SPECIAL MESSAGE SECTION This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind.
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
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: • Do not open the instrument or attempt to disassemble the internal parts or modify them in any way.
Congratulations and thank you for purchasing the Yamaha AN200 Desktop Control Synthesizer! The AN200 is a combination tone generator and sequencer that puts an enormous amount of sonic power and real-time performance control in an exceptionally compact and easy-to-use “desktop” package. As one of the Loopfactory group of instruments, it’s an amazingly high-quality and versatile tool for loop-based music production.
Contents Contents ............................................................ 6 How to Use This Manual .................................. 8 Panel Controls .................................................. 9 Quick Start Guide ........................................... 11 Parameter Structure ....................................... 12 Tone Generator Signal Flow & Effect Block Diagram .............................. 13 Chapter 1 Chapter 8 Pattern Playback ....................
Contents Chapter 14 Chapter 19 Pattern Recording ...................68 Master Class 2 — Advanced Music Production ... 103 Tip 56 Tip 57 Tip 58 Tip 59 Tip 60 Erasing a Pattern — and starting from scratch.. 68 Setting the Metronome lead-in.......................... 69 Recording a Pattern in real time........................ 70 Step Recording .................................................. 72 Storing your new Pattern................................... 79 Chapter 15 Song Recording ...................
How to Use This Manual How to USE a manual? Sounds a bit obvious, we admit. (“Open it and read it.”) But here goes: 1 Go straight to the Quick Start Guide. This tells you simply and in no uncertain terms how to set up your new AN200 and get sound out of it. 2 Work through the 92 Tips. These are practical, no-nonsense applications that get you actually USING the machine. If this is your first tone generator or synthesizer, fire up the AN200, open up the manual to Tip 1, and go from there.
Panel Controls Main Control Voice Keyboard Here’s a quick way to get familiar with your AN200! The front (or top) panel of the AN200 can be roughly divided into four sections: Main, Control, Voice, and Keyboard. Look through the controls here, and check out the Tips related to each of them for more information. The Tip references by each control are not meant to be comprehensive. They either give the first (or main) Tip in which the control appears, or the group of Tips that are most closely related.
Panel Controls Main These are the fundamental controls of the AN200 — for changing modes, adjusting values, exiting from functions, and so on. Display and indicators [SONG] .................................. Tips 8, 62 [PATTERN] .....................................Tip 1 [DATA] knob ............................ Tips 2, 68 [SHOW VALUE] ....................... Tips 21, 22 [STORE]........................... Tips 47, 60, 67 [EXIT].........................................
Quick Start Guide Once that you’ve got the AN200 out of the box and checked that all included items were indeed included, it’s time to set everything up and get playing. 1 Turn the VOLUME control all the way down to the minimum. 2 Connect the OUTPUT jacks (L/MONO and R) to the inputs of your recorder/mixer/amplifier. If you’re using a mono system, use only the L/MONO jack. If you’re using headphones, connect them to the PHONES jack.
Parameter Structure This diagram shows the structure and hierarchy of the Songs, Patterns and Voices of the AN200. As you work with the AN200 and explore its various functions and features, refer back to this diagram to see how all the pieces of the puzzle fit together. Pattern Select Setup User Pattern 128 256 Preset Patterns 128 User Patterns Preset Pattern 1 Sequence Synth Track Step 16 1 Synth Voice LFO EG etc.
Tone Generator Signal Flow & Effect Block Diagram Effect section Out Synth track Distortion EQ Rhythm track 1 Rhythm track 2 Rhythm track 3 The EQ processing is accessible only with the AN200 Editor software.
This is NOT an owner’s manual! At least not an ordinary one. But, then again, the AN200 is no ordinary instrument. It’s packed with exciting, powerful, yet easy-to-use features that give you complete, hands-on sonic control — plus tons of dynamic real-time functions that can bring an extra edge to your live performances! With all the digital power under this small hood, the AN200 is a stunning new instrument of the future.
Chapter 1 Pattern Basics Start your synthesizer apprenticeship right here. In this section, you’ll learn about playing Patterns, and how to use some of the AN200’s powerful tools to change the sound as it’s playing. 1 Playing a Pattern Here’s where all the fun starts — with the pre-programmed Patterns. Just press the Start/Stop button, and listen to the Pattern play. The Pattern repeats (loops) until you press the button again to stop it.
Chapter 1 Pattern Basics 3 Switching Patterns on the fly Try mixing it up now. The AN200 lets you change Patterns as easily as pressing a button... Thanks to the Pattern Select function, you can chain together Patterns in real time from the keyboard — as you perform. Select a Pattern, then press [PATTERN SELECT]. The button lights. Start the Pattern. While the Pattern is playing, press one of the keyboard buttons (except 1, 4, and 8). Avoid these keys — they won’t change the Pattern.
Chapter 1 Pattern Basics 4 Playing it backwards The Reverse function lets you completely turn the Pattern around, and play all the notes backwards. Before you start the Pattern (or during playback, if you want), simply press the [REVERSE] button. 5 Changing the bpm Now, that you’ve got a Pattern playing, try changing its speed. (This is also called “bpm” — beats per minute.) The AN200 gives you two ways to do this — tapping out the speed manually, or using the [DATA] knob to adjust it.
Chapter 1 Pattern Basics 6 Messing with the Beat There’s more than one way to mess with the rhythm. Actually, the AN200 gives you a truckload of ways you can disturb and deconstruct your beats. One of these is the (appropriately named) Beat function. You’ll be meeting up with this control again when you record your own Patterns. But let’s see how you can use it now to change the feel of a Pattern while it’s actually playing... 1 Select a Pattern and start it by pressing the Start/Stop button.
Chapter 2 Song Playback As we said before, the Patterns are the basic building blocks of the AN200. But what can you build with them? Songs! Our team of expert programmers has created a few Songs using the various Patterns of the AN200. Check these out and hear just how powerful and versatile the AN200 can be for recording your own material. 8 Playing a Song Let’s select a Song now and play it. 1 Press the [SONG] button. 2 Select the desired Song by turning the [DATA] knob.
Chapter 3 The Keyboard Small and compact as it is, the AN200 also features a one-octave keyboard for playing and recording the sounds of the instrument. 9 Playing the keyboard The built-in keyboard is small — just one octave — but it lets you use all the features of the AN200 without having to connect a separate keyboard. Try it out now. 1 Press [KEYBOARD]. 2 Play the keyboard. The button lights. The buttons give you a full octave, from C to C.
Chapter 3 The Keyboard 11 Playing the Rhythm track The AN200 also has a special Rhythm track (actually there are three.) that let you play and record drum, percussion, bass and other sounds — giving you the power to easily create your own ultra-hip beats. Naturally, you can play all these sounds straight from the built-in keyboard... 1 With the [KEYBOARD] button lit, press [RHYTHM TRACK]. The button lights. Press the button repeatedly to switch among the three Rhythm tracks: 1, 2, and 3.
Chapter 4 Scene Basics Scene is one of the most powerful and exciting features of the AN200. It lets you “morph” between two completely different sounds — in real time, as the Pattern is playing. 13 Switching Scenes Here we’ll switch between Scenes, for instant sound changes. Select a Pattern and start it up. While it’s playing, press the SCENE [2] button. Hear how the sound changes? Press SCENE [1] to go back to the first sound. Try to do this on the beat, alternating between the two in rhythm.
