Yamaha P-250 El manual del propietario

Marca: Yamaha

Modelo: P-250

Categoría: Sintetizador

Tipo: El manual del propietario

POWE

P-

ELECTRONIC

IANO

MAST

EQUA

LIZ

ETTIN

LIT

. F

ILE

TER E

ARIA

TION

ANCE

OICE

DIT

HER

ETTIN

CONTRA

ITAR

NTH

IANO

CLAV

IANO

TRIN

IANO

HOIR

IANO

PER

ORMA

MPO

ANEL LOCK

MID

I O

DOWN

SONG

EX.TRACK

G FILE

TRACK1

TOP

ONG

ELECT

REC

TART/STOP

NCH

RO S

TART

W SONG

TRACK2

SONG SETTING

BALA

BOARD

SONG

MAST

LUME

MIN

MAX

MODULATION

PITC

ON OFF

HOST

ELECT M

NABLE FOO

PEDAL

AC INLET

MID

UOUT

IN AUX

OSUTENUTO

STAI

PC-2

TO HOS T

OUTPUT

MONO

PUT

ONO

ELECTRONIC PIANO

M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

V960150 309APAP1.3-04C0 Printed in Japan

Owner's Manual

This document is printed on recycled chlorine free (ECF) paper with soy ink.

Yamaha Web Site (English only)

http://www.yamahasynth.com/

Yamaha Manual Library

http://www2.yamaha.co.jp/manual/english/

P-250

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS:

Yamaha electronic

products may have labels similar to the graphics shown

below or molded/stamped facsimiles of these graphics on

the enclosure. An explanation of these graphics appears

on this page. Please observe all cautions listed on this

page and those listed in the safety instructions section.

See the bottom of the keyboard enclosure for graphic symbol

markings.

The exclamation point within an equi-

lateral triangle is intended to alert the

user to the presence of important

operating and maintenance (servic-

ing) instructions in the literature

accompanying the product.

The lightning ﬂash with arrowhead

symbol, within an equilateral triangle,

is intended to alert the user to the

presence of uninsulated “dangerous

voltage” within the product’s enclo-

sure that may be of sufﬁcient magni-

tude to constitute a risk of electrical

shock.

IMPORTANT NOTICE:

All Yamaha electronic products

are tested and approved by an independent safety testing

laboratory so you may be sure that when the product is

properly installed and used in its normal and customary

manner, all foreseeable risks have been eliminated. DO

NOT modify this unit or commission others to do so

unless speciﬁcally authorized by Yamaha. Product perfor-

mance and/or safety standards may be diminished.

Claims ﬁled under the expressed warranty may be denied

if the unit is/has been modiﬁed. Implied warranties may

also be affected.

SPECIFICATIONS SUBJECT TO CHANGE:

The infor-

mation contained in this manual is believed to be correct

at the time of printing. However, Yamaha reserves the

right to change or modify any of the speciﬁcations with-

out notice or obligation.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce

products that are both safe and environmentally friendly.

We sincerely believe that our products and the production

methods used to produce them meet these goals. In keep-

ing with both the letter and the spirit of the law, we want

you to be aware of the following:

Battery Notice:

This product MAY contain a small non-

rechargeable battery which (if applicable) is soldered in

place. The average life span of this type of battery is

approximately ﬁve years. When replacement becomes

necessary, contact a qualiﬁed service representative to

perform the replacement.

Warning:

Do not attempt to recharge, disassemble, or

incinerate this type of battery. Keep all batteries away

from children. Dispose of used batteries promptly and as

regulated by applicable laws. Note: In some areas, the

servicer is required by law to return defective parts. How-

ever, you do have the option of having the servicer dis-

pose of these parts for you.

Disposal Notice:

Should this product become damaged

beyond repair, or for some reason its useful life is consid-

ered to be at an end, please observe all local, state, and

federal regulations that relate to the disposal of products

that contain lead, batteries, plastics, etc.

NOTICE:

Service charges incurred due to lack of knowl-

edge relating to how a function or effect works (when the

unit is operating as designed) are not covered by the man-

ufacturer’s warranty, and are therefore the owners respon-

sibility. Please study this manual carefully and consult

your dealer before requesting service.

NAME PLATE LOCATION:

The graphic below indi-

cates the location of the name plate. The model number,

serial number, power requirements, etc., are located on

this plate. You should record the model number, serial

number, and the date of purchase in the spaces provided

below and retain this manual as a permanent record of

your purchase.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

Model

Serial No.

Purchase Date

P-250

On P-250 units distributed in countries other than the

U.S. and Canada, the name plate location may be differ-

ent than that shown in the illustration above.

92-469

(bottom)

P-250

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical

shock, short-circuiting, damages, ﬁre or other hazards. These precautions include, but are not limited to, the following:

• Use only the voltage speciﬁed for the instrument. The required voltage is

printed on the name plate of the instrument.

• Check the electric plug periodically and remove any dirt or dust which may

have accumulated on it.

• Use only the supplied power cord/plug.

• Do not place the power cord near heat sources such as heaters or radiators, and

do not excessively bend or otherwise damage the cord, place heavy objects on

it, or place it in a position where anyone could walk on, trip over, or roll

anything over it.

• Do not open the instrument or attempt to disassemble the internal parts or

modify them in any way. The instrument contains no user-serviceable parts. If it

should appear to be malfunctioning, discontinue use immediately and have the

instrument inspected by qualiﬁed Yamaha service personnel.

• Do not expose the instrument to rain, use it near water or in damp or wet

conditions, or place containers of liquid on it that might spill into any openings.

• Never insert or remove an electric plug with wet hands.

• Do not put burning items, such as candles, on the unit.

Burning items may fall over and cause a ﬁre.

• If the power cord or plug becomes frayed or damaged, or if there is a sudden

loss of sound during use of the instrument, or if any unusual smells or smoke

should appear to be caused by it, immediately turn off the power switch,

disconnect the electric plug from the outlet, and have the instrument inspected

by qualiﬁed Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to yourself or others, or

damage to the instrument or other property. These precautions include, but are not limited to, the following:

• When removing the electric plug from the instrument or an outlet, always hold

the plug itself and not the cord. Pulling on the cord can damage it.

• Remove the electric plug from the outlet when the instrument is not to be used

for extended periods of time, and during electrical storms.

• Do not connect the instrument to an electrical outlet using a multiple-connector.

Doing so can result in lower sound quality, or possibly cause overheating in the

outlet.

• Do not expose the instrument to excessive dust or vibration, or extreme cold or

heat (such as in direct sunlight, near a heater, or in a car during the day) to

prevent the possibility of panel disﬁguration or damage to the internal

components.

