the Attack Time. Element Amplitude You can set Amplitude parameters to affect the output level of each Element. The following seven screens are available. ❏ Settings: 0 ~ 127 ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. Voice Mode AEG VelSens (AEG Velocity Sensitivity) AEG Time AEG Level AEG Release AMP KeyFlw (AMP Key Follow) AMP Scale (AMP Scale Break Point) AMP Scale (AMP Scale Offset) ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time.
■ Level (Release Level) This shows the Release Level. (Fixed at zero.) ■ Center (Center Key) This shows that the basic Level is at note C3. At this note, the output level remains unchanged. For other notes, the output levels vary according to the Level settings. The Center setting cannot be changed. Amplitude Envelope Generator Settings There are four Time settings (controlling the speed of changes in output level) and five Level settings (controlling the output level).
AMP Scale (AMP Scaling Break Point) The Break Point Levels are Offsets used to increase or decrease the current amplitude at the specified notes. Regardless of the size of these Offsets, the minimum and maximum amplitude limits (values of 0 and 127, respectively) cannot be breached. You can set four Amplitude Scaling Break Points for each Element. Amplitude Scaling controls the amplitude according to the positions of the notes on the keyboard.
■ Speed Set the speed of the LFO waveform. A larger setting means a faster speed. ■ AMod (Amplitude Modulation Depth) Set the amount (depth) by which the LFO waveform varies (modulates) the amplitude of the sound. A larger setting means a larger modulation depth. ❏ Settings: 0 ~ 63 ❏ Settings: 0 ~ 127 Element EQ (Equalizer) You can set the following two Equalizer parameters for each Element.
■ LoFreq (Low Frequency) Set the low frequency of the Shelving filter. Frequencies below this point are attenuated or boosted by the Low Gain parameter. ■ Q (Frequency Characteristic) Set the Q (Frequency Characteristic). 32 different Characteristics are available. ❏ Settings: 0 ~ 31 ❏ Settings: 50.1Hz ~ 2.00kHz Voice Mode • Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/ Boost18 (Boost 18dB) These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively.
Drum Common General 96 96 96 96 96 97 97 91 91 91 For Drum Voices, there is only the one type of Common General shown below. The parameters and settings are the same as for Normal Voices. Details are given on Page 70. GEN Name (General Name) Drum Common Quick Edit The following four screens are available for Drum Voice output level and timbre parameters.
■ Attack Set the Attack time (the time from the moment the note is pressed to the point at which the maximum sound output level is reached). Drum Key OSC (Oscillator) You can change your Drum Voice waveform settings. Each Drum Voice can consist of up to 73 Drum Keys (Page 37), assigned to notes spread across the keyboard (C0 to C6). You can assign waveforms to Drum Keys and set their parameters. The following four screens are available.
■ Pan Set the Pan position for each sound in a Drum Voice (Drum Kit). This will also be used as the basic Pan position for the Alternate and Random settings. OSC Out (Oscillator Out) Set the Wave or Normal Voice output settings for each Drum Key. Level 127 InsEF RevSend ChoSend thru 64 127 ■ Alter (Alternate) Set the amount by which the sound is panned alternately left and right for each note you press. The Pan setting is used as the basic Pan position.
■ RcvNtOff (Receive Note Off) Select whether MIDI Note Off messages are received by each Drum Key. Drum Key Filter You can apply filter settings to the Drum Voice. A Low Pass Filter and High Pass Filter can be applied per Wave to change its tonal characteristics. ❏ Settings: off, on This parameter depends on the Type of Drum Key Wave chosen in the OSC Wave screen. This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.
AMP AEG (Amplitude Envelope Generator) The Amplitude Envelope Generator has three Time parameters and one Level parameter. These govern the transitions between output levels for the duration of a note. The Attack Time is the time taken for the sound to reach its peak output level from the moment a note is played on the keyboard. The Decay 1/2 Time and the Decay 1 Level parameters are used to set the behavior of the remainder (between the sound’s peak output level and the point at which it fades to zero).
Plug-in Voices The Voices held on Plug-in Boards (Single Part) are known as Board Voices. A Plug-in Voice is a Board Voice that has been processed in the synthesizer in Voice Edit Mode. There are six Common Edit screens and four screens for editing the Element of a Plug-in Voice. You can save up to 64 edited Plug-in Voices in Banks A to D of Memory PLG1/2.
