OWNER’S MANUAL OWNER’S MANUAL M.D.G., EMI Division, Yamaha Corporation © 1999 Yamaha Corporation V484950 This document is printed on chlorine free (ECF) Paper. 910MWCP3.
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 CS6x/CS6R Control Synthesizer. Your new CS6x/CS6R synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the creation of super-realistic sounds. It also supports optional Plug-in Boards that provide other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds. You can play all these sounds using the synthesizer’s automatic playback facilities such as the built-in Arpeggiator and Sequencer.
Table of Contents Basics Section Basics Section Reference Section The Controls & Connectors ................................6 Voice Mode........................................................74 Before Use ........................................................12 Voice Play ..............................................................74 Power Supply ........................................................12 Voice Edit ..............................................................78 Connections ..
Basics Section Basics Section The Controls & Connectors Front Panel CS6x 1 [VOLUME] Knob (Page 20) Adjusts the master volume. Turn the knob clockwise to raise the output level from the OUTPUT L/R jacks and the PHONES jack. GAIN MIC/LINE 2 LINE 1 L/MONO PHONES A / D INPUT R OUTPUT 1 2 FOOT INDIVIDUAL OUTPUT VOLUM FILTER VOLUME 2 OCTAVE [UP] and [DOWN] keys (Page 28) (CS6x only) Press either of these keys to shift the note range of the keyboard up or down in octaves.
FOOT FOOT T ME CONTROLLER SUSTAIN SWITCH IN BREATH TO HOST OUT HOST SELECT ECT MODE PORTAMENTO REVERB PHRASE CLIP PERFORM REC UTILITY CARD EDIT JOB PITCH SEQ PLAY SUSTAIN VOICE CHORUS ON/ OFF RELEASE THRU MIDI 7 MODE keys (Page 21) Press these to keys to select Voice, Performance, Utility or other Modes. With the CS6R, you can play back (audition) the Voice at note C3 and with a velocity of 127 by pressing the [VOICE] key in Voice Play Mode.
Basics Section 8 LCD (Liquid Crystal Display) This is a backlit 2-line display. 9 [SHIFT] key (Page 23) In Voice or Performance Play Mode, a screen for viewing or setting the Octave parameter and the MIDI Transmit channel (Page 23) is shown when you press the [SHIFT] key. In any of the Edit Modes, when pressing this key while turning the [PAGE] knob, a menu screen is displayed and you can quickly switch between Edit Mode screens (Page 23).
Basics Section ^ [ENTER] key (Pages 24, 25) While selecting a Memory or Bank for Voice or Performance, press this key to determine such a memory location. Also, use this key to execute a Job or a Store operation. & [DEC/NO] key (Page 24) Use this to decrease the value of the parameter at which the cursor is positioned. Also use it to cancel a Job or a Store operation. POWER * [INC/YES] key (Page 24) Use this to increase the value of the parameter at which the cursor is positioned.
Rear Panel Basics Section 3 CARD slot (Page 171) Insert a Memory Card here to transfer various data to/from the instrument. Read carefully the precautions on use of a Memory Card (Page 171) before using a card. 1 POWER switch (Page 19) Use this to switch the synthesizer on or off. 2 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.
7 BREATH jack (Pages 18, 48) 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. 8 FOOT SWITCH jack (Pages 18, 48) Connect an optional Foot switch (FC4 or FC5) here. Using the foot switch, you can control of a range of on or off a specific function by foot, as assigned on the instrument.
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 CS6x/CS6R rear panel AC INLET terminal Power cord (included) 1Make sure that the instrument’s POWER switch is at the OFF position.
Basics Section Connections 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. The CS6R also needs an external MIDI controller such as a keyboard, though this is not necessary when using the internal sequencer.
Speaker Speaker Amplifier Basics Section Amplifier L L R Mixer OUTPUT L R Mixer R OUTPUT L R Headphones 1 PHONES 2 3 4 5 OUTPUT L / MONO 6 7 8 9 10 11 12 13 14 15 16 INDIVIDUAL OUTPUT1 R L R 1 INDIVIDUAL OUTPUT2 2 3 4 OUTPUT L / MONO 5 6 7 8 9 10 11 12 13 14 15 16 INDIVIDUAL OUTPUT1 R L R INDIVIDUAL OUTPUT2 C PHONES CS6R CS6x Headphones Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks.
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 C MIDI IN MIDI OUT External MIDI synthesizer CS6x/CS6R 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 C MIDI OUT MIDI IN CS6x/CS6R Personal System/V IBM Computer with MIDI interface Using an external MIDI interface HOST SELECT MIDI Interface PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN MIDI IN MIDI OUT C Computer CS6x/CS6R You will need to an appropriate MIDI application (sequencer, editor, etc.) for your computer platform.