• Do not use the instrument in the vicinity of a TV, radio, stereo equipment,

mobile phone, or other electric devices. Otherwise, the instrument, TV, or radio

may generate noise.

• Do not place the instrument in an unstable position from which it might

accidentally fall over.

• Do not place objects in front of the instrument's air vent, since this may prevent

adequate ventilation of the internal components, and possibly result in the

instrument overheating.

• Before moving the instrument, remove all connected cables.

• Use only the stand speciﬁed for the instrument. When attaching the stand or

rack, use the provided screws only. Failure to do so could cause damage to

internal components or result in the instrument falling over.

Power supply/Power cord

Do not open

Water warning

Fire warning

If you notice any abnormality

Power supply/Power cord

Location

(1)-7

1/2

P-250

• Before connecting the instrument to other electronic components, turn off the

power for all components. Before turning the power on or off for all

components, set all volume levels to minimum. Also, be sure to set the

volumes of all components at their minimum levels and gradually raise the

volume controls while playing the instrument to set the desired listening level.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners,

solvents, cleaning ﬂuids, or chemical-impregnated wiping cloths.

• Do not insert a ﬁnger or hand in any gaps on the instrument.

• Never insert or drop paper, metallic, or other objects into the gaps on the panel

or keyboard. If this happens, turn off the power immediately and unplug the

power cord from the AC outlet. Then, have the instrument inspected by qualiﬁed

Yamaha service personnel.

• Do not place vinyl, plastic or rubber objects on the instrument since they might

discolor the panel or keyboard.

• Do not rest your weight, or place heavy objects on the instrument. Do not use

excessive force on the buttons, switches or connectors.

• Do not operate the instrument for a long period of time at a high or

uncomfortable volume level, since this may cause permanent hearing loss. If

you experience any hearing loss or ringing in the ears, consult a physician.

Saving and backing up your data

For instruments with DRAM (RAM that does not retain data)

• Current memory data (see page 33) is lost when you turn off the power to the

instrument. Save the data to the storage memory (see pages 44 and 54).

Yamaha is not responsible for damage caused by improper use or modiﬁcations to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

Connections

Maintenance

Handling precaution

Saving data

(1)-7

2/2

P-250

Introduction

Thank you for purchasing the P-250 Electronic Piano.

The P-250 is a product of Yamaha’s extensive experience in creating ﬁne musical instruments. Its beauti-

ful sound and versatile editing functions enable you to use the P-250 in virtually any situation, ranging

from live performance to recording.

In order to take maximum advantage of the many advanced features and capabilities offered by the

P-250, we urge you to read this manual carefully, and keep it in a safe, accessible location for future ref-

erence.

How to Use this Manual

This manual consists of three main sections:

Basic

Operation

Edit Operation

and

Appendix

Begin by reading the

Basic Operation

section to learn

about the basic functions of the P-250. Then, proceed

to the

Edit Operation

and

Appendix

sections for infor-

mation about a particular function or to master an

advanced technique. Page references will help you

locate speciﬁc information.

Basic Operation

includes a quick guide that explains

how to connect and set up your P-250 and use its

basic functions. It also describes the concept and

structure of the P-250 in plain language.

Edit Operation

explains detailed functions and set-

tings for convenient and advanced techniques.

Appendix

includes a list of voice and performance

presets, reference materials, a

Troubleshooting

section

and an

Index

Introduction

P-250

Accessories and Options

Supplied Accessories

AC power cord

FC3 foot pedal

Music rest

Owner’s manual

Data List

CD-ROM (TOOLS for P-250)

TOOLS for P-250 Installation Guide

Options

Yamaha FC3 foot pedal

Yamaha FC4/FC5 foot switch

Yamaha FC7 foot controller

Yamaha LP-3/LG-100 keyboard stand

Yamaha HPE-170/RH headphones

* The illustrations and LCD screens in this owner’s manual are intended for instructional purposes only, and may appear some-

what different from those on your instrument.

This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to

which it has license to use others' copyrights. Such copyrighted materials include, without limitation, all computer software,

styles files, MIDI files, WAVE data and sound recordings. Any unauthorized use of such programs and contents outside of per-

sonal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON'T MAKE, DISTRIB-

UTE OR USE ILLEGAL COPIES.

• Unauthorized copying of copyrighted software for purposes other than the purchaser’s personal use is prohibited. If you wish to

use such data for certain occasions, consult a copyright expert.

• Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries.

• Windows is a registered trademark of Microsoft Corporation.

• All other trademarks and registered trademarks are the property of their respective holders.

■

Features

• High-quality piano presets that sound virtually identical to an acoustic piano, due to three-stage dynamic sampling,

damper pedal tonal control, and subtle voicing nuances that are generated upon key release.

• An 88-key graded-hammer keyboard that replicates piano-like strokes

• Maximum 128-voice polyphony, 45 original voices by AWM tone generation, plus 480 standard voices and 12 drum kits

that are XG-compatible

• Simple and easy operation via a back-lit LCD and user-friendly control panel

•Various effects that add richness, depth and breadth to the sound

•Versatile MIDI functions

•A master equalizer that enables you to adjust the tone easily from the panel

•A foot control function, as well as pitch bend and modulation wheels, that serve as convenient and powerful tools for live

performance

•A performance function that stores various parameters and settings, and recalls them quickly

•A 16-track sequencer function that records and plays performance data

P-250

Basic OperationEdit OperationAppendix

Table of Contents

PRECAUTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

How to Use this Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Accessories and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Names and Functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Top Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Rear Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Setting Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Installing the Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Music rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Before Powering Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Powering Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Connecting to External Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Connecting to External Audio Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Connecting stereo powered speakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Connecting to a external instrument. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Connecting to a mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Connecting External MIDI Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Controlling an external device from the P-250 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Controlling the P-250 from an external device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Recording your performance on the P-250 to an external MIDI sequencer (such as the QY

series), or playing the P-250 (as a tone generator) from an external MIDI sequencer . . . . . 18

Controlling another MIDI device via the MIDI [THRU] connector . . . . . . . . . . . . . . . . . . . . 18

Connecting to a Personal Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

1 USB connection (the computer’s USB port to the P-250 [USB] connector) . . . . . . . . . . . . 19

2 Serial connection (computer’s serial port to P-250 [TO HOST] connector) . . . . . . . . . . . . 20

3 MIDI connection (the computer’s MIDI interface

or external MIDI interface to the P-250 MIDI IN and OUT connectors) . . . . . . . . . . . . . . . . 22

Connecting Pedals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Connecting headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