Plug-in Common General QED Filter (Quick Edit Filter) The General parameters are shown in the following two screens. The parameters and settings are the same as for Normal Voices. Details are given on Page 72. GEN Name (General Name) GEN Other (General Other) The EG (Envelope Generator) can be used to control the change in Plug-in Voice volume over time.
Plug-in Common Controller CTL MW Control (MW Control Depth) You can set Pitch Bend Wheel, Modulation Wheel and other Controller parameters for the Plug-in Voices in the following nine screens. Here, you can set the depth of control the Modulation Wheel has over the filter.
■ PMod (Pitch Modulation Depth) Set the depth of control the Control Change messages (selected in the Source parameter) have over the pitch modulation. The larger the setting, the greater the depth of control. CTL AT Modulation (AT Modulation Depth) Here, you can set the depth of control that keyboard aftertouch has over the pitch, filter and amplitude modulation of the Plug-in Voice.
■ Delay Set the delay time between the moment you press a note on the keyboard and the moment the LFO comes into effect. As shown in the illustration, a positive setting will lengthen the delay and a negative setting will shorten it. OSC Assign (Oscillator Assign) You can select the Board Voice that make up the Element in a Plug-in Voice. Use Knob [C] to select the Bank and Knob [1] to select the Board Voice.
PCH PEG (Pitch Envelope Generator) EQíParam)LoFreq Elem 2.0k Attack Release---Level +63 +63 -64 LoGain +12 HiFreq 16.0k HiGain -12 + ■ InitLvl (Initial Level) Set the Initial Level. ❏ Settings: -64 ~ 0 ~ +63 0 Frequency ■ Attack Set the Attack Time. Low Freq ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the Release Time. High Freq ■ LoFreq (Low Frequency) Set the shelving point for the low frequencies.
If a Board Voice in the Custom Bank has been edited in Voice Edit Mode, you can store it as a Plug-in Voice in Memory Bank A to D of PLG1 or PLG2. Up to 64 can be stored in each Bank. Editing Plug-in Board Voices Plug-in Voices are based on Board Voices. However, the Board Voices themselves can be edited via computer, using the included editor software. Different editors are available for different Plug-in Boards. Voice Mode However, only the Voice Edit parameters can be stored.
Voice Job Mode You can reset (initialize) all parameters of a Voice to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Element/Drum Key, and so on. Note that this does not return the Voice to its original state prior to editing. Instead, it is useful when building a completely new Voice from scratch. You can perform various operations (Jobs) in Voice Job Mode.
■ 1 Source Voice Memory Select the Voice Memory containing the Voice (source) from which you will copy parameter settings. Voice Store You can store (save) the parameter settings for up to 128 Voices to each of your synthesizer’s Memories (INT: Internal) or to its Memory Card (EXT: External). The procedure is as follows.
Performance Mode Performance Play In Performance Play Mode, multiple Voices (up to four Parts) can be layered to create thick sounds which you can play in real-time or using a sequencer. 3rd screen: 4th screen: 5th screen: 6th screen: 7th screen: In Performance Mode, up to 19 Parts can be combined in a single Performance, including Voices for the 16 Parts plus A/D Input and Plug-in 1/2 Parts.
4.
3Press a PROGRAM key ([1] to [16]) to select a Program Number. Performances can be selected by setting the Memory, Bank and Program Number as explained in the three steps given above. The display also shows the selected Performance. Performance Program Selection There are four ways in which you can select a Performance.
4Repeat steps 2 and 3 for each of the other Parts. ■ 3rd Screen: PFM Mlt) Volume (Performance Multi: Volume) Set the output level (volume) of each Part. To avoid losing the settings, make sure you store the Performance before exiting to another Mode or selecting another Performance. Details about how to store Performances are given on Page 131. PFM*Mlt) Volume Part01 127 L * › Reading the Displayed Settings ❏ Settings: 0 ~ 127 Screens 3 to 7 have the following functions.
When editing individual Parts, the screens you see will vary depending on the Part selected. If the synthesizer is in Master Keyboard Mode (Pages 8, 57), you will be able to set parameters for each Zone. In Performance Edit Mode, use Knob [A] to switch between the screens for Common, Part and Zone settings. Performance Edit You can set Performance Edit parameters. These can roughly be divided into Common parameters, which apply to all Parts, and Part-specific parameters.