Connecting Various Controllers Basics Section The CS6x 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.
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, Phrase Clip 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, Performances and Phrase Clips.
Basics Section 4 Phrase Clip Edit Mode (Page 146) Press the [EDIT] key while in Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Phrase Clip Play Mode. GEN Name) Ctgry Common a-Z 5 Phrase Clip Job Mode (Page 154) Press the [JOB] key while in Phrase Clip Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Phrase Clip Play 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. For example, if you use the [PAGE] knob while knob and pressing [SHIFT], PROGRAM/PART, holding 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, Phrase Clip or the like) will be overwritten by the data for the demo song. Important data should be saved to Memory Card (Page 171) beforehand.
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.
The Drum Voices are held in separate areas of each Memory, and are accessed as follows. Basics Section • To access the Preset Drum Memories (PRE:DR1 ~ DR8): Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key. Now you can play a selected Voice when you play the keyboard on the CS6x or the external keyboard connected to the CS6R. Try auditioning other Voices. Details about selecting Voices using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 76.
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 Phrase Clip, A/D INPUT and Plug-in Boards.
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 CS6x/CS6R is given. The CS6x/CS6R hardware is made up of a number of sections, as shown in the following diagram. Controller Section Keyboard (CS6x) Controllers Sequencer Section Tone Generator Section Song File Playback Arpeggiator AWM2 Plug-in Board Phrase Clip Effects Section Controller Section This section consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound Control 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 Voice Play Mode Voice Edit Mode Voice Job Mode Performance Mode Performance Play Mode Performance Edit Mode Performance Job Mode MODE Phrase Clip Mode Phrase Clip Play Mode Phrase Clip Record Mode Phrase Clip Edit Mode Phrase Clip Job Mode PHRASE CLIP REC VOICE PERFORM UTILITY CARD EDIT JOB PITCH Card Mode SEQ PLAY Sequence Play Mode COMPARE PLAY/ STOP STORE Utility Mode Utility Job Mode TEMPO Voice Mode (Page 74) Performance Mode (Page 117) Voice Play Mode N
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: 479 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. 479 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 20 Parts, each of which can a Normal Voice, Drum Voice, Phrase Clip, 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 Easy Real-time Editing Sound Control Knobs (CS6x only) The Sound Control knobs allow you for on-the-fly alteration of the tonal characteristics and effects applied to the Voice or Part of a Performance that is currently selected. The functions of each of the knobs are explained here. The altered Voices or Performances can be stored anytime as Scene 1 or Scene 2 (Page 45). When saving each Voice or Performance (Pages 116, 141), its Scene information is also included.
Many features of this synthesizer make it ideal for live performances. These features are explained here. 2 1 Using the Scene (CS6x) Controls (Page 45) Using the Arpeggiator (Page 42) Using the Sound Control knobs, you can edit sounds with ease.
Basics Section 1 Arpeggiator Only notes within the Note Limit range will be arpeggiated. Therefore, if the notes you play are not arpeggiated, they may be outside this range. Details about the Note Limit settings are given later. The arpeggiator is particularly suited to dance/techno music genres. You can assign any The Pitch Bend and Modulation Wheels can be used of 128 Arpeggio Types to each Voice, Performance while the arpeggiator is running. or Clip Kit, and adjust the tempo.
1Press the [EDIT] key in Voice Play Mode. You will enter Voice Edit Mode at the screen where you previously exited. You can play multiple patterns simultaneously by pressing more than one note on the keyboard. MODE VOICE PERFORM ARPíType) Type Tempo Common≥BigBeat2:Dr 92 UTILITY Hold off CARD SHIFT EDIT Switch on PAGE A B C 1 2 DATA JOB PART/ELEMENT COMPARE STORE Now try assigning different Arpeggio Type and Drum Voice settings. There are many different drum patterns available.
Outside the Note Limit range, you can play the keyboard normally without the notes being arpeggiated. Therefore, you can use your left hand to play block chords used by the Arpeggiator and your right hand to play melody lines in the upper part of the keyboard. Setting the Tempo Basics Section You can use Knob [C] to adjust the tempo between 25 and 300 BPM. This parameter setting is used by the Arpeggiator. Use Knob [C] to jump to the Tempo parameter.
2 Scene Controls (CS6x) 2Use the Sound Control knobs and Assignable Knobs [1]/[2] to get the sound that you will store as a Scene. As an example, the illustration below shows two different groups of knob settings (A and B) assigned, respectively, to the SCENE [1] key and the SCENE [2] key. In effect, what this means is that two types of sound can be memorized and recalled for each Voice/Performance.