P-250 Quick Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Listening to Demo and Preset Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Listening to the demo songs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Listening to the preset songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Selecting, Editing, and Storing a Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Selecting, Editing, and Storing a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Table of Contents

P-250

Basic OperationEdit OperationAppendix

Editing a Voice and Storing It as a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

P-250 Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Performance parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Performance file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Song file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

About P-250 Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Storage memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Current memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Selecting a Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Playing in Dual Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Dual mode using voices in different voice groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Dual mode using voices in the same voice group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Playing in Split Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Effect Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

System effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Insertion effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Using the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Using the Master Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Using the Pitch Bend and Modulation Wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Pitch bend wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Modulation wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Using Pedals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Applying the sustain effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Applying the sostenuto effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Applying the soft effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Applying the expression effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Using Panel Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Toggling MIDI Transmission On/Off. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Transmitting MIDI Panic Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Performance Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Selecting a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Handling Performance Files [PERFORM.FILE] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Basic Operation for the Performance File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Storing a Performance [Performance] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Renaming a Performance [Perf.Name] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Saving a Performance File to Storage Memory [SaveToMemory] . . . . . . . . . . . . . . . . . . . . 44

Loading a Performance File from Storage Memory [LoadFromMem.] . . . . . . . . . . . . . . . . 44

Deleting a Performance File [DeleteFile]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Renaming a Performance File [RenameFile] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

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Song Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Recording Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Recording a New Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Re-recording part of a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Other Recording Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Adding data to or recording over an existing song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Changing the voice or tempo after recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Adjusting the volume balance between playback and the sound

of your playing by using the [SONG BALANCE] slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Recording in Dual or Split mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Song Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Handling Song Files [SONG FILE] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Basic Song File Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Saving a Song File in Storage Memory [SaveToMemory] . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Deleting a Song File from Storage Memory [DeleteSong] . . . . . . . . . . . . . . . . . . . . . . . . . 54

Renaming a Song (Song File) [RenameSong]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Changing the On-Screen Character Type [CharacterCode]. . . . . . . . . . . . . . . . . . . . . . . . . 55

Edit Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Parameter List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Basic Editing Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Settings for Song Recording and Playback [SONG SETTING] . . . . . . . . . . . . . . . . . . . . . . . . . 62

Correcting note timing [Quantize] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Specifying whether playback starts immediately along with the first voicing

[QuickPlay] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Auditioning channel [ChannelListen]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Deleting data from a channel [ChannelClear] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Specifying the range and playing back repeatedly [FromToRepeat] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Specifying a phrase for playback by phrase number [PhraseMark] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Playing back a song repeatedly [SongRepeat]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Setting the click time signature [TimeSignature]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Setting the click volume [ClickVolume] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Turning the click on/off [ClickOnOff] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Editing a Voice in Detail [VOICE EDIT] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Basic voice editing using [VOICE EDIT] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Setting the octave* [Octave]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Setting the volume level* [Volume] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Setting the position of the right and left channels* [Pan] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Adjusting fine pitch offset between two voices in Dual mode [Detune] . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Selecting the reverb type [ReverbType]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

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Setting the reverb depth* [ReverbSend] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Setting the chorus type [ChorusType] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Setting the chorus depth* [ChorusSend] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Turning the chorus on/off [ChorusOnOff] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Selecting the insertion effect type* [Ins.Type(Ins)]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Setting the speed of the vibraphone vibrato effect* [VibeRotorSpeed(RotorSpeed)] . . . . . . . . . . . . . . . 67

Turning the Vibraphone vibrato on/off* [VibeRotorOnOff (RotorOnOff)] . . . . . . . . . . . . . . . . . . . . . . 67

Adjusting the speed of the rotary speaker* [RotarySpeed (Rot.Speed)] . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Adjusting the insertion effect depth*

[Dry/WetBalance(Dry/Wet)]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Adjusting the brightness of the sound* [Brightness]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Adjusting the resonance effect* [HarmonicContent (Harmonic)] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Adjusting the low-range frequency of the part EQ* [EQ LowFreq.(EQ L.Freq)]. . . . . . . . . . . . . . . . . . . 68

Adjusting the high-range frequency of the part EQ* [EQ HighFreq.(EQ H.Freq)] . . . . . . . . . . . . . . . . . 68

Adjusting the low-range gain (amount of boost/cut) of the part EQ* [EQLowGain] . . . . . . . . . . . . . . . 68

Adjusting the high-range gain (amount of boost/cut) of the part EQ* [EQHighGain]. . . . . . . . . . . . . . 68

Setting the touch sensitivity* [TouchSense]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Assigning the Pedal 1 function [Pedal 1] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Assigning the Pedal 2 function [Pedal 2] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Assigning the Pedal 3 function [Pedal 3] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Assigning the Pedal 4 function [Pedal 4] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Assigning the modulation wheel function [Modulation] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Setting the MSB of the Send Bank Select message* [SendBankMSB(SendMSB)] . . . . . . . . . . . . . . . . . . 70

Setting the LSB of the Send Bank Select message* [SendBankLSB(SendLSB)]. . . . . . . . . . . . . . . . . . . . . 70

Setting the Program Change message* [SendPG#] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Turning the Internal tone generator on/off* [InternalTG] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Adjusting the Master Equalizer [MASTER EQ EDIT] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Setting the Master Equalizer type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the low range gain of the Master Equalizer [LowGain] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the low-middle range gain of the Master Equalizer [LowMidGain] . . . . . . . . . . . . . . . . . . . . 71

Adjusting the middle range gain of the Master Equalizer [MidGain] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the high-middle range gain of the Master Equalizer [HighMidGain] . . . . . . . . . . . . . . . . . . . 71

Adjusting the high range gain of the Master Equalizer [HighGain] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the low frequency of the Master Equalizer [LowFreq.] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the low-middle frequency of the Master Equalizer [LowMidFreq.]. . . . . . . . . . . . . . . . . . . . . 71

Adjusting the middle frequency of the Master Equalizer [MidFreq.] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the high-middle frequency of the Master Equalizer [HighMidFreq.] . . . . . . . . . . . . . . . . . . . 71

Adjusting the high frequency of the Master Equalizer [HighFreq.]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Adjusting the low range resonance of the Master Equalizer [LowQ] . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Adjusting the low-middle range resonance of the Master Equalizer [LowMidQ] . . . . . . . . . . . . . . . . . . 72

Adjusting the middle range resonance of the Master Equalizer [MidQ]. . . . . . . . . . . . . . . . . . . . . . . . . . 72

Adjusting the high-middle range resonance of the Master Equalizer [HighMidQ]. . . . . . . . . . . . . . . . . 72