Chapter 5 Effects The effects of the AN200 are more than just icing on the cake — they’re powerful tools you can use to completely transform the sound, and put your tracks over the top. 15 What is an Effect? The Effects are the last element in the sound chain — they are the last bit of processing done to the sound before you hear it. These real-time Effects — Delay, Flanger, Phaser, Overdrive/Amp — let you mangle the sound in wild and exciting ways.
Chapter 5 Effects 16 Playing with the Effects Let’s take a look at each of the Effects, and try applying them to the sound. Before you begin, set the [WET] knob up to about 2:00 or 3:00. Generally, you should keep the knob at this position. This ensures that you can properly hear the Effect. (Tweak it later as needed to adjust the Effect balance.) Now, try out each Effect, and use the same procedure: 1 Select the Effect type. Press the [TYPE] button, then use the [DATA] knob.
Chapter 5 Effects ● Flanger (Flanger 1, 2) This modulation-based Effect produces a “swishing” or “tunneling” sound. Play a Pattern and select Flanger 1 (FLG1). Take the [PARAM] knob from minimum to maximum, and notice how the sound grows from a subtle sweeping, metallic sound — like a jet airplane taking off — to a virtually pitch-less sonic meltdown.
Chapter 5 Effects 17 Distortion The last tip introduced you to a distortion effect, the Overdrive/Amp types. Here’s yet another way to dirty up the sound — Distortion. Although not strictly part of the Effect section, Distortion is a strong effect in its own right. Compared to the warm Overdrive/Amp Effect types, it has more edge and bite. When applied to many of the AN200’s Voices, it is capable of creating very convincing guitar-like distortion effects. 1 Press the DIST [SWITCH] button.
Chapter 6 Filter (VCF) The VCF or Filter section is one of the most powerful and dynamic on the entire instrument. Used in the right way, the VCF controls are capable of transforming sterile, boring sounds into something really dynamic and exciting. Try out the following Tips and see what we mean... 18 Cutoff and Resonance For your Filter explorations, here’s the best place to start. These two Filter controls work interdependently — changing one of them affects the sound of the other.
Chapter 6 Filter (VCF) 19 Wild, wild filter sweeps — VCF Types The enormous power and versatility of the Filter section continues with the VCF Types. These hidden variations put some really heavy-duty sonic fireworks at your fingertips — just what you need to blow the crowd away. Try these settings out for size... 1 Call up a Pattern and press the Start/Stop button. Start out by setting both [RESONANCE] and [FEG DEPTH] to around 1:00. 2 Simultaneously hold down [SHIFT] and turn the [CUTOFF] knob.
Chapter 6 Filter (VCF) VCF Type Determines the filter type used for the VCF section. The filter passes only a specified range of frequencies while cutting off the rest. There are several completely different types, as well as a variety of filter slopes (see below). range, with a cutoff curve of 12dB/octave.
Chapter 6 Filter (VCF) 20 FEG Depth Technically, the FEG Depth controls how the Filter works over time. This is even shown on the panel for you: Indicates a “dip” in the filter, just at the start of each note. Indicates a filter “peak,” just at the start of the note. With the the [CUTOFF] and [RESONANCE] knobs set respectively to 9:00 and 3:00 (see above), slowly turn the [FEG DEPTH] knob.
Chapter 7 Nuts and Bolts Let’s take a break from the fun and games for a moment. Check out the following functions and familiarize yourself with them — they’re very useful, convenient tools you’ll need as you work with the AN200. 21 Show Value Sometimes you’ll want to see what value a knob or button has been set to. Remember that when you call up different Patterns, the knobs won’t correspond to the settings, so just looking at the knobs won’t help.
Chapter 7 Nuts and Bolts 3 Press the [EXIT] button to return to normal operation. All of the indicated controls can be used with the Show Value function. (Original Value, too. — See Tip 22 below.) Show Value Allows you to check the current value or setting of a Voice-related parameter, without changing the value or setting. Press the [SHOW VALUE] button, then turn the appropriate knob or press the appropriate button. The current value/setting is displayed.
Chapter 7 Nuts and Bolts ● What’s the difference between Original Value and Show Value? • Show Value — Lets you view the CURRENT settings of the Voice. • Original Value — Lets you view the ORIGINAL PRESET PROGRAMMED settings of the Voice. If you haven’t done any editing to a Voice, both of these will display the same values — those of the currently selected Pattern.
Chapter 7 Nuts and Bolts ● Do a Factory Reset operation. (See Tip 24.) Use this only if you suspect something is actually wrong with the AN200. (For the most part, many of the confusing things about the instrument may just be things that you don’t quite understand yet.) Remember, this will COMPLETELY ERASE any original work you’ve done or saved — so be careful! ● Check the Troubleshooting section (page 115). We mean it.
Chapter 8 Pattern Playback We’re going to pick up where we left off in Chapter 1, and give you some more Pattern Tips. These are simple things you can do to change the sound, pitch, rhythmic feel, and other aspects of the Patterns — even the Patterns themselves — in real time. 25 Adjusting the Gate Time Try this simple, fast and cool tool — and change the feel of your tracks. Select and start a Pattern. Any Pattern will do.
Chapter 8 Pattern Playback 26 Transposing the key The Transpose function lets you change the pitch or key of the Pattern as it plays back. With this, you can change chords on the fly, and create your own chord progressions — instantly, as you perform. Let’s try it out. Select a Pattern and start it up. Now, hold down [SHIFT] and press [KEYBOARD]. The button flashes. As the Pattern plays, try pressing various keys. For example, press [12] — and hear how the key changes.
Chapter 8 Pattern Playback 27 Swing Here’s an instant way to change the rhythmic feel of a Pattern. Play it straight, or give it some swing. Call up a Pattern and start it up. While it’s playing, press the [SWING] button and turn the [DATA] knob. Try a setting of about 65 - 70 and notice how the Pattern takes on a “bouncy” feel. Experiment with different settings and different Patterns. Judicious use of Swing can make the Patterns sound less mechanical — and give your tracks a more “human,” natural feel.
Chapter 8 Pattern Playback Notice how buttons [1], [2], [3], and [4] light while you hold down [SHIFT] — this means all four tracks are on. Button [1] corresponds to the Synth track; when you press this, the Synth track cuts out. To bring the Synth track back in, simply hold down [SHIFT] and press [1] again. 3 Now, do the same with Rhythm tracks 1, 2, and 3 — which are assigned to buttons [2], [3], and [4], respectively.
Chapter 8 Pattern Playback • Adding and subtracting beats Did you notice that you can add sounds, too? This is especially effective in the Rhythm tracks. If the selected Rhythm track has some unlit buttons — meaning there are spaces in the track — try pressing some of those buttons to add more drum/percussion hits to the track. Or try taking some of the lit buttons’ sounds out, and hear what kind of rhythm you come up with. • Save your edits If you like the new Pattern you’ve created, store it.
Chapter 8 Pattern Playback 31 Assigning Patterns to the keyboard buttons Remember in Tip 3 how you selected Patterns on the fly, as they were playing? Here’s where you can set which Patterns are triggered by which keyboard buttons. Any Pattern — even the User Patterns — can go to any button. Plus, you can use a key range of three octaves, from C2 to B4 — that’s 36 different Pattern Select locations. 1 Hold down [SHIFT] and press [PATTERN SELECT].
