OWNER’S MANUAL MUSIC MUSIC SYNTHESIZER/REALTIME SYNTHESIZER/REALTIME CONTROL/EXTENDED CONTROL/EXTENDED SYNTHESIS SYNTHESIS TONE TONE GENERATOR/REALTIME GENERATOR/REALTIME CONTROL/EXTENDED CONTROL/EXTENDED SYNTHESIS SYNTHESIS OWNER’S MANUAL Menü
FCC 5/21/98 3:03 PM Page 2 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. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly.
FCC 5/21/98 3:03 PM Page 3 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 5/21/98 3:03 PM Page 4 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.
Intro/E/qx 5/21/98 11:26 AM Page 5 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.
Intro/E/qx 6/12/98 5:55 PM Page 6 The Yamaha EX5 and EX7 Music Synthesizers, and the EX5R Tone Generator, offer more music performance and production power than ever before available in a single keyboard or tone generator unit. All three models feature a unique Extended Synthesis system which incorporates a number of the most advanced tone generator technologies currently available … plus a full-featured sampling system.
Intro/E/qx 5/21/98 11:26 AM Page 7 Contents Introductory Section Introductory Section Reference Section The Controls & Connectors ................................8 Voice Mode........................................................75 Setting Up ........................................................16 Voice Play Mode....................................................75 The Supplied Disks, Demos, & Factory Set Data ....25 Voice Edit Mode....................................................
Intro/E/qx 5/21/98 11:27 AM Page 8 Introductory Section Introductory Section The Controls & Connectors The following brief descriptions of the EX controls and connectors should help you to understand the overall logic of the interface. Front Panel EX5/7 1 OCTAVE [DOWN] and [UP] Keys (EX5 and EX7 only) Shift the pitch of the keyboard up or down up to five octaves in one-octave steps.
5/21/98 11:27 AM Page 9 Introductory Section Intro/E/qx 5 SCENE [1] and [2] Keys ([SC1] and [SC2] on the EX5R) The SCENE [1] and [2] keys can be used to memorize and recall different settings of the Controller Knobs, so a complete set of knob settings can be recalled instantaneously. Knob scenes are stored by using the SCENE keys in conjunction with the STORE key (page 57).
Intro/E/qx 5/21/98 11:27 AM Page 10 EX5/7 Introductory Section % MODE Keys The MODE keys select the corresponding EX modes, or appropriate sub-modes. The upper row of MODE keys engage the primary modes, and have LED indicators to show which mode(s) are currently active. The lower row of MODE keys select secondary or utility modes. ) [KNOB MODE] Key ([KNOB] on the EX5R) The six Controller Knobs, described below, can function either as sound controllers or data entry knobs.
5/21/98 11:27 AM Page 11 [VOICE] The Voice mode lets you select, play, and edit individual voices. The [VOICE] key indicator also blinks to indicate that a MIDI System Exclusive message is being received. [→ page 75] [PERFORMANCE] In the Performance mode you can select, play, and edit individual “performance” programs including multiple layered or split voices and effects. Press the [VOICE] key while holding the [PERFORMANCE] key to go directly to the Voice Edit mode from the Performance mode.
Intro/E/qx 5/21/98 11:27 AM Page 12 Introductory Section EX5/7 ( Data Dial and [CURSOR/DATA] Key The Data Dial provides a fast, efficient way to cover a broad range of voice numbers when, for example, you’re looking for a voice but don’t know the number. It's also handy for making large value changes in any of the editing and utility modes. When editing the Data Dial will normally increment or decrement the selected parameter value.
5/21/98 11:27 AM Page 13 Introductory Section Intro/E/qx £ Numeric Keypad and [ENTER] Key These keys allow direct entry of numeric values where applicable. Enter the required value via the numeric keys — the entered number will flash on the displays — then press the [ENTER] key to actually enter the specified value. The [ENTER] key is also used to enter notes and other events when editing sequence data, and to execute a specified job or disk function.
Intro/E/qx 5/21/98 11:27 AM Page 14 Rear Panel Introductory Section • INDIVIDUAL OUTPUT 1 and 2 Jacks (EX5 and EX5R only) In addition to the stereo OUTPUT L/MONO and R jacks, the EX5 and EX5R initially have two individual outputs: the INDIVIDUAL OUTPUT 1 and 2 jacks. Individual “parts” of a performance setup can be assigned to different individual outputs via the PERFORMANCE EDIT mode PART display (see page 164).
5/21/98 11:27 AM Page 15 INDIVIDUAL OUTPUT 6 5 4 INDIVIDUAL OUTPUT 3 2 1 A/D INPUT R FOOT SWITCH L MONO MIDI B DIGITAL OUTPUT OUT WORD CLOCK IN ‹ FOOT CONTROLLER Jack (EX5 and EX7 only) This jack accepts a Yamaha FC7 Foot Controller which can be used to control any of the EX controller parameters. ➡ See page 17 for more information. ¤ SUSTAIN Jack (EX5 and EX7 only) An optional Yamaha FC4 or FC5 footswitch can be connected here for sustain control.
Basic/E/qx 5/21/98 11:21 AM Page 16 Introductory Section Setting Up The EX5 or EX7 can be used virtually on its own — with a pair of headphones or a simple instrument amplifier — or it can be the core of complex and powerful music production system. Naturally, the EX5R Tone Generator will require an external MIDI keyboard or other controller.
5/21/98 11:21 AM Page 17 External Controllers In addition to the many realtime controllers provided on the EX5 and EX7 panel (the PITCH wheel, MODULATION 1 wheel, MODULATION 2 wheel and Ribbon Controller), plus the six Controller Knobs provided on the EX5, EX5R and EX7, a number of additional controllers can be plugged into the appropriate rear-panel jacks as required.
Basic/E/qx 5/21/98 11:21 AM Page 18 Introductory Section Audio Connections ■ Headphones For private listening and practice headphones are ideal. You don't have to hook up and complete sound system, and you won't disturb the neighbors no matter how loud or late you play. Recommended Yamaha headphones for EX monitoring are the HPE-170, HPE-160, or HPE-150 Stereo Headphones. Any standard pair of stereo headphones with a 1/4" stereo phone plug can be used.
5/21/98 11:21 AM Page 19 ■ Mixing Console In addition to the stereo OUTPUT L/MONO and R jacks, the EX5 and EX5R initially have two individual outputs: the INDIVIDUAL OUTPUT 1 and 2 jacks. An additional four individual outputs (3 through 6) can be added by installing the optional EXIDO1 Individual Output Board. The stereo and individual outputs can be fed to separate channels of a mixing console for individual processing.
Basic/E/qx 5/21/98 11:21 AM Page 20 Introductory Section ■ Digital Audio (Option) The optional EXDGO1 Digital Output Board provides an AES/EBU-format digital output which can be directly connected to an external digital recorder, mixing console, or other digital processing equipment. This allows the EX sound to be recorded or processed with maximum quality.
5/21/98 11:21 AM Page 21 ■ External Sampling Sources The Sampling mode can be used to sample external audio sources as well as internal voice data. The external source can be either a line-level source such as a CD player or other audio playback device, or a microphone for direct sampling of live sound. Line and microphone sources should be connected to the AD INPUT jacks.
Basic/E/qx 5/21/98 11:21 AM Page 22 Introductory Section When connected to a personal computer (MacOS® or Windows®), either directly or “chained” via an external hard disk (see “NOTES” regarding SCSI ID numbers, below), wave data can be transferred from the EX5, EX5R, or EX7 to the computer, edited using the Yamaha Wave Editor TWE application (saparately available), and then transferred back to the EX5, EX5R, or EX7.
5/21/98 11:21 AM Page 23 Introductory Section Basic/E/qx MIDI IN MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS MIDI Interface MIDI OUT MIDI IN Computer EX5/5R/7 The EX5R Tone Generator will additionally require an external MIDI master keyboard or other MIDI controller.
Basic/E/qx 5/21/98 11:21 AM Page 24 Introductory Section Power-on Procedure Always follow proper procedure when powering-up a sound system to minimize the possibility of damage to the equipment (and your ears!). 1 Make sure your sound system's main level/volume control(s) and the EX volume control are turned all the way down prior to turning power on. 2 Turn on the EX5, EX5R, or EX7. POWER CANCEL CAUTION ATTENTION :RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR.
5/21/98 11:21 AM Page 25 The Supplied Disks, Demos & Factory Set Data The EX5, EX5R, and EX7 are supplied with four Demonstration Disks containing various types of pre-programmed demo data which will give you an idea of some of their advanced capabilities, as well as provide a number of programming examples that may help you to create the type of sound you need. Each disk contains an all-data file (suffix “.S1A”) containing a demonstration song, and a Factory Set file (file name: “FACTSET1/2/3/4.
Basic/E/qx 5/21/98 11:21 AM Page 26 Introductory Section 3 Select File Load Press the [F2] function key to go to the File Load menu. F2 4 Select All Data Press the [F1] function key to select All Data. Please note that all-data files have the suffix “.S1A” appended to the file name. F1 5 Select a file and load Use the Data Dial, [DEC]/[INC] keys, or numeric keypad to select a file number (all of the files on the Demonstration disk contain different demo songs), then press the [ENTER] key.
5/21/98 11:21 AM Page 27 Restoring the Factory Set Data In addition to the preset voices (which cannot be erased or overwritten), the EX5, EX5R, and EX7 come with a range of pre-programmed voices, performance setups, and other data in memory. If you perform any operations that overwrite the data in memory (including system initialization, below), the factory preset data will be lost.
Basic/E/qx 5/21/98 11:21 AM Page 28 Introductory Section EX System Overview The EX system can be broadly categorized into four main blocks, as shown in the diagram below: 2 SEQUENCERS 3 TONE GENERATORS AWM Tone Generator Song VL Tone Generator (EX5 & EX5R only) AN Tone Generator Pattern 4 EFFECTS SOUND OUT FDSP Tone Generator Arpeggio Sampling (wave Data) 1 KEYBOARD (EX5 & EX7), CONTROLLERS, MIDI 1 The keyboard, controllers, and MIDI control.
5/21/98 11:21 AM Page 29 Extended Synthesis Over the years Yamaha has developed a range of industry-leading music synthesis technologies, each with its individual strengths and advantages. The EX5, EX5R, and EX7 take an innovative step forward by combining multiple state-of-the-art Yamaha tone generation technologies in one extraordinarily versatile instrument. When you need the outstanding sound and programmability of AWM synthesis, it is there.
Basic/E/qx 5/21/98 11:21 AM Page 30 Introductory Section ■ Layered AWM Voices In AWM voices up to four AWM elements can be layered to create extraordinarily rich voice textures.
5/21/98 11:21 AM Page 31 ■ Controllers & Modifiers The input to an acoustic wind instrument comes from the player's lungs, trachea, oral cavity, and lips. In a string instrument it comes from the player's arm movement, transmitted to the string via a bow. These factors actually form an important part of the sound generating system and, in the VL model, are known as “controllers” (note that these are parameters, not physical controllers like the modulation wheels or knobs).
Basic/E/qx 5/21/98 11:21 AM Page 32 Introductory Section ■ VL System Overview Element Driver ● Mouthpiece ● Embouchure ● Bow (for strings) Modifier Effect Pipe/String ● Pipe (Single-ended) ● Pipe (Double-ended) ● String ■ VL + AWM Voices A single VL element can be combined with up to three AWM elements.
5/21/98 11:21 AM Page 33 AN Synthesis (Analog Physical Modeling) Although synthesizers have come a long way since the days of VCOs (Voltage Controlled Oscillators), VCFs (Voltage Controlled Filters), and VCAs (Voltage Controlled Amplifiers), modern digital tone generators can’t quite reproduce the punch, power, and interactive control capabilities of such older systems.
Basic/E/qx 5/21/98 11:21 AM Page 34 Introductory Section ■ AN (Poly)+AWM Voices ■ AN (Layer)+AWM Voices As shown in the diagrams below, a single AN element can be combined with up to three AWM elements in AN(Poly)+AWM voices. In the EX5 and EX5R, two AN elements can be combined with up to two AWM elements in AN(Layer)+AWM Voices. AN + FDSP voices are described in the FDSP Synthesis section, below.
5/21/98 11:21 AM Page 35 ■ FDSP Voice Element Structure In an FDSP voice up to four AWM elements can be fed to the FDSP stage or routed directly to the normal effect stage as required. Elements 1 AWM FDSP Unit 2 AWM Effects 3 AWM 4 AWM ■ AN+FDSP Voices AN+FDSP voices allow a single AN element to be layered with up to three AWM elements feeding the FDSP stage.
Basic/E/qx 5/21/98 11:21 AM Page 36 Introductory Section Voice & Performance Selection One of the first things you'll want to do with your EX5, EX5R, or EX7 is select and play some of its voices or performance combinations … this section will show you how to do just that. The EX has 256 preset voices organized into two separate memories — Preset 1 (“P1”), and Preset 2 (“P2”) — each containing 128 voices.
Basic3pdf/E/qx 11/6/98 6:26 PM Page 37 In the Voice mode the P1, P2, I1, and I2 memory areas can be directly selected by pressing the corresponding function key, [F1] through [F4], and successively pressing [ENTER] key. Each memory area contains 8 banks of 16 voices each (8 x 16 = 128). The Performance mode has just one 128-location memory area.
Basic/E/qx 5/21/98 11:22 AM Page 38 Introductory Section ■ Alternate Selection Methods The [INC] and [DEC] Keys The [INC] and [DEC] Keys are best used for small, step-wise changes — e.g. selecting adjacent voice or performance numbers, or numbers that are only a few steps away. Press the [DEC] or [INC] key briefly to decrement or increment the number by one, or hold either key for continuous decrementing or incrementing in the corresponding direction.
5/21/98 11:22 AM Page 39 Normal Voices & Drum Voices AWM voices can be divided into two groups : normal voices and drum voices. • A normal voice is simply a pitched voice which can be played on a musical scale from low to high, such as a piano or trumpet. • A drum voice is a complete set of drum and other percussion sounds, each having a fixed pitch and being assigned to individual notes of the keyboard (from C-2 through G8).
Basic/E/qx 5/21/98 11:22 AM Page 40 Introductory Section Voice Structure & Editing Hints Although the EX Extended Synthesis tone generator system is quite complicated, the overall system and interface have been designed to make voice editing as easy and efficient as possible.
5/21/98 11:22 AM Page 41 PITCH The PITCH stage determines the pitch of the sound. In addition to allowing the pitch of the voice to be controlled from the keyboard or via MIDI note data, it allows pitch control from the pitch bend wheel, keyboard aftertouch, or any other assignable controller.
Basic/E/qx 5/21/98 11:22 AM Page 42 Introductory Section ■ Overall System Structure If we now put all four elements together, and add in the all-important control and effect blocks, the system looks something like this: ELEMENT 1 OSCILLATOR PITCH FILTER AMPLITUDE PITCH FILTER AMPLITUDE PITCH FILTER AMPLITUDE PITCH FILTER AMPLITUDE ELEMENT 2 OSCILLATOR ELEMENT 3 OSCILLATOR ELEMENT 4 OSCILLATOR KEYBOARD, CONTROLLERS & LFO EFFECTS In this diagram note that the KEYBOARD, CONTROLLERS & LFO
Basic4pdf/E/qx 3/15/99 8:22 PM Page 43 Voice Elements 1-4 Wave Sample AWM: 419 presets, up to 1024 waves Element Presets: 1-1484 AN: VCO1 and VCO 2 waves up to 1024 VL (VA): 272 DRAM/FLASH: 1-1024 FDSP: 419 presets, up to 1024 waves ■ Element Combinations Although the various element combinations possible with each voice type were introduced in the “Extended Synthesis” section (page 29), we’ll cover them again here because they are so pertinent to the current topic.