Adjusting the high range resonance of the Master Equalizer [HighQ] . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

MIDI [MIDI SETTING] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

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About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

[MIDI] connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

[TO HOST] connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

[USB] connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Setting the MIDI transmit channel [MidiOutChannel] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Setting the MIDI receive channel [MidiInChannel] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Turning the Local Control On/Off [LocalControl] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Specifying keyboard performance or song data to be transmitted via MIDI [MidiOutSelect] . . . . . . . . 74

Specifying the type of data received via MIDI [ReceiveParameter] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Specifying the type of data transmitted via MIDI [TransmitParameter]. . . . . . . . . . . . . . . . . . . . . . . . . . 75

Transmitting the initial settings on the panel [InitialSetup]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Executing Voice Data Bulk Dump [VoiceBulkDump] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Other Settings [OTHER SETTING] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Selecting a touch response [TouchResponse]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Fine-tuning the pitch [Tune] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Selecting a tuning curve for a piano voice [PianoTuningCurve] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Selecting a scale [Scale] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Setting the split point [SplitPoint]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Setting the key [Transpose] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Specifying the depth of the soft pedal [SoftPedalDepth]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Specifying the depth of string resonance [StringResonanceDepth] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Specifying the depth of sustain sampling for the damper pedal [SustainSamplingDepth]

. . . . . . . . . . . . . . . 78

Specifying the volume of the key-off sound [KeyOffSamplingDepth]. . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Selecting a pedal function for vibraphone [VibraphonePedalMode]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Assigning the START/STOP function to a pedal [PedalStart/Stop]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Selecting a type of pedal [Pedal Type]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Setting the point at which the pedal starts to affect the sound [HalfPedalPoint] . . . . . . . . . . . . . . . . . . . 78

Setting the pitch bend range [PitchBendRange] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Assigning a function to the [SONG BALANCE] slider [SongBalanceAssign]. . . . . . . . . . . . . . . . . . . . . . 79

Switching the speaker on/off [Speaker]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Locking the Master Equalizer settings [EqualizerLock]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Selecting items saved at shutdown [MemoryBackUp] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Restoring the normal (default) settings [FactorySet]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Message List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Midi Data Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Preset Voice List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Preset Performance List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Application Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

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Basic OperationEdit OperationAppendix

Listening and playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Using the controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Changing the sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Changing the pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Adjusting the volume Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Recording, playing, and saving a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Using, editing, and saving a performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Connecting the P-250 to other devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

If you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

P-250

Basic Operation

Basic Operation includes a quick guide that explains how to connect and set up your P-250 and use its basic

functions. It also describes the concept and structure of the P-250 in plain language.

Names and Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Setting Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Connecting to External Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

P-250 Quick Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

P-250 Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Basic Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Performance Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Handling Performance Files [PERFORM.FILE] . . . . . . . . . . . . . . . . . . . . . . . . .42

Song Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Song Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Handling Song Files [SONG FILE]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Names and Functions

14 P-250

Basic Operation

Names and Functions

■ Top Panel

1 [PITCH] ....................................page 38

[MODULATION] .........................page 38

[POWER] .....................................page 16

[MASTER VOLUME] .....................page 16

[SONG BALANCE]...................... page 49

SONG SELECT [ ]/[ ] ......page 47,51

[TRACK1][TRACK2]

[EX.TRACKS] ........................ page 47—50

[TOP]

/ SONG[START/STOP] ............page 47,51

[REC]............................................page 47

[SONG FILE] ................................page 53

[SONG SETTING] ........................page 62

[MIDI OUT].................................page 40

[PANEL LOCK] .............................page 39

TEMPO[DOWN][UP].................. page 51

LCD buttons A[–]/[+]/ B[–(NO)]/

[+(YES)]/C[–]/[+]/D[–]/[+] ........page 16

LCD

...........................................page 16

[CONTRAST]

..............................page 16

[EXIT]............................. ............

page 16

VOICE

/PERFORMANCE buttons ............page 34

[VOICE EDIT] ..............................page 65

K [SPLIT] ..................................... page 36

L [REVERB] ................................. page 37

M [CHORUS] ............................... page 37

[PERFORMANCE] ........................page 41

[MIDI SETTING] ..........................page 74

P VARIATION [†]/[π]............... page 34

MASTER EQ EDIT [

†

]/[

]..........page 71

[PERFORM. FILE] ................. page 41—42

[OTHER SETTING].......................page 76

[MASTER EQUALIZER].................page 38

Panel logos...................................page 89

[PHONES]....................................page 17

MODULATION

PITCH

USB

HOST SELECT MIDI

MIDI THRUOUTPC-2

TO HOST

USB Mac

INPUT

RL/MONO

OUTPUT

RL/MONO

TEMPOSONGSONG BALANCE

MASTER VOLUME

POWER

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN

ON OFF

MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

DOWNSONG SETTING UP

7 E F

0 BC

9 A D

P-250 15

Names and Functions

Basic Operation

[AC INLET]................................. page 16

ASSIGNABLE FOOT PEDAL

[1 (SUSTAIN)][2 (SOSTENUTO)]

[3 (SOFT)][4 (AUX)] .................... page 23

MIDI[IN][OUT][THRU] ..page 18—20,22

[HOST SELECT]...............page 18—20,22

[

[TO HOST].................................. page 20

[USB] ...........................................page 19

]

OUTPUT [R][L/MONO]...............page 17

INPUT [R][L/MONO] ..................page 17

■ Rear Panel Controls

MIDI ASSIGNABLE FOOT PEDAL

AC INLET

HRU OUT IN AUX

SOSUTENUTO

SUSTAIN

SOFT

P-250

ELECTRONIC PIANO

HIGHHI-MID

MASTER EQUALIZERVOICE/PERFORMANCE

LOW

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

LO-MID MID

JK LMN O

P Q R S

E I TF

AC INLET

MIDIASSIGNABLE FOOT PEDAL

IN THRUOUT

AUX

TO HOST

USB

HOST SELECT

MIDI PC-2 USBMac

SUSTAIN

OUTPUT

RL/MONO

SOSUTENUTO

SOFT

INPUT

RL/MONO

X Y

Z [ \

] _

16 P-250

Basic Operation

Setting Up

■ Installing the Accessories

Music rest

To attach the music rest, insert its pins into the holes on

the P-250’s rear panel, as shown in the diagram below.

Pedal

Connect the included pedal (FC3) to the [1(SUS-

TAIN)], [2(SOSTENUTO)], or [3(SOFT)] jack on the

rear panel. In most situations, you will likely connect

the pedal to the [1(SUSTAIN)] jack for use as a sustain

pedal (page 23).