Chapter 9 LFO Modulation Here’s another crucial cornerstone in synthesizer sound — the LFO. Although LFO modulation can be used to make the sound warmer and more natural, its strong forte is in creating wild and extreme special effects. Explore the following Tips and you’ll soon build up a huge arsenal of powerful tools for mangling the sound in awesome ways. 32 Modulating the volume Get to know your LFO. This Tip takes you through the basics in setting up and using the LFO.
Chapter 9 LFO Modulation 33 Modulating the Filter Now, let’s apply the LFO to the Filter — and create some interesting wah-wah effects. 1 Press [DETAIL] until “Fmd” (Filter Modulation Depth) appears briefly in the display. 2 Use the [DATA] knob to set the value to around “-34.” This is the Filter Modulation Depth setting. Setting Filter Depth to -34 gives the LFO some control over the timbre or tonal quality of the sound. 3 Press [KEYBOARD] to use the keyboard, and hold down one of the keys.
Chapter 9 LFO Modulation Pitch Modulation Depth 1, 2 If you’ve come to this Tip directly from the other LFO Tips above, you may want to hear the Pitch modulation by itself. To do this, set both Amplitude and Filter back to normal (0). • Double up Once you start working with VCO 2 (in Tip 57), experiment with the two independent Pitch Modulation Depth settings (PMD1 and PMD2) for even more interesting textures and pitch changes. 35 Determines the two Pitch Modulation Depth settings for the LFO.
Chapter 9 LFO Modulation Wave Determines the LFO waveform.
Chapter 9 LFO Modulation ● Square (Squr), 2, 3 Square ● Sample-and-hold 1 (S-H1), 2, 3, 4 S-H 1 Square 2 S-H 2 Square 3 S-H 3 ● Saw 1 (SAU1), 2, 3, 4 Saw 1 S-H 4 Saw 2 Saw 3 Saw 4 45
Chapter 10 EG Basics Shape the volume, shape the tone. Use the EG (Envelope Generator) section to control how your sound moves, grows and evolves. 36 Shaping the sound with EG One of the most important aspects in analog synthesizer sound is how that sound is controlled over time. The AN200 gives you some very powerful and flexible ways to do this. One of them is the EG section. EG stands for Envelope Generator — “envelope” here being the control that shapes the sound as it evolves over time.
Chapter 10 EG Basics 5 Next, play with the [DECAY] knob and hear how that affects the sound. Make sure to reset [SUSTAIN] to around 10:00 or 11:00 — if Sustain is too high, Decay won’t work! Experiment with the [DECAY] knob. Depending on the Voice and the other EG settings, a short Decay value (knob around 9:00) may result in a weak, percussive sound. Try adjusting the knob around 11:00 or 12:00 and then slowly move upwards from that as you repeatedly play the key. 6 Now, on to the [RELEASE] knob.
Chapter 10 EG Basics • Tweak them together When you start out tweaking the EG, you may want to set [SELECT] to both FEG and AEG. This eliminates a lot of confusion about which EG is doing what. For example, if you have separate settings and the FEG opens up long after the AEG has already shut down, you’ll probably not hear much of the sound. Similarly, if the AEG takes its sweet time to unfold — by which time the FEG has already come and gone — the sound may never come through.
Chapter 10 EG Basics 37 Using EG to control the Filter (FEG) In Tip 36 above, we introduced you to the EG and showed you how it works with volume (Amplitude). Now, let’s take a look at what the EG can do with the Filter. These specific FEG setting examples will get you started, and give you a definite feel for how to use EG to change the tonal quality of the sound. In the process, you’ll learn more about how the Filter works, too — and how you can get it to work for you.
Chapter 10 EG Basics 7 Just for good measure, play around with the [DECAY] knob a bit. As with the other controls, tweak this to various settings as you play the keys. Finally, set this to around 1:00 or 2:00 (80 - 90). 8 You’re on your own now! With the above settings as a starting point, go back to each of the EG knobs and play around with them some more. Take a crack at using other controls as well — and hear how they change the sound.
Chapter 10 EG Basics 39 Going negative — with FEG Depth As we promised in the last Tip, here’s a sound-creating pointer that takes advantage of the negative values of FEG Depth. Try these settings out — and hear what it’s like on the “minus” side of the sound. 1 First, get everything set up with the following settings: EG [SELECT]........... to “ALL” (both FEG and AEG) [ATTACK] ................ to around 2:00 (90 - 100) [DECAY].................. to around 1:00 (80) [SUSTAIN] ..............
Chapter 11 Advanced Sound Shaping Controls By this point, you’re well on your way to becoming a master synthesizer programmer. You’ve learned about the Patterns, the Scenes, Effects, the Filter, LFO, EG, and so on — but your education’s not over yet. The AN200 has actually got quite few more sonic tricks up its sleeve. Let’s try some of them out now... 40 Portamento — the famous gliding pitch effect. You’ve heard the sound before.
Chapter 11 Advanced Sound Shaping Controls 41 Metallic sounds and more — with FM Depth Like the vintage synthesizers of the past, the AN200 is absolutely loaded with modulation options — giving you the power to mangle the sound in wild and unique ways. Yet it also gives you some intriguing digital twists — like FM Depth. Depending on the other Voice settings, FM Depth can be very subtle, adding harmonics or changing the pitch — almost imperceptibly at times.
Chapter 11 Advanced Sound Shaping Controls 42 Balancing the waves — VCO 1 and 2 One of the easiest knobs on the AN200 to understand, VCO 1/2 is a simple balance control. It lets you adjust the relative volume of the two oscillators, VCO 1 and VCO 2. However, the simplicity is deceiving — there’s a whole lot of power here, too. Along with the VCO 1 and VCO 2 Wave controls (see Tip 56), this is where you lay the very foundation of the sound — upon which everything else on the AN200 is built.
Chapter 11 Advanced Sound Shaping Controls 43 Noise Level Here’s another nifty little knob. This one’s great for throwing some grunge and bite into the basic wave — letting you dirty up the Voice with some noise. Why add noise? Why not use the Distortion effect? And what good is “dirt” in the sound, anyway? (We could hear those questions coming...
Chapter 11 Advanced Sound Shaping Controls ■ VCO 2 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 1 Make sure the same Pattern you selected above is still called up. 2 Solo VCO 2 by turning the [VCO 1/2] knob all the way right. 3 Press the VCO 2 [WAVE] button and use the [DATA] knob to select the waves.
Chapter 11 Advanced Sound Shaping Controls 45 Fat, phatter and phattest! How phat do you want to get? The Key Assign settings let you switch the AN200 between Poly and Mono operation. And, with Unison, they bring back the humongously phat sounds of vintage synthesizers — letting you beef up the Voices the old analog way. 1 Call up a Pattern and press [KEYBOARD]. Try to select a Pattern that has a fairly big and fat Voice. Let’s see where we can take it. 2 Right now, POLY should be lit.
Chapter 11 Advanced Sound Shaping Controls 46 Sync Mode and Sync Pitch Here are two more important additions to your arsenal of sound-shaping power tools. Try them out and hear how they change the pitch and brighten the sound. 1 Call up a Pattern and start it up. 2 Set the [VCO 1/2] knob all the way left, so that you hear only VCO 1. 3 Press the [SYNC MODE] button to select VCO M>S (<.m-5). 4 Work the [SYNC PITCH] knob, especially between 11:00 and 4:00.