Tone Generator Mode: [MASTER KEYBOARD] key LED off The “Compare” Function Use this to listen to the difference between the Performance with your edited settings and the same Performance prior to editing. MIDI IN MIDI channel Octave Transpose Note Limit etc. 1 Press the [EDIT/COMPARE] key while in Performance Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the [EDIT/COMPARE] key LED will blink.
Common General GEN M.Kbd (General Master Keyboard) You can set the Performance Name, MIDI channel and other general parameters in the Common Edit screens. The following three screens are available for general settings. You can set keyboard splits and layers when using a Performance in Master Keyboard Mode. You can set a Performance Name consisting of up to 10 characters (alphabetic or numeric) and/or symbols. You can also select the Category Name to the left of the Performance Name.
■ Point When the Mode (see earlier) has been set to “split,” this sets the split point. The actual note of the split point will be assigned to the upper section. QED Level (Quick Edit Level) You can set output level and pan parameters for each Layer Part. The settings are also available in the Part Edit screens. You can also select the split point by pressing the note while holding down the [SHIFT] key.
■ Attack Set the transition time from the moment a key on the keyboard is pressed to the point at which the output level of the Layer Part reaches its peak. QED Filter (Quick Edit Filter) These parameters control filters which govern the tonal quality of the Voice. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter screen only affects LPF.
CTL Assign1(Controller Assign 1) Common EQ (Equalizer) Use Knobs [C], [1] and [2] to assign Control Numbers to the Breath Controller, Knob [1] and Knob [2], respectively. The selected function is shown on the left of the display. You can assign any of five different Equalizer bands to the entire Performance. The following five screens are available.
■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. peak (Peaking) + ❏ Settings: 100Hz ~ 10.0kHz 0 Gain ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. Frequency — ❏ Settings: 0.1 ~ 12.0 Freq This Equalizer covers high frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes).
■ InsEF (Insertion Effect) Assign a Part to an Insertion Effect. Select “off” if you do not wish to assign the Part to an Insertion Effect. Furthermore, if Plug-in Boards have been installed, they will also be selectable as Plug-in Parts 1 and 2. ■ Type (Chorus Effect Type) Set the Chorus Effect Type. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ toRev (To Reverb) Set the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Part (Settings for each Part) and the MSB/LSB (Plug-in Board’s Bank), and use Knob [C] to select the Program Number. You can edit each Part in a Performance. Use Knob [A] to select the Part, then set its parameters. The following six screens are available, though their contents will vary according to the Part selected.
■ Src (Source) Select the source connected to the A/D INPUT jack. ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. ❏ Settings: mic (microphone), guitar, keyboard, audio ❏ Settings: 0 ~ 127 ■ Number (Template Number) Select the Template Number. You can choose from 13 templates for each source.
TON EG (Tone Envelope Generator) TON Portamento (Tone Portamento) You can set EG (Envelope Generator) parameters for each Part. There are four parameters governing the transition in output level from the moment a note is pressed on the keyboard to the moment it is released or the point at which the output level has faded to zero. You can set the following three Portamento parameters for each Part. This screen is not available for A/D Input or Drum Voice Parts.
offset (Velocity Offset) TON Other (Tone Other) As illustrated below, the velocity will be increased by the specified amount. You can set Pitch Bend Range and Velocity Sensitivity parameters for each Part. Changes to velocity curve according to VelDepth (with offset set to 64) These screens are not available for the A/D Input Part.
■ Mode Select whether each Part is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ■ Vel Limit Set the minimum and maximum values of the velocity range within which each Part will respond. Each Part will only sound for notes played within its specified velocity range. This parameter is only available for Normal Voice Parts 1 to 16 and Plug-in 1/2 Parts.
■ InsEF (Insertion Effect) Shows the on/off status of the Insertion Effects. If “on” is displayed, this means that the Part’s signal is being sent to the Insertion Effect Unit. Parts 1 to 16 Drum Voice Part RCVíSw2) Part01 Insertion Effect switches for each Part are set in the EFF Part screen (Page 117). Performance Mode Each Part can be set to receive Control Change and Program Change messages. The following four screens are available.