■ Before Powering Up

Make sure the [POWER] switch is OFF.

2 Plug the appropriate end of the included

power cable into the [AC INLET].

3 Plug the other end of the power cable into an

AC outlet.

■ Powering Up

Turn the power ON by pressing the [POWER]

switch.

2 Rotate the [CONTRAST] knob to adjust the

brightness of the LCD.

Adjust the [MASTER VOLUME] control to a com-

fortable listening level while playing the key-

board or playing back the demonstration songs.

LCD and LCD control buttons

You can use the LCD control buttons (A, B, C, and D)

to select and set the items displayed on the LCD. Ver-

ify the operation by checking the LCD. When you

press the [EXIT] button, the unit displays the initial

power-on screen.

AC INLET

POWER

ON OFF

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

[CONTRAST]

LCD control buttons

LCD

[EXIT]

[MASTER VOLUME]

LCD control buttons

P-250 17

Basic Operation

Connecting to External Devices

■ Connecting to External Audio Equipment

Although the P-250 has built-in speakers, you can connect an external stereo system or powered speak-

ers as a monitor. You can also connect a set of headphones (page 23).

There are several ways to connect the P-250 to external audio equipment, as described in the following

illustrations. Refer to the illustration most similar to your intended setup.

Connecting stereo powered speakers

A pair of powered speakers can accurately produce

the instrument's rich sounds as well as the pan and

effect settings. Connect your powered speakers to the

OUTPUT [L/MONO] and [R] jacks on the rear panel.

Connecting to a external instrument

The stereo outputs from another instrument can be

connected to the INPUT [L/MONO] and [R] jacks,

allowing the sound of an external instrument to be

reproduced via the P-250's speakers.

Connecting to a mixer

A mixer is often used for recording and live perfor-

mance, enabling you to play the P-250 through a

large-scale sound system.

CAUTION

Before you connect the P-250 to other electronic components, ﬁrst set all volume levels to minimum (0), then turn off the power to all com-

ponents.

As a standard practice, before you turn the power on or off to any component, set all volume levels to minimum (0). Otherwise, electrical

shock or damage to the components may result.

TIP

To use a single powered speaker, connect it to the OUT-

PUT [L/MONO] jack on the rear panel.

P-250

Stereo headphones

[PHONES]

OUTPUT [L /MONO]

OUTPUT [R]

INPUTINPUT

Powered speaker

(Left)

Powered speaker

(Right)

OUTPUT [L]

INPUT [L/MONO]

External synthesizer

or tone generator

P-250

[R]

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

TIP

Connecting a pair of headphones does not affect audio out-

put from the OUTPUT [L/MONO] and [R] jacks. You can

monitor the output via headphones or at the OUTPUT

jacks.

12345678910111213141516LR

Mixer

Speakers

Amplifier

OUTPUT L

OUTPUT

]

OUTPUT

[

L/MONO]

Stereo headphones

[PHONES]

P-250

Connecting to External Devices

18 P-250

Basic Operation

■ Connecting External MIDI

Equipment

Using a standard MIDI cable (available sepa-

rately), you can connect an external MIDI

device, and control it from the P-250. You can

also use an external MIDI keyboard or

sequencer to control the P-250’s internal

sounds. Several different MIDI connection

examples are illustrated below:

Controlling an external device

from the P-250

Controlling the P-250 from an

external device

Recording your performance on the

P-250 to an external MIDI sequencer

(such as the QY series), or playing

the P-250 (as a tone generator) from

an external MIDI sequencer

Controlling another MIDI device

via the MIDI [THRU] connector

In this example, P-250 performance data is transmit-

ted from the MIDI [OUT] connector.

MIDI data input from an external MIDI sequencer is out-

put as is from the MIDI [THRU] connector.

TIP

The HOST SELECT switch should be set to “MIDI.” Other-

wise, MIDI information will not be transmitted from the P-

250’s MIDI OUT connector.

External MIDI keyboard

or synthesizer

P-250

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

MIDI [OUT]

MIDI [IN]

HOST SELECT

MIDI PC-2 USBMac

MIDI [OUT]

MIDI [IN]

External MIDI keyboard

or synthesizer

P-250

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

HOST SELECT

MIDI PC-2 USBMac

NOTE

The P-250 does not receive or transmit MIDI Start (FAh),

Continue (FBh), or Stop (FCh) messages.

TIP

The MIDI cable should be shorter than 15 meters, and

there should be no more than three devices in a MIDI chain

(chained in series via each unit's MIDI [THRU] connector).

To connect more units, use a MIDI thru box for parallel con-

nections. You may encounter errors if the MIDI cables are

too long or if too many devices are chained together via

their MIDI [THRU] connectors.

MIDI [OUT]

External

MIDI seqencer

P-250

MIDI [IN]

HOST SELECT

MIDI PC-2 USBMac

MIDI [IN]

MIDI [THRU]

MIDI [OUT]

MIDI [IN]

External

MIDI sequencer

External

MIDI synthesizer

External MIDI synthesizer

MIDI [OUT]

MIDI [IN]

P-250

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

HOST SELECT

MIDI PC-2 USBMac

P-250 19

Connecting to External Devices

Basic Operation

■ Connecting to a Personal

Computer

When a computer is connected, it can be used

to control the P-250 or transfer P-250 data to or

from the computer via MIDI. For example, you

can edit the P-250's voices or store the P-250's

voice data in the computer.

There are three ways in which to connect your

P-250 to a computer:

1 USB connection (the computer’s USB port

to the P-250 [USB] connector)

2 Serial connection (the computer’s serial port

to the P-250 [TO HOST] connector)

3 MIDI connection (the computer’s MIDI inter-

face or external MIDI interface to the P-250

MIDI [IN] and [OUT] connectors)

The connectors that can be used depend on the setting

of the [HOST SELECT] switch.

Different computers require different connec-

tions, as follows.

Setting the [HOST SELECT] switch

Set the [HOST SELECT] switch according to the type

of connected computer:

• Macintosh:

“Mac” (data transfer rate: 31,250bps, 1MHz clock)

•Windows:

“PC-2” (data transfer rate: 38,400bps)

1 USB connection (the computer’s USB

port to the P-250 [USB] connector)

NOTE

The P-250 does not receive or transmit MIDI Start (FAh),

Continue (FBh), or Stop (FCh) messages.

TIP

After you connect the P-250 to the computer, make sure

that Local On/Off (pages 22 and 74) is set correctly accord-

ing to the system environment.