Chapter 11 Advanced Sound Shaping Controls 47 Creating your own original Scenes — and saving them The exciting and powerful Scene feature lets you create and use two different Voices within a single Pattern. Most importantly, it lets you instantly switch between them or gradually “morph” from one to the other — all in real time. You tried out some preset Scenes in Tip 23, and heard just how effective, dynamic, and ultimately hip the function can be.
Chapter 12 Free EG Here’s another ultra-cool power tool for the control freak in you. The AN200 is packed with an endless supply of sonic mayhem and wild, shifting synthesizer textures, but you can keep it all under control — with Free EG. 48 Free EG The AN200 has so many real-time control features, it’s hard to get a grip on them all. Feel you need an extra pair of hands? Or maybe an extra two? No problem. Just use the amazing Free EG feature.
Chapter 12 Free EG 3 Start the Pattern, and make your moves. Press the Start/Stop button. The metronome clicks to lead you into the recording, so you can start your knob moves right with the start of the Pattern. Remember the rule: One knob, one track. Once you record a certain knob, no other knob can be recorded to the track (unless you start the whole Free EG recording again). Any tweaking of other knobs is ignored. The display number indicates the current measure number.
Chapter 12 Free EG 49 Changing the Length of your Free EG tracks The flexible little Length feature works both ways — both in recording and playback. It lets you set how long (in measures) your Free EG moves are recorded for, and it lets you separately set how long it takes for them to play back. Set Length before recording any Free EG tracks. Specifically, set it BEFORE you press the red Record button (but after you’ve selected the Pattern) in Step 1 of Tip 48 above.
Chapter 13 Pattern Power Tips It’s time to put your AN200 know-how and experience to work — and delve into these Pattern Power Tips. The first couple of Tips introduce you to some important tools for working with the Patterns, such as copying and erasing data. They’re basic nuts-andbolts stuff, but don’t ignore them.
Chapter 13 Pattern Power Tips 51 Shake, Retrigger, and Roll! In Tip 50, you saw how to use the Top function to play your own stutter hits. Here’s a nifty variation on that function — it’s called Retrigger & Roll. Retrigger & Roll does just as its name suggests. It retriggers notes of the Synth track, and repeats them — like a drum roll. Select a Pattern and start it up. As the Pattern’s running, hold down [SHIFT] and simultaneously press and hold the Start/Stop button.
Chapter 13 Pattern Power Tips 52 Selecting a Voice (Copy Voice) One important step you can take in creating a Pattern is to select the Voice you’ll be using for it. Keep in mind that each Pattern includes a Voice, and that strictly speaking, Voices CANNOT be selected separate from their Patterns. However, this function lets you select a Voice that you like from one Pattern, and copy it to another Pattern. 1 First, select the source Pattern — the one that has the Voice you like.
Chapter 13 Pattern Power Tips 54 Transposing the pitch of a Pattern Try this cool editing tool on your tracks. The Transpose Pattern function lets you change the overall key (pitch) of a Pattern — including the Rhythm tracks. Shift the pitch way up, or bring it way down — there’s a lot of range here to work with. 1 While the Pattern is stopped, simultaneously hold down [SHIFT] and press [13] (MOVE/PITCH). You may have to press the button more than once to call up the “PtCH” (Transpose Pattern) display.
Chapter 13 Pattern Power Tips 55 Copying a Pattern (Sequence) Earlier in this section, in Tip 52, you learned how to copy a Voice from one Pattern to another. Here you’ll learn how to copy a Sequence (the Pattern’s notes) from one Pattern to another. 1 First, select the source Pattern — the one that has the Sequence you like. The word “Sequence” is used here to describe the recorded notes or steps of a Pattern.
Chapter 14 Pattern Recording By this point, you’ve built up a lot of experience twisting and tweaking the Voices, and playing around with the Patterns. Now it’s time to strike out on your own — and create some Patterns yourself. Let’s get started... 56 Erasing a Pattern — and starting from scratch The first thing you’ll need to do when you make your own Pattern is to make room for it on the AN200. To do that, you’ll have to erase or clear one of the factory preset Patterns.
Chapter 14 Pattern Recording 57 Setting the Metronome lead-in When you record your parts in real time, you’ll need a rhythmic guide — a metronome click — to lead you into the recording, and keep you in time. Here, you can set the length of the Metronome lead-in — in other words, how long the Metronome clicks before Real-time recording actually starts. 1 Simultaneously hold down [SHIFT] and press [16] (UTILITY SETUP). You may have to press the button more than once to call up the “mtro” display.
Chapter 14 Pattern Recording 58 Recording a Pattern in real time Up until this point, you’ve been working with the preset Patterns of the AN200. Now, here’s your chance to create some Pattern magic yourself — by recording your own original Patterns. We’ll give you the basic procedure to get you started. You supply the creative ideas and talent. And the AN200 will provide the sonic horsepower you need to produce some truly hip and happening tracks.
Chapter 14 Pattern Recording 7 Start recording. Now, let’s get down to business. Press the Start/Stop button. While listening to the metronome, play the keys on the keyboard. The AN200 has a nifty “Loop Recording” feature that immediately and automatically plays each note you record as the Pattern repeats (loops). This lets you hear the Pattern as you’re recording — making it much easier to “feel” your way to a great recording.
Chapter 14 Pattern Recording 59 Step Recording In Tip 58, you learned how to record a Pattern in real time, by playing the notes on the keyboard as the Pattern was looping. Now, you’ll learn a completely different method — Step recording. Real-time recording is like using a tape recorder — whatever you play is recorded as you play it. Step recording, on the other hand, allows you to enter each note individually — like writing down the notes on a sheet of music paper.
Chapter 14 Pattern Recording ■ Entering the Notes • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • In this section, you’ll be entering the notes (pitches) for each of the sixteen steps. We’re going to show you a quick way to do this. The results here may not be very musical — but they’ll get you started fast and point you in the right direction. 4 Turn all the Steps on. In this condition, all the buttons are probably off. (Remember? You cleared the Pattern...
Chapter 14 Pattern Recording Enter the notes for these Steps in the same way as you did with Steps 1 - 8 above, but use the setting guide below: Again, this is ONLY a guide — make your own settings, if you want. 8 Finally, press the Start/Stop button — and hear your new masterpiece. ■ Gate Time • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • In the next few steps, let’s work with Gate Time and lengthen some of the notes.
Chapter 14 Pattern Recording 15 Set the knobs as shown. Set knobs [1] and [5] to around 2:00. (The display value should be around 90 - 100.) Set knobs [2], [3], [4], [6], [7], and [8] to around 11:00. (The display value should be around 40 - 50.) Or, make your own settings. After all, you’ve mastered the process now. Plus, since you can hear what you’re doing — AS you’re doing it — you can come up with some amazing ideas of your own.
Chapter 14 Pattern Recording Rhythm Tracks The AN200 is filled to the brim with an enormous variety of drum, percussion, and special effects sounds. Put these to good use with the Step Recording features — and create your own awesome beats and smokin’ rhythms. ■ The Basics — Rhythm Track 1 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • In the next few steps, we’ll walk you through the basics — and give you a quick way to edit.
Chapter 14 Pattern Recording ■ Overdubbing the Hi-hat — Rhythm Track 2 • • • • • • • • • • • • • • • • • • • • • • • • • Now, let’s flesh out the rhythm a bit with some hi-hat parts — and add a turntable scratch at the end. 21 Using the “In the Fast Lane” box above as a guide, go on to Rhythm Track 2, and make the settings as described here. Turn the indicated buttons on and set them to the instruments shown. While you’re programming the instruments, let the Pattern play.