Basic/E/qx 5/21/98 11:22 AM Page 44 Introductory Section AN(Poly) Voices (EX5, EX5R, and EX7) A standard (Poly) AN voice can have 1 AN element and from 1 to 3 AWM elements. If you’re striving to create a classic analog synth or FM synthesizer type sound, it is probably better to start with the single AN element alone. Add AWM elements as necessary to “modernize” the sound. AN ELEMENT AWM ELEMENT OUT EFFECTS AWM ELEMENT AWM ELEMENT More on AN voices on page 112.
5/21/98 11:22 AM Page 45 AN+FDSP Voices (EX5 and EX5R only) AN+FDSP voices can have 1 AN element and from 1 to 3 FDSP elements. The FDSP stage can be applied to any or all of the AWM elements used, as required. AN ELEMENT AWM ELEMENT FDSP EFFECTS OUT AWM ELEMENT AWM ELEMENT Polyphony The maximum polyphony of the EX5 and EX5R is 126 notes, and the maximum polyphony of the EX7 is 64 notes. Full polyphony, however, is not available for all voice types.
Basic/E/qx 5/21/98 11:22 AM Page 46 Introductory Section ■ Element Muting Another necessity when editing a multi-element voice is the ability to turn individual elements off or on. You might need to concentrate on the sound of a single element, for example, and need to “mute” any other elements so you can hear only the target element while making subtle changes. On the EX5 and EX7 individual element muting can be accomplished via BANK select keys [5] through [8] (labelled “ELEMENT ON/OFF).
5/21/98 11:22 AM Page 47 ■ Relative & Absolute Controller Knob Data Entry Normally when you rotate a Controller Knob being used for data entry, the corresponding value changes in relative fashion — i.e. the knob increases or decreases the value of the parameter in relation to the value that was initially on the display. To put it another way, the central detented position of the Controller Knob will correspond approximately to the parameter value that was on the display before the knob was rotated.
Basic4pdf/E/qx 3/15/99 8:22 PM Page 48 Introductory Section Voice Store Procedure To store an edited voice: 1 Press the [STORE] key After editing the voice as required, press the [STORE] key either while still in the Voice Edit mode, or immediately after returning to the Voice Play mode (do not select a different voice or mode before storing the edited data, or the edited data will be lost!).
5/21/98 11:22 AM Page 49 The Power of the Performance Mode The EX Performance mode allows up to 16 different voices to be assigned to different “parts” and combined in a number of ways. The results can be ideal for real-time performance — as the name of the mode suggests — or for sequencing via the EX Song or Pattern mode, or via external MIDI control. Either way, the Performance mode offers versatility and control not available in the Voice mode.
Basic/E/qx 5/21/98 11:22 AM Page 50 Introductory Section ■ Split Keyboard Instead of layering voice parts over the same keyboard range, different parts can be assigned to different areas of the keyboard for split keyboard setups. A simple example would be to assign a bass voice to the left-hand section of the keyboard and a piano voice to the right-hand section. The Note Limit parameters in the Performance Edit mode are used to assign the various parts to the required note ranges (page 166).
5/21/98 11:22 AM Page 51 ■ Arpeggiator Accompaniment The EX Arpeggiator (page 61) is capable of producing an essentially unlimited range of patterns which can be tailored to make ideal accompaniment for a wide spectrum of musical styles. The Arpeggiator can be assigned to any of the Performance mode parts, so in a split-keyboard setup you could control an Arpeggiator pattern with the left hand while playing a lead line with the right.
Basic/E/qx 5/21/98 11:22 AM Page 52 Introductory Section ■ Voice Editing From the Performance Mode There may be times when you’ll want to actually edit a voice being used in the Performance mode rather than just the Performance parameters. You can jump directly to the Voice Edit mode from the Performance or Performance Edit mode by pressing the [VOICE] key while holding the [PERFORMANCE] key. First the Performance mode display will appear with the [F1] and [F2] function keys assigned to part selection.
5/21/98 11:22 AM Page 53 Performance Store Procedure To store an edited performance setup: 1 Press the [STORE] key After editing the performance setup as required, press the [STORE] key either while still in the Performance Edit mode, or immediately after returning to the Performance Play mode (do not select a different performance setup or mode before storing the edited data, or the edited data will be lost!).
Basic/E/qx 5/21/98 11:22 AM Page 54 Introductory Section Performance Mode DSP Limitations The DSP (Digital Signal Processing) system used to create the EX effects is also used by the AN, FDSP, and VL (EX5/5R only) tone generators to create voices. This means that less DSP capacity is available to produce effects when the aforementioned voice types are used. This imposes limitations which are different for the EX5/5R and EX7.
5/21/98 11:22 AM Page 55 The Controllers In addition to the standard pitch bend and modulation wheels, the EX5 and EX7 offer a range of assignable controllers that can be used for unprecedented sound control. The EX5R Tone Generator also offers extended controller versatility for enhanced programming and performance control. The keyboard models feature a second modulation wheel and a ribbon controller, plus full keyboard initial and aftertouch response.
Basic/E/qx 5/21/98 11:22 AM Page 56 Introductory Section Ribbon Controller (EX5/EX7) The Ribbon Controller is a touch sensor that you control by running a finger lightly across its surface to the left or right. The Ribbon Controller can be assigned to the full range of EX parameters.
5/21/98 11:22 AM Page 57 Scene Switching & Morphing The SCENE [1] and [2] keys can be used to memorize and recall different settings of the Controller Knobs for the voices, so a complete set of knob settings can be recalled instantaneously. You can also “morph” smoothly between memorized scenes for new expressive effects. Scenes can be independently stored with each internal voice and performance combination, so they will be available instantly when you recall a voice or performance.
Basic/E/qx 5/21/98 11:22 AM Page 58 Introductory Section ■ Scene Control (Scene Morphing) The term “morph” comes from the word “metamorphosis,” meaning to change from one form or shape to another. In the case of the EX scenes it means to change gradually and smoothly from one scene to another, instead of switching abruptly as described in the preceding section. To morph between scenes, first press one SCENE key while holding the other so that both SCENE indicators light simultaneously.
5/21/98 11:22 AM Page 59 The source controllers are: Display Abbreviation Controller PB PITCH Wheel RB Ribbon Controller MW1 MODULATION Wheel 1 MW2 MODULATION Wheel 2 KN1 Controller Knob 1 KN2 Controller Knob 2 KN3 Controller Knob 3 KN4 Controller Knob 4 KN5 Controller Knob 5 KN6 Controller Knob 6 AT Keyboard Aftertouch FC Foot Controller BC Breath Controller The destination parameters are organized into 8 related groups, listed below.
Basic/E/qx 5/21/98 11:22 AM Page 60 Introductory Section Sequencer Functions The EX5, EX5R, and EX7 have three separate sequencing functions suited to different purposes: ● The Song Mode The EX Song Sequencer is a full-featured 16-track sequencer complete with real-time play effects — including “groove” quantization — and a comprehensive range of editing functions.
5/21/98 11:22 AM Page 61 ● The Arpeggiator 4-track arpeggio patterns — from simple to sophisticated — can be stored as performance parameters for automatic recall and use with individual performance setups, or used with voices in the Voice mode. The EX Arpeggiator makes it easy to create automatic arpeggios, techno-style patterns, or a virtually unlimited range of other repeating phrases.
Basic/E/qx 5/21/98 11:22 AM Page 62 Introductory Section Sequence Record Modes & Editing The number and type of recording modes available is different for each EX sequencer function: SEQUENCER FUNCTION RECORD MODES SONG Replace, Overdub, Step, Multi, Punch PATTERN Replace, Overdub, Step, Multi ARPEGGIO Replace, Overdub, Step ● Replace In the “Replace” real-time record mode the EX5, EX5R, or EX7 records exactly what you play as you play it, erasing any previous material in the record track as yo
5/21/98 11:22 AM Page 63 ● Step The Step record mode lets you enter each track note-by-note, with precise control over the timing, length, and loudness of each note. You can record entire tracks using the Step mode, or use it to brush-up and add data to an existing track. The Step record mode lets you record extremely fast or complex passages that would be impossible to play in real time.
Basic/E/qx 5/21/98 11:22 AM Page 64 Introductory Section Play Effects & Groove Quantization An important feature of all EX sequencer functions is “Play Effects,” … including “Groove Quantization.” Play Effects affect song, pattern, or arpeggio playback in real time, and are not actually recorded with the sequence data. The Play Effects include Groove Quantization and a range of offset parameters affecting overall clock timing, velocity, gate time, and transposition.
5/21/98 11:22 AM Page 65 The EX Effect System The EX effect system is not an “extra.” It is a top-quality digital signal processing system which is capable of producing effects rivalling and even exceeding those of many separate component effect units in quality. In the EX5, EX5R, and EX7, effect programming is an integral and important part of voice programming, and the ability to control specific effect parameters in real time makes them indispensable for expressive control as well.
Basic/E/qx 5/21/98 11:22 AM Page 66 Introductory Section Insertion Effects Two insertion effect units are provided in addition to the Reverb and Chorus system effect units described above. The Effect 1 unit includes 24 effects including chorus, distortion and overdrive, amp simulation, auto wah, equalization and more. The Effect 2 unit adds a range delay, reverb, and other effects, providing a total of 79 effects.
5/21/98 11:22 AM Page 67 Effects In the Performance Mode In the Performance mode the insertion effects apply to the voices exactly as they were set up in the Voice mode. The Voice mode Reverb and Chorus unit settings, however, are not used in the Performance mode. In the Performance mode each part has Reverb Send and Chorus Send parameters which determine how much Reverb or Chorus is applied to the corresponding part.
Basic/E/qx 5/21/98 11:22 AM Page 68 Introductory Section DSP Limitations The DSP (Digital Signal Processing) system used to create the EX effects is also used by the AN, FDSP, and VL (EX5/5R only) tone generators to create voices. This means that less DSP capacity is available to produce effects when the aforementioned voice types are used. This imposes limitations which are different for the EX5/5R and EX7. The Reverb and Chorus effect units function normally regardless of the type of voice used.
5/21/98 11:22 AM Page 69 Sampling The EX Sample mode lets you “sample” sounds via a microphone or line source which can be used in AWM voice elements (samples are assigned to voice elements via the Voice Edit OSC display — page 80), or mapped to individual keys of the keyboard in the Key Map mode (page 72). It is also possible to sample directly from the internal EX tone genator system, so you can sample sounds and phrases for Key Mapping, for example, without requiring any external equipment at all.
Basic/E/qx 5/21/98 11:22 AM Page 70 Introductory Section ■ Record Mode & Input Settings Once your sources are connected as required (if you will be sampling from an external source), press the [SAMPLE] key to engage the Sample mode, and then the [F8] function key (“[REC]”) to go to the SAMPLE REC display.
5/21/98 11:22 AM Page 71 ■ Recording the Sample After making sure that your source is properly connected and the input parameters and levels are set, set the Trigger Level if necessary (page 177), set the desired maximum length of the sameple via the Length parameter (page 177), and press the [F8] function key (“[STANDBY]”). “Waiting ...” will appear on the display. Play your source and sampling will begin automatically as soon as a signal which exceeds the Trigger Level is detected.
Basic/E/qx 5/21/98 11:22 AM Page 72 Introductory Section The Key Map Mode The EX Key Map mode allows you to assign individual samples, patterns, or pattern tracks to different keys of the keyboard (or MIDI note numbers in the case of the EX5R). The assigned samples and/or patterns can then be played via the EX5/EX7, or via an external sequencer or other MIDI controller on all models.
5/21/98 11:22 AM Page 73 4 Specify a pattern or sample If you chose to map a pattern to the selected note, use the cursor keys in conjunction with the Data Dial, [DEC]/[INC] keys, or appropriate Controller Knobs to specify a track — “Tr1 … Tr8” for an individual track, or “all” to map the entire pattern — and the pattern number (the pattern name will appear to the right of the pattern number).
Basic/E/qx 5/21/98 11:22 AM Page 74 Introductory Section About The Tune Screen Pressing the [F2] key selects the Tune screen, which is only available for samples and includes two tune-related parameters: Coarse and Fine. Coarse: Raises or lowers the pitch of each sample in semitone steps. Settings: -64~+63 Fine: Allows fine adjustment of the pitch of each element.
Voice/E.qx 5/21/98 11:29 AM Page 75 Reference Section Voice Play Mode Voice Play Mode lets you play the 256 Preset Voices and User Voices of your own creation. Voice Play Mode screen Press [VOICE] key on the panel to enter Voice Play mode. When you enter Voice Play mode, the following screen appears. The contents are shown below. 1 3 4 2 5 1 Screen Title Indicates Voice Play mode. 2 Transmit Channel/Receive Channel Indicates which MIDI channel is used for the voices in the Voice mode.
Voice/E.qx 5/21/98 11:29 AM Page 76 4 Voice Category/Name Voice Edit Mode Voice Category The respective voices are organized into the two-letter-code Voice Categories. Each Category code implies the voice’s property.
3/15/99 8:34 PM Page 77 Press [EDIT] key on the panel while in Voice mode to enter Voice Edit mode. When you enter Voice Edit mode, the following menu appears. Below are the eight menus in Voice Edit mode. When you exit from the Voice Edit mode the “ ” will remain at the top left on the display until you either store the edited voice or select a different voice number or mode.
Voice/E.qx 5/21/98 11:29 AM Page 78 FDSP (Formulated Digital Sound Processing): Uses each of the four AWM elements (up to a maximum of four), which are applied to the FDSP unit. Once the FDSP type is selected, the FDSP menu will also display. It can be accessed using [F5] at the bottom of the COM screen (see page 123). DSP Limitations Voice Mode The DSP (Digital Signal Processing) system used to create the EX effects is also used by the AN, FDSP, and VL (EX5/5R only) tone generators to create voices.
5/21/98 11:29 AM Page 79 ■ Mono/Poly Selects whether the voice is played monophonically (only one note at a time) or polyphonically (multiple notes sounding simultaneously). ■ Arp Tempo (Arpeggio Tempo) Sets the tempo for the arpeggio. ❏ Settings: 30~250 ❏ Settings: mono, poly ■ Tempo Ctrl (Tempo Control) Sets whether one of the Knobs controls the arpeggio tempo, or not. ■ Key Assign Selects sngl (single) or mlti (multi) Key Assign.
Voice/E.qx 5/21/98 11:29 AM Page 80 [F6]: WAVE Setting the Voice Name Selects the waves for the elements (maximum four elements per voice), and sets parameters related to the Loop configuration for each wave. 1 Press [F8] to enter the Name screen. 2 Move the [↓] cursor to the far left with the Cursor key. Voice Mode 3 Use [INC]/[DEC] or Data Dial to select the Category. The category names help you to sort the voices you have created.
Voice/E.qx 5/21/98 11:29 AM Page 81 ■ Wave Play Switches how the wave is played back. There are five choices: “FwdLp,” “FwdLpEx,” “FwdNoLp,” “RevNoLp” or “default.” [F7]: MIX Sets the output balance between the various element waves that make up a voice. ❏ Settings: Voice Mode FwdLp: While a key is pressed (held down), the wave playback begins from the Start point, moves to the Top point and then repeats continuously from the Top point to the End point.