TIP

You will need MIDI application software (sequencer, editor,

etc.) compatible with your computer platform. (Refer to the

separate Installation Guide.)

NOTE

When you connect the P-250 to a personal computer, ﬁrst

turn off the power to both the P-250 and the computer before

you connect any cables and set the HOST SELECT switch.

After you make connections and set the switch, turn on the

power to the computer ﬁrst, then to the P-250.

NOTE

If you are not using the connection between the P-250 and

your computer, you must disconnect the cable from the [TO

HOST] or [USB] connector. If the cable is connected, the P-

250 may not function properly.

[HOST SELECT] Switch Setting

Usable connectors

MIDI MIDI [IN], [OUT], [THRU]

connectors

PC-2, Mac [TO HOST]

USB [USB]

NOTE

If your system does not work properly with the connections and

settings listed above, check your software operation manual and

set the HOST SELECT switch to the proper data transfer rate.

TIP

About the USB driver:

You must install the speciﬁed USB driver (YAMAHA USB

MIDI Driver) in your computer before you can transfer data

between the computer and the P-250.

The YAMAHA USB MIDI Driver can be installed from the

included “TOOLS for P-250” CD-ROM.

The YAMAHA USB MIDI Driver supports the following OS

versions:

Windows 98, Windows 98SE, Windows Me, Windows 2000,

Windows XP

Mac OS 8.6 through 9.2.1

TIP

You will need MIDI application software (sequencer, editor,

etc.) compatible with your computer platform.

CAUTION

If you want to use a USB cable to connect the P-250 to your

computer, you must connect the USB cable before you turn

on the power to the P-250.

Also, do not turn the power of the P-250 on or off while

application software that uses USB MIDI is running.

TIP

The P-250 will begin transmission soon after the USB con-

nection is made.

NOTE

When using a USB cable to connect the P-250 to your com-

puter, make the connection directly without passing through

a USB hub.

CAUTION

Depending on the state of your computer, the operations of

the P-250 may become unstable. Do not use your computer

in a way that causes it to become unstable.

CAUTION

If you turn the power of the P-250 on or off, or connect or

disconnect the USB cable in the following states, problems

will occur in the computer system, possibly causing it to

freeze (hang up), or causing the P-250 to stop functioning:

• While installing the driver

• While starting or shutting down the operating system

• While the computer is in Save Energy (Sleep) mode

• While a MIDI application program is starting up.

[USB] connector

USB cable

Computer

P-250

HOST SELECT

MIDI PC-2 USBMac

Connecting to External Devices

20 P-250

Basic Operation

2 Serial connection (computer’s serial

port to P-250 [TO HOST] connector)

CAUTION

Performing the following actions may cause your computer

to hang up or cause the P-250 to stop functioning:

•Turning the power on or off, or connecting or disconnect-

ing the cable too often

• Shifting to power-conservation (sleep) mode while MIDI

data is being transferred, or returning from sleep mode

• Disconnecting or connecting the cable while the P-250 is

•Turning the power to the P-250 on or off, starting up your

computer, or installing the driver while a large amount of

data is being transferred

TIP

Note for Windows users regarding the MIDI driver:

To transfer data via the computer’s serial port and the

P-250 [TO HOST] connector, you need to install a speciﬁed

MIDI driver (Yamaha CBX driver for Windows).

You can download this driver from the XG Library on the

Yamaha Web site (http://www.yamaha-xg.com/) or install it

from the included “TOOLS for P-250” CD-ROM.

[TO HOST]

Windows Macintosh

Modem portRS-232C (D-sub 9-pin)

(Macintosh)(Windows)

HOST SELECT

MIDI PC-2 USBMac

HOST SELECT

MIDI PC-2 USBMac

• Using the computer’s MIDI interface

MIDI [OUT]

MIDI [IN]

Windows

Macintosh

MIDI

OUT

MIDI

OUT

MIDI

MIDI interface

MIDI

IN THRUOUT

HOST SELECT

MIDI PC-2 USBMac

• Using an external MIDI interface

P-250 21

Connecting to External Devices

Basic Operation

Type of serial cables and pin assignments

Depending on the type of computer you connect, use

one of the following serial cables:

Windows (with a 9-pin D-sub serial port)

8-pin mini DIN plug → D-sub 9-pin plug

(Yamaha CCJ-PC2 or equivalent)

Macintosh

System peripheral plug → 8-pin plug

(Yamaha CCJ-MAC or equivalent)

Pin assignment

The following diagram shows the pin assignments for

each cable.

8 (CTS)

7 (RTS)

2 (RxD)

5 (GND)

3 (TxD)

mini DIN

8-pin

D-sub

9-pin

mini DIN

8-pin

2 (HSK i)

1 (HSK O)

5 (RxD-)

4 (GND)

3 (TxD-)

8 (RxD+)

7 (GP-)

6 (TxD+)

mini DIN

8-pin

mini DIN 8-pin

Pin numbers (view from front)

D-sub 9-pin

45321

9876

Connecting to External Devices

22 P-250

Basic Operation

3 MIDI connection (the computer’s

MIDI interface or external MIDI inter-

face to the P-250 MIDI IN and OUT

connectors)

Local On/Off when a computer is connected

If the P-250 is connected to a computer, keyboard perfor-

mance data is generally sent to the computer, then returned

from the computer to trigger the P-250 internal tone genera-

tor. If the Local Switch is set to “on,” the P-250 will play the

song in unison, since the internal tone generator is receiving

performance data from both the keyboard and the com-

puter.

Use the following setting as a guideline; speciﬁc instruc-

tions may differ depending on your computer and the soft-

ware used.

MIDI “Echo” is enabled on the software/computer

MIDI “Echo” is disabled on the software/

computer

MIDI “Echo” is a function that takes any data

received via MIDI IN and “echoes” it (or transmits it

as is) through MIDI OUT. In some software applica-

tions, this function is also called “MIDI Thru.”

TIP

Please use the appropriate MIDI interface for your com-

puter.

TIP

If you are using a computer that features a USB interface,

connect the computer and the P-250 with a USB cable.

P-250

MIDI

OUT

MIDI

MIDI [IN] MIDI [OUT]

Computer with

MIDI interface

HOST SELECT

MIDI PC-2 USBMac

• Using the computer’s MIDI interface

MIDI Interface

MIDI OUT

MIDI IN

MIDI [IN] MIDI [OUT]

Serial port

(modem or printer port),

or USB port

Computer

P-250

HOST SELECT

MIDI PC-2 USBMac

• Using an external MIDI interface

TIP

To transmit or receive System Exclusive data (page 75,

page 31 of the separate “Data List”) such as with the Bulk

Dump function, use the setting example below, making sure

that MIDI “Echo” on the computer software is set to “off.”