Chapter 14 Pattern Recording ■ Fine Tuning Your Tracks — Pitch, Gate Time, and Velocity • • • • • • • • • • • • • • Before you run off, remember that the Rhythm Tracks can be edited some more with the Pitch, Gate Time, and Velocity parameters. 23 We won’t tell you exactly what to do — you can explore these on your own. However, here are some guidelines and paths to follow: ● Pitch Yes, the drum and percussion sounds can be pitch-changed. So can all the scratches and sound effects.
Chapter 14 Pattern Recording Event Parameters — Synth and Rhythm Tracks Pitch Determines the pitch of the selected note. For the Synth track, this is expressed as note names; for the Rhythm tracks, it is expressed as number of semitone steps. (The small “o” in the note name display designates accidentals. For example, “ ” corresponds to G#.) Range C-2 — G8 (-64 — 24 for Rhythm tracks) Gate Time Determines the length of the selected note. The higher the value, the longer the note length.
Chapter 14 Pattern Recording ■ Store the Pattern • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Storing your original Pattern is as easy as 1-2-3. 1 First, make sure your new Pattern is selected and that Memory Protect is off. Then, press [STORE]. (“P.Str” briefly appears to indicate the Store operation.) 2 Select the desired User Pattern number (1 - 128) with the DATA knob. 3 Press [STORE] again to actually store the Pattern, or press [EXIT] to cancel.
Chapter 15 Song Recording You’ve got a humongous selection of Patterns at your disposal. It’s time now to put them together and make some Songs. 61 Erasing a Song — and starting from scratch The first thing you’ll need to do when you create your own Song is to make room for it on the AN200. To do that, you’ll have to erase or clear one of the existing Songs. 1 Make sure the Song mode is selected. Press the [SONG] button. Indicates Song mode is active. 2 Select the Song to be cleared.
Chapter 15 Song Recording 62 Creating a Song Finally, we come to the culminating feature of the AN200. This is the place where you bring together all the Voices, Scenes, Free EG moves and Patterns you’ve made — and use them to create your own original Songs. 1 Call up the Song mode and clear a Song. Give yourself a blank slate for putting together your own Song. (Have you tried clearing a Song yet? If not, go back to Tip 61 and do it now.) 2 Call up the Song Edit mode.
Chapter 15 Song Recording 6 Keep assigning Patterns in this way, repeating Steps 3 - 5 above, until you’ve created a new Song. In most cases, you’ll want to repeat a Pattern over several measures, rather than having a different Pattern every measure. To do this, first set the Pattern you want to repeat. Then, in the following measures, turn the DATA knob counter-clockwise until “----” appears in the display.
Chapter 15 Song Recording 63 Setting the BPM (tempo) for your new Song In addition to the Patterns, a variety of other settings can be programmed into your Song. One of these is BPM. It lets you set the playback speed or tempo — for each and every measure, if you want. Normally, you’ll use this at the start of the Song (see Tip 62, Steps 3 - 5) to make sure the entire Song plays back at the proper tempo. However, it can also be used to change tempo in middle of the a Song as well.
Chapter 15 Song Recording 64 More Song editing features In Tips 62 and 63 above, you learned how to enter Pattern numbers and BPM values to the measures of your Song. But that’s not all you can do. In this Tip, we’ll show you how to use the rest of the powerful Song editing features in your tunes. By the way, we’ll keep these instructions to the bare-bones minimum. Read about these cool tools, then try using them in your own Songs and see what you come up with.
Chapter 15 Song Recording Swing This lets you introduce a swing feel to the Pattern at the selected measure. (See Tip 27 for more information.) To select: Press the [SWING] button. The [SWING] button lights, indicating Swing is selected. Gate Time This lets you control the length of the notes for the Pattern at the selected measure. (See Tip 25 for more information.
Chapter 15 Song Recording 65 Adding Patterns to your Song — Insert Pattern Naturally, you can add Patterns to your existing Songs — by using the Insert Pattern function. This puts a new Pattern in the Song at the measure you specify. It doesn’t matter whether you’re in the Song mode or the Song Edit mode — you can insert a Pattern from either. 1 First, select the measure you want to insert the Pattern to, by holding [SHIFT] and using the [OCT <<]/[OCT >>] buttons. 2 Call up the Insert Pattern function.
Chapter 15 Song Recording 66 Taking Patterns out of your Song — Delete Pattern If you’ve made a mistake in creating your Song, you can always clear it (page 81) and start over. Or you can use Delete Pattern to erase the offending entry, and keep the other Patterns intact. Delete Pattern lets you take Patterns out of specific measures in your existing Songs.
Chapter 15 Song Recording 67 Storing your new Song Now that you’ve created and arranged a new Song, you’ll want to save it for future recall. The AN200 gives you a total of 10 memory spaces for saving your original Songs. Once you’ve created a Song you want to save, DO NOT select another Song and DO NOT leave the Song mode until you’ve stored it.
Chapter 16 Speed Tips for Power Users Work smarter, not harder! In this section, we’ll show you some nifty ways to put your editing in high gear — so you can get MORE out of your AN200 in LESS time. 68 Using [SHIFT] with the [DATA] knob — for leaps and bounds! The [DATA] knob is really useful for narrowing in on a value and fine-tuning the parameter settings. However, if you’re in a hurry and want to quickly jump through the available values, it can be cumbersome.
Chapter 16 Speed Tips for Power Users 69 Using [SHIFT] to “hold” a setting Editing on the AN200 is quick and easy — you press a button or turn a knob, and the setting/value changes. However, convenient as it is, there are times when you want to select a parameter without changing it. Here’s an example. Let’s say you’ve selected the “hidden” Reverb Effect in your editing session, and you go on to edit something else. Wanting to come back to edit Reverb again, you press the EFFECT [TYPE] button. Whoops...
Chapter 17 Real World Tips This chapter is a grab bag full of various practical tips that solidify your programming chops and put you on the way to truly mastering the instrument. You’ve seen all these features before. Now, try them out in these real-world examples — and explore some new, uncharted sound-shaping paths on your own. 71 Adjusting the Gate Time with the [DATA] knob Gate Time is a simple, yet effective way to change both the sound and feel of a Pattern.
Chapter 17 Real World Tips 73 Changing the pitch with the keyboard As you saw in Tip 26, you can use the keyboard of the AN200 to change pitch and even create chord progressions on the fly. But you can get really wild and crazy with this feature, too — and come up with some truly mad techno mayhem. 1 Select and play a Pattern. 2 Call up Transpose. Hold [SHIFT] and press [TRANSPOSE] ([KEYBOARD]). 3 Now, “play” the pitch changes from the keyboard.
Chapter 17 Real World Tips 74 Stutter fill-in 1 Remember in Tip 50 how you hit the top of a Pattern? In this Tip, and the two that follow, let’s try some specific “stutter” rhythm examples. Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following rhythm. ONE TWO THREE Start ! FOUR ONE Hit it here... ... and here ! Use your left hand to hold down [SHIFT], while your right hand hits [TOP].
Chapter 17 Real World Tips 76 Stutter fill-in 3 Select and play a Pattern. Then, hold down [SHIFT] and hit the [TOP] (Record) button in the following rhythm. Use both hands on this one too. This could take a little practice before you nail it... ONE Start ! 77 TWO Hit it here... THREE ... and here ! ... and here ! FOUR ... and here ! ONE ... and here ! ... and here ! Assigning Patterns for your gig When you perform live, you need to think quick and move fast.