Voice/E.qx 5/21/98 11:29 AM Page 82 ■ Vel Limit High (Velocity Limit High) Sets the highest velocity value of each element wave that is detected when the keyboard is played. [F8]: ZONE Sets the zone of each element (the keyboard and velocity ranges within which the sounds are played). A different zone can be set for each element. ❏ Settings: 1~127 Voice Mode ■ Vel Xfade (Velocity Cross Fade) Sets the cross fade velocity range (Vel Limit Low and High) for each element.
5/21/98 11:29 AM Page 83 ■ EG Depth Sets the amount of pitch change in the PEG. A setting of “0” produces no change, and maintains the original pitch. [F3]: PITCH The Pitch parameters adjust the pitch of the wave and configures the tuning system. There are three menus with various parameters that can be applied to each element. ❏ Settings: –64~0~+63 [F6]: PARAM (Parameters) [F7]: SCALE [F8]: EG (Envelope Generator) ■ EG Random Changes the Hold Level (page 85) of the PEG randomly.
Voice/E.qx 5/21/98 11:29 AM Page 84 ■ Micro Tuning Sets the Micro Tuning (tuning system, or temperament) each element will use. Beginning with the standard tuning “equal temperament,” there are 32 tuning systems available. [F8]: EG (Pitch Envelope Generator) Sets the PEG, which determines how the pitch will change over time, from when the key is pressed, held, then released. A different value can be set for each element. ❏ Settings: Each system is listed below. Voice Mode No.
5/21/98 11:30 AM Page 85 ■ Time Scale The Time Scale function determines the speed of change in the PEG according to the pitch played on the keyboard. When the Time Scale is set to a positive value, the lower the note played on the keyboard, the slower the change that occurs over time. The higher the note played on the keyboard, the faster the change occurs. Negative values will have the opposite effect. ■ Dcy 1/2 Time (Decay 1/2 Time) Sets the Decay 1/2 Time.
Voice/E.qx 5/21/98 11:30 AM Page 86 L/H Shelf (Low/High Shelving Filter) [F4]: FILT (Filter) The Filter parameters configure the filter setting which can be applied to each element to change the timbre of the sound. There are five menus available.
5/21/98 11:30 AM Page 87 ■ High/Low Gain Vel (High/Low Gain Velocity) Sets the velocity sensitivity for signal levels designated by the High Gain and Low Gain. When the High/Low Gain Vel is set to a positive value, the harder a note is played on the keyboard, the more the amount of gain is applied. Negative values will have the opposite effect. ■ Low1/2 Gain Sets the signal levels for the frequencies passing below the Low1/2 Freq points.
Voice/E.qx 5/21/98 11:30 AM Page 88 ■ High1/2 Gain Sets the signal levels for the frequencies passing above the High1/2 Freq points. ■ Freq Random (Frequency Random) Freq Random causes the cutoff frequency to move randomly. The higher the value, the wider the change of the cutoff frequency. A setting of “0” produces no effect.
Voice/E.qx 5/21/98 11:30 AM Page 89 ■ Freq (Frequency) Sets the cutoff frequency. Only the frequencies around the cutoff frequency will be passed, while other frequencies will be filtered out. HPF (High Pass Filter) All other parameters for this filter are the same as explained for the LPF parameters. For information, see page 88. The HPF passes the signals above the specified cutoff frequency set in the Freq parameter (below), and cuts the signals below it.
Voice/E.qx 5/21/98 11:30 AM Page 90 ■ Freq KeyFollow Sets the KeyFollow for the center frequency set in the Freq. The Freq KeyFollow adjusts the center frequency by the notes played on the keyboard. When the Freq KeyFollow is set to a positive value, the higher the note played on the keyboard, the higher the center frequency becomes. When a negative value is set, the lower the note played, the higher the center frequency becomes.
5/21/98 11:30 AM Page 91 [F5]: DCF (Dynamic Control Filter) Frequency Characteristics Screen All Parameters Screen Configures the parameters for the Dynamic Control Filter. There are various kinds of filters that change the timbre of the sound by passing only specific frequencies through from the harmonic contents (other frequencies are filtered out). A different filtration can be applied to each element.
Voice/E.qx 5/21/98 11:30 AM Page 92 ■ Thru Gain Determines the amount of the signals that does not pass through the filter, or the original dry sound. LPF (Low Pass Filter) The LPF passes the signals below the specified cutoff frequency and cuts the signals above it. There are five different types of Low Pass Filters for the DCF1.
Voice/E.qx 5/21/98 11:30 AM Page 93 LPF6(Low Pass Filter 6): -6dB/oct low pass filter-type digital dynamic filter with no resonance. Thru The Thru function by-passes the filter and the signal remains unaffected (dry). LPF6 On the right side of the Frequency Characteristics screen, the type of the filter frequency characteristics curve is displayed. The frequency bandwidth is indicated by the horizontal axis, while the level is indicated by the vertical axis.
Voice/E.qx 5/21/98 11:30 AM Page 94 Voice Mode ■ F1/2 Vel Freq (Filter 1/2 Velocity Frequency) Sets the velocity sensitivity for the cutoff frequency parameter. When F1/2 Vel Freq is set to a positive value, the harder a note is played on the keyboard, the higher the cutoff frequency becomes, and a greater change occurs in the timbre of the sound. Negative values will have the opposite effect. [F7]: SCALE Sets the scaling for the filter.
6/12/98 6:10 PM Page 95 ■ Other Time Vel (Other Time Velocity) Sets the velocity sensitivity for Decay 1/2 Time and the Release 1/2 Time. When Other Time Vel is set to a positive value, the softer the keyboard is played, the longer the change becomes over time. Negative values will have the opposite effect. [F8]: EG (Filter Envelope Generator) Sets the FEG, which determines how the timbre of the sound will change over time, from when the key is pressed, held, then released.
Voice/E.qx 5/21/98 11:30 AM Page 96 ■ L (Loop) Sets the loop point for the FEG. As seen in the FOLLOWING diagram, this function sets the position to be returned to after reaching the Decay 2 (loop point). Selecting “off” turns the loop function off.
5/21/98 11:30 AM Page 97 ■ Level KeyFollow Sets the Level KeyFollow for each element. The Level KeyFollow function determines the output level in accordance with the notes played on the keyboard. When Level KeyFollow is applied, the output level is increased or decreased relative to the basic pitch, which is designated here as C3. ■ Pan KeyFollow This parameter is displayed when you select “scl” (Scaling Pan) in Pan.
Voice/E.qx 6/12/98 6:10 PM Page 98 ■ Atck Time Vel (Attack Time Velocity) Sets the velocity sensitivity for the Attack Time. When Attack Time Vel is set to a positive value, the softer the keyboard is played, the longer the Attack time becomes. Negatives values will have the opposite effect. Setting the Amplitude Scaling You can set the note (pitch) and the offset level for each break point (BP1-4), as shown in the following example.
6/12/98 6:10 PM Page 99 ■ Decay Level Vel (Decay Level Velocity) Increase or decrease the Decay Level with the velocity. ■ Rel1 Level Sets the level of Release 1 (when in Release Mode 2) ❏ Settings: 0~127 ❏ Settings: –7~0~+7 Release 1 Level is fixed to “0” in the Release Mode 1. Release 2 Level is fixed to “0” in the Release Mode 2. ■ Attack Mode Selects the Attack Mode (1 or 2) or switches back and forth between modes.
Voice4pdf/E.qx 3/15/99 8:34 PM Page 100 ■ Sync This switch turns the Sync on and off . When Sync is turned on, the LFO oscillator is always reset each time the keys are pressed. [F6]: LFO (Low Frequency Oscillator) Voice Mode The LFO parameters set the LFO. The LFO oscillator generates low frequency signals that allow for modulation to be applied to specific aspects of the voice.
Voice4pdf/E.qx 3/15/99 8:34 PM Page 101 ■ Fade Sets the fade-in effect of the LFO after the designated delay time has passed. As shown in the diagram below, the larger the value, the longer it takes for the LFO effect to reach the peak in modulation. ■ Vel (Velocity) Sets the velocity sensitivity for the LFO speed. When Vel is set to a positive value, the harder the keyboard is played, the greater the LFO modulation. Negatives values will have the opposite effect.
Voice/E.qx 5/21/98 11:30 AM Page 102 ■ AMD (Amplitude Modulation Depth) Determines how greatly the LFO will affect the output level. Larger values widen the range of the volume change. tri (triangle wave) ❏ Settings: 0~127 Voice Mode ■ PMD (Pitch Modulation Depth) Determines how greatly the LFO will affect the pitch. Larger values widen the range of the change in pitch. Negative values reverse the phase of the LFO wave.
5/21/98 11:30 AM Page 103 ■ Sync The parameters for LFO2 Sync are the same as for LFO1 Sync. For an explanation, see page 100. [F7]: CTRL (Controller) The Controller parameters set the Controllers. Starting with the [PITCH] wheel on the front panel, various controllers can be set for each element. There are two menus available. ■ Delay The parameters for LFO2 Delay are the same as for LFO1 Delay. For an explanation, see page 100.
Voice/E.qx 5/21/98 11:30 AM Page 104 ■ Port Mode (Portamento Mode) Selects the portamento mode. The way in which the portamento moves will differ depending on whether the Mono or Poly parameter is selected in the Common menu. [F3]: REMAP The Remap function allows you to arrange the Voice Controller Sets. For example, when you have created four Controller Sets, number 1, 3, 4 and 7, the numbers will be ranged from 1 through 4.
5/21/98 11:30 AM Page 105 ■ Dest Depth (Destination Depth) Sets the depth for the control function selected in Dst Param. [F8]: EFCT (Effects) The Effect parameters sets the parameters related to the two types of Insertion effects and the System (Reverb and Chorus) effects. The effects signal flow can be confirmed in the graphic display screen as you set values. There are five menus available.
Voice/E.qx 5/21/98 11:30 AM Page 106 ■ 3 InsEF1 (Insertion Effect 1) Selects the type of effect for Insertion Effect 1. ■ ! Cho Pan (Chorus Pan) Sets the panning of the signal output from the Chorus unit. ❏ Settings: 00 (thru)~24 ❏ Settings: L64 (far left)~cnt (center)~R63 (far right) For more information about each type of effect, see the Effect Type List in the separate Data List book. Voice Mode ■ @ Rev Return (Reverb Return) Sets the return level of the signal output from the Reverb unit.
6/12/98 6:19 PM Page 107 [F7]: REV (Reverb) [VOICE] ------Normal+[EDIT] VL Element ------[F1:COMMON ........................................................107 ------[F6:Parameter] ..........................................107 ------[F7:Arpeggio] ..................................................79 ------[F3:Arpeggio-Edit] ..........................................79 ------[F8:Name] ........................................................79 ------[F2:OSCILLATOR] .........................................
Voice/E.qx 5/21/98 11:30 AM Page 108 Voice Mode ■ VL Mono/Poly (VL Monophonic/Polyphonic) Selects how the VL Element produces sound. The VL Element is limited to only one sound at a time. However, as shown below, the way in which sound is produced is different depending on whether “mono” (monophonic) or “poly” (polyphonic) is selected. Select the mode that best suits your playing style. ■ KeyOn Delay When the VL Element is selected, KeyOn Delay is inactive and hyphens (---) will display.
Voice/E.qx 5/21/98 11:30 AM Page 109 [F8]: EG (Pitch Envelope Generator) [F4]: FILT (Filter) The following screen appears when the VL Element is selected in the PEG screen. When VL Element is selected, following two menus are available for Filter parameters. [F7]: EQ (Equalizer) The 5-band parametric equalizer with the parameters, Frequency, Q, and Gain, permit further sound tailoring capability. There is also a post EQ parameter.
Voice/E.qx 5/21/98 11:30 AM Page 110 [F8]: DCF (Dynamic Control Filter) [F5]: AMP (Amplitude) When VL Element is selected, there are two menus available with Amplitude parameters. [F6]: PARAM (Parameters) [F8]: EG (Envelope Generator) Voice Mode [F6]: PARAM (Parameters) ■ Resonance Parameters which let you boost specific frequencies around the cutoff frequency. When the VL Element is selected, Level Vel (Level Velocity) is inactive. Other settings are the same as for the AWM Elements.
5/21/98 11:30 AM Page 111 ■ Attack Time Sets the amount of time it takes to reach the peak in volume from when a note is played. When Attack Time is set to a positive value, the peak is reached more slowly. Negative values cause the peak to be reached more quickly. ■ Vibrato Delay Sets the delay time from when the keyboard is played to when the vibrato effect begins. The larger the value, the longer the delay time before the vibrato effect begins. Negative values cause the delay time to be shorter.
Voice/E.qx 5/21/98 11:30 AM Page 112 Normal Voice (AN Element) [F1]: COM (Common) Explanations below cover only the differences between the AN Element and the AWM Elements. The remaining functions and parameters are the same as for the AWM Elements. For explanations, see the relevant sections in this Owner’s Manual.
Voice/E.qx 5/21/98 11:30 AM Page 113 ■ AN Priority Determines the priority for notes played as an AN Element. When chords or several notes are played at the same time, you can select which note will sound, as follows: last (the note that was played last), top (the highest note), bottom (the lowest note). only FM (Sync is disabled): When selected, no other parameter is available. Master of VCO1 VCO2 LFO1,2 EG, etc.
Voice/E.qx 5/21/98 11:30 AM Page 114 ■ FM Modulator Selects the source unit to get the frequency modulation. The waveform of the source selected here modulates the VCO1 wave. Sync Voice Mode Synchronizing the master and slave oscillator in VCO1 will increase the wave harmonics and create a more complex sound. The Sync is automatically set to “on” when an algorithm other than FM is selected. ❏ Settings: fixed, PEG, FEG, LFO1, LFO2 When set to “fixed,” there is no change in modulation over time.
5/21/98 11:30 AM Page 115 ■ VCO1/2 PitchScale Sets the Pitch Scale for each VCO1/2 oscillator. The Pitch Scale function corrects the pitch change of VCO1/2 in accordance with the notes played on the keyboard. When VCO1/2 Pitch Scale is applied, the pitch change is increased or decreased relative to the specific pitch, which is designated here as MIDI note number 64 (E3). saw2 (Sawtooth2) This wave is slightly different from the saw wave.
Voice/E.qx 5/21/98 11:30 AM Page 116 Voice Mode ■ VCO1/2 PulseWidth Adjusts the width of each VCO1/2 pulse wave. When the pulse is set to a value of 64, the pulse wave is equally balanced, generating only oddnumbered harmonics. When the value of 64 is increased or decreased, the more the pulse width changes, the fatter the sound becomes, caused by the increase in harmonics.
Voice/E.qx 5/21/98 11:30 AM Page 117 ■ Bank In the COM PARAM screen (explained above), when the Voice Type, AN (Poly)+AWM or AN+FDSP is selected, the first Element wave is always set as an AN Element. When the Analog Layer is selected, the first and second Elements are always set as an AN Element. The remaining three or two Elements can be used as AWM Elements. [F8]: EG (Envelope Generator) Voice Mode The following screen appears when the AN Element is selected in the PEG screen.
