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The TG500 Tone Generator delivers the incredible Yamaha AWM2 sound with improved quality and versatility. In addition to superior sound, the TG500 features “Quick Edit” modes that provide fast, easy access to the most important voice and performance editing jobs so you can customize the sound without having to deal with the details. Of course, you still have full programming power when you want to do some serious voicing.
● Top-quality Effects The basic quality of the TG500 voices is further enhanced by a range of programmable effects offering quality rivalling some of the finest separate signal processing systems. ● Other Features • Slots for dual external memory card sets (VOICE and WAVE). • Easy-to-read 24-character × 2-line backlit LCD display. • Recognizes individual key aftertouch. • Stereo L/R and 4 individual audio outputs.
GETTING STARTED FEATURE REFERENCE PERFORMANCE EDIT MODE VOICE EDIT MODE DRUM VOICE EDIT MODE MULTI EDIT MODE UTILITY MODE / WAVE EDIT MODE APPENDIX iii
CONTENTS Getting Started Precautions .................................. 3 About the Manual .......................... 5 ■ The Getting Started Section ................. 5 ■ Icons ......................................................... 6 ■ The Feature Reference Section ........... 7 The Controls & Connectors .............. 8 ■ Front Panel .............................................. 8 ■ Rear Panel ............................................. 11 1. Setting Up Your System ............ 12 ■ Connections ..
Feature Reference General Editing Procedure ■ Edit Mode Access ................................. 45 ■ Selecting Specific Edit Functions ....... 46 ■ Selecting & Editing Parameters .......... 48 Performance Edit Mode Layer Selection & Muting •Layer Selection .............................................. 50 •Layer Muting .................................................. 50 1: Quick Edit 1-1: Voice Amplitude EG Offset ............. 52 1-2: Voice Filter Offset .............................
3: Full Edit 3-1: Oscillator 3-1-01: Wave Select .......................... 3-1-02: Parameter .............................. 3-2: AEG 3-2-01: Level ...................................... 3-2-02: Rate ....................................... 3-2-03: Scale Point ............................ 3-2-04: Scale Offset .......................... 3-2-05: Sensitivity .............................. AEG Data Copy ................................. 3-3: Filter 3-3-01: Parameter .............................. 3-3-02: Level .
4-06: Output Level ............................. 4-07: Wet:Dry ..................................... 4-08: Mix Level .................................. 4-09: Parameter 1 ............................. 4-10: Parameter 2 ............................. 4-11: Control 1 ................................... 4-12: Control 2 ................................... 4-13: Control LFO .............................. Effect Data Copy ............................... Effect Signal Flow Display ...............
Appendix EFFECTS ...................................................... Effect Signal Flow Diagrams — Voice Mode ............................................. Effect Signal Flow Diagrams — Drum Voice, Performance, and Multi Modes ............................................ The Effects & Their Parameters .......... 251 253 261 271 INSTALLATION OF THE SYEMB06 EXPANSION MEMORY BOARD .......... 282 INITIAL DATA INITIAL PERFORMANCE “InitPerf.” .... INITIAL NORMAL VOICE “Init Vce” ....
Getting Started
2
Precautions !! PLEASE READ THIS BEFORE PROCEEDING !! ■ Location Do not expose the instrument to the following conditions to avoid deformation, discoloration, or more serious damage. • • • • • Direct sunlight (e.g. near a window). High temperatures (e.g. near a heat source, outside, or in a car during the daytime). Excessive humidity. Excessive dust. Strong vibration. ■ Power Supply • • • • Turn the power switch OFF when the instrument is not in use.
■ Electrical Interference • This instrument contains digital circuitry and may cause interference if placed too close to radio or television receivers. If this occurs, move the instrument further away from the affected equipment. ■ Data Backup • • The TG500 contains a special long-life battery that retains the contents of its internal voice, performance, multi, and wave memory (when installed) even when the power is turned OFF. The backup battery should last for several years.
About the Manual The TG500 manual has two sections — Getting Started and Feature Reference. ■ The Getting Started Section In addition to an overview of the TG500 controls and connectors (page 8), the Getting Started section contains five chapters that take you through the main procedures you will need to know to become familiar with your TG500: 1. Setting Up Your System [Page 12] Basic system connections, MIDI settings, and powering up your system. 2.
■ Icons The following simple icons are used throughout the Getting Started section of the manual to draw attention to important points and information where necessary. The icons also make it easier to differentiate between information that you should read immediately and information that can be skipped until later, hopefully helping you to become familiar with the TG500 in the quickest, most efficient manner possible.
■ The Feature Reference Section The Feature Reference section is the “nuts and bolts” reference for the TG500, individually describing its many functions in detail. The Feature Reference section is divided into 5 main chapters, each describing the various functions within a particular TG500 edit or utility mode. 1. 2. 3. 4. 5. Performance Edit Mode ................... [Page 49] Voice Edit Mode ................... .............[Page 95] Drum Voice Edit Mode ........ .............[Page 167] Multi Edit Mode .
The Controls & Connectors ■ Front Panel 3 VOLUME Control 1 [POWER] Switch 2 PHONES 4 Liquid Crystal Display Panel 1 [POWER] Switch Press to turn the TG500 power on or off. page 15. 2 PHONES Jack Accepts a standard pair of stereo headphones (1/4" stereo phone plug) for headphone monitoring of the TG500 sound without the need for external amplification equipment. 3 VOLUME Control Adjusts the volume of the sound delivered via the rear-panel OUTPUT jacks as well as the PHONES jack. page 12.
, . 9 [ ] and [ ] Key 5 [PLAY MODE] Key 6 [EDIT/COMPARE] Key 7 [STORE/COPY] Key 8 [UTILITY/SELECT] Key ! [MEMORY] Key 0 [PAGE] Key $ DATA & WAVEFORM Card Slots # [ENTER] and [EXIT] Key @ [-1/NO] and [+1/YES] Key 6 [EDIT/COMPARE] Key Accesses the edit mode for the currently selected play mode. If the voice play mode is selected, for example, pressing the [EDIT/COMPARE] key engages the voice edit mode.
, . 9 [ ] and [ ] Keys These keys do not function in the TG500 play modes (voice, performance, or multi), but in the edit and utility modes they are used to move the cursor to the parameter to be edited. Logically, the [ ] key moves the cursor to the left and the [ ] key moves it to the right. In the edit mode the [ ] and [ ] keys can also be used while holding the [PAGE] key to switch directly between edit screens. , . , . page 14.
■ Rear Panel * Wave RAM Expansion Slots (top panel) ^ INDIVIDUAL OUTPUT 1, 2, 3, & 4 Jacks & MIDI IN, OUT and THRU Connectors % OUTPUT L/MONO and OUTPUT R Jacks % OUTPUT L/MONO and OUTPUT R Jacks These are the main stereo outputs from the TG500. If a plug is inserted only into the L/MONO jack, the left and right-channel signals are combined and delivered via this jack (for connection to a monaural sound system). page 12.
1. Setting Up Your System ■ Connections The diagram below shows the basic connections in a setup using the TG500, a MIDI keyboard (with built-in sequencer), and a stereo sound system. Make sure that the TG500, your keyboard, and your sound system are turned OFF when making connections. CAUTION MIDI KEYBOARD MIDI OUT MIDI IN L/MONO OUTPUT TG500 R STEREO SOUND SYSTEM ● AUDIO CONNECTIONS If your TG500 is to be connected to a stereo sound system only, use the OUTPUT L/MONO and R jacks.
● MIDI CONNECTIONS & SETTINGS The MIDI OUT connector of the keyboard, sequencer, or other controller which is to control the TG500 must be connected to the MIDI IN connector of the TG500. You’ll also have to make sure that the receive channel of the TG500 is set to match the transmit channel of your keyboard. Basic MIDI Settings 1 Select the UTILITY mode. Press the [UTILITY/SELECT] key to select the UTILITY mode. 2 Select the MIDI functions. Use the [-1/NO] and [+1/YES] keys to select “3:MIDI”.
6 Set the MIDI parameters. , Use the [ ] to move the underline cursor to the leftmost parameter (“” will appear in the upper right corner of the display). This is the receive channel parameter. Use the [-1/NO and [+1/YES] keys to set it to the appropriate channel number (1 through 16) or “omni” to receive on all channels.
DEMO PLAY 1:R.Y.O Press [ENTER] to start 2 Select a DEMO and press [ENTER]. Use the [-1/NO] and [+1/YES] keys to select one of the three demo sequences provided, then press [ENTER] to start playback. DEMO PLAY 1:R.Y.O Press [EXIT] to stop 3 Press [EXIT] to stop playback. Press [EXIT] when you want to stop playback. You can now select and play a different demo, or press [EXIT] again to exit from the demo mode.
2. Selecting And Playing Voices One of the first things you’ll want to do with your TG500 is select and play some of its outstanding voices … this section will show you how to do just that. ■ The Preset, Internal, & Card Voice Memories Voices played by the TG500 can come from three different sources: the PRESET voice memory, the INTERNAL voice memory, or CARD voice memory. Each of these memory areas further contains a number of “banks,” each containing 64 voices.
CARD VOICE MEMORY CARD memory voice numbers begin with the letter “C”. The CARD memory is one or two optional Yamaha MCD64 Memory Card (or pre-programmed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot. Memory cards are convenient for external storage and transportation of voices you or others create. You can also store sets of related voices on different memory cards. An MCD64 Memory Card holds four banks of 64 voices each — a total of 256 voices per card.
2 Select a Memory Area & Bank The [MEMORY] key is used to access the TG500’s internal, preset, and card memory areas, and the different memory banks they contain. Try pressing the [MEMORY] key a few times while watching the voice number on the display. Voice Number VCE PLAY EF=EQ ¥ ER Voice Name É00 :AP Grand /Rev.Room1 The voice number and name appear on the upper line of the display.
■ Voice List ● Preset Voice Lists 1 No. 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Voice Name AP Grand AP Chors AP Dance AP Rock AP Tack AP Touch BA Wood BA Pitz BA Fingr BA Frtls BA Pick1 BA Pick2 BA Slap BA Thump BA Syn 1 BA Syn 2 BA Syn 3 BA Syn 4 BA Syn 5 BA Syn 6 BA Syn 7 BA Syn 8 BA Syn 9 BA Syn 10 BA Syn 11 BA Syn 12 BR Trump BR Mute BR Horn BR Tromb BR Tuba BR TpEns No.
● Preset Voice Lists 4 No. 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 20 Voice Name SP Paddy SP Phaze SP Poly SP SawSt SP Slow SP Smoky SP Space SP Sqare SP Sweep SP Sweet SP Vizon SP Wine ST Violn ST JeanL ST Sectn ST Power ST Deep ST Dark ST Brite ST Arco ST Sfz ST Pizz ST Tron ST Anlog ST Sizzl ST Synth ST Thin ST Combo TP Glock TP Xylo TP Vibes TP Tubal No.
Note that the voices are arranged in categories for easier access. The category of each voice is identified by a two-character prefix, as follows: AP ............... Acoustic Piano OR ............... Organ KY ............... Keyboard BR ............... Brass ST ................ Strings BA ............... Bass GT ............... Guitar FI ................. Folk Instruments WN .............. Wind CH ............... Chorus TP ................ Tuned Percussion SP ............... Synth Pad SC ...............
3. The Performance Mode The TG500 PERFORMANCE mode makes it possible to combine up to four voices in “performance combinations” that significantly enhance the instrument’s performance capabilities. 128 performance combinations can be stored in internal memory and recalled in the same way as the voices. Before we look at how you can create your own performance combinations, try selecting and playing some of the combinations provided with the TG500.
CARD PERFORMANCE MEMORY CARD memory performance numbers begin with the letter “C”. The CARD memory is one or two optional Yamaha MCD64 Memory Card (or pre-programmed voice cards) plugged into the TG500 DATA 1 and/or DATA 2 slot. An MCD64 Memory Card holds 128 performance combinations in addition to 256 voices per card. Each card is divided into two banks, each holding two voice banks of 64 performance combinations each.
■ Play the Performance Combinations 1 Select the Performance Play Mode Press the [PLAY MODE] key as many times as necessary to select the performance play mode. “PFM PLAY” will appear on the top line of the LCD panel. PFM PLAY É 00 :CO Dream EF=EG ¥ Rev1 /Cho & Rev DETAIL 2 The information displayed on the bottom display line tells you about the current effect mode and what effects are assigned to the TG500’s two effect processors. See the “Effects” section beginning on page 251 for more details.
■ Performance List ● Preset Performance Lists 2 ● Preset Performance Lists 1 No. 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Voice Name CO Dream KY Piano SP Aztec SC Wyrz CH Choir BA Pick1 ST Rosin BR Stab CO Soire OR Bee SP Lush SC Rude CH Breth BA Swap ST Octvs BR Pro5 CO Orch KY Digi1 SP Faery SC Talk CH OohAh BA Pick2 ST Pitz BR Sfz CO Sable KY Roady SP Slide SC Klav CH Vespa BA -Fret ST Rings BR Forte No.
■ Programming Your Own Performance Combinations A single TG500 “performance combination” can have one, two, three, or four “layers,” each having a different voice and several other important attributes.
● AN EXAMPLE Follow these steps to create a 3-layer voice in which you play a bass voice on the lower octaves of the controlling keyboard (below C3), and piano plus strings on the upper octaves. C3 LAYER A (Bass) LAYER B (Piano) + LAYER C (Strings) Although we won’t use anywhere near the TG500’s full complement of performance parameters, this exercise will help you get a feel for the performance mode and standard editing procedures.