Basics Section Using the SCENE [CONTROL] Knob Controlling Scenes by Foot Controller (CS6x) By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can switch between Scenes by foot without having to use your hands. You can set this up as follows. The SCENE [CONTROL] knob lets you create a smooth transition from one Scene to the other, or even a mix between the settings for both Scenes.
CTRL Scene) Sys SHIFT PAGE A Scene Control 04[FootCtrl] B C 1 2 DATA 3 Using Controllers The CS6x is equipped with Pitch Bend and Modulation Wheels, plus a Ribbon Controller. Either of the CS6x and CS6R is equipped with front panel Knobs [A], [B], [C], [1] and [2], with which you can control many different parameters. PART/ELEMENT Pitch Bend Wheel 4 Use the [PAGE] knob to switch to the CTL Assign2 (Voice Control Assign 2) screen.
Basics Section Ribbon Controller (CS6x) Foot Controller (CS6x) The Ribbon Controller is a touch-sensitive controller that lets you control, say, Filter Cutoff in real time by running a finger lightly across its surface to the left or right. Normally, its assigned parameter will increase in value as you run you finger to the right, though you can set it to do the opposite. The Ribbon Controller can be assigned many different parameters (Page 84).
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. (With the CS6R, an aftertouch-sensitive controller keyboard must be connected.) This allows real-time expression and control. Aftertouch can be used to control a wide variety of parameters (Page 84).
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) or Clip Kit. 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 or Clip kit). Here we introduce an example of how to set up Control Set 1 for Internal Voice 001 (A01) by assigning PCH-Crs (Pitch: Coarse) to Knob [1].
Basics Section 3 Use Knob [C] to select “01:ModWheel” (Modulation Wheel). Controlling Parameters by Foot Controller (CS6x) 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.
Real-world sounds can be recorded or loaded into the synthesizer and played back as musical instruments sounds. The waveform data held in the synthesizer are knows as Phrase Clips. These Phrase Clips are created and played back in Phrase Clip Mode (Page 142). A basic overview of Phrase Clips is given here. MODE VOICE PERFORM UTILITY CARD EDIT JOB Phrase Clips Overview COMPARE STORE 2 Use the [PAGE] knob to switch to the CTRL Other (System Control Other) screen.
Sampling Rate and Bit Resolution Playing Back Phrase Clips Basics Section You can play back your Phrase Clips in three different ways, as follows. As an example, the illustration shows a sine wave. First, there is “loop” playback. A section of the When recording (sampling) the sine wave, the Phrase Clip is continuously looped during A/D converter basically takes snapshots of the playback. This is often used for creating drum wave’s levels at fixed intervals in time. pattern loops from breakbeats.
You can assign Phrase Clips to notes on the keyboard (C0 to C6) and play them live or using a 3Hold down the PHRASE CLIP [REC] key and sequencer. You can also edit various parameters the following screen will be displayed. Here, for each Phrase Clip. The assignment of Phrase you can assign a key to the Phrase Clip you are Clips across the keyboard is known as a Clip Kit, about to record. While still holding down the and you can create up to four of these. key simply press the respective key on the keyboard.
7Press the [ENTER] key and the Recording Standby state is entered. You will see the “Waiting for trigger...” message. Basics Section EF BYPASS EXIT MASTER KEYBOARD ENTER !In Phrase Clip Edit Mode, use the [PAGE] knob to switch to the OSC Asgn screen. Normally you would assign the Phrase Clip to a note on the keyboard (Clip Key) here.
^Next, select Variation 2 but set the Play parameter to “loop” this time. When you press note D1 at this point, the Phrase Clip is simply played back as a loop between the Start and To return to the previous screen, press the [EXIT] End points of the recording. If you only want key. one part of the Phrase Clip to be played back as EF MASTER BYPASS KEYBOARD a loop, you need to set the Start/Loop/End points. As an example, we will set a loop exactly one bar in length.
Basics Section [Clip 001] is now reversed as Variation 1 and looped for one bar as Variation 2, and both Variations can be played by pressing notes C1 and D1. In the same way, you can change the points for Variations 3 to 8 and set up different loops to that of Variation 1/2. £Use Knob [1] to set the Type parameter, which specifies the type of loop change (i.e., which part of the loop will be modified). Combined with the Vari parameter, it is possible to create a variety of loop patterns using Loop Remix.
Basics Section 5 Other Useful Features Portamento Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next, and can be used in Voice or Performance Mode. You can switch portamento on/off using the PORTAMENTO [ON/OFF] key on the front panel. When switched on, the PORTAMENTO [ON/OFF] key LED will be lit. You can use the [PORTAMENTO] knob to vary the pitch transition time (Portamento Time). Turn the knob clockwise to lengthen the time.