Voice/E.qx 5/21/98 11:30 AM Page 118 Voice Mode ■ PEG Decay Time Sets the PEG Decay Time. When set to a positive value, this setting determines the amount of time for the sound to reach its basic pitch from the PEG Depth level. When a negative value is set, this setting determines the amount of time starting from the basic pitch to the set PEG Depth level. ■ Cutoff Freq (Cutoff Frequency) Sets the Cutoff Frequency.
5/21/98 11:31 AM Page 119 ■ Release Time Sets the amount of time it takes for the signal to reach the initial “0” value, after releasing the key. [F8]: EG (Filter Envelope Generator) Sets the FEG for the AN Element. You can control the change in the timbre of the sound over time, from when the key is played until it is released. This is effective for VCF 1/2 filters. ❏ Settings: 0~127 [F5]: AMP (Amplitude) When an AN Element is selected, there are three types of menus available.
Voice/E.qx 5/21/98 11:31 AM Page 120 ■ VCO2 Level Sets the signal level of the wave sent from VCO2 to the mixer. When you do not want to apply the VCO2 signal, set the level to “0.” [F8]: EG (Amplitude Envelope Generator) Sets the AEG for the AN Element. This lets you determine the change in volume over time, from when the key is played to when it is released. ❏ Settings: 0~127 Voice Mode ■ Noise Level Sets the level of the signal sent from the Noise unit to the mixer.
Voice/E.qx 5/21/98 11:31 AM Page 121 ■ Release Time This sets the amount of time it takes for the signal to reach “0,” after releasing the key. Sine Wave Sine [F6]: LFO (Low Frequency Oscillator) When an AN Element is selected, there is one type of menu related to LFO settings available. Sine [F8]: LFO (Low Frequency Oscillator) [F8]: LFO (Low Frequency Oscillator) Sets the LFO for the AN Element.
Voice/E.
Voice/E.qx 5/21/98 11:31 AM Page 123 ■ LFO1 Delay Sets the delay of the time from when the keyboard is played to when the LFO modulation begins. The larger the value, the longer the delay time. For more information, see the Delay concept graph, page 100. ■ LFO2 Speed Sets the speed of the LFO2 wave. The higher the value, the faster the speed. For more information, see the Speed concept graph, page 101. ❏ Settings: 0~255 [F7]: CTRL (Controller) ■ LFO1 Speed Sets the speed of the LFO1 wave.
Voice/E.qx 5/21/98 11:31 AM Page 124 ■ ElmSw (Element Switch) This switch sets the FDSP unit for each AWM element as active, “on” or inactive, “off.” Timbre (Position) ❏ Settings: on or off for each element, 1~4 (for AN+FDSP voice type, element 2~4) Voice Mode ■ Type Selects the FDSP type that will be used. Beginning with guitar pickup simulators, there are a variety of FDSP types that support new sound creation. The available parameters will differ depending on the selected FDSP type.
5/21/98 11:31 AM Page 125 ■ BP High (Break Point High) Sets the Break Points, which affect the parameters Position and Out Level in accordance with the pitch change, in the note range above C3. Values can be set in semitones from C3, which is regarded as the value of 0. ■ Out High Kf (Out High KeyFollow) Offsets the change in the pickup output level in the note range higher than the BP High (Break Point High).
Voice/E.qx 5/21/98 11:31 AM Page 126 Voice Mode ■ HPF K.Flw (High Pass Filter KeyFollow) Sets the KeyFollow for the High Pass Filter cutoff frequency. The High Pass Filter KeyFollow function controls the change in the cutoff frequency by the notes played on the keyboard. When set to a positive value, the higher the note played on the keyboard, the higher the cutoff frequency becomes. When a negative value is set, the lower the note played, the higher the cutoff frequency becomes.
5/21/98 11:31 AM Page 127 ■ Pickup Type Sets the type of pickup. There are two types, single (single coil), and humback. ■ PickingNotch Sets the picking position that provides tonal changes. When set to a positive value, physically correct effects are obtained at around the maximum value. When a negative value is set, physically impossible effects can be obtained. A setting of “0” produces no change in the timbre.
Voice/E.qx 5/21/98 11:31 AM Page 128 ■ Output Sets the pickup output level. ■ Pan The same as the one in the EP Pickup. See page 126 for information. ❏ Settings: –48~0~+48 03: Water Voice Mode ■ Output KFlw (Output KeyFollow) Sets the KeyFollow for the Output. The Output KeyFollow function controls the pickup output level in accordance with the notes played on the keyboard. When set to a positive value, the higher the note played on the keyboard, the greater the change in the output level becomes.
5/21/98 11:31 AM Page 129 ■ Freq (Frequency) Sets the central frequency for the Sample & Hold LFO filter modulation. ■ Feedback Kf (Feedback KeyFollow) Sets the KeyFollow for the Feedback. Feedback KeyFollow function controls the change in the resonance (for the resonating strings) in accordance with the notes played on the keyboard. When set to a positive value, the higher the note played on the keyboard, the greater the change in resonance becomes.
Voice/E.qx 5/21/98 11:31 AM Page 130 ■ Dry Level Sets the output level for the original input signal. A setting of “0” produces no output. Settings with the negative values reverse the phase of the waveform. ■ KeyFollow Sets the KeyFollow for the delay length. This KeyFollow function controls the length of the delay in accordance with the notes played on the keyboard.
5/21/98 11:31 AM Page 131 ■ LFO Depth (Low Frequency Oscillator Depth) Sets the depth of the LFO wave for the pulse width modulation. When set to “0,” only the EG functions. When set to “32,” the LFO wave ranges from “0” to the extent of the EG amplitude. When set to “64,” the absolute values of LFO wave range between the positive and negative extents of the EG amplitude. fade in: The EG effect increases gradually after a delay.
Voice/E.qx 5/21/98 11:31 AM Page 132 Voice Mode ■ EG Time Kflw (Envelope Generator Time KeyFollow) Sets the KeyFollow for the EG Time. This KeyFollow function controls the amount of the EG time in accordance with the notes played on the keyboard. When set to a positive value, the higher the note played on the keyboard, the shorter the EG time becomes. When a negative value is set, the lower the note played, the shorter the EG time becomes. ■ Pitch Coarse Adjusts the length of the delay in semitones.
5/21/98 11:31 AM Page 133 ■ Decay Time Sets the EG decay time (the time of decay from the maximum level until reaching the sustain level). ■ Wet Level Sets the output level for the signal that is affected by the flanger. You can adjust the FDSP (Flange) balance by combining this parameter and the Dry Level below. ❏ Settings: 0~127 ❏ Settings: –64~0~+63 ■ Decay T.Kf (Decay Time KeyFollow) Sets the KeyFollow for the Decay Time.
Voice/E.qx 5/21/98 11:31 AM Page 134 Voice Mode ■ KeyFollow Sets the KeyFollow for the peak frequency change. This KeyFollow function controls the first peak frequency in accordance with the notes played on the keyboard. When set to “+32,” the KeyFollow functions at 100% and the peak frequency moves in proportion to the pitch played on the keyboard. When set to a value of “0” the peak frequency is fixed. ■ ReleaseTime Sets the EG release time (the time from key-off until the sound ends).
5/21/98 11:31 AM Page 135 ■ Polarity Sets the direction of the modulation of the input signal. There are two settings, positive (0) and negative (1). 07: Self FM Self FM lets you add extra richer harmonics to the sounds. The mechanism how the Self FM type is formed is as follows: first, input signals are sent to the delay unit. Next, the phases of each signal sent from the delay unit are modulated (phase/frequency) by the input signals themselves, to cause the waves distorted.
Voice/E.qx 5/21/98 11:31 AM Page 136 Voice Mode ■ LPF K.Flw (Low Pass Filter KeyFollow) Sets the KeyFollow for the Low Pass Filter cutoff frequency. The Low Pass Filter KeyFollow function controls the cutoff frequency in accordance with the notes played on the keyboard. When set to a positive value, the higher the note played on the keyboard, the higher the cutoff frequency becomes. When a negative value is set, the lower the note played, the higher the cutoff frequency becomes.
5/21/98 11:31 AM Page 137 ■ Drive Sets the depth of the modulation. ■ Edge Bias Determines the amount of FM feedback. The higher the value, the wider the harmonic range becomes to include the harmonics in the higher range. The value set here will be added to the amount of feedback that is controlled by the EG. ❏ Settings: 0~127 ■ Drive K.Flw (Drive KeyFollow) Sets the KeyFollow for the Drive.
Voice/E.qx 5/21/98 11:31 AM Page 138 ■ Wet Gain Sets the maximum output level for the modulated signal. Main freq. -coarse/ fine (fixed) Main OSC Pitch coarse/fine ❏ Settings: 0~127 Sub OSC Main Voice Mode ■ Wet Vel (Wet Level Velocity) Sets the velocity sensitivity for the Wet Level. This lets you control the output level of the modulated signal by the strength at which you play the keyboard. Input PEG depth Sub pitch Sub RingMod ModDepth EG mode Time Sub freq.
5/21/98 11:31 AM Page 139 ■ PEG Depth (Pitch Envelope Generator Depth) Sets the PEG depth that affects the modulation wave’s pitch. ■ EG Time (Envelope Generator Time) Sets the amount of time from when the note is played to when the EG terminates. ❏ Settings: –64~0~+63 ❏ Settings: 0~127 ■ PEG DepthVel (Pitch Envelope Generator Depth Velocity) Sets the velocity sensitivity for the PEG depth. The PEG depth can be controlled by the velocity at which the note played on the keyboard.
Voice/E.qx 5/21/98 11:31 AM Page 140 ■ Pan The same as the one in the EP Pickup. See page 126 for information. ■ Drive EG (Drive Envelope Generator Depth) Sets the EG depth to affect the amount of the lowboost. ❏ Settings: –64~0~+63 10: Seismic Voice Mode The Seismic, as its name implies, makes the sounds roar. The input signal is sent to the time-variant lowboost filter, then passed through the overdrive.
Voice/E.qx 5/21/98 11:31 AM Page 141 ■ Overdrive Sets the amount of the over drive. Drum Voice Drum Voice editing lets you create your own drum kit by assigning AWM Elements to each note (pitch range C-2~G8) and setting various parameters related to volume, pitch, and timbre. ❏ Settings: 0~127 Voice Mode ■ HPF (High Pass Filter) Sets the cutoff frequency which cuts the lower range of the output signals. ❏ Settings: 0~127 ■ HPF K.
Voice/E.qx 5/21/98 11:31 AM Page 142 [F1]: COM (Common) In the screen that has not been assigned an Element, hyphens (---) will be displayed and the cursor cannot be moved. [F6]: PARAM (Parameters) When Drum is selected for Voice Type in the PARAM menu, a maximum of 128 AWM Elements can be used to create drum voices (i.e., drum kits). You can also use the INC/DEC key or the numeric keypad. Voice Mode 2 Assign the Element Press [F3] to execute the ADD function.
5/21/98 11:31 AM Page 143 3 (When setting the layers more than one for a key) Select a layer. When many layers have been assigned to the currently selected key, move the cursor to Layer, select the layer to which you want to assign an element. 2 Delete the element. Press the [F4] key to execute the [DEL] function. The elements assigned to that key, and all the layers, will be deleted. Hyphens (---) will be displayed for each parameter in the screen and the cursor can no longer be moved to those areas.
Voice/E.qx 5/21/98 11:31 AM Page 144 ■ Sample Bank Selects the desired sample bank. A different bank can be selected for each element. [F6]: WAVE Selects the element samples (maximum 128) that form a voice, and determines Loop related settings for each sample. A different value can be set for each element. ❏ Settings: PRE (Preset), RAM (DRAM), FLS (Flash Memory) Voice Mode FLS is effective only when an optional EXFLM1 is mounted onto the EX5/5R/7.
5/21/98 11:31 AM Page 145 ■ Sample Play Sets the way in which the sample will be played. ■ Rev Send (Reverb Send) Sets the Send level of the signal output from the Insertion Effects 1/2 (or by-passed) and sent to the Reverb unit. ❏ Settings: FwdLp, FwdLpEx, FwdNoLp, RevNoLp, default For more information about each setting, see page 81. ❏ Settings: 0~127 The value set here will be multiplied by the value set in Reverb Send (EFCT screen), and output as an actual Reverb Send level.
Voice/E.qx 5/21/98 11:31 AM Page 146 ■ Out (Output Select) Selects the output for each element. These settings let you send each element to a different output. ■ Vel Limit High (Velocity Limit High) Sets the highest velocity value of each element sample that is detected when the keyboard is played.
5/21/98 11:31 AM Page 147 ■ Sync This switch turns the Sync on and off. When Sync is set to “on,” the LFO oscillator is reset every time the keyboard is played. [F4]: FILT (Filter) There are four types of menus related to filters when editing a Drum Voice. The parameters and settings are the same as those for AWM Element. For information, see page 86. ❏ Settings: on, off For more information about resetting the LFO, see page 103.
Voice/E.qx 5/21/98 11:31 AM Page 148 Voice Job Mode [F8]: EFCT (Effects) Voice Mode Sets the effects for the drum elements. The signals from the maximum of 128 drum elements can be connected either to Insertion Effect 1 or 2, then sent to the Reverb/Chorus unit. “InsRev” and “InsCho” parameters added to the Type screen allow you to emphasize the effect for specific drum elements. The other parameters are the same as those for AWM elements on page 105.
Voice/E.qx 6/12/98 6:22 PM Page 149 5Press [ENTER]. The following pop-up menu will appear, prompting confirmation of the operation. [F2]: Recall Voice Voice Mode Without storing a voice while editing, if you select another voice, the previous voice’s edit data will be lost. The Recall job makes it possible to return to the original data that was being edited, even after selecting another voice. 6Press [YES] to execute the job.
Voice/E.qx 6/12/98 6:22 PM Page 150 ■ 4 Types of Source Data Selects the type of data that will be copied. It is possible to designate common data that affects all of the elements, and specific data for specified elements. Wave Edit Mode Voice Mode When you select a DRAM (RAM) bank and AWM wave number (0001~1024) from the Bank and Number in the WAVE display of the OSC menu in the Voice Edit mode, [F3] (WAVE-EDIT) sub menu is added to the screen. Press [F3] to enter the Wave Edit mode.
5/21/98 11:31 AM Page 151 Basic Steps for Wave Edit (Creating a new wave scratch) 9 Set the necessary parameters for the second layer. 1 In the WAVE display, select the wave number to edit. ) Repeat steps 7~9 and set the necessary Access other displays according to your objectives and set the parameters. Select the DRAM (RAM) bank and a wave number (Int-Wave) from the bank. [F3] (WAVE-EDIT) will be added. parameters for each layer.
Voice/E.qx 5/21/98 11:31 AM Page 152 ■ Sample Number Selects the desired sample number from the sample bank. When the sample number is selected, its name and category are displayed to the right of the number. A different sample number can be selected for each layer. [F5]: NAME Lets you give a name to the wave with up to eight characters.
Voice/E.qx 5/21/98 11:31 AM Page 153 [F8]: ZONE Sets the mix (output), pan, and other settings related to pitch for each sample which make up a wave. Settings can be made for each layer. Sets the zone of each sample (the keyboard and velocity ranges within which the sounds are played). A different zone can be set for each sample/layer. Voice Mode [F7]: MIX The Layer and Sample Bank/Number parameters here are the same as those in the SMPL display.