2-2 Press [ENTER], then [PAGE], and then use the [-1/NO] and [+1/YES] keys to select the “4-2:Initialize” screen. PFM EDIT É00 :CO Dream 4-2:Initialize 2-3 Press [ENTER]. PFM Initialize 2-4 Press [ENTER] again. PFM Initialize Sure? 2-5 Press [+1/YES] to execute the performance initialize job. “Completed!” will appear briefly when the performance data has been initialized.
3-2 Press [ENTER], then use the [-1/NO] and [+1/YES] keys to select the “31:Layer” screen. PFM EDIT É00œ:InitPerf 3-1:Layer When you’ve located this screen, press [ENTER] to engage the performance edit “Layer” mode. 4 Select the Voices for Each Layer If the “PFM Voice” display doesn’t appear as soon as you engage the performance layer mode, press [PAGE], use the [-1/NO] and [+1/YES] keys to select the “3-1-01:Voice” screen, then press [ENTER]. PFM Voice [A] AP Grand É00‹ É00‹ É00‹ É00‹ Layer “A” voice.
5 Lower the Volume of the Strings Voice Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-02:Volume” screen, then press [ENTER]. PFM Volume 127‹ 127‹ Layer “A” voice. [A] BA Wood 127‹ --- Layer “B” voice. Layer “C” voice. , Layer “D” voice. . You can now use the [ ] and [ ] keys to move the cursor to the volume parameters for each layer, and use the [-1/NO] and [+1/YES] keys to set the volume levels as required.
7 Shift the Bass Voice Up One Octave . Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-04:Note Shift” screen, then press [ENTER] (or simply press [ ] while holding [PAGE]). PFM NtShft 0‹ 0‹ Layer “A” voice. [A] BA Wood 0‹ --- Layer “B” voice. Layer “C” voice. Layer “D” voice. Since the bass voice we have selected will sound too low if played only on the lower octaves of the controlling keyboard, we’ll shift its pitch up one octave.
9 Set the High Note Limits . Press the [PAGE] key, use the [-1/NO] and [+1/YES] keys to select the “3-1-07:Note Limit-H” screen, then press [ENTER] (or simply press [ ] while holding [PAGE]). PFM NtLmt-H [A] BA Wood G 8‹ G 8‹ G 8‹ --Layer “A” voice. Layer “B” voice. Layer “C” voice. Layer “D” voice. Set the upper note limit for the layer-A voice to “B2”.
12 Store Your Performance Combination Once you’re satisfied with the sound of your original performance combination, you can store it to an internal performance memory location as follows: 12-1 Press the [PLAY MODE] key to return to the PERFORMANCE PLAY mode. PFM PLAY É 00 :CO Dream EF=EG ¥ Rev1 /Cho & Rev 12-2 Press the [STORE/COPY] key.
12-4 Press [+1/YES] again. PFM STORE ´00 :CO Dream Completed! “Completed !” will appear briefly when the data has been stored, then the TG500 will return to the PERFORMANCE PLAY mode. IMPORTANT HINT When you return to the PERFORMANCE PLAY mode, an inverse letter “E” will appear to the right of the performance number, indicating that it has been edited but not stored. You can call the STORE function at this point and proceed as described above.
4. The Multi Mode The Multi Mode If you’ve been going through the tutorials section in sequence as we recommended, so far you’ve used the VOICE PLAY, PERFORMANCE PLAY, and PERFORMANCE EDIT modes. If, however, your intention is to use the TG500 with a sequencer or computer to play a number of different voices simultaneously, the modes you’ll use most frequently are the MULTI PLAY and MULTI EDIT modes. The TG500 provides16 INTERNAL memory locations for complete “multi” setups.
● MULTI PLAY POLYPHONY & DYNAMIC VOICE ALLOCATION The TG500 actually consists of two 32-note tone generator units (“A” and “B”), giving it a total polyphony of 64 notes. Some of the preset waves are produced by tone gerator “A,” while others are produced by tone generator “B.” Thus, each voice is produced by one or the other tone geneator depending on which wave is assigned to it.
● THE MULTI PARAMETER EDIT SCREENS Stereo pan position. “0” for center, “-” values pan left; “+” values pan right. Feature Reference page 200. Volume. “0” is no sound; “127” is maximum volume. Feature Reference Page 200. MLT (AP Brite) Vol Pan [ 1] V¡00 127 0 é The voice or performance number. The [MEMORY] key can be used to select the memory area. Feature Reference page 200. Place the cursor here and select “V” to assign a voice to the current instrument or “P” to assign a performance combination.
● SELECTING DIFFERENT INSTRUMENTS FOR EDITING The currently selected multi instrument (1 of 16) is shown in square brackets in the lower left hand corner of each screen. A different instrument can be selected for editing in this mode by using the [-1/NO] and [+1/YES] keys while holding the [UTILITY/SELECT] key. MLT é Inst = 1 è ● NO STORE OPERATION REQUIRED When you’re finished editing a multi setup, simply press the [PLAY MODE] key to return the MULTI PLAY mode.
5. Voice Editing & Effects For the programmer who wants to get serious about voice programming, the TG500 offers an extensive range of parameters that allow extremely fine control. All parameters are discussed in detail in the VOICE EDIT mode (page 95), and we recommend that the dedicated programmer study the Feature Reference section carefully before embarking on any major voicing projects.
3: Filter Page 119 … 130 Once you’ve set up the oscillator and shaped the amplitude envelope as required, the TG500’s sophisticated filter system can be used to determine both the static and dynamic timbre of the voice. Low-pass, high-pass, band-pass, and band-elimination response can be selected as required, and a complex 6-segment filter envelope generator makes it possible to produce dynamic filtering patterns.
7: Effects Page 150 … 162 The last step in programming any voice is selecting and adjusting the effects you need to give your sound the required warmth and “spaciousness”. Of course, you might simply want to edit the effects applied to an existing voice, in which case this will be the only step! The TG500 offers 90 digital effects with two high-performance internal digital signal processors.
Feature Reference
GENERAL EDITING PROCEDURE The TG500 makes editing easy by providing a consistent, logical control interface via which parameters can be located and edited. Once you’ve learned the general procedure, you can locate and edit any of the TG500’s many parameters quickly and easily. ■ Edit Mode Access The TG500 voice, performance, and multi edit modes are are accessed by first selecting the corresponding play mode via the [PLAY MODE] key, and then pressing the [EDIT/COMPARE] key.
■ Selecting Specific Edit Functions The uppermost layer of the edit mode function tree is a menu that is used to select the desired group of functions. Use the [-1/NO] and [+1/YES] keys to select the function group you want to access, then press [ENTER] to go directly to the last edit screen that was selected in that function group. VOICE PLAY MODE 1: Quick Edit 2: Level/Name 3: Full Edit 4: Recall/Init The previously selected “2: Level/Name” edit screen.
Any “2: Level/Name” edit screen. 2-1: Level 2-2: Name The voice edit “Level” screen. , . An alternative method is to use the [ ] and [ ] keys while holding the [PAGE] key. This lets you switch directly between adjacent edit screens without having to go to the menu first. In some cases there is another layer of functions below the first layer (the voice edit mode “3:Full Edit” functions, for example). But these are accessed and selected in the same way.
■ Selecting & Editing Parameters Most TG500 edit screens contain several parameters that can be selected and edited. The parameters are edited by first moving the cursor to the required parameter by using the [ ] and [ ] keys, and then by using the [-1/NO] and [+1/ YES] keys to adjust the parameter’s value.
PERFORMANCE EDIT MODE 1: Quick Edit 1-1: 1-2: 1-3: 1-4: 1-5: 1-6: 1-7: 1-8: Voice Voice Voice Voice Voice Effect Effect Effect Amplitude EG Offset . 52 Filter Offset ................ 54 LFO Offset .................. 55 Controller .................... 56 Setting ........................ 57 1 .................................. 58 2 .................................. 58 Wet:Dry Balance ........ 59 2: Level/Name 2-1: Performance Total Level ..... 60 2-2: Performance Name ..............
PERFORMANCE EDIT MODE LAYER SELECTION & MUTING ● Layer Selection Many functions in the performance edit mode allow a single layer to be edited individually (see page 26 of the “Getting Started” section to learn about peformance combinations and layers). The layer to be edited is selected by using the [ ], [ ], [PAGE], and [MEMORY] keys while holding the [UTILITY/SELECT] key: , . , . • [ ] selects Layer A. • [ ] selects Layer B. • [PAGE] selects Layer C. • [MEMORY] selects Layer D.
PERFORMANCE EDIT MODE Active layers appear as upper-case characters and muted layers appear as lower-case characters while the [UTILITY/SELECT] key is held. In the following display, for example, layers “A” and “C” are active while layers “b” and “d” are muted.
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-1: VOICE AMPLITUDE EG OFFSET [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-1 : Voice AEG -> [ENTER] These parameters allow the amplitude envelopes of the voices assigned to each layer to be modified to some degree. The actual amplitude EG parameters of the voices are not affected. These “offset” values are only effective in the performance mode.
PERFORMANCE EDIT MODE / 1: QUICK EDIT RR (Release rate) Range: -63 … +63 Modifies the “RR” parameter of the voice amplitude EG — see page 112. Plus (+) values produce a faster release rate while minus (–) values produce a slower release rate. No matter how much offset is applied, the minimum and maximum EG release rates cannot be exceeded. Vel (Velocity sensitivity) Range: -14 ... +14 Modifies the amplitude EG velocity sensitivity setting (see page 117).
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-2: VOICE FILTER OFFSET [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-2 : Voice Filter -> [ENTER] These parameters allow the main filter parameters of the voices assigned to each layer to be modified to some degree. The actual filter parameters of the voices are not affected. These “offset” values are only effective in the performance mode.
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-3: VOICE LFO OFFSET [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-3 : Voice LFO -> [ENTER] These parameters allow the main LFO parameters of the voices assigned to each layer to be modified to some degree. The actual LFO parameters of the voices are not affected. These “offset” values are only effective in the performance mode. PFM QED VCE LFO [A]~ Depth= 0 Speed= 0 The layer to be edited is selected as described on page 50.
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-4: VOICE CONTROLLER [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-4 : Voice Control -> [ENTER] These parameters determine how the performance layers are affected by keyboard aftertouch response and the control devices assigned to MIDI Controller 1 and MIDI Controller 2 (MIDI controller assignments are made via the “UTILITY” mode “2:Controller” screen — page 223).
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-5: VOICE SETTING [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-5 : Voice Setting -> [ENTER] Other parameters that can be individually set for each performance layer are provided in this screen: sustain enable, pitch envelope generator enable, oscillator fixed note mode and note number. PFM QED VCE Set [A] on on off --Sus PEG Fix FNt The layer to be edited is selected as described on page 50.
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-6: EFFECT 1 / 1-7: EFFECT 2 [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-6 : Effect 1 -> [ENTER] -> 1-7 : Effect 2 -> [ENTER] The TG500 features a complex, high-performance effect system that can be programmed easily via the parameters presented here and in the following screen. For full effect parameters see page 84. PFM QED Ef1 Type PFM QED Ef1
PERFORMANCE EDIT MODE / 1: QUICK EDIT 1-8: EFFECT WET:DRY BALANCE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> PAGE -> 1-8 : Effect Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.
PERFORMANCE EDIT MODE / 2: Level/Name 2-1: PERFORMANCE TOTAL LEVEL [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> PAGE -> 2-1 : Total Level -> [ENTER] This parameter sets the overall volume level of the current performance combination in relation to the others, making it possible to match levels for smooth transition when switching between performance combinations.
PERFORMANCE EDIT MODE / 2: Level/Name 2-2: PERFORMANCE NAME [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-2 : Name -> [ENTER] Your original performance combinations should naturally have original names. This function can be used to assign a name of up to 8 characters to the current performance. PFM Name ´00-[CO Aster] Name Name Range: See character list, below Assigns a name of up to 8 characters to the current performance.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-01: VOICE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-01 : Voice -> [ENTER] TG500 performance combinations can have up to four voices assigned to different “layers” — A, B, C and D. This screen lets you assign voices to the layers. PFM Voice [A] WN Flut1 ™6 1 ÿ Ñ41ÿ Ö18ÿ ¡07ÿ Voice (layer A) The layer to be edited can be selected as described on page 50.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-02: VOLUME [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-02 : Volume -> [ENTER] For optimum balance between the voices in a performance combination, this screen allows the volume of each voice to be adjusted individually. PFM Volume [A] WN Flut1 11 7 ÿ 100ÿ 112ÿ 127ÿ Volume (layer A) The layer to be edited can be selected as described on page 50.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-03: PAN [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-03 : Pan -> [ENTER] In multi-layer performance combinations, interesting stereo effects can be produced by placing the output from different layers at different locations in the stereo sound field.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-04: NOTE SHIFT [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-04 : Note Shift -> [ENTER] The note shift parameters individually shift the pitch of each layer up or down in semitone steps, making it possible to create harmony effects between layers. PFM NtShft [A] WN Flut1 0ÿ 0ÿ 0ÿ 0ÿ NtShft (layer A) The layer to be edited can be selected as described on page 50.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-05: TUNE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-05 : Tune -> [ENTER] The fine tune parameters allow slight upward or downward pitch adjustment of each layer, making it possible to create voice-thickening detune effects between layers. PFM Tune [A] WN Flut1 0ÿ 0ÿ 0ÿ 0ÿ Tune (layer A) The layer to be edited can be selected as described on page 50.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-06: NOTE LIMIT-L / 3-1-07: NOTE LIMIT-H [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-06 : Note Limit-L -> [ENTER] -> 3-1-07 : Note Limit-H -> [ENTER] The low and high note limit parameters make it possible to create a range of split keyboard effects using the performance layers.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer If the High Note Limit is set to a note that is lower than the Low Note Limit for the same layer, it will set a range of notes in the middle that the layer will not play. The name of the currently selected voice is shown in the upper right corner of the display (“--------” appears if the voice is turned off). An animated musical note appears to the right of voices that are on and active (i.e. not muted).