Chapter 18 Master Class 1 — Onstage Now that you’ve got the hang of the instrument, it’s time to start strutting your AN200 chops onstage. There are a lot of truly amazing things you can do with the AN200 — especially once you put it together with some other MIDI gear. Here are some ideas to get you started...
Chapter 18 Master Class 1 — Onstage 4 Start song or sequence playback on the other device. When you start and stop playback on the connected MIDI device, the Pattern or Song on the AN200 starts and stops at the same time. Naturally, you can change the bpm on the other device, and the AN200 will instantly and automatically follow right along. If you want, you can use the AN200 as the master device.
Chapter 18 Master Class 1 — Onstage 81 Loopfactory setup — with the SU200 As part of Yamaha’s new Loopfactory series, the AN200 is not just a great analog-style synthesizer — it also excels in loop-based music production systems. In this Tip and the ones that follow, we’ll take a look at some of ways you can use the powerful and versatile Loopfactory line to shake up the dance floor.
Chapter 18 Master Class 1 — Onstage 82 Loopfactory sync system — with the DX200 In case you didn’t know, the AN200 has a sister synthesizer — almost a twin sister, actually. The DX200 has many of the same sound-shaping controls, plus all of the Pattern and Song features that are found on the AN200. Yet, as similar as these siblings are, their actual sound is VERY different.
Chapter 18 Master Class 1 — Onstage • Syncing Songs Naturally, you can also play Songs on both machines in perfect sync with each other. For best results, you should make sure that: * * * * The Songs on both the AN200 and the DX200 are of the same length. The Patterns on both machines work well with each other. Both Songs have the same Beat settings throughout. Both Songs don’t deviate too much from each other in the Swing settings, either — unless you’re aiming for some special, weird effects.
Chapter 18 Master Class 1 — Onstage 84 Full DJ system — turntable and all! Bring the Loopfactory into your DJ setup — for the best of the analog and digital worlds. This builds on the setup in Tip 83 above by adding a turntable and/or CD player. (Make sure your turntable has line-level outputs, or that your mixer can boost phono signals.) Speaker Speaker To sample, route the Aux Send to the SU200’s LINE INPUT, and use the appropriate channel(s) on the mixer.
Chapter 18 Master Class 1 — Onstage MIDI clock MIDI OUT MIDI center RM1x OUTPUT MIDI clock MIDI IN MIDI OUT OUTPUT AN200 MIDI Thru set to “on.” MIDI clock MIDI IN MIDI OUT MIDI IN OUTPUT DX200 MIDI Thru set to “on.” INPUT OUTPUT SU200 INPUT Amplifier Speaker Speaker Mixer In this system, all the MIDI devices are connected in “daisy-chain” fashion. This setup trick can help when you find yourself with too many synthesizers — and not enough ways to connect them.
Chapter 19 Master Class 2 — Advanced Music Production Take your skills up to the next level. Explore these advanced operations and applications — and get the absolute most out of your AN200 in your home studio. 86 Playing the AN200 as a synthesizer The AN200 is an extremely powerful and versatile synthesizer, with truly vintage analog-like sound. And one of the best ways to harness that power is to hook up a MIDI keyboard.
Chapter 19 Master Class 2 — Advanced Music Production 87 Recording to a sequencer As a “desktop” synthesizer, the AN200 is absolutely perfect for computer recording applications. In fact, if you DON’T have a computer or a hardware sequencer, you’re leaving a good portion of the AN200’s incredible potential untapped. You’ve already worked with the step sequencer on the AN200 itself for recording Patterns and Songs.
Chapter 19 Master Class 2 — Advanced Music Production 88 Recording AN200 knob moves to a sequencer Have you got an external sequencer or computer? And are you using the AN200 as a synthesizer (as we covered in Tip 86) to play back your sequencer tracks? If so, here’s a power-user Tip for you that will give you undreamed-of control over the sound. Here, you’ll learn how to record all your knob moves and button presses to your sequencer.
Chapter 19 Master Class 2 — Advanced Music Production 89 Editing the AN200 from a computer If you’ve worked through most or all of the Tips in this book, you can rightfully consider yourself a master programmer and expert user of the AN200. Well, almost. Actually, we hate to break it to you — but you’ve only scratched the surface of the enormous sound-shaping potential of the AN200... This instrument is deep — much, much deeper than just what’s available on the front panel.
Chapter 19 Master Class 2 — Advanced Music Production 90 MIDI sequencer controls — Start, Continue, Stop This function gives you detailed control over how the AN200 handles MIDI sequencer control messages — Start, Continue, and Stop. The major use for this minor function is to keep the AN200 from starting its own Patterns (or from starting a connected sequencer). This comes in handy when using the AN200 strictly as a tone generator in a larger MIDI system.
Chapter 19 Master Class 2 — Advanced Music Production 91 Saving Patterns and Songs to a MIDI data filer Another fantastic thing about MIDI is all the data storage options it gives you. With the use of a MIDI data filer (such as the Yamaha MDF3) or MIDI sequencing software (such as the included XGworks lite), you can save all your valuable Song and User Pattern data for future recall — any time you need it. Plus, you can amass a whole library’s worth of Songs and Patterns on just a few floppy disks.
Chapter 19 Master Class 2 — Advanced Music Production 92 Loading back your saved Patterns and Songs Once you’ve saved your valuable data, you can bring it all back to your AN200 — with this simple operation. 1 Set up the AN200 and the recording device. Connect the two as shown with a standard MIDI cable. Load your Song/Pattern data from the connected device.
Appendix Function Index This index lets you quickly find information on the various functions and parameters of the AN200. All the references here are to Tip numbers, except for a few page references (for Tips that stretch over several pages). A AEG.......................................................................................Tip 36 Amplitude Modulation Depth ................................................Tip 32 AN200 Editor ........................................................................
Appendix Function Index Pattern Select (Song Edit)............................................. Tips 62, 64 Pattern Select Assign............................................................Tip 31 Pattern speed, doubling/halving..............................................Tip 7 Patterns ..................................................................................Tip 1 Patterns, copying..................................................................Tip 55 Patterns, erasing (clearing).................
Appendix About the Included CD-ROM For Windows Me/98/95 Users This CD-ROM contains the following; • Acrobat Reader 4.0 • XGworks lite • AN200 Editor XGworks lite Plug-in software • PLG150-AN Preset Voice Files These are Preset Voice Files for the PLG150-AN. These are compatible with the AN200, so can be edited with the AN200 Editor. File names are “PlgAnP1.AN2” and “PlgAnP2.AN2.” Some voices of the PLG150-AN may sound different when played on the AN200. Minimum System Requirement XGworks lite V3.
Appendix About the Included CD-ROM For Macintosh Users This CD-ROM contains the following; The CD-ROM includes two folders: “Internatiotal” and “Japanese.” Double-click on the “International” folder to open it. You will find a variety of applications and data files packed in the following four folders. • Acrobat Reader 4.0 • Open Music System (OMS) 2.3.8 • AN200 Editor • PLG150-AN Preset Voice Files These are Preset Voice Files for the PLG150-AN.