Voice/E.qx 5/21/98 11:31 AM Page 154 Wave Job Mode Zone Graphical Display Voice Mode On the left side of this screen, the zone (keyboard and velocity range at which sound will be produced) is displayed. The note range is indicated by the horizontal axis, while the velocity note range is indicated by the vertical axis. As each parameter value is adjusted, the shape of the black box, which represents the note range, changes accordingly. When in the Wave Edit mode, press [JOB] to enter Wave Job mode.
Voice/E.qx 5/21/98 11:31 AM Page 155 5 Press [YES] to execute the job. “Completed!” will [F2]: Delete Wave momentarily appear in the screen indicating that the job was executed and the previous screen will be displayed. This job deletes a designated wave or all waves at the same time. Press [NO] to cancel the job. Voice Mode “Executing...” will appear when the Wave Job takes some time to execute. Take note that if the power is turned off while “Executing...” is displayed, the data may be corrupted.
Performance/E/qx 5/21/98 11:35 AM Page 156 Performance Mode 2 Edit/Compare Performance Play Mode When the currently selected Performance is being edited (see page 159), an “ ” (Edit) mark is displayed. When comparing sounds (page 159), a “ ” (Compare) mark is displayed.
5/21/98 11:35 AM Page 157 Performance Number Bank Program Number Performance Number Bank Program Number 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B C C C C C C C C C C C C C C C C D D D D D D D D D D D D D D D D 1 2 3 4 5 6 7
Performance/E/qx 5/21/98 11:35 AM Page 158 Performance Edit Mode PART Menu [F1]: COM [F2]: PART (Settings for each Part: 1 Part is displayed) [F3]: MLT Following are explanations of the parameters related to Performance Edit mode. There are parameters whose settings affect all the parts and parameters which affect each individual part. These settings can be stored in each Performance. Performance Mode Press [EDIT] key on the panel while in Performance mode to enter Performance Edit mode.
5/21/98 11:35 AM Page 159 About the E (Edit) mark Voice Editing From the Performance Mode Whenever any setting is being made or an operational change is taking place, the “ ”(Edit) mark appears in the upper left corner of the screen, next to the part number. This lets you confirm that the currently selected Performance is being edited and has not yet been stored. There may be times when you’ll want to actually edit a voice being used in the Performance mode rather than just the Performance parameters.
Performance/E/qx 5/21/98 11:35 AM Page 160 ■ Total Volume Sets the overall volume for the performance. The volume for each part will be explained later (see page 164). ■ Ribbon Mode Sets how the Ribbon Controller functions. When the “reset” setting is selected, if you release your finger from the Ribbon Controller, the value is reset to the center position on the Ribbon.
5/21/98 11:35 AM Page 161 ■ Arp Sw (Arpeggio Switch) Turns the Arpeggiator on and off. ■ Arp MIDI A/B (Arpeggio MIDI OUT A/B) Sets the phrase of the Arpeggiator MIDI note to output from each MIDI OUT A/B when set to “on.” When set to “off,” no notes are output. ❏ Settings: off, on The ARPEGGIO key on the front panel also serves the same function.
Performance/E/qx 5/21/98 11:35 AM Page 162 ■ 2 Cho Type (Chorus Type) Selects the type of chorus for the Chorus unit. [F8]: CHO (Chorus) Sets various parameters for the currently selected Chorus effect. ❏ Settings: 00 (off)~17 For information about each type of chorus, see the Effect Type List in the separate Data List book. ■ 3 Cho→Rev (Chorus→Reverb) Sets the send level of the signal output from the Chorus unit, and then sent to the Reverb unit.
Performance/E/qx 6/12/98 6:43 PM Page 163 ■ Curve Selects the control curve, displayed to the far right of the screen, which defines the characteristics of the selected controller. [F7]: CTRL (Controller) These settings are related to the Controllers. Beginning with the [PITCH] wheel, the settings that are common to all parts are arranged in a chart-type screen and can be set within the chart. When the CTRL menu is selected with the [F7] key, the following menus are displayed.
Performance/E/qx 5/21/98 11:35 AM Page 164 ■ Number Selects the voice number that you want to use from within the selected voice bank. When a number is selected here, the selected voice name is displayed to the right of the voice name. A different voice number can be selected for each part. [F2]: PART Lets you edit any one of the 16 parts that make up a performance. The parameters that can be set are the same as those explained for the MLT (multi) screen.
Performance/E/qx 5/21/98 11:35 AM Page 165 ■ MIDI Pan/Vol (MIDI Pan/Volume) Sets the MIDI Pan/Volume to “on” or “off” when changing to another performance. Pan and Volume are sent to MIDI [OUT] when set to “on,” and are not sent when set to “off.” [F5]: LYR (Layer) Layer parameters are mainly related to MIDI settings including the MIDI channel, Arpeggiator on/off, Note Limit and Velocity for each part. These settings let you control each part’s MIDI output.
Performance/E/qx 5/21/98 11:35 AM Page 166 ■ 4 ArpeggioSw (Arpeggio Switch) Determines whether the currently selected part will be arpeggiated, or not. About Note/Velocity Limits Graphical Display The left side of the screen shows each note range and velocity (note) range for 16 parts, set in the above parameters. ❏ Settings: on, off ■ 5 Layer Sw (Layer Switch) Sets the Layer SW to “on” or “off.” When set to “on” you can play two parts in a layer.
Performance/E/qx 5/21/98 11:35 AM Page 167 ■ NoteShift Transposes the voice pitch of each part in semitones. wide: This curve decreases the volume level with a light touch playing and increases the volume level with a heavy touch playing. This lets you produce a wider dynamic range. ❏ Settings: –24~+24 Volume [F6]: SOUND These parameters are mainly related to sound, such as the EG and Portamento. These settings let you determine and control the volume, pitch, and timbre for each part.
Performance/E/qx 5/21/98 11:35 AM Page 168 ■ Decay Time Sets the amount of time it takes to reach the level set in the Decay Time, from the peak level. When Decay Time is set to a positive value, change occurs more slowly. Negative values cause the change to occur more quickly. ■ PEG Init (PEG Initial) Sets the initial pitch that is produced when the keyboard is played. When set to a positive value, the pitch is sharp (higher) in relation to the correct pitch.
5/21/98 11:35 AM Page 169 ■ Part ■ Bank (Voice Bank) ■ Number These parameters are the same as those explained in the MIX screen. See page 164. Port (Portamento) Settings related to the Portamento effect of each part. The following three parameters are available. ■ Port Sw (Portamento Switch) Turns the portamento”on” and “off.” Portamento creates a smooth glide in pitch from one note to the next.
Performance/E/qx 5/21/98 11:35 AM Page 170 ■ MIDI PC (MIDI Program Change) Sets the MIDI program numbers sent to an external MIDI device when making bank/program changes. [F8]: PRE (Preset) Settings related to the preset values and MIDI matters applied to the tone generator for each part. ❏ Settings: 001~128 Note that the program numbers are 001~128, but the actual MIDI program change numbers range from 0~127. Therefore, keep in mind that the numbers are shifted by one.
Performance/E/qx 5/21/98 11:35 AM Page 171 Knob Each time [F3] is pressed the Part section changes to show the Part 1~4, Part 5~10 and Part 11~16, alternately. ■ Knob To TG (Knob To Tone Generator) When making bank/program changes, this sets whether or not the preset values for Knobs 1-6 are sent to the tone generator. When set to “on” the messages are sent, and when set to “off” they are not sent.
Performance/E/qx 5/21/98 Lyr Performance Mode Bank Number Volume Pan Rev Send Cho Send InsEF Sw Out Sel Detune MonoPoly KeyAsign MDPanVol Layer Sw Nt Lmt L Nt Lmt H VelLmt L VelLmt H NoteShft Vel Sens Vel Crve Vel Ofst Arpeggio Tx MIDIA Tx MIDIB MIDItoTG MIDI Ch Bright Harmonic Attack Decay Release Vib Rate VibDelay VibDepth PEG Init PEG Atck PEG RelL PEG RelT PortSw PortTime PortMode PB Upper PB Lower PB Trns RB Trns MW1 Trns MW2 Trns KN1 Trns KN2 Trns KN3 Trns KN4 Trns KN5 Trns KN6 Trns AT Trns FC Trn
Performance/E/qx 5/21/98 11:35 AM Page 173 5 Press [ENTER]. The following pop-up menu will [F2]: Recall Perform (Recall Performance) appear, prompting confirmation of the operation. Without storing a performance while editing, if you select another performance, the previous performance’s edit data will be lost. The Recall job makes it possible to return to the original data that was being edited, even after selecting another performance.
Performance/E/qx 5/21/98 11:35 AM Page 174 ■ 3 Types of Source Data Selects the type of data that will be copied. It is possible to designate common data that affects all of the parts, and specific data for specified parts.
Sample/E/qx-3 11/6/98 6:33 PM Page 175 Sample Mode ■ Sample Bank Sets the bank that contains the sample you want to play. When “stereo” is selected, you can set a different sample bank for the L (left channel) and the R (right channel). Although “FLASH” can be selected, the selection is not effective unless you install the Flash Memory Board EXFLM1 to your EX5/5R/7. Sample Play Mode This mode lets you select a sample and play it back.
Sample/E/qx 5/21/98 11:39 AM Page 176 ■ Source Selects the recording source. When sampling, for example, with a microphone connected to the A/D INPUT jack(s), select “A/D” (Analog/Digital). When “A/D” is selected, the input level bars for each channel will be displayed according to the selected record mode. If you plan to re-sample a sample from internal memory, select “Internal.” When “Internal” is selected, the level bars are not displayed.
Sample/E/qx 5/21/98 11:39 AM Page 177 7 Check the input level of the microphone or audio ■ Trigger Level When “level” is selected as the trigger method, this parameter will be displayed. This parameter sets the trigger level at which sampling begins. When the input signal through A/D INPUT jack(s) passes the set value (trigger level), sampling automatically begins. When setting the trigger level, you can see the value level move in the level bar as you adjust the level.
Sample/E/qx 5/21/98 11:39 AM Page 178 6 Press [F8] (STANDBY) to engage sampling standby Steps for Sampling 2 (Re-sampling from the internal tone generator/memory) status, and “Waiting...” will be displayed in the screen. 7 Start sampling using the trigger method specified in step 4 above. You can re-sample a previously recorded sample or a preset wave, as well as a song/pattern phrase. When “key” is selected: Press any key on the keyboard to begin sampling.
Sample/E/qx 5/21/98 11:39 AM Page 179 ■ Wave Type Displays the sample wave type. The sampling frequency for a sample recorded on the EX5/5R/7 is fixed at 16 bit linear/44.1 KHz. Sample Edit Mode In the Sample Edit mode, you can edit samples recorded in the Sample Record mode to put them into the final form as you like. The EX5/5R/7 can load and play back the WAV, AKAI and AIFF format files. In this case, a wave type other than 16 bit linear/ 44.
Sample/E/qx 6/12/98 7:00 PM Page 180 ■ Wave Start Sets the Start point for the sample playback. As seen in the next diagram, the Start point can be set to remove unwanted noise that exists before that point in the sample. FwdNoLp: Each time a key is played, the sample will play back one time from the Start point to the End point. RevNoLp: Each time a key is played, the sample will play back in reverse one time, from the End point to the Start point.
5/21/98 11:39 AM Page 181 ■ Fraction Finely adjusts the length of the loop. For example, when the loop is set to 100, and Loop Fraction is set to 1, the loop becomes 100 points and 1/64 point in length. ■ Fraction (Loop Fraction) Sets the Loop Fraction. This is the same as in the PARAM display. ❏ Settings: 0~63 ❏ Settings: 0~63 ■ START (Start Point) Sets the Start point for the sample playback. ■ Loop End Sets the End point of the loop playback within the range of the entire sample.
Sample/E/qx 5/21/98 11:39 AM Page 182 Sample Job Mode These jobs let you copy, delete, or append samples that are created in Sample Edit mode. Press [JOB] key on the panel while in Sample mode to enter Sample Job mode. When you enter the Sample Job mode, the following menu will be displayed. There are five types of jobs in the Sample Job mode. Press [F1] (COPY), [F2] (DEL), [F3] (APND), [F4] (NORM), or [F5] (EXTR) to select a job.
Sample/E/qx 5/21/98 11:39 AM Page 183 4 Press [ENTER]. The following pop-up menu will ■ Dst Sample (Destination Sample Bank) Selects the destination sample bank. appear, prompting confirmation of the operation. ❏ Settings: DRAM, FLS (FLASH) ■ Dst Sample (Source Sample Number) Selects the destination sample number that will be copied to. ❏ Settings: 0001~1024 5 Press [YES] to execute the job.
Sample/E/qx 5/21/98 11:39 AM Page 184 ■ Src1 Sample (Source 1 Sample Number) Sets the source number of sample 1. [F5]: Extract Sample This job extracts a specified part from the designated sample and copies the data to another sample. The extracted data is not erased from the source sample. Different from the Copy Sample function, you can extract just a part of sample data. The available sample bank is DRAM (RAM) only.
Song/E/qx 5/21/98 11:40 AM Page 185 Song Mode ■ Remaining Memory This bar graph indicates the amount of memory available for recording, or the remaining memory of the internal sequencer. This is common for all the internal sequencer functions, Song, Pattern and Arpeggio. Song Play Mode This mode uses the internal sequencer to play songs and has various functions related to song playback. You can enter the Record mode from the Song Play mode and record a song.
Song/E/qx 5/21/98 11:40 AM Pt: Pattern Track Page 186 Fx: Play Effects Track ■ Loop Sets the Loop playback to “on” or “off.” The Loop function will always play in a loop according to the measures designated as the Start Point and End Point. Tracks 1~16 ❏ Settings: on, off Tracks with the Mute turned “on” Tracks with the FxThru turned “on” ■ Loop Start/End Point Sets the range of the loop (the beginning measure and end measure for playback).
Song/E/qx 6/12/98 7:17 PM Page 187 2 Select [F5] ALL or [F6] TR. When you want to apply the same Play Effects to all tracks, press [F5] to select ALL(All tracks). On the other hand, when you want to set the Play Effects differently for each track individually, press [F6] to select TR(each track). Song Control Song playback is controlled with the sequencer keys. TOP REW FWD REC STOP PLAY [TOP]: Returns the song to the first measure. [REW] (Rewind): Rewinds through the song measure numbers.
Song/E/qx 5/21/98 11:40 AM Page 188 ■ Tr (Track Number) Indicates the currently selected track number (1~16). Select the track that will be affected by the Play Effects. ■ Tim (Timing) Sets the degree of the Clock Shift (page 189) value, predetermined in the groove template, to be added to the timing of the song data. When set to 100%, the Clock Shift is calculated as is. When set to 0%, the Clock Shift becomes 0 and the timing of the original data does not change.
Song/E/qx 5/21/98 11:40 AM Page 189 ■ Clk (Clock Shift) The Clock Shift function moves (shifts) the playback timing forwards or backwards in clock units. One clock unit length is equal to 1/480th of a quarter note. When set to a positive value, the playback timing moves backwards. When set to a negative value, the playback timing moves forwards. For example as shown in the diagram, when set to +240, the playback timing is moved backwards half a quarter note (an 8th note).
Song/E/qx 5/21/98 11:40 AM Page 190 ■ Gat (Gate Time) Sets the Gate Time Rate value. Multiplying the gate time of the original data by the gate time value set here results in the actual gate time value for playback. When set to 100%, there is no change from the original gate time value. When set to a value larger than 100%, the gate time becomes longer. When set to a value less than 100%, the gate time becomes shorter.