PERFORMANCE EDIT MODE / 3: Full Edit.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer The Low Velocity Limit parameter, in conjunction with the High Velocity Limit parameter described below, makes it possible to specify a range of velocity values over which the selected layer will produce sound. You could, for example, set Low Velocity Limit to “60” and High Velocity Limit to “127.” This would cause that layer to produce output only when a velocity value between 60 and 127 was received — i.e. when a fairly loud note is played.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-10: MC3 ENABLE / 3-1-11: MC4 ENABLE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-10 : MC3 Enable -> [ENTER] 3-1-11 : MC4 Enable -> [ENTER] MIDI control change data received by the TG500 can be used to control the level of individual layers or specified groups of layers in the performance play mode.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer MC4 (MIDI controller 4 enable) , . Range: on, off Use the [ ] and [ ] keys (or the standard layer selection procedure) to select the layer to be edited, then use the [-1/NO] and [+1/YES] keys to turn MIDI control of that layer on or off. The name of the currently selected voice is shown in the upper right corner of the display (“--------” appears if the voice is turned off).
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-12: LAYER INITIALIZE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-12 : Initialize -> [ENTER] When you want to program a totally new performance combination “from scratch,” rather than editing an existing combination, use this function to initialize layer data.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer 3-1-13: LAYER EXCHANGE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [PAGE] -> 3-1-13 :Exchange -> [ENTER] This function can be used to eliminate the audible effects of slight note delays that can occur in the performance play mode. The notes played by layers A, B, C, and D are sounded in sequence in the performance play mode. Normally the delay is so slight that it is not audible.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer LAYER DATA COPY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1:Layer -> [ENTER] -> [STORE/COPY] This function facilitates performance editing by allowing the layer parameters from any layer in any other performance (the “source” performance) to be copied to the current layer. You can copy a layer setup that is close to the type you want, then edit it to produce the required sound.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-01: MODE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-01 : Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-02: TYPE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-02 : Type -> [ENTER] These parameters assign any of the TG500’s 90 effects independently to the EFECT 1 and EFFECT 2 signal processors. PFM EF Type (Pit & Rev ) Ef1:67 Ef2:57 Ef1 Type Ef2 Type Ef1 Type Range: 0 … 90 Selects any of the TG500’s 90 effect types for the EFFECT 1 processor.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-03: SEND [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-03 : Send -> [ENTER] The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each layer is sent, and at what level. PFM EF Send 12 7 on Lvl 1a [A] on on on 1b 2a 2b The layer to be edited is selected as described on page 50.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-04: SEND SENSITIVITY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-04 : Send Sens. -> [ENTER] These parameters determine how the effect send level is affected by keyboard dynamics and key scaling. PFM EF Send Sens[A] Vel= 0 Scl= 0 The layer to be edited is selected as described on page 50. The currently selected layer is shown in square brackets on the upper display line.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-05: OUTPUT [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-05 : Output -> [ENTER] These parameters turn the “dry lines” (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur at the OUTPUT. PFM Output Dry1: on [A] Dry2: on The layer to be edited is selected as described on page 50.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-06: OUTPUT LEVEL [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-06 : Output Level -> [ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-07: WET:DRY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-07 : Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-08: MIX LEVEL [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-08 : Mix Level -> [ENTER] These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 251 for details on the overall TG500 effect system.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-09: PARAMETER 1 / 3-2-10: PARAMETER 2 [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-09 : Parameter 1 -> [ENTER] -> 3-2-10 : Parameter 2 -> [ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the parameters in these three screens to fine-tune the effect. PFM EF1 Param 0 -10 0 (---)Ãé Parameters PFM EF1 Param è +10 2.7 0.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-11: CONTROL 1 / 3-2-12: CONTROL 2 [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-11 : Control 1 -> [ENTER] -> 3-2-12 : Control 2 -> [ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer MIDI CONTROL CHANGE NUMBER/DEVICE 0: 1: 2: 4: 5: 6: 7: 8: 10: 11: 64: 65: 66: 67: 69: “off” “Mod.Whl.” “Breath C” “Foot Cnt” “Porta.Sp” “Data Ent” “Foot Vol” “Balance ” “Panpot ” “Express.” “Hold 1 ” “Porta.Sw” “Sostenut” “Soft ” “Hold 2 ” 91: 92: 93: 94: 95: 96: 97: 98: 99: 100: 101: 121: 122: 123: 124: “Effect D” “TremoloD” “Chorus D” “CelesteD” “Phaser D” “Inc. ” “Dec.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-1: Layer Ef1Prm1 Ef1Prm2 Ef1Prm3 Ef1Prm4 Ef1Prm5 Ef1Prm6 Ef1Prm7 Ef1Prm8 Ef_Out1a Ef_Out1b Ef2Prm1 Ef2Prm2 Ef2Prm3 Ef2Prm4 Ef2Prm5 Ef2Prm6 Ef2Prm7 Ef2Prm8 Ef_Out2a Ef_Out2b Ef2_Mix Out1_Wet Out2_Wet Ctrl1Min Ctrl1Max LFO_Wave LFO_Spd LFO_Dly Ef_Ins1b Ef_Ins2a Ef_Ins2b Min (Minimum parameter value) Range: 0 … 100 Sets the lower limit of the control range.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect 3-2-13: CONTROL LFO [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [PAGE] -> 3-2-13 :Control LFO -> [ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO control. The TG500 has an independent effect LFO that is set up by the following parameters.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect EFFECT DATA COPY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [STORE/COPY] This function facilitates performance effect editing by allowing the effect parameters from any other performance combination, voice, or multi setup to be copied to the current performance combination. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
PERFORMANCE EDIT MODE / 3: Full Edit. 3-2: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2:Effect -> [ENTER] -> [UTILITY/SELECT] + [EDIT/COMPARE] 67:Pit & Rev ØËØÈÔîîîÎ 57:EQ ¥ Sym ØØØØØËÔÁ This function provides a graphic indication of the current effect system configuration while in the effect edit mode. In the effect edit mode press the [EDIT/COMPARE] key while holding the [UTILITY/SELECT] to see the overall effect system signal flow.
PERFORMANCE EDIT MODE / 4: Recall/Init. 4-1: RECALL [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-1 : Recall [ENTER] -> If you’re dissatisfied with the results of edits you’ve made to a performance combination, or have accidentally lost track of changes made, use the RECALL function to recall the pre-edit performance data from the TG500’s backup buffer memory. PFM Recall (CO Aster) Press [ENTER] to begin the recall procedure.
PERFORMANCE EDIT MODE / 4: Recall/Init. 4-2: INITIALIZE [PLAY MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-2 : Initialize -> [ENTER] When you want to program a totally new performance combination “from scratch,” rather than editing an existing combination, use this function to initialize all performance parameters. PFM Initialize Press [ENTER] to begin the initialize procedure.
PERFORMANCE EDIT MODE / PERFORMANCE PERFORMANCE COMPARE [EDIT/COMPARE] The performance compare function makes it possible to compare the sound of a performance combination being edited with the same performance combination prior to editing. To temporarily recall the original performance data while editing, press the [EDIT/COMPARE] key. The [EDIT] LED will flash, indicating that the compare mode is engaged.
PERFORMANCE EDIT MODE / PERFORMANCE PERFORMANCE STORE [STORE/COPY] When you’re satisfied with a new performance combination you’ve created in the performance edit mode, use the store function described below to store the new performance combination to an internal or card memory location. PFM STORE ´00œ:CO Aster ¥ ´00 :CO Aster When you’ve finished editing, return to the performance play mode (press the [PLAY MODE] key), and before selecting a different performance combination press the [STORE/COPY] key.
VOICE EDIT MODE 1: Quick Edit 1-1: 1-2: 1-3: 1-4: 1-5: 1-6: 1-7: Wave Select .......................... 96 Amplitude EG ........................ 98 Filter .................................... 100 LFO ...................................... 102 Effect 1 ................................ 103 Effect 2 ................................ 103 Effect Wet:Dry .................... 104 2: Level/Name 2-1: Level .................................... 105 2-2: Name ...................................
VOICE EDIT MODE / 1: Quick Edit 1-1: WAVE SELECT [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-1 : Wave Select -> [ENTER] These parameters provide a fast, easy way to select a new wave for the current voice. For full oscillator parameters see page 109.
VOICE EDIT MODE / 1: Quick Edit No (Wave number) Range: 1 … 244 (Preset 1), 1 … 50 (Preset 2) Selects the wave (AWM waveform) to be used in the current voice. Use the “Grp” parameter, above, to select the group containing the wave that is to be selected.
VOICE EDIT MODE / 1: Quick Edit 1-2: AMPLITUDE EG [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-2 : AEG -> [ENTER] Rather than having to set numerous level and rate values via the full-edit amplitude EG parameters, these parameters let you select from a range of preset envelope types, and then modify the overall attack, sustain, and release characteristics as required. For full amplitude EG parameters see page 111.
VOICE EDIT MODE / 1: Quick Edit 14:SynPad 15:SynComp 16:Percusiv 17:S.Ideal1 18:S.Ideal2 19:S.Ideal3 20:S.Ideal4 21:Init Synthesizer pad. Synthesizer comping (backing). Percussive. Sound ideal envelope 1. Sound ideal envelope 2. Sound ideal envelope 3. Sound ideal envelope 4. Initialized envelope. AtkRate (Attack rate) Range: 0 … 63 Sets the attack rate for the selected envelope. “63” produces the fastest attack, while “0” produces the slowest attack.
VOICE EDIT MODE / 1: Quick Edit 1-3: FILTER [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-3 : Filter -> [ENTER] The simplified filter parameters provided here have been specifically created for fast, efficient filter programming. For full filter parameters see page 119.
VOICE EDIT MODE / 1: Quick Edit Res (Resonance) Range: 0 … 99 Determines the degree of filter resonance. This parameter has a similar effect to the “resonance” settings on traditional analog synthesizer filters — i.e. it determines the height of a peak in the filter response at the cutoff frequency. If a filter type other than “LPF” is selected, no resonance can be produced and “--” appears on the display in place of the parameter.
VOICE EDIT MODE / 1: Quick Edit 1-4: LFO [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-4 : LFO -> [ENTER] Here, the main LFO parameters are simplified and concentrated in a single screen for quick, easy programming. For full LFO parameters see page 136.
VOICE EDIT MODE / 1: Quick Edit 1-5: EFFECT 1 / 1-6: EFFECT 2 [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-5 : Effect 1 -> [ENTER] -> 1-6 : Effect 2 -> [ENTER] The TG500 features a complex, high-performance effect system that can be programmed easily via the parameters presented in these screens. For full effect parameters see page 156.
VOICE EDIT MODE / 1: Quick Edit 1-7: EFFECT WET:DRY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Quick Edit -> [ENTER] -> [PAGE] -> 1-7 : Effect Wet : Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameter provided in this screen provides precise balance control.
VOICE EDIT MODE / 2: Level/Name 2-1: LEVEL [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-1 : Level -> [ENTER] The ability to independently adjust the volume of each voice makes it possible to match levels for smooth transition when switching between voices. It is also possible to set the minimum volume level that can be set via MIDI control. VCE Level 12 7 Total VolLoLim Total (Total level) Range: 0 … 127 Adjusts the volume of the current voice.
VOICE EDIT MODE / 2: Level/Name 2-2: NAME [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-2 : Name -> [ENTER] Your original voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current voice. VCE Name Ö62-[SP Nehan] Name Name Range: See character list, below Assigns a name of up to 8 characters to the current voice.
VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator 3-1-01: WAVE SELECT [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1: Oscillator -> [ENTER] -> [PAGE] -> 3-1-01: Wave Select -> [ENTER] This parameters provided in this screen are used to select the waveform on which the voice will be based.
VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator No (Wave number) Range: 1 … 244 (Preset 1), 1 … 50 (Preset 2) Selects the wave (AWM waveform) to be used in the current voice. Use the “Grp” parameter, above, to select the group containing the wave that is to be selected.
VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator 3-1-02: PARAMETER [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-1: Oscillator -> [ENTER] -> [PAGE] -> 3-1-02: Parameter -> [ENTER] The five parameters provided here all affect how the AWM waveform assigned to the voice is reproduced, thereby determining the basic sound of the voice.
VOICE EDIT MODE / 3: Full Edit. 3-1: Oscillator NtShft (Note shift)/Note (Fixed note) Range: C-2 … G8, -64 … +63 When the “fix” mode is selected this parameter sets the frequency (note) at which the selected wave will be played. The C-2 to G8 range of this parameter covers a full 10-1/2 octaves. “C3” corresponds to “middle C” on a keyboard. When the “norm” mode is selected, this parameter is used to shift the overall pitch of the entire keyboard up or down in semitone increments (i.e.
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-01: LEVEL / 3-2-02: RATE [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-01: Level -> [ENTER] -> 3-2-02: Rate -> [ENTER] The TG500’s main AEG (Amplitude Envelope generator) has five individually programmable rates and two levels for exceptional envelope programming flexibility.