TIP

The P-250 receives and responds to MIDI data from the

computer application (sequencer), regardless of the Local

On/Off setting on the P-250.

TIP

Refer to the owner’s manual for your software for speciﬁc

instructions.

Echo Back On

Local Off

Computer with

application software

Tone

Generator

Keyboard

MIDI setting “LocalControl” : off

IN OUT

USB

OUT

P-250

Echo Back Off

Local On

Computer with

application software

Tone

Generator

Keyboard

MIDI setting “LocalControl” : on

OUT

USB

P-250

P-250 23

Connecting to External Devices

Basic Operation

■ Connecting Pedals

You can connect an optional foot switch (FC4,

FC5), foot pedal (FC3), or foot controller (FC7)

(instead of the included FC3 foot pedal) to the

ASSIGNABLE FOOT PEDAL [1 (SUSTAIN)], [2

(SOSTENUTO)], [3 (SOFT)], [4 (AUX)] jacks on

the rear panel to control various parameters

(page 69).

■ Connecting headphones

You can connect headphones to the [PHONES] jack

located on the front panel.

TIP

For more information on basic operation of the pedals and

assigning the functions to them, refer to pages 39 and 69

respectively.

TIP

Optional pedals:

Yamaha FC3 foot pedal

Yamaha FC7 foot controller

Yamaha FC4 foot switch

Yamaha FC5 foot switch

MIDIASSIGNABLE FOOT PEDAL

IN TOUT

AUX

SUSTAIN

SOSUTENUTO

SOFT

Rear panel

foot switch

FC4 or FC5

foot pedal

FC3

foot controller

FC7

PHONES

[PHONES]

24 P-250

Basic Operation

P-250 Quick Guide

■ Listening to Demo and Preset Songs

For each voice group, the P-250 contains one demo song and one preset song that shows off the charac-

teristics of the voices. This section explains how to listen to demo and preset songs for the voice

groups.

Listening to the demo songs

1 Engage Demo Song mode.

Simultaneously press the [MIDI SETTING] button

and the [OTHER SETTING] button.

The VOICE/PERFORMANCE button indicators ﬂash in

succession.

2 Select a song and start playback.

Press the VOICE/PERFORMANCE button for the

demo song that you want to hear.

The corresponding VOICE/PERFORMANCE button

indicator lights up and playback starts.

Demo songs will play back consecutively from the

upper-left VOICE/PERFORMANCE button until you

stop playback.

To adjust the volume balance between song playback

and keyboard, use the [SONG BALANCE] slider.

(page 49)

3 Stop playback.

Press the VOICE/PERFORMANCE button for the

current demo song or press the SONG [START/

STOP] button.

4 Exit Demo Song mode.

Press the [EXIT] button.

By pressing the [MIDI SETTING] and the [OTHER

SETTING] buttons simultaneously, then press the A[–]

or [+] button to get the [Piano Demo] display, you

can hear the piano demo. The piano demo lets you

compare the result of enabling/disabling each sam-

pling technology.

GRANDPIANO1 .... Stereo Piano (stereo sampling)

GRANDPIANO2 .... Mono Piano (mono sampling)

E.PIANO1............... mezzo piano (dynamic sam-

pling, mezzopiano)

E.PIANO2............... mezzo forte (dynamic sam-

pling, mezzoforte)

E.PIANO3............... forte (dynamic sampling, forte)

CLAVI. ................... with Sustain (with sustain sam-

pling)

HARPSICHORD ..... no Sustain (without sustain

sampling)

VIBRAPHON.......... with KeyOff (with key-off sam-

pling)

ORGAN1 ............... no KeyOff (without key-off

sampling)

ORGAN2 ............... with StringRes (with string res-

onance)

STRINGS ................ no StringRes (without string

resonance)

TIP

To adjust the volume level

To adjust the volume level of the demo songs, use the

[MASTER VOLUME] dial.

TEMPOSONGSONG BALANCE

MASTER VOLUME

POWER

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN

ON OFF

MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

DOWNSONG SETTING UP

P-250 25

P-250 Quick Guide

Basic Operation

Listening to the preset songs

1 Select the desired song.

Press the SONG SELECT [ ]/[ ] buttons to

select the number of the tune you want to hear.

The song number is displayed as [P-***].

2 Start playback.

Press the SONG[START/STOP] button to start

playback.

Adjusting the tempo

You can use the TEMPO [DOWN]/[UP] buttons to

adjust the playback tempo as required. The default

tempo (the song’s original tempo) is set when you

press the [DOWN] and [UP] buttons simultaneously.

Press either SONG SELECT [ ]/[ ] button to

return to the song selection screen.

3 Stop playback.

When playback is complete, the P-250 automati-

cally stops and locates the top of the song. To stop

playback in the middle of a song and locate the

top of the song, press the [TOP] button. You can

also pause playback by pressing the [START/

STOP] button.

Fast forward and rewind

You can perform the following operations while the

song selection screen is displayed:

• Use the B [–]/[+] buttons to move back and forth

(rewind and fast forward) through the song while

the song is played or stopped.

• Press the SONG SELECT [ ] or C [–] button dur-

ing playback to restart playback from the top of

the song.

• Press the SONG SELECT

[] or C[+] button dur-

ing playback to start playback from the next song.

• Press the SONG SELECT

[] or C [–] button

while playback is paused in a song to locate the

top of the song.

4 Return to the main screen.

Press the [EXIT] button.

TIP

•You can also use the C [–]/[+] buttons to select a song

after you press the SONG SELECT [ ]/[ ] but-

tons.

• “P-000: NewSong” is a blank song provided so you can

record your playing. (page 47)

• Use the “SongRepeat” parameter in the [SONG SET-

TING] menu to select repeat playback of all songs or

repeat playback of a single song. (page 64)

NOTE

In songs recorded at a free tempo, the actual number of

bars occasionally may not match the number of bars indi-

cated on screen.

NOTE

Some preset songs contain song data recorded at a free

tempo.

the bar number

TIP

You can also use the D[–]/[+] buttons to change the

tempo.

TIP

Whenever you select a new preset song, the tempo is

automatically reset to the song’s original value.

P-250

ELECTRONIC PIANO

HIGHHI-MID

MASTER EQUALIZERVOICE/PERFORMANCE

LOW

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

LO-MID MID

12, 3

P-250 Quick Guide

26 P-250

Basic Operation

■ Selecting, Editing, and Storing a Voice

The P-250 features a large number of high grade piano, organ, and other voices. Follow the steps below

to play your favorite voices, change the parameters, and store the edited voices.