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 the [VOICE] Voices, or build completely new Voices from key. 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. MODE The following procedure gives a basic idea about how to go about creating/editing Voices.
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. Many of these parameters can be set directly using the Sound Control knobs on the front panel of the CS6x. 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.
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 164). 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. Basics Section Using as a Master Keyboard (Performance Mode) 2Select “Common” using the Knob [A], then open the GEN M. Kbd (General Master Keyboard) screen using the [PAGE] knob. GENíM.
9Turn the [PAGE] knob and open the ARP Type (Arpeggio Type) screen. Set “on” for “Switch.” ARPíType) Type Tempo Part01 UpOct1:Sq 120 Switch on Hold off Basics Section ZONE4 In steps 6 to 9, you now complete settings for the lower range for Arpeggiator performance. It will play in a Voice assigned to Part 1 based on MIDI Receive channel 1. ZONE1 Refer to Page 82 for detailed settings of Arpeggiator. You can copy (reuse) the arpeggio settings that belong to the Voice assigned to Part 1 (Page 141).
PartCL 001(A01)[Dr:Clip Kit] To do this, set “Ch01” to “Ch04” respectively to the “TrnsCh” parameters in the MKB Transmit A necessary Phrase Clip Kit should be prepared screens for Zones 1 to 4. For the “TG” and in Phrase Clip Mode before you use in this setting “MIDI” parameters, set both “on” for Zones 1 in Performance Mode. to 3. For Zone 4, set “off” to “TG” and “on” to #Use the [PAGE] knob and open the Layer Mode “MIDI.” You can switch between multiple (LYR Mode) screen.
Basics Section You don’t need to make further settings for 2Select “Common” using the Knob [A], then Zone 4 since it is not intended for an internal open the GEN M. Kbd (General Master Part and has already been set to output Keyboard) screen using the [PAGE] knob. performance information via the MIDI OUT connector in steps 5 to ). The key range of GENíM.
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 Vce (Mix Voice) screen using the [PAGE] knob, and select another Voice (Plug-in Voice) for the Lower Part. Also, go to the LYR Mode (Layer Mode) screen to set the Layer (Layer Switch) to “off” and the RcvCh (MIDI Receiving Channel) 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 (CS6x) • 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 80. Voice Name Using the BANK/PROGRAM Keys (CS6x) This consists of up to 10 characters. 1Press a MEMORY key to select a Voice Memory.
Selecting Drum Voices The procedure for selecting a Drum Voice is different to that for selecting a Normal Voice. 3Press a PROGRAM key ([1] to [16]) to select a Program Number. Voices can be selected by setting the Memory, Bank and Program Number as explained in the three steps given above. The LCD also displays the selected voice.
Using the Voice Category Search • Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then press PROGRAM keys [1] to [4] (CS6x only) to select, respectively, User Drum Voice INT:DR1 (Internal Drum 1), INT:DR2 (Internal Drum 2), EXT:DR1 (External Drum 1) and EXT:DR2 (External Drum 2). With the Voice Category Search, you can quickly find Voices within a specified Voice Category.
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. Voice Mode [DATA] knob (or [INC/YES] or [DEC/NO] key) You can scroll through Voices in the specified Category across the Memories. Turning the [DATA] knob clockwise (or press the [INC/YES] key) jumps to the next Voice number in the same Category, in ascending order.
Voice Store Element1 Element2 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 115). 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 AEG KeyFlw (AEG Key Follow) AEG Scale (AEG Scale Break Point) AEG Scale (AEG Scale Offset) Element LFO (Low Frequency Oscillator) LFO Wave LFO Depth Element EQ (Equalizer) EQ Type EQ Param (EQ Parameter) 95 95 9
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, and many can also be edited using the Sound Control knobs on the front panel of the CS6x. There are four screens.
■ Sustain Set the level of the Voice maintained while the note on the keyboard is being held down. You can also adjust this parameter using the [SUSTAIN] knob on the front panel of the CS6x. 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.
■ Vel Mode (Velocity Mode) Set the playback velocity of the Arpeggio. There are 2 modes. ■ Switch Switch the Arpeggiator on or off. You can also set this using the [ARPEGGIO ON/OFF] key on the front panel of the CS6x. ❏ Settings: ❏ Settings: off, on ■ Hold Switch the Arpeggiator Hold on or off. You can also set this using the [ARPEGGIO HOLD] key on the front panel of the CS6x. thru: Velocities of the notes you play are used in the Arpeggio sequence.
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.
■ Src (Source) Set the Controller used to control the function chosen in Dest. The following nine controllers are available. 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.
■ 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 Level Voice Mode 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.