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG L2 … L3, R1 … RR (AEG levels & rates) Range: 0 … 63 The following diagrams illustrate how the AEG rate and level parameters determine the overall shape of the amplitude envelope. ● “Atk” Mode Maximum AWM Level ● R2 R1 ● L2 R3 ● L3 R4 Minimum Level (no sound) Key ON (Beginning of note) R4 decays to zero level if note held.
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG Maximum AWM Level ● R2 ● L2 R1 R3 ● L3 R4 RR Minimum Level (no sound) Key ON (Beginning of note) Key OFF (End of note) ● “hold” Mode If the “hold” mode is selected, the envelope begins immediately from maximum AWM level, allowing the fast attack transients of waveforms to pass unaffected. In this case the R1 parameter is replaced by the HT (Hold Time) parameter.
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG For the level parameters, a setting of “0” corresponds to the lowest possible level (no sound) while a setting of 63 produces the highest output level. A “0” rate parameter setting produces the slowest rate between levels, while the maximum setting of “63” produces the fastest (almost instantaneous) change. RS (Rate scaling) Range: -7 ... +7 Allows the overall amplitude envelope generator decay rate to be varied across the entire pitch range.
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-03: SCALE POINT [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-03: Scale Point -> [ENTER] Level scaling produces natural level variations across the range of the keyboard by allowing different level “offset” values to be applied to each of four “breakpoints” set at appropriate keys. VCE AMP Scal Point E 1 B 2 G 4 A 5 BP1 BP2 BP2 BP4 BP1 … BP4 (Break points 1 … 4) Range: C-2 ...
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-04: SCALE OFFSET [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-04: Scale Offset -> [ENTER] These parameters set the amount of level offset for each of the four level-scaling breakpoints set by the “Scale Point” parameters in the preceding screen. VCE AMP Scal Offset -4 +10 +17 +4 BP1 BP2 BP3 BP4 BP1 … BP4 (Breakpoint 1 … 4 level offset) Range: -127 ...
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG 3-2-05: SENSITIVITY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] -> [PAGE] -> 3-2-05: Sensitivity -> [ENTER] The parameters provided here determine how the amplitude envelope generator responds to changes in keyboard velocity and range. VCE AMP Sens +3 Vel RateVel Vel (Velocity sensitivity) Range: -7 ... +7 Determines how the output level of the current voice changes in response to velocity changes (e.g.
VOICE EDIT MODE / 3: Full Edit. 3-2: AEG AEG DATA COPY [PLAY MODE] -> VCE PLAY -> EDIT/COMPARE -> 3: Full Edit -> [ENTER] -> 3-2: AEG -> [ENTER] This function facilitates voice editing by allowing the amplitude EG data from any other voice (the “source” voice) to be copied to the current voice. You can copy an envelope that is close to the type you want, then edit it to produce the required sound. Press the [STORE/COPY] key while in the AEG edit mode.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-01: PARAMETER [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-2-01: Parameter -> [ENTER] The TG500 features a sophisticated digital filter system that can be used to shape the timbre of the voice being edited in a number of ways.
LEVEL VOICE EDIT MODE / 3: Full Edit. 3-3: Filter PASSBAND (Signals in this frequency range pass through) Signals above the cutoff frequency are blocked FREQUENCY Cutoff frequency. ● “HPF” Type LEVEL The “HPF” (High Pass Filter) setting produces a filter response that allows only frequencies above the cutoff frequency (See “Cutoff” below) to pass. Signals below the cutoff frequency are blocked PASSBAND (Signals in this frequency range pass through) FREQUENCY Cutoff frequency.
LEVEL PASSBAND VOICE EDIT MODE / 3: Full Edit. 3-3: Filter FREQUENCY Cutoff (center) frequency. ● “BEF” Type PASSBAND FREQUENCY NOTCH (Rejection Band) LEVEL The “BEF” (Band Elimination Filter) setting produces a filter response that eliminates a band of frequencies centered at the cutoff frequency (See “Cutoff” below) to pass. The “Band” parameter (below) determines the width of the elimination band. PASSBAND Cutoff (center) frequency.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter Cof (Cutoff frequency) LEVEL Range: 0 … 127 Sets the cutoff frequency of the selected filter. Lower cutoff values produce a lower cutoff frequency and higher values produce a higher cutoff frequency. LPF Response Lower (0) Cutoff frequency. Higher (127) With an LPF response (selected by the “Type” parameter, above), a lower cutoff frequency reduces the range of high frequencies passed, making the sound “darker” or “rounder.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter Resonant Peak LEVEL Lower Resonance LPF Response Higher Resonance Cutoff frequency. Higher resonance values produce a higher resonant peak and reduce the overall bandwidth of the filter, passing a narrow band of frequencies at the filter’s cutoff. Band (BPF & BEF bandwidth) Range: 0 … 127 Determines the width of the frequency pass or elimination band for the BPF and BEF filter types, respectively.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-02: LEVEL / 3-3-03: RATE [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-02: Level -> [ENTER] -> 3-3-03: Rate -> [ENTER] The filter envelope generator is entirely separate from the amplitude EG, and is used specifically to create time-based timbre variations.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter L0 … L4, RL1, RL2 (Levels 0 … 4, release levels 1 & 2) Range: -63 ... +63 The level parameters work in conjunction with the rate parameters described below to determine the “shape” of the cutoff envelope generator for the selected filter. This function is only available if the “Ctrl” parameter (page 123) is set to “EG.” The cutoff envelope generator level parameters correspond to cutoff frequency.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter Highest Cutoff (+63) RL1 Center (normal) Cutoff R1 L0 ● L1 ● RR1 R2 L4 ● L2 ● RR2 R4 RL2 ● R3 Lowest Cutoff (-64) ● ● L3 Key ON (Beginning of note) Key OFF (End of note) RS (Rate scaling) Range: -7 ... +7 Allows the overall cutoff envelope generator rate for the selected filter to be varied across the entire pitch range (i.e. keyboard range). This function is only available if the “Ctrl” parameter (page 123) is set to “EG.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-04: SCALE POINT [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-04: Scale Point -> [ENTER] Cutoff scaling produces natural timbre variations across the range of the keyboard by allowing different filter cutoff frequency “offset” values to be applied to each of four “breakpoints” set at appropriate keys.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-05: SCALE OFFSET [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-05: Scale Offset -> [ENTER] The Scale Offset parameters set the amount of level offset for each of the four level-scaling breakpoints set by the “Scale Point” parameters in the preceding screen. VCE FLT Scal Offset -4 +10 +17 +4 BP1 BP2 BP3 BP4 BP1 … BP4 (Breakpoint 1 … 4 offsets) Range: -127 ...
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter 3-3-06: SENSITIVITY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] -> [PAGE] -> 3-3-06: Sensitivity -> [ENTER] These parameters determine how the filter envelope generator is affected by keyboard dynamics.
VOICE EDIT MODE / 3: Full Edit. 3-3: Filter FILTER DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-3: Filter -> [ENTER] This function facilitates voice editing by allowing the filter parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a filter setup that is close to the type you want, then edit it to produce the required sound. Press the [STORE/COPY] key while in the filter edit mode.
VOICE EDIT MODE / 3: Full Edit. 3-4: PEG 3-4-01: LEVEL / 3-4-02: RATE [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-4: PEG -> [ENTER] -> [PAGE] -> 3-4-01: Level -> [ENTER] -> 3-4-02: Rate -> [ENTER] In addition to the amplitude and filter envelope generators, the TG500 has an independent pitch EG that can be used to produce subtle or pronounced time-based pitch variations. The pitch EG has 5 programmable levels and 4 rates for extended flexibility.
VOICE EDIT MODE / 3: Full Edit. 3-4: PEG Loop Range: off, on When the Loop parameter is set to “on” the pitch EG cycle repeats from the beginning (L0) to the L3 level until the keys being played are released. When set to “off,” the L3 level is maintained until the keys being played are released. R1 … R3, RR (Rates 1 … 3, release rate) Range: 0 ...
VOICE EDIT MODE / 3: Full Edit. 3-4: PEG RS (Pitch EG rate scaling) Range: -7 … +7 Allows the overall pitch envelope generator rate for the selected element to be varied across the entire pitch range. Plus (“+”) settings produce a longer overall envelope time for the low notes and a shorter envelope time for the high notes. The maximum “+7” setting produces the greatest envelope length variation across the pitch range.
VOICE EDIT MODE / 3: Full Edit. 3-4: PEG 3-4-03: SENSITIVITY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-4: PEG -> [ENTER] -> [PAGE] -> 3-4-03: Sensitivity -> [ENTER] These parameters determined the overall range of the pitch EG, and how it is affected by variations in keyboard velocity. VCE PEG Sens 1/8oc t Range +2 0 Vel RateVel Range (Maximum PEG range) Range: 1/8oct, 1/2oct, 1oct, 2oct Sets the maximum range of pitch envelope generator pitch variation.
VOICE EDIT MODE / 3: Full Edit. 3-4: PEG PITCH EG DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-4: PEG -> [ENTER] This function facilitates voice editing by allowing the pitch EG parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a pitch EG setup that is close to the type you want, then edit it to produce the required sound. Press the [STORE/COPY] key while in the PEG edit mode.
VOICE EDIT MODE / 3: Full Edit. 3-5: LFO 3-5-01: PARAMETER [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] -> [PAGE] -> 3-5-01: Parameter -> [ENTER] These parameters define the operation of the TG500’s main LFO (Low Frequency Oscillator). The main LFO controls amplitude, pitch, frequency, and filter cutoff modulation applied via the modulation wheel, the foot controller, and keyboard aftertouch response.
VOICE EDIT MODE / 3: Full Edit. 3-5: LFO Phase (LFO start phase) Range: 0 … 180 Determines at which point in the LFO waveform the LFO will begin operation for the selected element. The values 0 through 180 correspond to phase angles in degrees. The illustration below shows how the various phase angles correspond to points on the LFO waveform (a sine wave is used for clarity).
VOICE EDIT MODE / 3: Full Edit. 3-5: LFO 3-5-02: DEPTH [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] -> [PAGE] -> 3-5-02: Depth -> [ENTER] The LFO can be used to apply amplitude, pitch, and frequency modulation. These parameters set the maximum depth of each type of modulation.
VOICE EDIT MODE / 3: Full Edit. 3-5: LFO 3-5-03: SENSITIVITY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] -> [PAGE] -> 3-5-03: Sensitivity -> [ENTER] The speed of the TG500 LFO can be varied randomly, and according to variations in keyboard velocity and range. Such variations can produce more natural, musical effects.
VOICE EDIT MODE / 3: Full Edit. 3-5: LFO LFO DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-5: LFO -> [ENTER] This function facilitates voice editing by allowing the LFO parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy an LFO setup that is close to the type you want, then edit it to produce the required sound. Press the [STORE/COPY] key while in the LFO edit mode.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-01: PITCH BEND, AFTER TOUCH [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-01: PB, AT -> [ENTER] This screen includes parameters that set the TG500’s pitch bend range and the aftertouch mode. VCE CTRL PB_Range= 2 AT= ch's PB_Range (Pitch bend range) Range: 0 … 12 Sets the maximum pitch bend range. Each increment from “0” to “12” represents a semitone.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-02: AFTER TOUCH DEPTH [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-02: AT Depth -> [ENTER] For truly “intimate” modulation control, the TG500 allows a number of modulation effects to be controlled via keyboard aftertouch response. The parameters in this screen set the depth of the aftertouch modulation effects.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller Fmod (Frequency modulation depth) Range: 0 … 127 Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via keyboard aftertouch. A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller PtBs (Pitch bias depth) Range: -12 … +12 Sets the maximum pitch variation range achievable via after-touch control. Each increment represents a semitone. A setting of “0” produces no pitch variation. A setting of “+12” allows a maximum pitch variation of one octave up, while a setting of “-12” allows a maximum pitch variation of one octave down corresponding to aftertouch key pressure.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-03: MIDI CONTROLLER 1 / 3-6-04: MIDI CONTROLLER 2 [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-03: MIDI Ctrl 1 -> [ENTER] -> [PAGE] -> 3-6-04: MIDI Ctrl 2 -> [ENTER] The parameters in these two screens set the maximum depth of modulation that can be produced by “MC1” (MIDI Controller 1) and “MC2” (MIDI Controller 2). VCE CTRL MC1 Depth (Mod.Whl.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller Fmod (Frequency modulation depth) Range: 0 … 127 Sets the maximum depth of filter cutoff frequency modulation (wah-wah type effects) applied via MIDI controller 1 or 2. A setting of “0” allows no frequency modulation, while a setting of 127 results in maximum frequency modulation.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller 3-6-05: MIDI CONTROLLER 3 / 3-6-06: MIDI CONTROLLER 4 [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] -> [PAGE] -> 3-6-05: MIDI Ctrl 3 -> [ENTER] -> 3-6-06: MIDI Ctrl 4 -> [ENTER] “MC3” (MIDI Controller 3) and “MC4” (MIDI Controller 4) can be assigned to control a wide range of voice parameters in real time while playing the TG500.
VOICE EDIT MODE / 3: Full Edit.