Appendix Specifications 4.DISPLAY 7SEG LED 1.FUNCTIONS Tone Generator Analog Physical Modeling (2VCO(Osc.Sync, FM), Noise, RingMod., Filter(FEG), Amp(AEG), 2LFO, PEG) + AWM2 5.CONNECTORS OUTPUT L(MONO)/R MIDI IN/OUT DC IN PHONES Timber 1 (AN) + 3 (AWM2) parts Polyphony 5 (AN) + 32 (AWM2) Notes Effector Distortion, 3-Band EQ (only AN) + 1 Effector (Tempo Delay/Reverb, Flanger/Chorus, Phaser, Amp.
Appendix Troubleshooting Problem Possible cause/Solution No power. Is the adaptor properly plugged into both the AN200 and the AC outlet? (Page 11) No sound. • Is the panel volume control set to an appropriate level? • Are other volume-related parameters set to appropriate levels? (Page 39) • Is the EG Attack Time appropriately short, for short percus-sive sounds? (Page 46) • Is the Velocity of keyboard is appropriate? (Page 21) No sound from a particular track.
Appendix Analog Physical Modeling Synthesis and the AN200 At the heart of the AN200’s stunning, dynamic analog-like sound is a highly sophisticated and versatile tone generating method — the Analog Physical Modeling Synthesis system. We won’t try to explain how Analog Physical Modeling works — that would take several pages. Besides, you can hear for yourself the enormous power and punch this system delivers.
Appendix Analog Physical Modeling Synthesis and the AN200 ■ VCO 1 and VCO 2• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Here is where the sound begins. The VCO generates a waveform — usually relatively simple ones, such as sine, saw, and square waves.
Appendix MIDI Data Format 1. Channel messages Since this is a relative change parameter in Rhythm track, it specifies an increase or decrease relative to 64. Increasing this value will lengthen the release time that follows a note-off. 1.1 Note on/note off These messages convey keyboard performance data. Range of note numbers transmitted and received = C-2...G8 Velocity range = 1...127 (Velocity is received only for note-on) 1.2.
Appendix MIDI Data Format category misc EFFECT vco 1/2 fm depth sync pitch noise level type DISTORTION VCF param wet ( send ) switch cutoff MIXER 2. System exclusive messages CC# param SYNTH 68 35 22 39 88 89 48 94 49 74* filter type resonance 59 71* FEG depth pan volume 81 10* 7* RHYTHM 94 - 2.1 Parameter changes This device uses the following parameter changes.
Appendix MIDI Data Format 0vvvvvvv : 11110111 VVH : F7H Data End of Exclusive For parameters whose Data Size is 2 or 4, the appropriate amount of data will be transmitted as indicated by Size. 2.1.3.1 System parameter change Address and Byte Count are given in tables <1-n>. Byte Count is indicated by the total size of the Data in tables <1-n>. Bulk dump is received when the beginning of the block is specified in "Address.
Appendix MIDI Data Format 3. Realtime Messages 2.2.2.1 AN1x Current Common bulk dump When the Common block bulk data of the voice sounds currenly is received from the AN1x, the AN200 responds to it (see the Table <3-1>). 3.1 Active Sensing 11111110 The following parameters are invalid on the AN200, or affect differently compared with the ones applied to the AN1x. Scene Select (Always "Scene1" is fixed.
Appendix MIDI Data Format 122 10 12 13 14 15 16 17 18 19 2 1 1 1 1 1 1 1 1 27...
Appendix MIDI Data Format : : 0C 66 : 2 00...7F Free EG Trk4 Data2 LSB 0...127 *2 0 00...01 00...7F Free EG Trk4 Data192 MSB Free EG Trk4 Data192 LSB 0...1 0...127 *2 *2 1 0 TOTAL SIZE 668 *1 : see other table (Free EG Track Paramter List) *2 : only Bulk Dump (not received as parameter change) *3 : BPM = ((1st & 03h) * 128 + 2nd) + ((1st & 78h)/8)/10 <1-3> MIDI Parameter Change table ( Current Voice Element Buffer ) Address Size Data Prameter Name (H) (H) (H) 10 10 00 1 00...
Appendix MIDI Data Format 43 1 00... 00 Distortion Switch 0(off),1(on) 44 45 46 47 48 49 4a 4b 4c 4d 4e 4f 50 51 52 53 54 55 56 57 58 59 5a 5b 5c 5d 5e 5f 60 61 62 63 64 65 66 67 68 69 6a 6b 6c 6d 6e 6f 70 71 72 73 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...
Appendix MIDI Data Format 0B 0C 0D 0E 1 1 1 1 00...7F 00...7F 00...7F 00...05 Sync Pitch FM Depth Mixer Noise Level VCF Filter Type 0F 10 11 13 14 15 16 17 1 1 2 1 1 1 1 1 00...7F 0D...7F 00...FF 00...7F 00...7F 00...7F 00...7F 00...7F VCF Filter Cutoff VCF Filter Resonance FilterEG Depth VCO1/2 Balance Volume Pan Effect Send Effect parameter -64...+63 -64...+63 0...127 LPF-24dB(0),LFP-18dB(1), LPF-12dB(2),BPF(3),HPF-12dB(4), BEF(5) 0...127 -12(0D)...0(19)...+102(7F) -128...+127 -64...0...+63 0...
Appendix MIDI Data Format 28 29 2A 2B 2C 2D 2E 2F 30 31 32 33 34 35 36 37 38 39 3A 3B 3C 3D 3E 3F 40 41 42 43 44 45 46 47 48 49 4A 4B 4C 4D 4E 4F 50 51 52 53 54 55 56 57 58 59 5A 5B 5C 5D 5E 5F 60 61 62 63 64 65 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00..
Appendix MIDI Data Format 17 18 19 1 1 1 NOT USED NOT USED NOT USED 1a 1b 1c 1e 20 22 24 26 1 1 2 2 2 2 2 2 28 29 2a 2b 2c 2d 2e 1 1 1 1 1 1 1 2f 30 31 32 34 36 38 3a 3c 3e 40 41 42 44 46 48 4a 4c 4e 1 1 1 2 2 2 2 2 2 2 1 1 2 2 2 2 2 2 2 NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED NOT USED -------------------- 50 51 52 53 54 55 56 57 58 5a 5c 5d 1 1 1 1 1 1 1 1 2 2 1 1 00...
Appendix MIDI Data Format 1 1 1 1 1 28...58 00...7F 00...7F 01...03 00...01 Pich Down (PB Range -) PEG Decay PEG Depth PEG Switch Portamento Mode 1 1 1 2 1 2 1 1 1 1 00...7F 00...01 00...14 00...FF 00...7F 00...FF 00...02 00...7F 00...7F 00...04 Portamento Time LFO Reset Mode LFO1 Wave LFO1 Speed LFO1 Delay LFO2 Speed Sync Mode Sync Pitch Sync Pitch Depth Sync Pitch Source 1 1 1 01...03 00...7F 00...04 Sync Pitch Mod Switch FM Depth FM Source 1 1 00...07 FM Source 2 1 00...04 VCO1 Wave 00...
Appendix MIDI Data Format 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...7F 00...72 00...2E 00...
Appendix MIDI Data Format 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...07 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...01 00...
