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.