You can set various Controller parameters for the A/D Input Part and Multi Plug-in Parts 17 to 32. The following two screens for A/D Input Part parameters and six screens for the Multi Plug-in Part parameters are available.
■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when the Modulation Wheel is used. ■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when aftertouch is used. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 ■ AMod (Amplitude Modulation Depth) Set the amount by which the amplitude modulation changes when the Modulation Wheel is used.
■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when the controller (Source) is used. Effect Parameter Settings These parameters are available when you press the [ENTER] key for certain Effect Types. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen.
Master keyboard MKB TxSw1 (Master Keyboard Transmit Switch 1) MKB Transmit (Master Keyboard Transmit) For each zone, you can enable/disable the transmission of messages for the Pitch Bend Wheel, Modulation Wheel, Knobs [A] to [C] and Knob [1]/[2]. You can set parameters for transmitting keyboard data when in Master Keyboard Mode.
■ PC (MIDI Program Change) Set the Program Number transmitted when changing Bank/Program. MKB TxPreset1 (Master Keyboard Transmit Preset 1) You can set each zone’s initial volume and stereo pan settings when changing Performance Bank/Program. Volume 127 Program Numbers 001 to 128 directly relate to MIDI Program Change Numbers 000 to 127. That is, Program Numbers and Program Change Numbers differ by a value of 1. Remember to take this into consideration.
Performance Job Mode PFM Initialize You can reset (initialize) all parameters of a Performance to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Part, and so on. Note that this is not the same as editing an existing Performance. Instead, it is useful when building a completely new Performance from scratch. You can execute various actions (Jobs) in Performance Job Mode.
2Source Performance Number Select the Performance Number of the source Performance. The Performance Name is shown in the top line of the display. Performance Store You can store the parameter settings for up to 128 Performances to each of your synthesizer’s Memories (INT: Internal) or up to 64 Performances to Memory Card (EXT: External). The procedure is as follows.
Sequence Play Mode In this Mode, you can play back the built-in demo songs and Song files stored on Memory Card. Up to 100 Song files can be played back end-to-end by using the Chain Step feature. This Chain Step data can also be saved to Memory Card. The Demo Songs contain preset tempos by default. When you switch to another Demo Song, its preset tempo will be used. You can change the playback tempo. To restore the default tempo, select “***” as the tempo setting.
■ Song File Number Assign a Song file to the Chain Step. Any Song files with the “.MID” extension can be selected. When you select a file Number here, the file name is shown in the top line of the display. For continuous (chained) playback of multiple Chain Steps, you can specify how to play this Chain Step after playback of a previous one by selecting an option from among “skip,” “end” and “stop.” If you select “skip,” the Chain Step is skipped and playback will jump to the next Chain Step.
Utility Mode The parameters in Utility Mode are explained here. Utility Mode can roughly be divided into a screen for settings common to the entire system, a screen for Voice Mode settings and a screen for Plug-in Board settings. MSTR (System Master) You can set the overall parameters, including volume and pitch, which mainly relate to the synthesizer’s tone generator section. The following four screens are available. You will first see the following screen when you enter Utility Mode.
■ Vel (Keyboard Velocity Curve) Set the Velocity Curve determining how the strength of the notes played will affect the sound output. MSTR EF Bypass (Master Effect By-pass) Set the parameters related to the [EF BYPASS] key on the front panel. ❏ Settings: norm, soft, hard, wide, fixed norm (Normal) The velocity is in proportion to the strength.
■ BCCurve (TG Breath Curve) Set the Breath Curve determining how the strength with which you blow into the Breath Controller will affect the sound output. ■ CC# (Control Number) Assign MIDI Control Change Numbers to Assignable Knobs [A] to [C]. ❏ Settings: 000 ~ 095 (see the separate Data List for details) ❏ Settings: thru, soft, hard, wide ■ Dest (Control Destination) Set the function to be controlled by Assignable Knobs [A] to [C].
