PRECAUTIONS IMPORTANT! PLEASE READ BEFORE PROCEEDING. Following the important precautions below will help ensure you many years of trouble free use from your CS1x. LOCATION • In order to avoid causing serious damage to the CS1x, do not expose it to direct sunlight, high temperatures, excessive humidity, excessive dust or strong vibration. • Always place the CS1x on a solid surface such as a keyboard stand or a sturdy table or desk. POWER SUPPLY • Turn the power switch off when the CS1x is not in use.
Introduction In the beginning, there was the knob… And the knob was good. Great, in fact. You could just reach out and grab it. Turn it left. And turn it right. Interact with it in realtime. And there were knobs of all kinds. Knobs for changing the attack and release times of a sound. Knobs for setting the cutoff filter and resonance. And knobs for controlling many other aspects of analog synthesizer sounds.
perform and listen to music. Global design standards ensured that music hardware and software products made by different manufacturers could work together seamlessly. But alas, digital did not create a perfect world. on the panel. A collection of six rotary Sound Control Knobs are irresistible to the touch—and provide instant sonic results when turned. Between the Sound Control Knobs, the clearly labeled panel switches, and the back lit LCD, the current status of the CS1x is always crystal clear.
CS1x MAIN FEATURES The CS1x is specially designed with an intuitive, interactive user interface through lots of dedicated panel controls and sound editing features which can easily be manipulated in realtime during performance. Main features include: • 6 Sound Control Knobs for direct access to key parameters of the currently selected voice as you play, and 2 Scene memories for instant recall of specified Sound Control Knob positions.
CONTENTS The CS1x At A Glance .....................................6 Getting Started ............................................9 How The CS1x Generates Sound ................... 12 CS1x Main Operating Modes ........................ 14 Feature Reference ............ 20 Performance Mode .....................................20 Common Edit 1 ........................................ 22 Common Edit 2 ....................................... 25 Layer Edit 1 .............................................
THE CS1x AT A GLANCE PHONES L/MONO R DC IN POWER OUTPUT FOOT FOOT FOOT VOLUME CONTROLLER SWITCH INPUT TO HOST HOST SELECT IN OUT THRU MIDI ARPEGGIATOR TEMPO TYPE P BEND RANGE NOTE SFT VWX PERFORMANCE AMP EG VOLUME MULTI ATTACK RELEASE ASSIGN 1/DATA ARPEGGIO HOLD STORE UTILITY SHIFT + PART/LAYER/ OCTAVE 2 MW/FC PRESET + 8 9 PQR STU 4 5 6 DEF GHI JKL 1 2 3 PRESET USER ARPEGGIATOR CUTOFF RESONANCE SPACE 0 PROGRAM FILTER PITCH 7 MNO REV TYPE EFECT VARI TYPE
% SHIFT This button lets you transpose the octave up or down as well as activate the Arpeggiator Hold and Split functions. (See page 23.) • To transpose the octave, hold the SHIFT button and press [–] (octave down) or [+] (octave up)—located directly beneath the SHIFT button. (See page 15.) & PART/LAYER [–]/[+] These buttons let you select one of the four Layers in Performance mode (see page 14), or one of the 16 Parts in Multi Play mode (see page 17).
THE CS1x AT A GLANCE MIDI THRU OUT IN Rear Panel ! MIDI MIDI IN, OUT and THRU terminals let you connect other MIDI devices such as a MIDI keyboard, tone generator, sequencer, or computer with a MIDI cable. (Set the HOST SELECT switch to MIDI when using the MIDI terminals.) MIDI IN is for input of MIDI data. MIDI OUT is for output of MIDI data and for data dumps to another CS1x or MIDI data storage device.
GETTING STARTED Setting Up Your CS1x The Control Synthesizer CS1x literally comes ready to play right out of the box. The CS1x With An External Sequencer Connect the supplied PA-3B DC power adaptor to the CS1x's DC IN connector on the rear panel. Then connect the adaptor to the nearest electrical outlet.