VOICE EDIT MODE / 3: Full Edit. 3-6: Controller CONTROLLER DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-6: Controller -> [ENTER] This function allows the controller parameters from any other voice (the “source” voice) to be copied to the current voice. You can copy a controller setup that is close to the type you want, then edit it to produce the required sound. Press the [STORE/COPY] key while in the controller edit mode.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-01: MODE [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-01: Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-02: TYPE [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-02: Type -> [ENTER] These parameters assign any of the TG500’s 90 effects independently to the EFECT 1 and EFFECT 2 signal processors. VCE EF Type (Rev.Stage1) Ef1:06 Ef2:57 Ef1 Type Ef2 Type Ef1 Type Range: 0 … 90 Selects any of the TG500’s 90 effect types for the EFFECT 1 processor.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-03: SEND [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-03: Send -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big different to the final sound. The “Send” parameter plays a vital role in determining the depth of the effect sound.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-04: OUTPUT LEVEL [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-04: Output Level -> [ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-05: WET:DRY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-05: Wet;Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameter provided in this screen provides precise balance control.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-06: MIX LEVEL [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-06: Mix Level -> [ENTER] This parameter determines how the output of the EFFECT 2 processor is mixed with that of the EFFECT 1 processor when the serial effect mode is selected. See page 251 for details on effect signal flow.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-07: PARAMETER 1 / 3-7-08: PARAMETER 2 [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-07: Parameter 1 -> [ENTER] -> 3-7-08: Parameter 2 -> [ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the parameters in these three screens to fine-tune the effect. VCE EF1 Param 2.5 1.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-09: CONTROL 1 / 3-7-10: CONTROL 2 [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-09: Control 1 -> [ENTER] -> 3-7-10: Control 2 -> [ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect MIDI CONTROL CHANGE NUMBER/DEVICE 0: 1: 2: 4: 5: 6: 7: 8: 10: 11: 64: 65: 66: 67: 69: 91: 92: 93: 94: 95: 96: 97: 98: 99: 100: 101: 121: 122: 123: 124: “off” “Mod.Whl.” “Breath C” “Foot Cnt” “Porta.Sp” “Data Ent” “Foot Vol” “Balance ” “Panpot ” “Express.” “Hold 1 ” “Porta.Sw” “Sostenut” “Soft ” “Hold 2 ” “Effect D” “TremoloD” “Chorus D” “CelesteD” “Phaser D” “Inc. ” “Dec.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect Min (Minimum parameter value) Range: 0 … 100 Sets the lower limit of the control range. A setting of “0”, for example, means that when the lowest control change value is received the assigned parameter will also be set to its lowest value. A setting of “50” means that the lowest control change value will set the assigned parameter to about 50% of its range (a parameter with a range of 0 to 127, for example, would be set to about 63).
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect 3-7-11: CONTROL LFO [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] -> [PAGE] -> 3-7-11: Control LFO -> [ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO control. The TG500 has an independent effect LFO that is set up by the following parameters.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect EFFECT DATA COPY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] This function facilitates voice effect editing by allowing the effect parameters from any other voice, performance combination, or multi setup to be copied to the current voice. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
VOICE EDIT MODE / 3: Full Edit. 3-7: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Full Edit -> [ENTER] -> 3-7: Effect -> [ENTER] 06:Rev.Stage1 ÒëÒÒí Ú 57:EQ ¥ Sym ìÁîÁÎ This function provides a graphic indication of the current effect system configuration while in the effect edit mode. In the effect edit mode press the [EDIT/COMPARE] key while holding the [UTILITY/SELECT] to see the overall effect system signal flow.
VOICE EDIT MODE / 4: Recall/Init. 4-1: RECALL [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-1: Recall -> [ENTER] If you’re dissatisfied with the results of edits you’ve made to a voice, or have accidentally lost track of changes made, use the RECALL function to recall the preedit voice data from the TG500’s voice backup buffer memory. VCE Recall (SP Goner) Press [ENTER] to begin the recall procedure.
VOICE EDIT MODE / 4: Recall/Init. 4-2: INITIALIZE [PLAY MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Recall/Init. -> [ENTER] -> 4-2: Initialize -> [ENTER] When you want to program a totally new voice “from scratch,” rather than editing an existing voice, use this function to initialize all voice parameters. VCE Initialize Press [ENTER] to begin the initialize procedure.
VOICE EDIT MODE / VOICE VOICE COMPARE [EDIT/COMPARE] The voice compare function makes it possible to compare the sound of a voice being edited with the same voice prior to editing. To temporarily recall the original voice data while editing, press the [EDIT/COMPARE] key. The [EDIT] LED will flash, indicating that the compare mode is engaged. Press [EDIT/COMPARE] a second time to return to the edit mode and the voice being edited.
VOICE EDIT MODE / VOICE VOICE STORE [STORE/COPY] When you’re satsfied with a new voice you’ve created in the voice edit mode, use the store function described below to store the new voice to an internal or card memory location. VCE STORE Ö56œ:SP Goner ¥ ¡56 :OR Smoth When you’ve finished editing, return to the voice play mode (press the [PLAY MODE] key), and before selecting a different voice press the [STORE/COPY] key.
DRUM VOICE EDIT MODE 1: Key Parameter 1-1: Parameter ............................ 168 1-2: Initialize ............................... 171 1-3: Exchange ............................. 172 Drum Key Copy .......................... 173 2: Level/Name 2-1: Level .................................... 174 2-2: Name ................................... 175 3: Quick Edit 3-1: Effect 1 ................................ 176 3-2: Effect 2 ................................ 176 3-3: Effect Wet:Dry ....................
D R U M V O IC E E D IT M O D E / 1 : K e y P a ra m e te r 1-1: PARAMETER [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1. Key Parameter -> [ENTER] -> [PAGE] -> 1-1: Parameter -> [ENTER] DRM Key Param C 4 É194-Clave à 127 Key Wave DRM Key Param é 0 0 NtShft Tune Volume -25 108 Pan EfSend DRM Key Param GateTm AltGrp OutSel Key (Key number) Range: C1 … C5 Selects the the drum key to be edited.
D R U M V O IC E E D IT M O D E / 1 : K The TG500 actually incorporates two 32-note polyphonic tone generator units — “A” and “B”. The inverse character “A” or “B” that appears to the right of the wave name indicates whether that wave is produced by tone generator unit A or tone generator unit B. This information is useful, for example, when creating performance combinations.
D R U M V O IC E E D IT M O D E / 1 : K e y P a ra m e te r EfSend (Effect send level) Range: 0 … 127 Sets the effect send level for the selected drum key. The ability to set different effect send levels for each drum key provides extremely fine control over the drum effect sound. Please note that this parameter affects the individual output level. Rvs (Reverse) Range: off, on When this parameter is turned “on,” the selected wave is played in reverse.
D R U M V O IC E E D IT M O D E / 1 : K 1-2: INITIALIZE [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Key Parameter -> [ENTER] -> [PAGE] -> 1-2: Initialize -> [ENTER] When you want to program a single drum key “from scratch,” rather than editing an existing key, use this function to initialize all data for the specified drum key.
D R U M V O IC E E D IT M O D E / 1 : K e y P a ra m e te r 1-3: EXCHANGE [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Key Parameter -> [ENTER] -> [PAGE] -> 1-2: Exchange -> [ENTER] This function makes it simple to re-arrange you drum key layout by directly exchanging the data between any two specifed drum keys. DRM Key Exchange (Clave ) C 4 †¥ C 1 , . Use the [ ] and [ ] keys to position the cursor, and the [-1/NO] and [+1/YES] keys to select the drum keys to be exchanged (C1 … C5).
D R U M V O IC E E D IT M O D E / 1 : K DRUM KEY COPY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 1: Key Parameter -> [ENTER] -> [STORE/COPY] This function facilitates drum voice editing by allowing the data from one drum key (the “source” key) to be copied to any other drum key. You can copy the data from a key that is close to the sound you want, then edit it as required.
D R U M V O IC E E D IT M O D E / 2 : L e v e l/ N a m e 2-1: LEVEL [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-1: Level -> [ENTER] This parameter sets the overall volume of the current drum voice in relation to the others, making it possible to match levels for smooth transition when switching between voices. DRM Level 12 7 Total VolLoLim Total Level Range: 0 … 127 Adjusts the volume of the current drum voice.
D R U M V O IC E E D IT M O D E / 2-2: NAME [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 2: Level/Name -> [ENTER] -> [PAGE] -> 2-2: Name -> [ENTER] Your original drum voices should naturally have original names. This function can be used to assign a name of up to 8 characters to the current drum voice. DRM Name É63-[DR Kit ] Name Name Range: See character list, below Assigns a name of up to 8 characters to the current drum voice.
D R U M V O IC E E D IT M O D E / 3 : Q u ic k E d it 3-1: EFFECT 1 / 3-2: EFFECT 2 [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Quick Edit -> [ENTER] -> [PAGE] -> 3-1: Effect 1 -> [ENTER] -> 3-2: Effect 2 -> [ENTER] The TG500 features a complex, high-performance effect system that can be programmed easily via the parameters presented in these screens. For full effect parameters see page 186. DRM QED Ef1 é Type DRM QED Ef1 è 1.2 0.8 5.
D R U M V O IC E E D IT M O D E / 3 3-3: EFFECT WET:DRY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 3: Quick Edit -> [ENTER] -> [PAGE] -> 3-3: Effect Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.
DRUM VOICE EDIT MODE / 4: Effect 4-01: MODE [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-01: Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 topquality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
DRUM VOICE EDIT MODE / 4: Effect 4-02: TYPE [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-02: Type -> [ENTER] These parameters assign any of the TG500’s 90 effects independently to the EFECT 1 and EFFECT 2 signal processors. DRM EF Type (Rev.Room1 ) Ef1:03 Ef2:12 Ef1 Type Ef2 Type Ef1 Type Range: 0 … 90 Selects any of the TG500’s 90 effect types for the EFFECT 1 processor.
DRUM VOICE EDIT MODE / 4: Effect 4-03: SEND [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-03: Send ->[ENTER] The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each layer is sent, and at what level. Individual settings can be made for each drum key. DRM EF Send C 4 108 on --Key Lvl 1a 1b on --2a 2b Key (Key number) Range: C1 … C5 Selects the the drum key to be edited.
DRUM VOICE EDIT MODE / 4: Effect 4-04: SEND SENSITIVITY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-04: Send Sens. ->[ENTER] These parameters determine how the effect send level of each drum key is affected by keyboard dynamics and key scaling. DRM EF Send Sens C 4 Vel= 0 Key Key (Key number) Range: C1 … C5 Selects the the drum key to be edited.
DRUM VOICE EDIT MODE / 4: Effect 4-05: OUTPUT [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-05: Output ->[ENTER] These parameters turn the “dry lines” (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur at OUTPUT 1 and OUTPUT 2. Individual settings can be made for each drum key. DRM Output C 4 Dry1: on Dry2: on Key Key (Key number) Range: C1 … C5 Selects the the drum key to be edited.
DRUM VOICE EDIT MODE / 4: Effect 4-06: OUTPUT LEVEL [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-06: Output Level ->[ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
DRUM VOICE EDIT MODE / 4: Effect 4-07: WET:DRY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-07: Wet:Dry ->[ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.
DRUM VOICE EDIT MODE / 4: Effect 4-08: MIX LEVEL [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-08: Mix Level ->[ENTER] These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 251 for details on the overall TG500 effect system.
DRUM VOICE EDIT MODE / 4: Effect 4-09: PARAMETER 1 / 4-10: PARAMETER 2 [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-09: Parameter 1 ->[ENTER] -> 4-10: Parameter 2 ->[ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the parameters in these three screens to fine-tune the effect. DRM EF1 Param 1.2 0.8 8 ( s ) é Parameters DRM EF1 Param è 0 50 4 ( ms) é Parameters DRM EF1 Param è 6 8 5.6 ( % ) Parameters , .
DRUM VOICE EDIT MODE / 4: Effect 4-11: CONTROL 1 / 4-12: CONTROL 2 [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-11: Control 1 ->[ENTER] -> 4-12: Control 2 ->[ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes. The parameters provided in these screens determine which effect parameters are to be controlled by which MIDI control devices.
DRUM VOICE EDIT MODE / 4: Effect MIDI CONTROL CHANGE NUMBER/DEVICE 0: 1: 2: 4: 5: 6: 7: 8: 10: 11: 64: 65: 66: 67: 69: “off” “Mod.Whl.” “Breath C” “Foot Cnt” “Porta.Sp” “Data Ent” “Foot Vol” “Balance ” “Panpot ” “Express.” “Hold 1 ” “Porta.Sw” “Sostenut” “Soft ” “Hold 2 ” 91: 92: 93: 94: 95: 96: 97: 98: 99: 100: 101: 121: 122: 123: 124: “Effect D” “TremoloD” “Chorus D” “CelesteD” “Phaser D” “Inc. ” “Dec.
DRUM VOICE EDIT MODE / 4: Effect Max (Maximum parameter value) Range: 0 … 100 Sets the upper limit of the control range. A setting of “100”, for example, means that when the highest control change value is received the assigned parameter will also be set to its highest value. A setting of “80” means that the highest control change value will set the assigned parameter to about 80% of its range (a parameter with a range of 0 to 127, for example, would be set to about 102).
DRUM VOICE EDIT MODE / 4: Effect 4-13: CONTROL LFO [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-13: Control LFO ->[ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO control. The TG500 has an independent effect LFO that is set up by the following parameters. DRM EF Ctrl LFO ∆˚ ∆ tr i 0 Wave Speed 0 Delay Wave (LFO waveform) Range: tri, dwn, up, squ, sin, S/H, 1tm Determines the waveform of the effect LFO. “tri” = Triangle.