5/21/98 11:40 AM Page 191 uMark ■ Tr (Track Number) Indicates the currently selected track number (1~16). Select the track you want to edit the groove template. This mark lets you select a specific grid. Use the horizontal cursor [Ã/¨] keys to move forwards or backwards through the grids. As the marku is moved to a grid, the current parameter settings for the selected grid will be displayed, and you can confirm the values.
Song/E/qx 5/21/98 11:40 AM Page 192 [F6]: COPY [F5]: ALL [F6]: TR(Track) Lets you copy the currently selected Preset groove template to a User groove template. A specific Preset groove template can be used as the basis for creating a User groove template. When [F5]: ALL is selected, all changes to be made will be effective for all the tracks. When [F6]: TR is selected, all changes to be made will be effective for the specified track.
Song/E/qx 5/21/98 11:40 AM Page 193 Song Record Mode How to Enter Song Record mode In Song Record mode there are two methods available for recording songs, real time recording and step recording. There are also various functions related to recording songs. For organizing your songs after they have been recorded, they can be stored to floppy disk so that you can make use of them whenever you like. When in Song Play mode, press the sequencer [REC] (Recording) key.
Song/E/qx 5/21/98 11:40 AM Page 194 ■ Track Selects the track for recording. Tracks 1~16 can also be selected using the TRACK [1~16](EX5/7 only). [F1]: SONG These are various settings related to song recording, such as selecting a track for recording, and setting the time signature and tempo. In addition to those settings, there are Mute on/off, Play Effect on/off and Loop playback for each of the playback tracks (tracks 1~16, Pt track, Fx track).
Song/E/qx 5/21/98 11:41 AM Page 195 For Pattern Play Effects (PFX) Track [F5]: STEP ■ Ptn Tr(Pattern Track) Selects one of the tracks 1-8 (in a Pattern) to which the Pattern Play Effects will be applied and recorded. Sets the Step recording mode to “on” or to “off.” Press [F5], STEP is highlighted and the Step recording mode is turned on. Then notes can be programmed in one at a time. Press [F6]~[F8] to cancel the Step recording mode and return to real time recording.
Song/E/qx 5/21/98 11:41 AM Page 196 8Press [STOP] to stop recording and the EX5/5R/7 automatically returns to Song Play mode. Real Time Recording: Tr1~Tr16 Real Time recording is just like a multi-track recorder where you record the performance as it is. There are three types of recording methods, Over Dubbing (recording over original data but not erasing it), Replace (erasing and replacing the original data), Punch In (record for a designated length of measures).
5/21/98 11:41 AM Page 197 8Change the pattern numbers you want to use and record them. While recording, without moving the cursor from the Ptn No parameter, use Data Dial, [INC]/[DEC], and the numeric keypad to set the pattern numbers. 5Select the pattern track (1-8) to record the effect of Play Effects with the Ptn Tr parameter. If you want to record the Play Effects onto the all tracks at one time, select “All” from the Ptn Tr parameter.
Song/E/qx 5/21/98 11:41 AM Page 198 9Press [STOP] to stop recording. The EX5/5R/7 automatically returns to Song Play mode. Real Time Recording: Tempo The Tempo real time recording function records changes in the tempo onto the song Tempo Track. You can change the tempo in the middle of the song. There are the following two types of recording modes available: Replace, and Punch In. Multi mode and Over Dubbing cannot be used.
Song/E/qx 5/21/98 11:41 AM Page 199 ■ Time Signature Displays the time signature of the currently selected song that is being recorded. The displayed time signature cannot be changed. It is necessary to select the time signature for recording before entering the Step recording. ■ Beat Graph The Beat Graph lets you confirm and set the note input location within a measure. One small dash “-” indicates the length of a 32nd note.
Song/E/qx 5/21/98 11:41 AM Page 200 7 Set the note length, velocity, and input the note with the keyboard. The ↓ cursor automatically moves forward a distance equal to the length of the note that was just input. Keyboard Illustration Shows the currently input note(s) at the present ↓ cursor position.
5/21/98 11:41 AM Page 201 Song Edit Mode Inputting Staccato and Slurs Move the cursor to the Gate Time parameter, after selecting Stac (Staccato) or Slur, play a note on the keyboard to input that note. The note is input with the selected gate time. Usually this will be set to Norm (Normal). In Song Edit mode, you can edit events of songs that were recorded in real time or in step recording. Press [EDIT] key on the panel while in Song mode to enter Song Edit mode.
Song/E/qx 5/21/98 11:41 AM Page 202 ■ Bend (Pitch Bend) Edits the Pitch Bend data (value). Insert To insert an event, first designate the insert location and select the event then press [ENTER]. Change To change the location of an event, designate the location and press [ENTER]. Delete To delete an event, move the cursor to an event and press [F8] (Delete). 1 For more information on each event, see below.
Song/E/qx 5/21/98 11:41 AM Page 203 ■ CAT (Channel After Touch) Adjusts the Channel After Touch value. After Touch is applied to one channel (track). ■ NRPN (Non Registered Parameter Number) Edits the Non Registered Parameter Number (NRPN MSB/LSB and Data entry MSB/LSB). 1 1 ❏ Settings: ❏ Settings: 1 Value: 0~127 1 NRPN MSB: 000~127 2 3 4 2 NRPN LSB: 000~127 ■ PAT (Polyphonic After Touch) Edits the Polyphonic After Touch data (note and its value).
Song/E/qx 5/21/98 11:41 AM Page 204 3Press Track[1~16] to select a track number to edit. The Event List of the selected track will be displayed. Inserting Events You can also insert new event data that is not included in the performance data. For the EX5R, select the track before entering Song Edit mode. 1When in the Song Play mode, press [EDIT] to enter the Song Edit mode. When you follow the steps above, CHNG is highlighted and is automatically selected. If necessary, press [F6] to select CHNG.
Song/E/qx 5/21/98 11:41 AM Page 205 [F2]: PFX (Pattern Play Effects Track) Changing Control Data When editing the Pattern Play Effects Track, you can insert new Play Effects control data for each pattern track (1~8), as well as change the location and value of the existing event data. Press [F2] (PFX) to display the Pattern Play Effects Track Event List. [F5]INS (Insert) and [F6] CHNG (Change) functions are added to the menu. Also [F8] DEL (Delete) is added for deleting data.
Song/E/qx 5/21/98 11:41 AM Page 206 Song Job Mode [F4]: TEMPO (Tempo Track) When editing the Tempo Track, you can insert tempo data (tempo changes) as well as change the location and value of the current tempo data. Press [F4] (TEMPO) to display the Tempo Track Event List. [F5] INS (Insert) and [F6] CHNG (Change) functions are added to the menu. Also [F8] DEL (Delete) is added for deleting data. 1 2 3 Here are various jobs for songs that were created in Song Edit mode (or are being edited).
Song/E/qx 5/21/98 11:41 AM Page 207 6Press [ENTER]. The following pop-up menu will appear, prompting confirmation of the operation. Press [JOB] key on the panel while in Song mode to enter Song Job mode. When you enter the Song Job mode, the following menu will be displayed. There are 22 types of jobs in Song Job mode. The jobs are divided into three groups JOB1~3. Press [F2] (JOB1), [F3] (JOB2) or [F4] (JOB3) to select a menu.
Song/E/qx 5/21/98 11:41 AM Page 208 ■ Dst Track (Destination track) Sets the Mix destination track. 2. Copy Track This job copies all data from a specified track onto another. The song’s Play Effects data and other settings are copied at the same time. This operation overwrites any data already existing on the destination track. ❏ Settings: 1~16 5. Normalize Effect This job overwrites the data in the specified sequence track and applies the Play Effects settings (Page 187) permanently to that track.
Song/E/qx 5/21/98 11:41 AM Page 209 ■ Dst Track (Destination Track) Sets the destination track that will be copied to. [F3]: JOB2 Press [F3] (JOB2) and JOB2 menu will be displayed. There are eight jobs that are executed in measure units. ❏ Settings: 1~16 (Sequence tracks 1~16), ptn (Pattern track), pfx (Pattern Play Effect track), tempo, all (All tracks) ■ Dst Meas (Destination Measure) Sets the first destination measure (the measure where copying will begin) that will be copied to. 1. 2. 3. 4. 5. 6.
Song/E/qx 5/21/98 11:41 AM Page 210 ■ Measure Sets the location (the beginning measure for insertion) where empty measures will be inserted. ■ Track Sets the track where Thin Out will be executed. ❏ Settings: 1~16(Sequence tracks 1~16), tempo ❏ Settings: 001~999 ■ Measure Sets the measure range (beginning measure to the end measure) where Thin Out is executed. ■ Size Sets the number of empty measures that will be inserted.
5/21/98 11:41 AM Page 211 ■ Track Select the track that will be extracted from (Extract source) and the track that will be copied to (Extract destination). ■ Track Sets the track where Chord Sort will be executed. ❏ Settings: 1~16 (Sequence tracks 1~16) ❏ Settings: Extract Source: 1~16 Extract Destination: 1~16, off (extracted data is deleted) ■ Measure Sets the measure range (beginning measure to the end measure) where Chord Sort is executed.
Song/E/qx 6/12/98 7:28 PM Page 212 [F4]: JOB3 Original Data Press [F4] (JOB3) and JOB3 menu will be displayed. There are eight jobs that are effective for note event data on a specified track. A quarter note length Quantized by “q” Quantize Strength=100% Quantized by “e” Quantize Strength=100% Also, the Rate setting will add a “swing” to the rhythm. This setting allows you to slightly delay the note events in every even-numbered beats, thereby giving the music a “swing” feel.
5/21/98 11:41 AM Page 213 ■ Streng (Quantize Strength) When quantizing, the Strength value sets the degree how much the timing of the note events is moved toward the quantizing line, or the original quantize value. Use of this feature allows you to correct notes that are markedly off time while retaining the subtle discrepancies untouched.
Song/E/qx 5/21/98 11:41 AM Page 214 When the quantize value is 0% , 33% , ■ Vel (Swing Velocity) This setting allows you to change the velocity of the note events in every even-numbered beats of the set quantize value, thereby giving the rhythm a “swing” feel. : 66% 83% 100% Available range Remember that velocity is the strength at which key is pressed. You can use this setting, therefore, to increase or decrease the strength of the notes in every even-numbered beats.
Song/E/qx 5/21/98 11:41 AM Page 215 ■ Track Sets the track where Move Clock will be executed. ■ Rate Increases or decreases the gate time of all notes in the designated range by multiplying the Rate value. A setting of 100% produces no change. A setting less than 100% will produce a shorter gate time, whereas a setting above 100% produces a longer gate time.
Song/E/qx 5/21/98 11:41 AM Page 216 4. Modify Velocity Original Data This job alters the velocity of the notes in the specified range. The velocity refers to the strength at which a key is pressed. You can change the velocity using two types of parameters: the Rate and Offset. (Vel) 96 The volume may differ depending on the selected voice that has a different velocity settings in the Voice Edit mode.
Song/E/qx 5/21/98 11:41 AM Page 217 ■ FromNote (source note) Sets the source pitch that will be changed. 5. Transpose This job lets you transpose in semitones the notes in the designated range of a specified sequence track. ❏ Settings: C–2~G8 ■ To Note(destination note) Sets the destination pitch. ❏ Settings: C–2~G8 7. Crescendo ■ Track Sets the track where Transpose will be executed. This job gradually increases or decreases the volume of your performance.
Song/E/qx 5/21/98 11:41 AM Page 218 ■ Dst Event (Destination Event) Sets the destination event that the source event is changed to. Original Data ❏ Settings: Control Change, Ch After Touch (Channel After Touch), Pitch Bend, Note (Note#: the data change of the source event will be replaced with note numbers with the fixed velocity 64 and fixed gate time 108), Note (Vel: the data change of the source event will be replaced with velocities with the fixed pitch C3 and fixed gate time 108).
Pattern/E/qx 5/21/98 11:43 AM Page 219 Pattern Mode ■ Remaining Memory This bar graph indicates the amount of memory available for recording, or the remaining memory of the internal sequencer. This is common for all the internal sequencer functions, Song, Pattern and Arpeggio. Pattern Play Mode This mode uses the internal sequencer to play patterns and has various functions related to playing patterns. You can enter Pattern Record mode from Pattern Play mode and record patterns, a maximum of 50.
Pattern/E/qx 5/21/98 11:43 AM Page 220 ■ 3 Play Effects Thru Sets FxThru (Play Effects Thru) for a track, by moving the cursor to FX Thru line, and using Data Dial or [INC]/[DEC] to select “on” or “off.” As shown in the screen, the box colored black indicates that FxThru is turned “on.” When FxThru is turned “on” for a track, Play Effects are temporarily bypassed during playback.
5/21/98 11:43 AM Page 221 6 Set other parameters. Set other parameters as necessary. Steps for Setting the Play Effects 1 Start pattern playback. Press [PLAY] key for pattern playback to begin. 7 Set the Play Effects for other tracks. Repeat the above steps 3~6 and set the Play Effects settings for the necessary tracks. Play Effects can be set when the pattern is stopped, and also can be set in real time when the pattern is playing back.
Pattern/E/qx 5/21/98 11:43 AM Page 222 ■ Clock Number Displays and sets the currently selected track clock number. Available settings will differ depending on the current time signature. [F3]: TCH (Transmit Channel) Sets the transmit channel for each track and where data is sent. Move the cursor to a parameter, set the switch to “on” or “off,” and set the MIDI channel by using [INC]/[DEC]. ❏ Settings: 000~479 ■ Unit You can extend or shorten each track playback time.
Pattern/E/qx 5/21/98 11:43 AM Page 223 Pattern Record Mode In Pattern Record mode there are two methods available for recording patterns, real time recording and step recording. There are also various functions related to recording patterns and a maximum of 50 patterns can be stored in the internal memory. For organizing your patterns, they can be stored to floppy disk so that you can make use of them whenever you like.
Pattern/E/qx 5/21/98 11:43 AM Page 224 ■ No (Pattern Number) Selects the pattern number of the pattern that will be recorded. The pattern name will be displayed to the right of the pattern number. [F5]: STEP Sets the STEP recording mode to “on” or “off.” Press [F5], STEP is highlighted and the Step recording mode is turned on. Then notes can be programmed in one at a time. Press [F6]~[F7] to cancel Step recording mode and return to real time recording.
11/6/98 6:47 PM Page 225 5Select the track (Tr1-8) for recording with the Track parameter. 3When in Pattern Play mode, press [REC] to enter Pattern Record mode (record stand-by status). 6Select one of the following recording modes: [F6] (Over Dubbing) or [F7] (Replace). To record on all the tracks simultaneously, press [F3] (MULTI), Multi mode is turned on and highlighted. 4Set the time signature for recording in the PTN display. 5Set the beginning measure number for recording with the Meas parameter.
Pattern/E/qx 5/21/98 11:43 AM Page 226 2Press Track [1~8] to select a track number to edit. The Event List of the selected track will be displayed. Pattern Edit Mode Press [EDIT] key on the panel while in Pattern mode to enter Pattern Edit mode. In Pattern Edit mode, you can edit events of patterns for each sequence track 1~8, that were recorded in real time or in step recording. For the EX5R, select the track before entering Pattern Edit mode.