Connecting The CS1x To A MIDI Data Storage Device Macintosh If you have an Apple Macintosh not equipped with an external MIDI interface, perform the following operation: You can also connect the CS1x with a MIDI data storage device, such as the Yamaha MDF2 MIDI Data Filer in order to "bulk dump", or save a User Performance ("1 Perf" setting) or all the User Performances and Utility parameters ("All" setting) to floppy disks. 1. Set the HOST SELECT switch to Mac. 2.
Switching On The Power And Producing Sound Playing Arpeggiated Chords Take a moment and try out the Arpeggiator function, which creates automatic arpeggios based on the chords you play. First select a Performance with a fast attack, such as a percussive type sound. (Note: The Arpeggiator function only works in Performance mode.) Once all connections have been properly made, you're ready to switch on the power and start having fun with the CS1x. 1. Turn the volume of the CS1x to its minimum position. 1.
How The CS1x Generates Sound Oscillators, Filters And Amplifiers In order to better understand what's actually happening to the sound as you turn the Sound Control Knobs or modify other parameters, it is helpful to first take a look at the key components which make up the physical nature of sound. Synthesizers rely on three key electronic components to imitate the soundwaves of musical instrument voices, as well as create entirely new sounds.
CS1x Synthesis The secret behind the CS1x's exceptional quality sound is its ability to create rich and complex sonic textures in Performances, which are made up of Layers of up to four AWM2 voices—either sounding simultaneously or mapped to various note and velocity zones across the keyboard.
CS1x MAIN OPERATING MODES The CS1x has two main operating modes: Performance mode and Multi Play mode. The chief distinction between each mode is as follows: AMP EG VOLUME • Performance mode is primarily for realtime performance of Layers. It has six menus of Edit parameters. ATTACK RELEASE ASSIGN 1/DATA CUTOFF RESONANCE ASSIGN 2 2 MW/FC 1 FILTER • Multi Play mode is primarily for multitimbral playback of up to 16 Parts when external MIDI devices are connected. It has one menu of Edit parameters.
Basic Basic Operations In Operations In Performance Performance Mode Mode PERFORMANCE PLAY next to the Performance number, to indicate that the edited sound has not been stored. Performance Play mode lets you select a Preset or User Performance for realtime play. • Offset AMP EG and FILTER parameters to change the shape and tone of the sound as you play by turning the Sound Control Knobs. • Press the PERFORMANCE button to enter Performance mode (if you're in a different mode).
Performance Structure Storing User Performances Storing your own User Performance is a quick and simple operation. Preset Bank User Bank 128 Performance 128 Performance 007 006 005 004 003 002 001 1. To store the current Performance, press the STORE button once. 007 006 005 004 003 002 001 2. Choose a User Performance number (1~128) using the numeric keypad. STORE IN USER BANK 3. Press ENTER.
Multi Play Mode insert voice Program Change messages at the head of your sequences, however, the right Part voices will always be selected automatically when you start your sequencer from the beginning of the song.) In Multi Play mode you can select a voice from the GM bank of 128 AWM2 voices (accessible via the PROGRAM [–]/[+] buttons) and start playing in realtime.
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Following is a description of each function in the various modes. In Performance mode you can choose from 128 Preset and 128 User Performances. A Performance consists of a maximum of four layered sounds (voices). The Performance Edit function lets you easily edit each Layer within a Performance. The various parameters give you the flexibility to create a vast variety of sounds. Entering Performance Mode ● Selecting a Performance Press the PERFORMANCE button.
● Edit Procedure Quick Program Change Press the QUICK PC (Quick Program Change) button in the numeric keypad to fix all the numbers except the first digit of the Performance number in the LCD. By pressing a button in the numeric keypad (0~9), you can quickly select the Performance numbers within a group of ten by changing the first digit of the Performance number. The hundredth and tenth digits will be shown as bold characters to indicate they are fixed.
NOTE You can also use the numeric keypad (0~9) or the Data Entry knob to change the value. NOTE To exit Performance Edit mode, press the PERFORMANCE button again or the PROGRAM [-]/[+] button. You can enter Multi Play mode directly from Performance mode by pressing the MULTI button. NOTE To change the value for all four Layers at one time, hold SHIFT and press the Parameter Value UP/DOWN button.