■ Switch Select the Control Change Number used to control the ARPEGGIO [ON/OFF] key. MIDI (System MIDI) You can set overall MIDI parameters for the system. The following five screens are available. ❏ Settings: 000 ~ 095 (000, 032 = off) MIDI Ch (MIDI Channel) MIDI Arp (MIDI Arpeggio) MIDI Sw (MIDI Receive Switch) MIDI Other MIDI GM/XG Receive ■ Hold Select the Control Change Number used to control the ARPEGGIO [HOLD] key.
■ PgmChng (Program Change) Set to enable or disable reception of a Program Change message coming in. With this parameter set to “on,” the instrument can receive a Program Change massage coming in, and it can also send a Program Change out to an external MIDI device when you select a Voice or Performance (using a [PROGRAM/PART] key, etc.) on its front panel. MIDI GM/XG Receive (if a Multi-Part Plug-in Board has been installed) Set GM On and XG Reset Receive parameters.
M.EQ Low (Master EQ Low) ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. This Equalizer covers low frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). M.EQ Low) Shape Vce peak Gain +12dB Freq 50Hz ❏ Settings: -12dB ~ 0dB ~ +12dB ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. Q 12.
■ RB (Ribbon Controller) Assign a Control Change Number to the Ribbon Controller. CTRL Assign1 (Controller Assign 1) Use Knobs [C], [1] and [2] to assign Control Change Numbers to the Breath Controller, Knob [1] and Knob [2], respectively. The selected Control Change Name is shown on the left of the display.
■ Clock Select whether or not to transmit MIDI Clock messages to the Plug-in Board. Now, the tempo of the Plug-in Board is synchronized with the MIDI clock signal received from the S80. To synchronize with an external MIDI clock source, enter Utility Mode and set the Sync parameter of the MIDI Other screen to “MIDI.” ❏ Settings: off, on ■ DevNo (Device Number) Set the MIDI Device Number of the Plug-in Board.
Card Mode In Card Mode, you can use Memory Card, a SmartMedia™ card available at a consumer electronics shop, etc., to save or load data from/to the instrument or perform other data exchange operations between memories on the instrument and the Card. Using the included Card Filer software, you can use a computer to manage data on Memory Card. You can also use it to exchange data between the computer and Memory Card.
■ SMF (Standard MIDI Files) Format 0 Standard MIDI Files (SMFs) can be played back in Song Mode. However, they cannot be saved. You will see the 1st screen (Status) when you enter Card Mode. The following seven screens are available, each for a different operation. ❏ Extension: “.
Card Mode Operations Status 1Insert the Memory Card into the CARD slot. You can view the amount of free and used on the Memory Card. There are no settings. 2Press the [CARD] key to enter Card Mode. 3Use the [PAGE] knob to switch to the screen for the operation you wish to perform. Save) Card SHIFT PAGE A Type all B Status) Card File A-? Cursor ***[NEWFILE .S2A] C 1 2 DATA ■ Free Shows the amount of free memory on the Memory Card.
4Press the [INC/YES] key to save the file. The message “Completed.” will be displayed after it has been saved, and you will be returned to the previous screen. The save operation will be canceled if you press the [DEC/NO] key during execution. 1Use Knob [B] to select the File Type of the data to be loaded. 2Use Knob [C] to select the File Number. 3When you press the [ENTER] key, the following will be displayed, depending on the selected File Type.
■ Type (File Type) voice Load) Card ❏ Settings: all (all data), all-voice, chain (Sequence Chain), plugin, other [Pf:Init Voice] [Pf:Init Voice] EXT:064(D16) > INT:128(H16) Details about File Types are given on Page 143. Voice Memory of Voice Memory to file to be loaded (source) which file will be loaded (target) Voice Number of file to be loaded (source) Voice Number to which file will be loaded (target) 1Use Knob [B] to select the File Type and Knob [C] to select the File Number.
MkDir (Make Directory) Format You can create new directories and subdirectories (new directories within existing ones). This allows you to store files in separate directories according to File Type. Before you can use a new Memory Card with the synthesizer, you will need to format it. Format) Card MkDir) /VOICEDIR/SUBDIR-1/ A-? Cursor Card Dir:***[NEWDIR-3] Directory Name Press [ENTER] Insert a new Memory Card into the CARD slot. When you press the [ENTER] key, you will see a confirmation message.