Pattern/E/qx 5/21/98 11:43 AM Page 227 3Move the cursor to the location of the event that you want to change, and edit the parameters. Pattern Job Mode Here are various jobs for patterns that were created in Pattern Record/Edit mode. These jobs which allow you to copy or erase, as well as many other operations, are executed by the measure or the track. You can scroll through the Event List and search for event locations and select parameters with the vertical ¹/ cursor keys.
Pattern/E/qx 5/21/98 11:43 AM Page 228 6Press [ENTER]. The following pop-up menu will appear, prompting confirmation of the operation. Press [JOB] key on the panel while in Pattern mode to enter Pattern Job mode. When you enter the Pattern Job mode, the following menu will be displayed. There are 24 types of jobs in Pattern Job mode. The jobs are divided into three groups JOB1~3. Press [F2] (JOB1), [F3] (JOB2) or [F4] (JOB3) to select a menu.
Pattern/E/qx 5/21/98 11:43 AM Page 229 ■ Src Ptn (Source Pattern) Sets the source pattern number. 1. Copy Pattern This job copies all data from a source pattern to a designated destination pattern. The pattern’s Play Effects data and other settings are also copied simultaneously. ❏ Settings: 1~50 ■ SrcTrk (Source Track) Sets the source track that will be copied. ❏ Settings: 1~8 ■ Dst Ptn (Destination Pattern) Sets the destination pattern number.
Pattern/E/qx 5/21/98 11:43 AM Page 230 ■ Src Track (source track) Sets the Mix source track. 7. Split Pattern This job splits track data of a pattern (Split source pattern) at a specified measure and moves the latter half of the split track data to the beginning of the track of another pattern (Split destination pattern). The former half of the split track data remains in its original location. The job overwrites any data already existing in the destination location.
Pattern/E/qx 5/21/98 11:43 AM Page 231 8. Time Stretch 1. Copy Measure This job expands or compresses the timing over the designated range on the specified track. The operation affects all note step times, gate times, and event timing, expanding or compressing the entire designated range. This job copies all data from a specified range on a track onto another. It is also possible to copy data within the same track. This operation overwrites any data already existing on the destination track.
Pattern/E/qx 5/21/98 11:44 AM Page 232 ■ Measure Sets the measure range (beginning measure to the end measure) where Erase Measure is executed. ■ Src Ptn (Source Pattern) Sets the source pattern number that will be copied. ❏ Settings: 1~50 ❏ Settings: 01~16 (for the beginning measure and the end measure) ■ Track (Source Track) Sets the source pattern track that contains the phrase that will be copied. 3.
5/21/98 11:44 AM Page 233 ■ Events Sets the type of event that will be reduced. When “Control Change” is selected, a setting parameter will be added, and the control number can be designated there. ■ Event Range Sets the range you want to extract the event. The unit of the value differs depending on the selected event.
Pattern/E/qx 5/21/98 11:44 AM Page 234 8. Chord Separate [F4]: JOB3 This job arranges chord notes in order with a specified interval (within the designated range of the specified sequence track). For example, if the Clock value is set to 30, a block chord consisting of C3, E3, G3 will be played as a C3 (at the chords original timing) followed 30 clocks later by the E3, and then another 30 clocks later by the G3.
Pattern/E/qx 5/21/98 11:44 AM Page 235 ■ Streng (Quantize Strength) 3. Modify GateTime This job alters the gate time of the notes in the specified range. The gate time indicates the length of time that a note is held. For sustained voices, the gate time is equal to the actual playback time span. You can modify the gate time using two types of parameters: the Rate and Offset.
Pattern/E/qx 5/21/98 11:44 AM Page 236 ■ Measure ■ Measure ❏ Settings: 01~16 (for the beginning measure and the end measure) ❏ Settings: 01~16 (for the beginning measure and the end measure) ■ Rate ■ FromNote ❏ Settings: 000%~100%~200% ❏ Settings: C–2~G8 ■ Offset ■ To Note ❏ Settings: –99~+0~+99 ❏ Settings: C–2~G8 5. Transpose 7. Crescendo This job lets you transpose in semitones the notes in the designated range of a specified pattern track.
Pattern/E/qx 5/21/98 11:44 AM Page 237 8. Shift Event This job replaces all occurrences of a specific event type (within the designated range of the specified pattern track) with some other designated event type. For more information on functions and each parameter, see page 218, Shift Event in Song Job mode.
Arpeggio/E/qx 5/21/98 11:50 AM Page 238 Arpeggio Mode When you select a user arpeggio type from the “Type” parameter in the ARP (Arpeggio) sub menu of COM in the Voice Edit mode (or ARP sub menu of COM in the Performance Edit mode), [ARP-EDIT] function will be assigned to [F3] key (or [F5] key in the Performance Edit mode). Press [F3] key (or [F5]) to enter the Arpeggio Mode.
Arpeggio/E/qx 5/21/98 11:50 AM Page 239 Track Section These settings are used to set the Mute and Play Effects Thru to “on” or “off” for each track even during arpeggio playback. 4 5 8 ) 6 7 9 ! 1 2 3 ■ 4 Meas (Measure) Indicates the Measure and Beat numbers for the currently selected arpeggio. Allows you to set by measures. ■ 1 Track Number An arpeggio consists of 1~4 sequence tracks. The Track Number is highlighted (box colored black) for tracks that have been recorded on and contain data.
Arpeggio/E/qx 5/21/98 11:50 AM Page 240 ■ ) Key Sets the keyboard mode how the arpeggio responds when keys are pressed. The following three modes are available: Pitch Related Settings for Arpeggio Arpeggiator reproduces the notes (pitches) played on the keyboard according to the preset sequence data in a specified manner and in the designated order.
Arpeggio/E/qx 5/21/98 11:50 AM Page 241 3 Select the track to which you want to apply the Play Effects. When you select TR (each track) in step 2 above, select a track from the four tracks, Tr 1~4. [F2]: PFX (Play Effects) These settings are related to Play Effects. The Play Effects function lets you temporarily adjust the velocity and the sound timing of MIDI notes. You can change the playback groove without altering the original data.
Arpeggio/E/qx 5/21/98 11:50 AM Page 242 ■ Unit You can extend or shorten each track playback time. For example, a setting of 200% will make the playback time twice as long and result in a tempo that is half as fast. Conversely, a setting of 50% will make the playback time half as long and the tempo will become twice as fast. When set to 100%, the original data time does not change. Changing the speed of each track’s sequence data lets you create interesting rhythms such as polyrhythms.
5/21/98 11:50 AM Page 243 In the following modes, the arpeggio reproduction is independent of the pitch data of the arpeggio sequence. Typical arpeggiated chords will be formed according to the notes played on the keyboard and the timing of the sequence data. 05: note down 1oct: The chord (phrase) descends down to one octave. C3, E3, G3 and B3 are played in order. qq qq 02: note up 1oct (octave): The chord (phrase) you play ascends up to one octave. C3, E3 and G3 are played in order.
Page 244 11: alternate2 1oct: The chord (phrase) ascends up to one octave, then descends down to the lowest note. Slightly different from 08 above. Arpeggio Played back as Chords An arpeggio sequence data can consist of chords, several notes at the same location (timing) such as the data found in the following example. C3, E3, G3 and B3 are played in order.
5/21/98 11:50 AM Page 245 Arpeggio Record Mode How to Enter the Arpeggio Record Mode In Arpeggio Record mode there are two methods available for recording arpeggio sequence data, real time recording and step recording. There are also various functions related to recording arpeggios and a maximum of 50 arpeggios, each of which are accompanied with the settings in Arpeggio Mode screen, can be stored in the internal memory.
Arpeggio/E/qx 5/21/98 11:50 AM Page 246 ■ Meas (Measure) Sets the measure number where recording will begin, using the Sequencer keys (the Cursors cannnot be used). Real Time Recording Real Time recording is just like a multi-track recorder where you record as you play on each track (Tr1-4). There are two types of recording methods, Over Dubbing (recording over original data but not erasing it) and Replace (erasing and replacing the original data).
Arpeggio/E/qx 5/21/98 11:50 AM Page 247 Arpeggio Edit Mode In Arpeggio Mode screen (or Arpeggio Job mode), you can enter Arpeggio Edit mode by pressing [EDIT] key on the panel. In Arpeggio Edit mode, you can edit events for each user arpeggio sequence track 1~4, that were recorded in real time or in step recording. [F5] INS (Insert) allows you to insert new events and [F6] CHNG (Change) is for changing the position or value of previously existing data.
Arpeggio/E/qx 5/21/98 11:50 AM Page 248 2Press Track [1~4] to select a track number to edit (EX5/7). The Event List of the selected track will be displayed. Inserting Events You can insert new event data that is not included in the arpeggio sequence data. For the EX5R, select the track before entering Arpeggio Edit mode. 1When in the Arpeggio Mode screen (or Arpeggio Job mode), press [EDIT] to enter the Pattern Edit mode. The Event List will be displayed.
Arpeggio/E/qx 5/21/98 11:51 AM Page 249 Arpeggio Job Mode In Arpeggio Mode screen (or Arpeggio Edit mode), you can enter Arpeggio Job mode by pressing [JOB] key on the panel. When you enter the Arpeggio Job mode, the following menu will be displayed. There are 23 types of jobs in Arpeggio Job mode. The jobs are divided into three groups JOB1~3. Press [F2] (JOB1), [F3] (JOB2) or [F4] (JOB3) to select a menu.
Arpeggio/E/qx 5/21/98 11:51 AM Page 250 6Press [ENTER]. The following pop-up menu will appear, prompting confirmation of the operation. 1. Copy Arpeggio This job copies all data from a source arpeggio to a designated destination arpeggio (user number 51~100). The arpeggio’s Play Effects data and other settings are also copied simultaneously. It will be handy when you want to create a user arpeggio that is similar to an existing preset arpeggio. 7Press [YES] to execute the job.
Arpeggio/E/qx 5/21/98 11:51 AM Page 251 3. Copy Track 5. Mix Track This job copies all data from a specified track onto another. The arpeggio’s Play Effects data and other settings are also copied simultaneously. This operation overwrites any data already existing on the destination track. This job mixes all data from a specified sequence track (Mix source track) with another track’s data (Mix destination track).
Arpeggio/E/qx 5/21/98 11:51 AM Page 252 ■ Dst Track (Destination Track) Sets the Append destination arpeggio track. 8. Time Stretch This job expands or compresses the timing over the designated range on the specified track. The operation affects all note step times, gate times, and event timing, expanding or compressing the entire designated range. ❏ Settings: 1~4 7.
Arpeggio/E/qx 5/21/98 11:51 AM Page 253 ■ Track Sets the track where Erase Measure will be executed. 1. Copy Measure This job copies all data from a specified range on an arpeggio sequence track onto another. It is also possible to copy data within the same track. This operation overwrites any data already existing on the destination track. ❏ Settings: 1~4, all ■ Measure Sets the measure range (beginning measure to the end measure) where Erase Measure is executed.
Arpeggio/E/qx 5/21/98 11:51 AM Page 254 ■ Track Selects the track that will be extracted from (Extract source) and the track that will be copied to (Extract destination). 4. Thin Out This job removes every other occurrence of a designated non-note event from the specified track range. The purpose is to reduce the amount of data and free up additional memory. ❏ Settings: Extract source: 1~4 When the interval of each event is larger than 60 clocks, data is not removed.
Arpeggio/E/qx 5/21/98 11:51 AM Page 255 ■ Track Sets the track where Chord Separate will be executed. 6. Chord Sort This job “sorts” chordal note events (simultaneous note events) by order of pitch. The notes can be either sorted from the highest pitch to the lowest or from the lowest pitch to the highest. The chords within the designated range of the specified sequence track can be sorted.
Arpeggio/E/qx 5/21/98 11:51 AM Page 256 1. Quantize 2. Move Clock This job quantizes note events over a specified range of a designated track. You can use this feature, for example, to correct the imperfect timing of a performance you have recorded in real time. This job shifts all event data for the specified range of the designated arpeggio track by clock units.
Arpeggio/E/qx 5/21/98 11:51 AM Page 257 ■ Measure 5. Transpose This job lets you transpose in semitones the notes in the designated range of a specified arpeggio track. ❏ Settings: 01~16 (for the beginning measure and the end measure) ■ Rate ❏ Settings: 000%~100%~200% ■ Offset ❏ Settings: –9999~+0~+9999 For more information on functions and each parameter, see page 217, Transpose in Song Job mode. 4. Modify Velocity ■ Track This job alters the velocity of the notes in the specified range.
Arpeggio/E/qx 5/21/98 11:51 AM Page 258 ■ To Key: Oct ■ Measure ❏ Settings: ❏ Settings: 01~16 (for the beginning measure and the end measure) Key Number: 1~16 Octave: -4~0~+3 ■ Src Event (Source Event) For information on the Key Number and Octave, see page 240. ❏ Settings: Control Change, Ch After Touch (Channel After Touch), Pitch Bend, Note (Note#: note numbers), Note (Vel: velocity values of each note) 7. Crescendo This job gradually increases or decreases the volume of the arpeggio.
Disk/E/qx 5/21/98 11:53 AM Page 259 Disk Mode • Never attempt to remove the disk or turn the power off during recording, reading and playing back. Doing so can damage the disk and possibly the disk drive. In Disk mode you can transfer data between a floppy disk and the EX5/5R/7; you can save data to floppy disk and load data back from floppy disk.
Disk/E/qx 5/21/98 11:53 AM Page 260 ■ 2. Synth All A “Synth All” file handles all of the internal voice and performance data (265 voices and 128 performances) and the system data as a single file. • Do not open the sliding shutter and touch the exposed surface of the floppy disk inside. • Do not expose the disk to magnetic fields, such as those produced by televisions, speakers, motors, etc., since magnetic fields can partially or completely erase data on the disk, rendering it unreadable.
Disk/E/qx 5/21/98 11:53 AM Page 261 ■ 6. SONG A “SONG” file handles all of the song data (1 song) created in Song mode as a single file. Play Effects, Track Transmit Channel, and Controller data are included in a “Song” file. Note 3: “Direct Play” function allows you to start the song playback immediately without loading the data from a disk. The EX5/5R/7 plays back a Format 0 song file as it reads the data in a disk. It comes in handy for you to check the contents of the disk.
Disk/E/qx 5/21/98 11:53 AM Page 262 2 Move the cursor to one of the seven types in the [F6]: PLAY When you select “SMF” file type (with Format 0) in the load (File Load) operation, [F6] (PLAY) will be added to the screen indicating that the Direct Play function (page 261) is active. Press [F6] to play back the selected SMF file. After playback begins “PLAY” changes to “STOP.” Press [F6] (STOP) to stop playback (playback will end and “STOP” will change back into “PLAY.
Disk/E/qx 5/21/98 11:53 AM Page 263 6 Press [ENTER]. Setting a File Name The following pop-up menu will appear, prompting confirmation of the operation. 1 Press [F7] and the NAME screen will be displayed. 7 Press [YES] (INC) to execute the operation. Press [NO] to cancel the job. When the operation is being executed, “Executing...” will be displayed . When the operation is completed “Complete!” will be momentarily displayed. 2 Use [INC]/[DEC] or Data Dial to select a number, letter, or symbol.
Disk/E/qx 5/21/98 11:53 AM Page 264 [F2]: SYN (Synth All) [F5]: SMF (MIDI File) Saves all of the internal voice and performance data (265 voices and 128 performances) and the system data as a single file. Sequence and sample data are not included in “SYN” files. Saves the Sequence track (TR1~TR16) and Tempo track data (created in the Song mode as song data) as a Standard MIDI File (SMF). Data such as Play Effects data is not included in a “SMF” file.