Appendix MIDI Data Format <1-10> MIDI Bulk Dump Parameter table ( User Pattern Voice Scene-1 ) Address Size Data Prameter Name (H) (H) (H) 40 mm 00 2 00...FF LFO1 Speed 02 1 00...7F AmpEG Attack Time 03 1 00...7F AmpEG Decay Time 04 1 00...7F AmpEG Sustain Level 05 1 00...7F AmpEG Release Time 06 1 00...7F FilterEG Attack Time 07 1 00...7F FilterEG Decay Time 08 1 00...7F FilterEG Sustain Level 09 1 00...7F FilterEG Release Time 0A 1 00...7F Portamento Time 0B 1 00...7F Sync Pitch 0C 1 00...
Appendix MIDI Data Format <1-12> AN200 Control Matrix & Free EG Track Parameter List Parameter Name Group Param Name ----- off Total Tune Pitch Up Pitch Down PEG PEG Decay PEG Depth PEG Switch Portmnt Time LFO LFO1 Wave LFO1 Speed LFO1 Delay LFO2 Speed SYNC Sync Mode Sync Pitch SyncPit Dp Sync Pitch Src Sync Pmod Sw FM FM Depth FM Source1 FM Source2 VCO1 VCO1 Wave VCO1 Pitch VCO1 Fine VCO1 Edge PW1/Mix PWM1/Detune PWM1 Src (LFO) VCO1 Pmod Dp VCO2 VCO2 Wave VCO2 Pitch VCO2 Fine VCO2 Edge PW2 PWM2/Xmod D
Appendix MIDI Data Format <2-1> Rhythm Track Parameter Base Address MODEL ID = 6D Parameter System Current Effects Current Multi Part (H) 00 02 08 : Address (M) 00 01 00 : 02 08 Description (L) 00 00 System Cuttnet Effect 00 : 00 00 Rhythm Track 1 Part Parameter : Rhythm Track 3 Part Parameter Synth Track Part Parameter Current Rhythm StepSeq 10 : 00 : 02 00 : 00 Current Rhythm Trk1 Step Seq : Current Rhythm Trk3 Step Seq User Pattern Rhythm Step Seq 20 : 00 : 7f 00 : 00 User Pattern Rhythm
Appendix MIDI Data Format <2-4> Effect Type List Type MSB Type LSB 00 01 02 03 00 01 02 03 Delay1(mono) Flanger1 Phaser1 AmpSim1 Delay2(stereo) Flanger2 Phaser2 AmpSim2 Delay3(cross) Chorus Phaser3 AmpSim3 Reverb ---- <2-4-1> Effect type Delay 1 (mono) Delay 2 (stereo) Delay 3 (cross) Reverb Flanger 1 Flanger 2 Chorus Phaser 1 Phaser 2 Phaser 3 AmpSim 1 AmpSim 2 AmpSim 3 Control Paramater Tempo Sync Resolution Tempo Sync Resolution Tempo Sync Resolution Reverb Time LFO Speed LFO Speed LFO Speed
Appendix MIDI Data Format <2-5> MIDI Parameter Change table (User Voice EFFECT) Address Size Data Prameter Name (H) (H) (H) 30 nn 00 1 00 - 03 EFFECT TYPE MSB 01 1 00 - 02 EFFECT TYPE LSB 02 1 00 - 7F EFFECT PARAMETER TOTAL SIZE 3 Description refer to Effect Type List
refer to Effect Type List refer to Effect Type List Default (H) 00 00 00 nn = Pattern Number <2-6> MIDI Parameter Change table ( MULTI PART ) Address Size Data (H) (H) (H) 08 pp 00 1 01 1 02 1 03 1 04 1Appendix MIDI Data Format 19 1A 1B 1C 1D 1E 1F 20 21 22 23 24 25 26 27 28 29 2A 2B 2C 2D 2E 2F 30 31 32 33 34 35 36 37 38 39 3A 3B 3C 3D 3E 3F 40 41 42 43 44 45 46 47 48 49 4A 4B 4C 4D 4E 4F 50 51 52 53 54 55 56 57 58 59 5A 5B 5C 5D 5E 5F 60 61 62 63 64 65 TOTAL SIZE 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 66 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00..
Appendix MIDI Data Format 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 TOTAL SIZE 66 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...78 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...7F 00...
Appendix MIDI Data Format *1 : MSB bit 2-0 -> bit 9-7 LSB bit 6 -0 -> bit 6-0 *2 : This should be transmitted after sending Step Seq Gate Time LSB n. <2-10> MIDI Parameter Change table (User Song) Address Size Data (H) (H) (H) 6s mm 00 2 00 - FF, 100-17F, 3FFE, 3FFF 02 2 14 - 12C, 3FFF 04 2 01-C8, FF 06 07 08 09 0A 1 1 1 1 1 00 - 03, 7F 32 - 53, 7F 28 - 58, 7F 00 - 01, 7F 00-0F, 7F (*1) Prameter Description Default PATTERN NUM P.001-P.256, U.001-U128, End, ---- P.001 BPM PLAY FX GATETIME 20.
MIDI Implementation Chart YAMAHA [ DESKTOP CONTROL SYNTHESIZER ] Model AN200 MIDI Implementation Chart Transmitted Date:20-DEC-2000 Version : 1.0 Recognized Remarks Function...
Appendix Rhythm Track Instrument List Note No. 140 Note Voice Name Display Description Note No.
Appendix Pattern List Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#1-64) No. Pgm# P001 1 P002 Pattern Name Group Preset Bank 1 (Bank MSB=63, LSB=0, Pgm#65-128) BPM No Pgm# Phatty 138 P065 65 2 Fat 5th 135 P066 P003 3 Acid EG-O 125 P004 4 Noize On P005 5 P006 6 P007 7 P008 8 P009 9 P010 10 P011 P012 No.
Appendix Pattern List Preset Bank 2 (Bank MSB=63, LSB=1, Pgm#65-128) No. Pgm# P193 65 P194 Pattern Name 142 User Bank (Bank MSB=63, LSB=2, Pgm#1-64) User Bank (Bank MSB=63, LSB=2, Pgm#65-128) BPM No. Pre.# Pattern Name Group BPM No. Pre.
SOFTWARE LICENSING AGREEMENT The following is a legal agreement between you, the end user, and Yamaha Corporation (“Yamaha”). The enclosed Yamaha software program is licensed by Yamaha to the original purchaser for use only on the terms set forth herein. Please read this licensing agreement with care. Opening this package indicates that you accept all terms outlined herein. If you do not agree to the terms, return this package unopened to Yamaha for a full refund. 1.
SOFTWARE-LIZENZVEREINBARUNG Die folgende Vereinbarung ist eine rechtsgültige Vereinbarung zwischen Ihnen, dem Endanwender, und der Yamaha Corporation („Yamaha”). Yamaha erteilt dem ursprünglichen Käufer für das beiliegende Yamaha-Softwareprogramm ausschließlich zu den hier ausgeführten Bedingungen eine Lizenz zur Verwendung. Bitte lesen Sie diese Lizenzvereinbarung sorgfältig. Durch das Öffnen dieser Packung bringen Sie zum Ausdruck, daß Sie alle darin enthaltenen Bedingungen akzeptieren.
CONTRAT DE LICENCE DE LOGICIEL Ceci est un contrat entre vous-même, l’utilisateur final, et Yamaha Corporation (“Yamaha”). Le logiciel Yamaha ci-inclus est concédé sous licence par Yamaha à l’acheteur original et ne peut être utilisé que dans les conditions prévues aux présentes. Veuillez lire attentivement ce contrat de licence. Le fait d’ouvrir ce coffret indique que vous acceptez l’ensemble des termes du contrat.
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.