DRUM VOICE EDIT MODE / 4: Effect EFFECT DATA COPY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [STORE/COPY] ->[ENTER] This function facilitates drum voice editing by allowing the effect parameters from any other voice, performance combination, or multi setup to be copied to the current drum voice. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
DRUM VOICE EDIT MODE / 4: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY/MODE] -> VCE PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [UTILITY/SELECT] -> [EDIT/COMPARE] 03:Rev.Room1 12:Rev.Basmnt ÒëÒÒí ìÁîîÎ Ú This function provides a graphic indication of the current effect system configuration while in the effect edit mode. In the effect edit mode press the [EDIT/COMPARE] key while holding the [UTILITY/SELECT] to see the overall effect system signal flow.
DRUM VOICE EDIT MODE / 5: Recall/Init. 5-1: RECALL [PLAY/MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 5: Recall/Init. -> [ENTER] -> [PAGE] -> 5-1: Recall ->[ENTER] If you’re dissatisfied with the results of edits you’ve made to a drum voice, or have accidentally lost track of changes made, use the RECALL function to recall the pre-edit drum voice data from the TG500’s backup buffer memory. DRM Recall (DR Kit ) Press [ENTER] to begin the recall procedure.
DRUM VOICE EDIT MODE / 5: Recall/Init. 5-2: INITIALIZE [PLAY/MODE] -> PFM PLAY -> [EDIT/COMPARE] -> 5: Recall/Init. -> [ENTER] -> [PAGE] -> 5-2: Initialize ->[ENTER] When you want to program a totally new drum voice “from scratch,” rather than editing an existing voice, use this function to initialize all parameters. DRM Initialize Type= 1 Use the [-1/NO] and [+1/YES] keys to select the type of initial drum voice data you want.
DRUM VOICE EDIT MODE / 5: Recall/Init. DRUM VOICE COMPARE [EDIT/COMPARE] The drum voice compare function makes it possible to compare the sound of a drum voice being edited with the same drum voice prior to editing. To temporarily recall the original drum voice data while editing, press the [EDIT/COMPARE] key. The [EDIT] LED will flash, indicating that the compare mode is engaged. Press [EDIT/COMPARE] a second time to return to the edit mode and the drum voice being edited.
DRUM VOICE EDIT MODE / 5: Recall/Init. DRUM VOICE STORE [STORE/COPY] When you’re satisfied with a new drum voice you’ve created in the drum voice edit mode, use the store function described below to store the new drum voice to an internal or card memory location. DRM STORE É63œ:DR Kit ¥ ¡63 :DR Revrs When you’ve finished editing, return to the druml voice play mode (press the [PLAY MODE] key), and before selecting a different voice, press the [STORE/COPY] key.
MULTI EDIT MODE 1: Parameter .............................. 199 2: Name ..................................... 202 3: Initialize ................................ 203 4: Effect ..................................... 204 4-01: Mode ................................. 204 4-02: Type ................................... 205 4-03: Send .................................. 206 4-04: Output ............................... 208 4-05: Output Level ..................... 209 4-06: Wet:Dry .............................
MULTI EDIT MODE MULTI INSTRUMENT SELECTION TG500 multi setups have 16 separate “instruments” controllable via the corresponding MIDI channels. The multi edit mode functions allow each instrument to be individually set up as required. The instrument to be edited in the multi edit mode is selected by using the [-1/NO] and [+1/YES] keys while holding the [UTILITY/ SELECT] key. MLT é Inst = 1 è Select “Inst = 1” through “Inst = 16” depending on the instrument you want to edit.
MULTI EDIT MODE / 1: Parameter 1: PARAMETER [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 1: Parameter -> [ENTER] Each TG500 “multi setup” that can have up to 16 voices or performance combinations assigned to “instruments” 1 trough 16. Each instrument is controlled via the correspondingly numbered MIDI channel. These screens let you assign voices to each instrument and specify a range of basic parameters for each instument.
MULTI EDIT MODE / 1: Parameter Voice Range: ----, Any voice or performance combination. The cursor can be placed at two locations in the voice number parameter: under the “P” or “V” to the left of the number, and under the number itself. With the cursor at the leftmost position select “P” if you want to assign a performance combination to the current instrument, “V” to assign a voice, or “----” to turn the current instrument off (no voice assigned).
MULTI EDIT MODE / 1: P arameter NtShft (Note shift) Range: -63 … +63 Individually shifts the pitch of the currently selected instrument up or down in semitone steps. A setting of “-12,” for example, shifts the pitch of the selected instrument down by one octave; a setting of “+4” shifts the pitch up by a major third. Please note that note shift cannot be applied to drum/percussion voices (the Note Shift value is displayed as “---”).
MULTI EDIT MODE / 2: Name 2: NAME [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 2: Name -> [ENTER] Your original multi setups should naturally have original names. This function can be used to assign a name of up to 8 characters to the current multi setup. MLT NAME ´00-[MyMulti ] Name , . Range: See character list, below Use the [ ] key to move the character cursor to the left, and the [ ] key to move the cursor to the right.
MULTI EDIT MODE / 3: Initialize 3: INITIALIZE [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 3: Initialize -> [ENTER] When you want to program a totally new multi setup “from scratch,” rather than editing an existing setup, use this function to initialize all multi parameters. MLT Initialize Press [ENTER] to begin the initialize procedure.
MULTI EDIT MODE / 4: Effect 4-01: MODE [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-01: Mode -> [ENTER] The TG500 features a dual-processor effect system that includes 90 top-quality digital effects. Two different effects can be connected in series or parallel, providing an extensive range of possible configurations.
MULIT EDIT MODE / 4: Effect 4-02: TYPE [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-02: Type -> [ENTER] These parameters assign any of the TG500’s 90 effects independently to the EFFECT 1 and EFFECT 2 signal processors. MLT EF Type (EQ ¥ Rev1 ) Ef1:50 Ef2:52 Ef1 Type Ef2 Type Ef1 Type Range: 0 … 90 Selects any of the TG500’s 90 effect types for the EFFECT 1 processor.
MULIT EDIT MODE / 4: Effect 4-03: SEND [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-03: Send -> [ENTER] The parameters provided here determine to which of the TG500 effect stages the output from the voice assigned to each instrument is sent, and at what level. MLT EF Send [ 1] ML T 127 on on on on Src Lvl 1a 1b 2a 2b The instrument to be edited is selected as described on page 198.
MULTI EDIT MODE / 4: Effect 1a, 1b, 2a, and 2b (Send switches) Range: See text below. Determines to which of the EFFECT 1 and EFFECT 2 effect stages the output from the current layer is sent. The [-1] and [+1] keys can then be used to turn the selected stage on or off. If a “single” type effect is selected then only stage “a” can be selected. If a “dual” or “cascade” type effect is selected, then both stages “a” and “b” can be selected.
MULIT EDIT MODE / 4: Effect 4-04: OUTPUT [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-04: Output -> [ENTER] These parameters turn the “dry lines” (i.e. the signal paths which bypasses each effect processor) on or off, determining whether any dry signal output can occur at OUTPUT 1 and OUTPUT 2. MLT Output Dry1: on [ 1] Dry2: on The instrument to be edited is selected as described on page 198.
MULIT EDIT MODE / 4: Effect 4-05: OUTPUT LEVEL [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-05: Output Level -> [ENTER] Depending on the selected effects the TG500 effect system can have up to four separate output levels that are adjusted by the parameters provided in this screen.
MULIT EDIT MODE / 4: Effect 4-06: WET:DRY [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-06: Wet:Dry -> [ENTER] The balance between the direct sound of the voice and the effect sound is a delicate thing. Even slight changes can make a big difference to the final sound. The parameters provided in this screen provide precise balance control.
MULIT EDIT MODE / 4: Effect 4-07: MIX LEVEL [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-07: Mix Level -> [ENTER] These parameters determine the mix level between each effect send and the output of the preceding effect stage. Refer to the section beginning on page 251 for details on the overall TG500 effect system.
MULIT EDIT MODE / 4: Effect 4-08: PARAMETER 1 / 4-09: PARAMETER 2 [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-08: Parameter 1 -> [ENTER] -> 4-09: Parameter 2 -> [ENTER] Each of the TG500’s 90 effects has 8 parameters that can be edited via the parameters in these three screens to fine-tune the effect. MLT EF1 Param 2.0 +12 500 (kHz)Ãé Parameters MLT EF1 Param è +12 1.4 0.
MULIT EDIT MODE / 4: Effect 4-10: CONTROL 1 / 4-11: CONTROL 2 [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-10: Control 1 -> [ENTER] -> 4-11: Control 2 -> [ENTER] MIDI control change data received by the TG500 can be assigned to control two different effect parameters in real time while playing in the voice or performance modes. The parameters provided in these screens determine which effect parameters are to be controlled by which MIDI control devices.
MULTI EDIT MODE / 4: Effect EF Param (Effect parameter) Range: Depends on selected effects. Selects the effect parameter to be controlled by the specified MIDI device. “Ef1Prm1” through “Ef1Prm8” on the display stand for “effect 1 parameter 1” through “effect 1 parameter 8”. Likewise “Ef2Prm1” through “Ef2Prm8” on the display stand for “effect 2 parameter 1” through “effect 2 parameter 8”.
MULTI EDIT MODE / 4: Effect Max (Maximum parameter value) Range: 0 … 100 Sets the upper limit of the control range. A setting of “100”, for example, means that when the highest control change value is received the assigned parameter will also be set to its highest value. A setting of “80” means that the highest control change value will set the assigned parameter to about 80% of its range (a parameter with a range of 0 to 127, for example, would be set to about 102).
MULIT EDIT MODE / 4: Effect 4-12: CONTROL LFO [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [PAGE] -> 4-12: Control LFO -> [ENTER] All of the modulation-type effects — chorus, flanging, etc. — require LFO control. The TG500 has an independent effect LFO that is set up by the following parameters. MLT EF Ctrl LFO ∆˚ ∆ tr i 99 Wave Speed 20 Delay Wave (LFO waveform) Range: tri, dwn, up, squ, sin, S/H, 1tm Determines the waveform of the effect LFO.
MULIT EDIT MODE / 4: Effect EFFECT DATA COPY [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [STORE/COPY] This function facilitates multi editing by allowing the effect parameters from any other performance combination, voice, or multi setup to be copied to the current multi setup. You can copy an effect setup that is close to the type you want, then edit it to produce the required sound.
MULIT EDIT MODE / 4: Effect EFFECT SIGNAL FLOW DISPLAY [PLAY/MODE] -> MLT PLAY -> [EDIT/COMPARE] -> [PAGE] -> 4: Effect -> [ENTER] -> [UTILITY/SELECT] + [EDIT/COMPARE] 50:EQ ¥ Rev1 52:EQ ¥ ER ØËÔÁîîîîÎ ØØØØØËÔÁ This function provides a graphic indication of the current effect system configuration while in the effect edit mode. In the effect edit mode press the [EDIT/COMPARE] key while holding the [UTILITY/SELECT] to see the overall effect system signal flow.
UTILITY MODE WAVE EDIT MODE 1: System 1-1: Setup ................................... 220 1-2: Effect Bypass ...................... 221 1-3: Output .................................. 222 2: Controller 2-1: MIDI Control ....................... 223 2-2: Volume Control .................. 225 3: MIDI 3-1: 3-2: 3-3: 3-4: Parameter ............................ 227 Filter .................................... 230 Bulk Dump .......................... 231 Program Change Table ......
UTILITY MODE / WAVE EDIT MODE / 1: System 1-1: SETUP [UTILITY/SELECT] -> 1: System -> [ENTER] -> [PAGE] -> 1-1: Setup -> [ENTER] This screen includes several parameters that affect overall operation of the TG500. UTL SYSTEM Setup 0 0 off NtShft Tune CtlRst NtShft (Note shift) Range: -63 … +63 Shifts the overall pitch of the TG500 up or down in semitone steps. A setting of “-12,” for example, shifts the pitch down by one octave; a setting of “+4” shifts the pitch up by a major third.
UTILITY MODE / WAVE EDIT MODE / 1: System 1-2: EFFECT BYPASS [UTILITY/SELECT] -> 1: System -> [ENTER] -> [PAGE] -> 1-2: Effect Bypass -> [ENTER] This parameter turns the entire TG500 effect system on or off. UTL SYSTEM Effect Bypass= off Effect Bypass Range: off, on When effect bypass is turned “off” the TG500 effect system is active and the effect sound will be delivered via the TG500 outputs.
UTILITY MODE / WAVE EDIT MODE / 1: System 1-3: OUTPUT [UTILITY/SELECT] -> 1: System -> [ENTER] -> [PAGE] -> 1-3: Output -> [ENTER] This parameter determines which of the TG500’s outputs are active. UTL SYSTEM Output= norm Output Range: norm, indiv When set to “norm,” the stereo outputs (OUTPUT L and R) and individual outputs 1 and 2 are active. In this case individual outputs 3 and 4 can not be used. When “indiv” is selected individual outputs 3 and 4 can also be used.
UTILITY MODE / WAVE EDIT MODE / 2: Controller 2-1: MIDI CONTROL [UTILITY/SELECT] -> 2: Controller -> [ENTER] -> [PAGE] -> 2-1: MIDI Control -> [ENTER] The four parameters provided in this screen allow any MIDI control device numbers to be assigned to TG500 controllers 1, 2, 3, and 4 (MC1, MC2, MC3, and MC4). UTL CTRL MC (Mod.Whl.) 1:001 2:004 3:018 4:109 Controllers 1 ...
UTILITY MODE / WAVE EDIT MODE / 2: Controller 224 2-1: MIDI CONTROL No. Control Device Abbreviation 000 Bank Select (Bank Sel) 001 Modulation wheel (Mod.Whl.) 002 Breath controller (Breath C) 004 Foot controller (Foot Cnt) 005 Portamento time (Porta.Tm) 006 Data entry control (Data Ent) 007 Main volume control (Main Vol) 008 Balance control (Balance) 010 Pan pot (Panpot) 011 Expression pedal (Express.