About the Plug-in Boards (Optional) A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument. The following types of Plug-in boards can be used with your instrument. ● ● ● ● ● ● PLG150-AN PLG150-PF PLG100-XG PLG150-VL PLG150-DX PLG100-VH How to Install the Optional Plug-in Board 1 Turn the keyboard power off, and disconnect the power cord. Also, if the keyboard is connected with other external device(s), disconnect the device(s).
6-3 Carefully plug the cable connector into the Plug-in board connector until the two notches on the cable connector lock into the sockets on the board. 4 Remove the tape which is used to fasten the cable to the plate. tape 5 Take out the Plug-in board from the anti-static bag. When installing the board, the side with a connector and ICs must be on top. 6 Mount the Plug-in board onto the plate as detailed in the following steps.
7 Insert the plate into the keyboard. 8 Replace the Plug-in board cover by fastening the three SILVER screws you removed in the step 2 above.
Display Messages >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> << << << << << << << << << << << >> >> >> >> >> >> >> >> >> >> >> Executing... Now working... Now loading... Now saving... Now checking plug-in board. MIDI bulk receiving... MIDI bulk transmitting... C 3:128[ ] Stored. Completed. Are you sure ? [YES]/[NO] Overwrite? [YES]/[NO] Meaning Failed to process the MIDI data because too much data was received at once. Error occurred when receiving MIDI data.
Troubleshooting The following table provides troubleshooting hints and page references for some common problems. Most problems may be simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if you can find and correct the cause of the problem. No sound.
Sound is very quiet. • Has the MIDI volume or MIDI expression been set too low? • Has the filter cutoff frequency been set too high/low? (Pages 72, 96, 115, 120) The pitch is wrong.
Cannot find the Drum Voice. • Drum Voices are selected differently to Normal Voices (Page 66). Cannot enter small values. • Have you only tried entering values using Assignable Knobs [A] to [C] or Knob [1]/[2]? (Page 24) Cannot move the cursor without the settings being affected. • Hold down the [SHIFT] key while using Knobs [A] to [C], Knob [1]/[2], and the [DATA] knob or the [INC/YES] and [DEC/NO] keys (Page 24).
Specifications KEYBOARD Number of Keys 88 Touch Initial touch, After touch AWM2, Modular Synthesis Plug-in System TONE GENERATION SYSTEM Tone Generators 64 Polyphony VOICE Number of Voice Normal voices (256 Presets, 128 Internals [Users], 128 Externals [Memory Cards]), Drum voices (8 presets, 2 Internals [Users], 2 Externals [Memory Cards]), Plug-in voices (64 x 2 Plug-in Boards [If installed]) 24 MByte Wave ROM PERFORMANCE EFFECT Multi-Timbres 19 (16 Voice Parts, A/D Input Part, Plug-in 1/2 Pa
Index 0~9 Connections ...............................................................................................13 Control Sets ...............................................................................................45 Control Sets and External MIDI Control ................................................46 Controller Section ...............................................................................31, 43 Controlling Parameters by Foot Controller ...........................................
L Effects in Voice Mode ...............................................................................55 Element Amplitude ...................................................................................88 Element Filter............................................................................................83 Element Pitch ............................................................................................80 Element EQ (Equalizer) ............................................................
N Q Normal Voice .............................................................................................69 [Quick Access] key ......................................................................................9 QED EF (Quick Edit Effect) ..................................................................114 QED EffectCtrl (Quick Edit Effect) ............................................71, 93, 99 QED EG (Quick Edit Envelope Generator) .......................
V VCE Bulk Dump......................................................................................106 VCE Copy.................................................................................................105 VCE Edit Recall.......................................................................................105 VCE Initialize ..........................................................................................105 Voice Category ....................................................................
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd.
IMPORTANT SAFETY INSTRUCTIONS INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. WARNING- When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following: 1.
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
Analog Physical Modeling Plug-in Board PLG150-AN Piano Plug-in Board PLG150-PF Reproduce the fat and funky sounds of vintage analog synths! This board gives you a synth engine similar to the one featured in Yamaha’s amazing AN1x analog physical modeling synthesizer. On top of its full array of wave algorithms, resonant filters, LFOs, and envelope generators, it also has distortion and a 3-band equalizer.
OWNER’S MANUAL This document is printed on chlorine free (ECF) Paper. M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 1999 Yamaha Corporation V419010 012MWCP2.