■ PERFORM LEVEL To start the Arpeggiator, press the ARPEGGIATOR button to turn it on. A [▼ ] mark will appear in the LCD above the word "ARPEGGIATOR". NOTE This sets the volume of each Performance. To turn the Arpeggiator off, press the ARPEGGIATOR button again. TYPE: Sets the type of arpeggio. You can choose from 30 types. For details about each type, see the Arpeggiator Type List in the "Data List" book.
■ PERFORM NAME (Performance Name) NOTE If you select EFFECT OFF in the Variation Type menu, the layers which have the VARI SEND function set to ON will not sound. When you don't want to use the Variation Effect on the layers, set VARI TYPE to Thru. This lets you select the Category and name the User Performances using up to eight letters, numbers, symbols and characters. 1. Use the Parameter Value UP/DOWN button to move the cursor to the position at which you want to enter a character.
Common Edit 2 (applied to all Layers) ■ MW (Modulation Wheel) This row provides functions and parameters which are common to all Layers in a Performance (except for "Portament"), including the settings for realtime controllers such as the Pitch Wheel, Modulation Wheel and Foot Controller. This sets the control parameters of the Modulation Wheel. There are three parameters: PMOD (Pitch Modulation), FMOD (Filter Modulation) and CUTOFF (Cutoff).
■ FC (Foot Control) ■ PORTA (Portamento) This sets the parameters controlled by a Foot Controller connected to the FOOT CONTROLLER jack on the rear panel. There are three parameters: FMOD (Filter Modulation), CUTOFF, and VARI EF (Variation Effect). This sets the Portamento function. Portamento continuously changes the pitch from one note to the next, thus letting you glide the pitch from one note to the next. There are two parameters, SWITCH and TIME. Values can be set for each Layer.
# 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 ■ TUNE LCD off PerfLevel (Performance Level) (page 23) ArpgTempo (Arpeggiator Tempo) (page 23) ArpgType (Arpeggiator Type) (page 23) ArpgSubdiv (Arpeggiator Subdivide) (page 23) MWCutoff (MW Cutoff) (page 25) MWPModDpth (MW Pitch Modulation Depth) (page 25) MWFModDpth (MW Filter Modulation Depth) (page 25) PBRange (Pitch Bend Range) (page 25) FCCutoff (FC Cutoff) (page 26) FCFModDpth (FC Filter Modulation Depth) (page 26) FC
■ VEL (Velocity) OFFSET: Sets the offset value of the velocity. The value set here will be added to or subtracted from the actual velocity value. This determines the velocity settings for the voice in each Layer. There are four parameters: LIMIT LOW, LIMIT HIGH, OFFSET and DEPTH.
■ ASSIGN2 # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 This sets the control parameter and knob sensitivity of the ASSIGN 2 Sound Control Knob. It is possible to assign up to four parameters from 28 types. It is also possible to set the sensitivity (control range of the knob) for each parameter. The parameter assigned to the ASSIGN2 knob as the default differs depending on the Performance selected. 1. Select the Layer.
Layer Edit 2 (independently applied to each Layer) VOLUME The functions in this row provide parameters which are essential in creating a voice, such as AEG (Amplitude Envelope Generator) and LFO (Low Frequency Oscillator). The parameters can be set for each Layer in a Performance.
FMOD (Filter Modulation): Adds a cyclical change to the filter cutoff frequency by applying LFO frequency modulations, to create wah-wah type effects. Larger values widen the range of cutoff frequency change. Settings: AMOD (Amplitude Modulation): -31 ~ +31 PMOD (Pitch Modulation): -63 ~ +63 FMOD (Filter Modulation): -15 ~ +15 WAVE: Saw, Tri , S&HTr, Elem SPEED: -63 ~ +63 PHASE INIT: Free, Retr, Elem WAVE: Selects the LFO frequency signal used for modulation.