UTILITY MODE / WAVE EDIT MODE / 2: Controller 2-2: VOLUME CONTROL [UTILITY/SELECT] -> 2: Controller -> [ENTER] -> [PAGE] -> 2-2: Volume Control -> [ENTER] This parameters specifies which MIDI control device will control the TG500’s overall volume level. UTL CTRL (Main Vol) Volume= 007 Volume Range: 000 … 119 The normal setting for this parameter is “007” (this is the MIDI “main volume control” device assignment). Any other controller number can be assigned, as required.
UTILITY MODE / WAVE EDIT MODE / 2: Controller 226 No. Control Device Abbreviation 000 Bank Select (Bank Sel) 001 Modulation wheel (Mod.Whl.) 002 Breath controller (Breath C) 004 Foot controller (Foot Cnt) 005 Portamento time (Porta.Tm) 006 Data entry control (Data Ent) 007 Main volume control (Main Vol) 008 Balance control (Balance) 010 Pan pot (Panpot) 011 Expression pedal (Express.
UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-1: PARAMETER [UTILITY/SELECT] -> 3: MIDI -> [ENTER] -> [PAGE] -> 3-1: Parameter -> [ENTER] The MIDI channel parameters provided here are essential to ensure proper communication between the TG500 and other MIDI instruments. UTL MIDI Param omni direct Rch PgmCh DevNo Rch (Receive channel) Range: 1 … 16, omni Sets the MIDI receive channel to any channel between 1 and 16, or the “omni” mode for reception on all channels.
UTILITY MODE / WAVE EDIT MODE / 3: MIDI Control change Control change #0 Data #32 Data 000 000 000 001 000 002 000 003 000 004 000 005 000 007 000 008 000 010 000 011 000 032 * 000 033 000 034 000 035 000 036 000 037 000 039 000 040 000 042 000 043 000 064 000 065 000 066 000 068 000 069 000 080 * 000 081 000 082 000 084 000 085 000 086 Play mode Memory Voice Voice Voice Voice Voice Voice Voice Voice Voice Voice Multi/Voice Multi/Voice Multi/Voice Multi/Voice Multi/Voice Multi/Voice Multi/Voice Multi/Vo
UTILITY MODE / WAVE EDIT MODE / 3: MIDI When “table” is selected, transmission conforms to the program change table (see “3-4: PROGRAM CHANGE TABLE,” below), while reception is the same as in the “direct” mode, above. DevNo (Device number) Range: off, 1 … 16, all Sets the TG500 MIDI device number — i.e. the MIDI channel on which all system exclusive data will be received and transmitted.
UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-2: FILTER [UTILITY/SELECT] -> 3: MIDI -> [ENTER] -> [PAGE] -> 3-2: Filter -> [ENTER] More MIDI parameters that determine how the TG500 responds to external MIDI control. UTL MIDI Filter on off on BulkPr CtrlCh PolyAt BulkPr (Bulk receive protect) Range: off, on Enables or disables bulk data reception.
UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-3: BULK DUMP [UTILITY/SELECT] -> 3: MIDI -> [ENTER] -> [PAGE] -> 3-3: Bulk Dump -> [ENTER] Initiates MIDI bulk transmission of the selected voice, performance, multi-play, and/or system data. UTL MIDI Bulk Dump Type= 1:all Type Range: all, 1 PFM, 1VCE, 1 MLT The various data types are as follows: 1: 2: 3: 4: all 1 PFM 1 VCE 1 MLT All internal data. The currently selected performance combination. The currently selected voice. The currently selected multi setup.
UTILITY MODE / WAVE EDIT MODE / 3: MIDI 3-4: PROGRAM CHANGE TABLE [UTILITY/SELECT] -> 3: MIDI -> [ENTER] -> [PAGE] -> 3-4: PC Table -> [ENTER] These parameters determine which voice, performance combination, or multi setup will be selected when a specific MIDI program change number is received.
UTILITY MODE / WAVE EDIT MODE / 4: Card 4-1: BANK [UTILITY/SELECT] -> 4: Card -> [ENTER] -> [PAGE] -> 4-1: Bank -> [ENTER] This function is used to select bank 1 or 2 of Yamaha MCD64 memory cards plugged into the DATA 1 and DATA 2 slots. UTL Card Bank (TG500 ) Slot1= 1 Slot2= 1 Slot1, Slot2 (Slot 1 and slot 2 card banks) Range: 1, 2 Each MCD64 memory card has two separate banks which are selected for access via these parameters.
UTILITY MODE / WAVE EDIT MODE / 4: Card 4-2: LOAD [UTILITY/SELECT] -> 4: Card -> [ENTER] -> [PAGE] -> 4-2: Load -> [ENTER] Loads all internal voices and performance combinations from a Yamaha MCD64 memory card plugged into the DATA 1 or DATA 2 card slot. UTL Card Load Slot=1 Bank=1 (TG500 ) Position the cursor at the “Slot=” parameter and select “1” if you want to load from a card plugged into the DATA 1 slot, or “2” to load from the DATA 2 slot.
UTILITY MODE / WAVE EDIT MODE / 4: Card 4-3: SAVE [UTILITY/SELECT] -> 4: Card -> [ENTER] -> [PAGE] -> 4-3: Save -> [ENTER] Saves all internal voices and performance combinations to a Yamaha MCD64 memory card plugged into to the DATA 1 or DATA 2 card slot. UTL Card Save Slot=1 Bank=1 (TG500 ) Position the cursor at the “Slot=” parameter and select “1” if you want to save to a card plugged into the DATA 1 slot, or “2” to save to the DATA 2 slot.
UTILITY MODE / WAVE EDIT MODE / 4: Card 4-4: FORMAT [UTILITY/SELECT] -> 4: Card -> [ENTER] -> [PAGE] -> 4-4: Format -> [ENTER] New memory cards, or cards that have been formatted for use with a different instrument or device, will have to be formatted specifically for use with the TG500. Note that this operation will erase any existing data on the card.
UTILITY MODE / WAVE EDIT MODE / 5: Wave 5: WAVE [UTILITY/SELECT] -> 5: Wave -> [ENTER] This function only appears if one or two SYEMB06 Memory Expansion Boards are installed in the TG500 expansion memory slot (see page 282 for details on memory expansion). Specifies the number of the waveform to be edited using the WAVE EDIT functions (accessed by pressing the [EDIT/COMPARE] key from this screen), and the number of the waveform to which a sample loaded from card will be assigned.
UTILITY MODE / WAVE EDIT MODE THE WAVE EDIT MODE Unlike the other TG500 edit modes, the WAVE mode is not directly accessed from a play mode. To access the WAVE mode, press the [EDIT/COMPARE] key while utility mode “UTL WAVE” screen (“5: Wave”) is showing. The wave edit mode can only be accessed if one or two SYEMB06 Memory Expansion Boards are installed in the TG500 expansion memory slot (see page 282 for details on memory expansion).
UTILITY MODE / WAVE EDIT MODE / 1: Waveform 1-1: ASSIGN [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 1: Waveform -> [ENTER] -> [PAGE] -> 1-1: Assign -> [ENTER] This function assigns the selected sample(s) to the currently selected “waveform” (the waveform is selected via the utility mode “Waveform” parameter (page 237).
UTILITY MODE / WAVE EDIT MODE / 1: Waveform 1-2: ENABLE [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 1: Waveform -> [ENTER] -> [PAGE] -> 1-2: Enable -> [ENTER] Turns waveform assignment on or off. UTL Waveform Enable (InitWave) off Enable Enable Range: off, on Set to “on” to turn wave assignment on. If wave assignment is turned “off”, “---” appears in place of the “From” and “To” parameters in the preceding screen.
UTILITY MODE / WAVE EDIT MODE / 1: Waveform 1-3: NAME [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 1: Wavefrorm -> [ENTER] -> [PAGE] -> 1-3: Name -> [ENTER] This function can be used to assign a name of up to 8 characters to the current sample. UTL Waveform Name [InitWave] Name Name , . Range: See character list, below Use the [ ] key to move the character cursor to the left, and the [ ] key to move the cursor to the right.
UTILITY MODE / WAVE EDIT MODE / 2: Sample SAMPLE [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 2: Sample -> [ENTER] The parameters in the first screen here are used to “map” the samples assigned to the waveform to specific regions of the keyboard. If more than one sample is assigned, start by selecting the sample you want to map via the “SmplNo” parameter, then use the “OrgKey”, “LoKey”, and “HiKey” parameters to map the specified sample.
UTILITY MODE / WAVE EDIT MODE / 2: Sample LoKey/HiKey (Low and high key limits) Range: C-2 … G8 These parameters specify the lowest and highest notes on the keyboard on which the selected sample will sound. If “Low” is set to “C1” and “High” is set to “C3”, for example, then the current sample will sound only when keys between (and including) C1 and C3 are played. Volume Range: 0 … 127 Sets the volume of the selected sample.
UTILITY MODE / WAVE EDIT MODE / 2: Sample Type (Loop type) Range: Nrm, Alt This parameter is only available when either the “FLp” or “BLp” loop type is selected (see “Loop”, above). When set to “Nrm” (normal), the sample is repeatedly looped in either the forward or reverse direction, as specified by the Loop parameter. If “Alt” (alternate) is selected, the sample is alternately played forward and backward.
UTILITY MODE / WAVE EDIT MODE / 3: Initialize INITIALIZE [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 3: Initialize -> [ENTER] This function erases and initializes all wave memory, the specified type of wave memory, or a single specified sample. UTL WAVE Init. Press [ENTER] to begin the wave initialize procedure. The following confirmation display will appear: UTL WAVE Init.
UTILITY MODE / WAVE EDIT MODE / 4: Sample Dump 4-1: SAMPLE RECEIVE [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 4: Sample Dump -> [ENTER] -> [PAGE] -> 4-1: Sample Receive -> [ENTER] This function initiates reception of MIDI Sample Dump data from an external MIDI device. Both the MIDI IN and OUT terminals must be connected to the external MIDI device, since the TG500 transmits a sample dump request message to initiate transmission by the external device.
UTILITY MODE / WAVE EDIT MODE / 4: Sample Dump 4-2: SAMPLE TRANSMIT [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 4: Sample Dump -> [ENTER] -> [PAGE] -> 4-2: Sample Transmit -> [ENTER] This function initiates transmission of MIDI Sample Dump data to an external MIDI device. UTL Sample Trans. sample= 0 5 sample (Sample number) Range: 00 … 63 This parameter specifies the number of the sample to be transmitted (“--” appears on the display if no samples are available).
UTILITY MODE / WAVE EDIT MODE / 5: Card Load CARD LOAD [UTILITY/SELECT] -> 5: Wave -> [ENTER] -> [EDIT/COMPARE] -> 5: Card Load -> [ENTER] Loads all samples from a pre-programmed card plugged into the WAVEFORM 2 card slot. Plug the memory card containing the waveform data you want to load into the WAVEFORM 2 slot, then press [ENTER] to begin the card load procedure. Press [+1/YES] to confirm that you want to go ahead with the card load operation, or press [-1/NO] to cancel.
Appendix ■ Effects ...................................................... 251 ■ Installation of the SYEMB06 Expansion Memory Board ........................................ 282 ■ Initial data ............................................... 283 ■ Specifications .......................................... 311 ■ Error messages ....................................... 312 ■ Trouble shooting ...................................... 315 ■ Index ........................................................
Appendix 250 EFFECTS
Appendix EFFECTS The TG500 features a sophisticated effect system that affords extraordinary sound-shaping potential. It includes two separate effect processors — referred to a EFFECT 1 and EFFECT 2 in this manual — that can be connected either in series or in parallel via the effect “Mode” parameter (page 150 for voice effects, page 178 for drum voice effects, page 76 for performance effects, page 204 for multi effects).
Appendix The “Cascade” effects actually include two effects connected in a cascade configuration. Effect number 33 (Flg → Rev), for example, includes cascaded flanger and reverb. IN Cascade effect A Cascade effect B OUT The “Dual” effects include two effects connected in parallel. Dual effect A IN OUT Dual effect B Clearly, the possibilities for combining effect modes with effect types allows a large variety of effect system configurations.
Appendix ■ Effect Signal Flow Diagrams — Drum Voice, Performance, and Multi Modes The following diagrams illustrate effect signal flow with different effect mode and effect type combinations in the drum voice, performance, and song modes. The “Tone Generator” block has slightly different meanings in each of these modes: ● Drum Voice “Tone Generator” corresponds to the output from a single drum/percussion instrument.
Appendix ■ The Effects & Their Parameters ■ ✩ Parameters with “B ” in the QE column are editable in the Quick Edit modes. “Single” Effects • 00 : Through No. 1~8 PARAMETER — RANGE QE RANGE QE No. B 1 2 3 4 5 6 7 8 — • 01 : Rev. Hall1 No. 1 2 3 4 5 6 7 8 • 02 : Rev. Hall2 PARAMETER Rev.Time [s] High Dffusion Density ER/Rev [%] Low Gain [dB] Hi Gain [dB] LPF [kHz] 0.3 0.1 0 ~ 0 ~ 0 ~ -12 -12 1.0 ~ 30.0s ~ 1.5 10 4 100% ~ +12dB ~ +12dB ~ 16.0kHz, thru B B • 03 : Rev. Room1, 04 : Rev.