Disk/E/qx 5/21/98 11:53 AM Page 265 [F8]: ARP (Arpeggio) When the remaining memory is not sufficient, “Memory full” message will be displayed. In this case, you can either delete unnecessary data to create more available memory, or start the load operation once more from the beginning. Saves all of the User arpeggio data as a single file. File type (source) When you try to load the file type which is not included in the disk, “File not found!” will be displayed and the operation cannot be executed.
Disk/E/qx 5/21/98 11:53 AM Page 266 ■ Synth All source data (From) (If necessary select the source data device,) move the cursor to a file number, and select a source file for the load operation. A performance/voice file (128 Performances and 256 Voices) can be loaded. Move the cursor to “All Data” and use [INC]/[DEC] to select “Performance” (128 Performances) or “Voice” (256 Voices). Furthermore, one performance/voice can be designated and loaded.
Disk4pdf/E/qx 3/15/99 8:41 PM Page 267 ■ Sample destination data (To) The destination that can be selected will differ depending on the setting designated in “From.” [F6]: SONG Loads a song file from the disk into the internal memory. Data such as Play Effects, Track Transmit Channel and Controller data is included in a song file.
Disk/E/qx 5/21/98 11:53 AM Page 268 ■ Pattern destination data (To) The destination that can be selected will differ depending on the setting designated in “From.” [F3]: RNAM (File Rename) This operation renames a file in a disk. Device name/directory (source) ❏ Settings: Source data (From): All Data Pattern 1~50 Destination (To): All Data Pattern 1~50 File name to be changed (destination) [F8]: ARP (Arpeggio) Loads an arpeggio file from the disk into the internal memory.
Disk/E/qx 5/21/98 11:53 AM Page 269 [F5]: MKDIR (Make Directory) This operation creates a directory. It is possible to make directory within a directory which is called a subdirectory. This allows you to do systematic file management. Only a maximum of two layers of a sub-directory can be made. Insert a new disk into the disk drive (when using an external SCSI device confirm that it is connected properly) and press [ENTER].
Utility/E/qx 5/21/98 11:54 AM Page 270 Utility Mode In Utility Mode, you can make the settings that are applied to the entire system, excluding [F2] menu for Voice Mode settings. F1 [F1]: [F2]: [F3]: [F4]: [F5]: [F6]: [F7]: F2 F3 F4 F5 F6 [F1]: SYN (Synthesizer Setup) The Synthesizer Setup allows you to make settings for the entire keyboard such as the volume and pitch. F7 ■ Master Volume Sets the master volume for the entire keyboard.
Utility4pdf/E/qx 3/15/99 8:47 PM Page 271 ■ 3 Arp MIDI A/B (Arpeggio MIDI A/B) Sets whether or not the arpeggio data is output from MIDI OUT A/B to an external device. ■ Controller Reset Sets whether the controller value is retained (hold) or initialized (reset) when a different voice is selected. The controllers include Modulation Wheel, After Touch, Foot Controller, Breath Controller, Ribbon Controller (except EX5R), and Knobs.
Utility/E/qx 5/21/98 11:54 AM Page 272 ■ Arp Hold (Arpeggio Hold) Sets the Arpeggiator Hold function to “on” or “off” in the Voice mode. When the Arpeggiator Hold function is set to “on,” once the keyboard (a note) is played, even if you release your finger from the keyboard, the Arpeggiator will automatically continue to play until the next note is played. ■ Curve Sets and changes the controller curve (displayed to the right of the values).
5/21/98 11:54 AM Page 273 [F7]: FILT (Filter) [F8]: SYNC Sets whether or not a filter is applied (the signal is not input/output) for each MIDI event. Sets settings related to synchronization between the internal sequencer and external devices. The filter can be applied either when recording or when playing back data. The filtered MIDI events will not be recorded or played back. The following list are MIDI events that can be filtered.
Utility/E/qx 6/12/98 7:46 PM Page 274 [F4]: MIDI (MIDI Setup) MTC (MIDI Time Code) is a Time Code that controls the timing of multiple audio devices through MIDI cables. The code is made up of “ hour, minute, second, and frame.” The EX itself cannot output MTC and therefore to play in sync using MTC it is necessary to use a device such as the Yamaha MD4 that is capable of outputting MTC. The MIDI Setup allows you to make settings related to MIDI for the entire keyboard.
Utility/E/qx 5/21/98 11:54 AM Page 275 ■ Device No (Device Number) Sets the MIDI device number. When sending or receiving system exclusive messages such as bulk dump or parameter change messages with an external device, you must match the device numbers for both the EX and the external device. ■ Foot Volume Assign Selects which Control Changes, the Main Volume or Expression, is controlled by the Foot Volume.
Utility/E/qx 5/21/98 11:55 AM Page 276 ■ Memory Protect Sets whether or not the current user Voice, Performance, and Pattern data are protected. When set to “on,” it is not possible to store data. This setting is used on a temporary basis when you don’t want to lose user data. Touch EG You can express the portion “A” with the velocity and “B” with the aftertouch.
Utility/E/qx 5/21/98 11:55 AM Page 277 ■ Word Clock Sets whether the EX is used as the Word Clock master or as a slave. “Word Clock” means synchronization of the audio signal that passes through digital devices. It is necessary to use Word Clock when one or more digital audio devices are connected for playback or recording. When the EX is used as a master, the Word clock is set at a sampling rate of 44.1kHz.
Option/E/qx 5/21/98 11:58 AM Page 278 Appendix Optional Boards/Memories Precautions When Installing the Optional Boards A variety of optional boards/memories sold separately let you expand the functions of your EX5/5R/7. The following five types of boards/memories can be used with the EX5/5R/7. Remember the following precautions and install the boards properly. ● EXIDO1 (Individual Output Board) • To avoid using the wrong parts and making mistakes during installation, follow the steps as written.
Option/E/qx 5/21/98 11:58 AM Page 279 How to Install the Optional Board/ Memory (EX5/7) Precautions When Purchasing DRAM SIMMs Some of the commercially available DRAM SIMMs may not work on the EX5/5R/7. Yamaha cannot be held responsible for malfunction of DRAM SIMMs. BEFORE purchasing, please consult (which to buy) the shop where you bought EX5/5R/7 or your nearest Yamaha (or the authorized distributor) listed at the end of this manual.
Option/E/qx 5/21/98 11:58 AM Page 280 3Move to a position facing the rear panel of the EX5/7, and remove the screws from the optional board cover on the left side with a Phillips screwdriver (eight screws). Do not remove the large screw shown in the illustration. How to Install the EXIDO1 in the EX5/7 Necessary Items Do not remove this screw.
Option/E/qx 5/21/98 11:58 AM Page 281 3Support the EXIDO1 with your hand and use the two screws removed in step 1 to attach the board to the rear panel of the EX5/7. 7Check the location of the DGO/IDO connector in the EX5/7 and connect the EXIDO1 and EX5/7 with the flat cable. The DGO/IDO connector is hidden under the FDD cable. “DGO/IDO” is printed on the panel.
Option/E/qx 5/21/98 11:58 AM Page 282 How to Install the EXDGO1 in the EX5/7 How to Install the ASIB1 in the EX5/7 Necessary Items Necessary Items • EXDGO1 (Digital Output Board) x 1 • Flat cable x 1 (included in the EXDGO1 package) • ASIB1 (SCSI Interface Board) x 1 • SCSI cable (Flat cable 50P; length: 280mm) x 1 (included in the ASIB1 package) • Cutting pliers or scissors (to cut a cable) Installation When you open the package of the ASIB1 board, you will find two SCSI cables connected to the
Option/E/qx 5/21/98 11:58 AM Page 283 3Unplug the 2-pin power cable from the ASIB1 and remove it from the ASIB1. To remove the 2-pin power cable, cut the cable and then pull it out from the hoop as shown in the illustration. 7Check the location of the SCSI connector in the EX5/7 (shown in the illustration) and connect the ASIB1 and the EX5/7 with the SCSI cable. “SCSI” is printed on the panel next to the SCSI connector.
Option/E/qx 5/21/98 11:58 AM Page 284 How to Install the EXFLM1/ DRAM SIMM in the EX5/7 Hook hole Hook hole Cut that indicates 1 PIN 72PIN 1PIN Necessary Items Hook EXFLM1 Hook • EXFLM1 x 2 (use only in pairs) or • DRAM SIMM x 2 (use only in pairs) YFL YFL DRAM DRAM SIMM Make sure always use the EXFLMs in pairs, also always use the DRAM SIMMs with the same memory capacity in pairs. DRAM SIMM Rear The sockets for the EXFLM1 and DRAM SIMM look the same.
Option/E/qx 5/21/98 11:58 AM Page 285 4Remove the EX5R top cover by sliding the cover in a backwards direction and you will see the installation connectors/sockets. How to Install the Optional Board/ Memory (EX5R) Preparation On the EX5R, remove the main unit top cover for all optional board/memory installations. Front Rear For information on how to handle the EX5/7, go to page 279. How to Remove the EX5R Top Cover 1Turn the EX power off, and disconnect the power cord.
Option/E/qx 5/21/98 11:58 AM Page 286 3As shown in the diagram, bend the flat cable to the specified dimensions. How to Install the EXIDO1 in the EX5R Indicates that the cable should be folded upwards at this line. Indicates that the cable should be folded downwards at this line. Necessary Items 20mm 50mm Blue marking • EXIDO1 (Individual Output Board) x 1 • Flat cable x 1 (included in the EXIDO1 package) 50mm Installation You can install the EXIDO1 after removing the main unit top cover.
Option/E/qx 5/21/98 11:58 AM Page 287 7Turn over the EXIDO1 and place face down into the support arms. How to Install the EXDGO1 (Digital Output Board) in the EX5R Necessary Items • EXDGO1 (Digital Output Board) x 1 • Flat cable x 1 (included in the EXDGO1 package) Turn over the board. Installation Rear You can install the EXDGO1 after removing the EX5R top cover. For more information on removing the EX5R top cover, see How to Remove the EX5R Top Cover.
Option/E/qx 5/21/98 11:58 AM Page 288 3Unplug the 2-pin power cable from the ASIB1 and remove it from the ASIB1. To remove the 2-pin power cable, cut the cable and then pull it out from the hoop as shown in the illustration.
Option/E/qx 5/21/98 11:58 AM Page 289 6Connect the ASIB1 power cable that was set aside in step 4 to the CN2 connector (next to the TERM switch) on the ASIB1. Be careful not to connect the connector in the wrong direction. 9Use the bundle tie next to the ASIB1 to bundle the cables together. ON TERM OFF ON TERM OFF Bundle tie ON TERM OFF 7Check the location of the SCSI connector in the EX5R (shown in the illustration), and connect the ASIB1 and the EX5R with the SCSI cable.
5/21/98 11:58 AM Page 290 2On the EXFLM1 and the DRAM SIMM memory there is a cut in the board next to 1PIN. Insert the board into the socket so that 1PIN lines up with the 1PIN mark (▲) printed on the board in the EX5R.
5/21/98 11:56 AM Page 291 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. ● Is the volume set appropriately? (P.
Appen./E/qx 5/21/98 11:56 AM Page 292 No arpeggiator sound. ● Is each part of the arpeggiator muted? (P. 239) ● Are the settings, Velocity Sensitivity and Velocity Limit appropriate? (P. 166) ● Is the note range for the arpeggiator set appropriately? (P. 161) ● (User arpeggio) Are the sequence data properly recorded? (P. 245) ● (Performance mode) Are the Layer Switch and Arpeggio Switch for the part(s) turned on? (P. 171) Distorted sounds. ● Are the effect settings appropriate? (P.
5/21/98 11:56 AM Page 293 Only one note sounds at a time. ● Is the “mono” selected from Mono/Poly parameter in PARAM, COM menu (Voice Edit)? (P. 79) ● (Performance) Is the "mono" selected from Mono/Poly parameter of each part? (P. 165) No effect applied. ● Is [EF BYPASS] key turned off? (P. 10) ● Is the InsEF Elem Sw in TYPE, EFCT menu turned on? Also, is the effect type other than 00 (thru) selected for each effect type in TYPE, EFCT menu?(P.
Appen.
5/21/98 11:56 AM Page 295 Specifications KEYBOARD Number of Keys Touch TONE GENERATION SYSTEM Tone Generators EX5 EX5R 76 -- 61 Velocity sensitive, Aftertouch -- Velocity sensitive, Aftertouch AWM2, VL, AN, FDSP; Sampling (44.
Appen./E/qx 5/21/98 11:56 AM Page 296 Index 0~9 123... (Chronological order) ...................................... 262 2H Shelf (2-High Shelving Filter) ................................ 87 2L Shelf (2-Low Shelving Filter) .................................. 87 uMark ...................................................................... 191 A ABC... (File Name) .................................................... 262 About Note/Velocity Limits Graphical Display ..........
3/16/99 1:17 PM Page 297 Dcy 1/2 Level (Decay 1/2 Level) ............................ 85, 96 Effect Bypass ...................................................... 67, 276 FDSP (Formulated Digital Sound Processing) .......... 123 Dcy 1/2 Time (Decay 1/2 Time) ............................ 85, 96 Effects In the Performance Mode ................................ 67 Dcy 1~3 Level .............................................................. 99 Effects In the Voice Mode ...................................
Appen./E/qx 5/21/98 11:56 AM Page 298 H InsEF Elem Sw (Insertion Effect Element Switch) ...................... 105, 146 LFO1 Sync ................................................................ 123 Handling the Floppy Disk Drive(FDD) and Floppy Disk ........................................................ 259 InsEF Sw (Insertion Effect Switch) ............................ 165 LFO2 (Low Frequency Oscillator 2) .......................... 102 InsEF1 (Insertion Effect 1) .............................
5/21/98 11:56 AM Page 299 MIDI Trns Ch ............................................................ 274 OVER(Over Dubbing) ........................................ 224, 246 Pitch EG VelSens (PEG Velocity Sensitivity) .............. 144 MIDI-A/MIDI-B (MIDI OUT A/B) ........................ 192, 222 Overall System Structure ............................................ 42 Pitch Fine .................................................. 128, 132, 138 Mix Track .............................................
Appen./E/qx 5/21/98 11:56 AM Page 300 Record Mode & Input Settings .................................... 70 SCF (Static Control Filter) ............................................ 86 SrcTrack (Source Track) .................................... 230, 251 Recording Mode ........................................ 195, 224, 246 SCSI ID ...................................................................... 276 SrcTrk (Source Track) ........................................ 229, 230 Recording the Sample ...
Appen./E/qx 5/21/98 11:56 AM Page 301 Thru ...................................................................... 90, 93 Vel Depth (Velocity Depth) .......................................... 79 Thru Gain .................................................................... 92 Vel Limit High (Velocity Limit High) ............ 82, 146, 153 Time .................................................. 208, 210, 231, 252 Vel Limit L/H (Vel Limit Low/High) ............................ 166 Tim (Timing) .......
For details of products, please contact your nearest Yamaha or the authorized distributor listed below. 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. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.
Intro/E/qx 5/15/98 10:58 PM Page 16
OWNER’S MANUAL M.D.G., EMI Division, ©Yamaha Corporation 1998 V006720 903MWIP6.