Appendix • 13 : Early Ref1, 14 : Early Ref2 No. PARAMETER 1 Type 2 3 4 5 6 7 8 RoomSize Liveness Dffusion Init Dly [ms] FB Dly [ms] FB Gain [%] LPF [kHz] • 15 : Gate Rev., 16 : Revrs Gate RANGE Smll, Lrge, Rnd, Rvrs, Plte, Sprg 0.1 ~ 20.0 0 ~ 10 0 ~ 10 0 ~ 150ms 0 ~ 400ms -99 ~ +99% 1.0 ~ 16.0kHz, thru QE B B B • 17 : Dly L, R No. 1 2 3 4 5 6 7 8 RANGE 0 ~ 0 ~ 0 ~ -99 0 ~ -99 0.1 1.0 680ms 680ms 680ms ~ +99% 680ms ~ +99% ~ 1.0 ~ 16.0kHz, thru QE B B B • 19 : St. Echo No.
Appendix • 23 : Aural Exc. (Aural Exciter®*) No. 1 2 3 4 5 6 7 8 PARAMETER HPF [kHz] Enhance [%] Exc. Lvl [%] Init Dly [ms] — — — — • 24 : EG Flanger RANGE QE B B B 500Hz ~ 16.0kHz 0 ~ 100% 0 ~ 100% 0.0 ~ 99.9ms No. 1 2 3 4 5 6 7 8 PARAMETER Atk Time [ms] Atk Lvl [%] Rls Time [ms] EG Targt Mod. Freq [Hz] Mod. Dpth [%] Mod. Dly [ms] Mod. FBG [%] RANGE 2.0ms ~ 22.0s 0 ~ 100% 2.0ms ~ 22.0s Freq, Dpth 0.1 ~ 40.0Hz 0 ~ 100% 0.1 ~ 99.
Appendix “Cascade” Effects • 31 : Dly → Rev No. 1 2 3 4 5 6 7 8 • 32 : Echo → Rev PARAMETER L Dly [ms] R Dly [ms] FB Gain [%] Rev.Time [s] High ER/Rev [%] LPF [kHz] Rev Lvl [%] RANGE 0 ~ 0 ~ -99 0.3 0.1 0 ~ 1.0 0 ~ 400ms 400ms ~ +99% ~ 30.0s ~ 1.5 100% ~ 16.0kHz, thru 100% QE No. B 1 2 3 4 5 6 7 8 B B • 33 : Flg → Rev No. 1 2 3 4 5 6 7 8 RANGE 0.1 0 ~ 0.1 0 ~ 0.3 0.1 1.0 0 ~ ~ 40.0Hz 100% ~ 30.0ms 99% ~ 30.0s ~ 1.5 ~ 16.0kHz, thru 100% QE No. B 1 2 3 4 5 6 7 8 B B • 35 : Sym → Rev No.
Appendix • 37 : Pit → Rev No. 1 2 3 4 5 6 7 8 • 38 : Exc → Rev (Aural Exciter®*) PARAMETER L Pitch L Fine R Pitch R Fine Rev.Time [s] High LPF [kHz] Rev Lvl [%] RANGE -24 ~ +24 -100 ~ +100 -24 ~ +24 -100 ~ +100 0.3 ~ 30.0s 0.1~ 1.5 1.0 ~ 16.0kHz, thru 0 ~ 100% QE B B B No. 1 2 3 4 5 6 7 8 PARAMETER HPF [kHz] Enhance [%] Exc.Lvl [%] Rev.Time [s] High Init Dly [ms] LPF [kHz] Rev Lvl [%] RANGE QE 500Hz ~ 16.0kHz 0 ~ 100% 0 ~ 100% 0.3 ~ 30.0s 0 .1~ 1.5 0 ~ 200ms 1.0 ~ 16.
Appendix • 45 : Pit → Dly No. 1 2 3 4 5 6 7 8 PARAMETER L Pitch L Fine R Pitch R Fine L Dly [ms] R Dly [ms] FB Gain [%] Dly Lvl [%] • 46 : Exc → Dly (Aural Exciter®*) RANGE -24 ~ +24 -100 ~ +100 -24 ~ +24 -100 ~ +100 0 ~ 600ms 0 ~ 600ms -99 ~ +99% 0 ~ 100% QE B B B No. 1 2 3 4 5 6 7 8 PARAMETER HPF [kHz] Enhance [%] Exc.Lvl [%] Init Dly [ms] L Dly [ms] R Dly [ms] FB Gain [%] Dly Lvl [%] RANGE QE B B 500Hz ~ 16.0kHz 0 ~ 100% 0 ~ 100% 0.0 ~ 80.
Appendix • 53 : EQ → Dly No. 1 2 3 4 5 6 7 8 PARAMETER Low Freq [kHz] Low Gain [dB] Hi Freq [kHz] Hi Gain [dB] L Dly [ms] R Dly [ms] FB Gain [%] Dly Lvl [%] • 54 : EQ → Echo RANGE 32Hz ~ 2.0kHz -12 ~ +12dB 500Hz ~ 16.0kHz -12 ~ +12dB 0 ~ 680ms 0 ~ 680ms -99 ~ +99% 0 ~ 100% QE B B B • 55 : EQ → Flg No. 1 2 3 4 5 6 7 8 PARAMETER Low Freq [kHz] Low Gain [dB] Hi Freq [kHz] Hi Gain [dB] Mod.Freq [Hz] Mod. Dpth [%] Mod.
Appendix “Dual” Effects • 61 : Hall & Plate No. 1 2 3 4 5 6 7 8 • 62 : Echo & Rev PARAMETER Rev.Time [s] High Dffusion LPF [kHz] Rev.Time [s] High Dffusion LPF [kHz] RANGE 0.3 0.1 0 ~ 1.0 0.3 0.1 0 ~ 1.0 ~ 30.0s ~ 1.5 10 ~ 16.0kHz, thru ~ 30.0s ~ 1.5 10 ~ 16.0kHz, thru QE B B • 63 : Flg & Rev No. 1 2 3 4 5 6 7 8 RANGE 0.1 0 ~ 0.1 0 ~ 0.3 0.1 0 ~ 1.0 ~ 40.0Hz 100% ~ 30.0ms 99% ~ 30.0s ~ 1.5 200ms ~ 16.0kHz, thru QE B B B • 65 : Sym & Rev No.
Appendix • 67 : Pit & Rev No. 1 2 3 4 5 6 7 8 • 68 : Exc & Rev (Aural Exciter®*) PARAMETER L Pitch L Fine R Pitch R Fine Rev.Time [s] High Init Dly [ms] LPF [kHz] RANGE -24 ~ +24 -100 ~ +100 -24 ~ +24 -100 ~ +100 0.3 ~ 30.0s 0.1 ~ 1.5 0 ~ 200ms 1.0 ~ 16.0kHz, thru QE B B B No. 1 2 3 4 5 6 7 8 PARAMETER HPF [kHz] Enhance [%] Exc Lvl [%] Init Dly [ms] Rev.Time [s] High Init Dly [ms] LPF [kHz] RANGE QE B B 500Hz ~ 16.0kHz 0 ~ 100% 0 ~ 100% 0.0 ~ 50.0ms 0.3 ~ 30.0s 0.1 ~ 1.5 0 ~ 200ms 1.0 ~ 16.
Appendix • 75 : Sym & Dly No. 1 2 3 4 5 6 7 8 • 76 : Pha & Dly PARAMETER Mod.Freq [Hz] Mod.Dpth [%] — Hi Gain [dB] L Dly [ms] R Dly [ms] FB Gain [%] Hi Gain [dB] RANGE 0.1 0 ~ — -12 0 ~ 0 ~ -99 -12 ~ 40.0Hz 100% ~ +12dB 600ms 600ms ~ +99% ~ +12dB QE B B B • 77 : Pit & Dly No. 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 PARAMETER Mod.Freq [Hz] Mod.Dpth [%] Mod.Dly [ms] Hi Gain [dB] L Dly [ms] R Dly [ms] FB Gain [%] Hi Gain [dB] RANGE 0.1 0 ~ 0.1 -12 0 ~ 0 ~ -99 -12 QE ~ 40.0Hz 100% ~ 5.
Appendix • 83 : Flg & Sym No. 1 2 3 4 5 6 7 8 • 84 : Flg & Pha PARAMETER Mod.Freq [Hz] Mod.Dpth [%] Mod.Dly [ms] Mod.FBG [%] Mod.Freq [Hz] Mod.Dpth [%] Init Dly [ms] Hi Gain [dB] RANGE 0.1 0 ~ 0.1 0 ~ 0.1 0 ~ 0 ~ -12 ~ 40.0Hz 100% ~ 99.9ms 99% ~40.0Hz 100% 300ms ~ +12dB QE B B B • 85 : Cho & Cho No. 1 2 3 4 5 6 7 8 RANGE 0.1 0 ~ 0 ~ -12 0.1 0 ~ 0 ~ -12 ~ 40.0Hz 100% 100% ~ +12dB ~40.0Hz 100% 100% ~ +12dB QE B B • 87 : Cho & Pha No. 1 2 3 4 5 6 7 8 RANGE 0.1 0 ~ 0 ~ -12 0.1 0 ~ 0.1 -12 ~ 40.
Appendix Installation of the SYEMB06 Expansion Memory Board 1 Turn the TG500 power switch off and disconnect the AC power cord from the main outlet. 2 Locate the small cover on the top of the TG500 and remove the two screws that hold it in place (Figure 1). 3 Below the cover you will see a recessed panel (Figure 2). When installing a single SYEMB06 use slot number 1. Install a second SYEMB06 in slot number 2. 4 Replace the cover and secure it with the screws you removed in step 2.
Appendix ● WAVE LIST ● Preset 1 Wave No.
Appendix Preset 2 Wave No. 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 310 Group Drum Perc.
Appendix SPECIFICATIONS Tone Generator Systems AWM2 (2nd-generation Advanced Wave Memory), 64-note polyphony Internal Memory Wave ROM: 8 megabytes Wave RAM: Expandable to 1 megabyte (optional SYEMB06 × 2) Preset ROM: 256 voices, 128 Performance combinations Internal RAM: 128 voices, 64 performance combinations, 16 multis External Memory Data slot × 2, Wave slot × 2 (optional MCD64 memory card for voice data) Effects 90 types (dual DSP units) Displays Backlit 24-character × 2-line LCD, 2 LEDs Cont
Appendix ERROR MESSAGES ● MIDI DISPLAY MIDI`buffer`full`! COMMENTS When the TG500 attempted to receive or transmit a large amount of MIDI data, its handling capacity was exceeded. MIDI`data`error`! An error occurred when receiving MIDI data. MIDI`checksum`err`! An error occurred when receiving bulk data. Bulk`protected`! Since the “Bulk Protect” parameter is on, the bulk data was not received. Device`No.`is`off`! Since the device number is off, bulk data cannot be transmitted or received.
Appendix ● Data card DISPLAY Data`Card`not`ready`! Card`protected`! Illegal`format`! Verify`NG`! COMMENTS The data card is not correctly inserted into the slot. Since the memory protect switch of the card is on, data cannot be saved to the card. The card is the wrong format. The data was not correctly saved. ● Wave card DISPLAY Wave`card`not`ready`! COMMENTS The wave card is not correctly inserted into the slot.
Appendix ● Sample DISPLAY COMMENTS Sample`memory`full`! Since the sample memory is full, further loading of sample data is not possible. Sample data not exists`! Since no sample exists in the specified sample number, bulk transmission is not possible. Sample data protected`! Over``waveform`number`! Over`Sample`number`! 314 ERROR MESSAGES Since the waveform card is write protected, data save and bulk transmission are not possible. The maximum allowable number of waves was exceeded.
Appendix TROUBLE SHOOTING The TG500 is a very versatile instrument with many features and functions that affect operation. In many cases, what appears to be a fault with the TG500 can actually be traced to an improperly set parameter or, at the most fundamental level, to something as simple as a bad connection. Here’s how to determine if the problem is internal (e.g. parameter settings) or external (e.g. connections, amplifier, etc.): ● Listen Via Headphones.
Appendix ● Voice Mode Problems Symptom Possible Cause No Sound • Is the pitch envelope generator set properly? If the L0 through L3 parameters are set too low, the resultant pitch may be below the audible range (page 131).
Appendix INDEX A Cutoff frequency depth ............................... 143, 146 AEG data copy ..................................................... 118 AEG levels and rates ........................................... 112 AEG velocity sensitivity .................................53, 99 Aftertouch ................................................................ 56 Aftertouch depth ................................................... 142 Aftertouch mode ...................................................
Appendix E Edit function selection .............................................. 46 mode access ....................................................... 45 parameter selection ........................................... 48 Edit/compare key ......................................... 9, 32, 45 Editing procedure, general .................................... 45 Effect signal flow diagrams ....................... 253, 261 Effects ...................................................................... 41 bypass ..
Appendix control device .................................. 85, 157, 187 controller............................................................. 56 controller 1 and 2 depth ................................ 145 controller 3 and 4 ........................................... 147 controller assignments .................................... 223 controller enable ................................................ 71 device number .................................................. 229 filter .........................
Appendix play mode ........................................................... 24 programming example ...................................... 27 recall .................................................................... 91 store ..................................................................... 94 Phones jack ................................................................8 Pitch bend range ................................................... 141 Pitch bias depth .........................................
Appendix effect mode ...................................................... 150 effect output level ........................................... 153 effect send level .............................................. 152 effect send switches .......................................... 78 effect send velocity sensitivity ........................ 79 effect signal flow display .............................. 162 effect type ............................................... 103, 151 effect wet:dry balance ............