1 Make sure the Performance mode is turned

off.

If it’s on, press the [PERFORMANCE] button to

turn off the button indicator.

2 Select a voice.

Press one of the VOICE/PERFORMANCE buttons

(from [GRAND PIANO 1] through [XG]) to select

your favorite voice. You can also switch between

voices in the same group by pressing one of the

VARIATION buttons [†]/[π] or A [–]/[+] buttons

repeatedly.

3 Play the keyboard.

4 Change the voice.

You can change a voice in another group by

pressing a VOICE/PERFORMANCE button. You

can also play voices in Dual or Split mode. For

more information, see pages 35 and 36.

5 Apply the reverb effect.

Press the [REVERB] button repeatedly to toggle

the reverb on and off. When the button indicator

is off, the reverb is off. (See page 37.)

6 Apply the chorus effect.

Press the [CHORUS] button repeatedly to toggle

the chorus on or off. When the LED is off, the cho-

rus is off. (See page 37.)

7 Use the Master Equalizer.

By moving the MASTER EQUALIZER [LOW],

[LO-MID], [MID], [HI-MID], [HIGH] controls,

you can adjust the tonal quality. (See page 38.)

8 Use the pitch bend and modulation wheels.

Moving either wheel up or down creates expres-

sive playing effects, pitch bend, modulation, etc.

(See page 38.)

9 Use the pedal.

When the FC3 foot pedal is connected to a jack

on the rear panel, such as the [1 (SUSTAIN)] jack,

it can be used to create expressive playing effects.

(See page 39.)

10 Use the Edit function.

Press the [VOICE EDIT] button, then press the A [–]/

[+] buttons to select an item to edit, then press the

C [–]/[+] and D [–]/[+] buttons to edit tonal color.

11 Store the edits.

Press the B [+(YES)] button to store the edited

voice.

MODULATION

PITCH

USB

HOST SELECT

MIDI THRU

PC-2

TO HOST

USB Mac

INPUT

RL/MONO

OUT PUT

RL/MONO

TEMPOSONGSONG BALANCE

MASTER VOLUME

POWER

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN

ON OFF

MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

DOWNSONG SETTING UP

P-250 27

P-250 Quick Guide

Basic Operation

■ Selecting, Editing, and Storing a Performance

A performance is a group of stored settings regarding the tone generator, MIDI, and so on. The P-250 fea-

tures 32 preset performances. You can select and play any of these performances. You can also change

the parameters, and store the edits as a new performance.

1 Load a preset performance.

Press the [PERFORM. FILE] button, then press the

A [–]/[+] button to select “LoadFromMem.” Press

the C [–]/[+] button to select “000:PresetPerfor-

mance,” then press the B [+(YES)] button. When

the unit displays “Sure?-->,” press the B[+(YES)]

button again.

Make sure the Performance mode is turned

on.

If it’s off, press the [PERFORMANCE] button. The

button indicator blinks.

3 Select the desired performance.

Press the [EXIT] button, then press the VARIA-

TION [†]/[π] buttons to switch between Banks

A and B (page 30), then press any of the VOICE/

PERFORMANCE [1] — [16] buttons to select the

desired performance.

4 Play the keyboard.

5 Change the performance.

Yo u can change a performance by pressing another

VOICE/PERFORMANCE button. To select a perfor-

mance in another bank, press the VARIATION [†]/

[π] buttons to ﬂash the [PERFORMANCE] indicator,

then press the desired VOICE/PERFORMANCE button.

6 Use the Edit function.

Press the [VOICE EDIT] button, then press the A [–]/

[+] buttons to select an item to edit, then press the C

[–]/[+] and D [–]/[+] buttons to customize the voice.

7 Store a performance.

You can store an edited voice as a performance

(page 30).

Press the [PERFORM. FILE] button, then press the

A [–]/[+] buttons to select “Performance,” and

press the C [–]/[+] or VARIATION [†]/[π] but-

tons to select a location to store the performance.

Finally, press the B [+(YES)] button.

■ Editing a Voice and Storing It as a Performance

When you are editing the parameters of a selected voice, you may occasionally want to store the current

settings of the P-250 as a performance. In this case, follow the steps below:

Edit the desired voice following the Steps 1-10 described in the “Selecting, Editing, and Storing a Voice”

section. Then, proceed to Step 7 in the “Selecting, Editing, and Storing a Performance” section to store

the settings the entire keyboard as a performance.

MIDI ASSIGNABLE FOOT PEDAL

AC INLET

OUT IN AUX

SOSUTENUTO

SUSTAIN

SOFT

P-250

ELECTRONIC PIANO

HIGHHI-MID

MASTER EQUALIZERVOICE/PERFORMANCE

LOW

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

LO-MID MID

28 P-250

Basic Operation

P-250 Design

This chapter explains the terms “Voice,” “Performance,” “Song,” and “Memory.”

■ Voice

The P-250 features 45 preset voices and an XG voice set (equivalent to a single voice). You can combine

any of these voices in Dual or Split mode and play them simultaneously on the keyboard. The diagram

below illustrates voices in Dual and Split modes.

You can set the effects and various controls for each voice. These settings are automatically recalled

when you select a voice. In Dual or Split mode, you can set the parameters for each combination of

voices. For example, the same voice used in different voice combinations can have different parameter

settings for each combination.

For a list of parameters, see page 58. For information on editing the parameters, see “Editing” on

page 61 and “Voice Edit” on page 65.

Fretless Bass

Grand Piano 2

Grand Piano 1

Mellow Piano 1

Grand Piano 1

Rock Piano

Grand Piano 1

Honky Tonk

Piano

Grand Piano 1

Grand Piano 2

Grand Piano 1

Phaser E.Piano

Each voice (45 presets and an XG voice set)

has parameters that you can access via the

[VOICE EDIT] button.

These voices are used for the Left part.

Each combination of voices (45 preset voices

and XG voices) has unique parameter settings

in the [VOICE EDIT] menu.

These combined voices are used for the Left

part and the LeftLayer part.

Left

Layer

Left

LeftLayer

Left

LeftLayer

Layer

Left part

LeftLayer part

P-250 29

P-250 Design

Basic Operation

mainpart

Fretless Bass

Grand Piano 1

Rock Piano

Grand Piano 1

Mellow Piano 2

Grand Piano 2

Honkky Tonk

Piano

Mellow Piano 1

Grand Piano 1

Rock Piano

Grand Piano 1

Honky Tonk

Piano

Grand Piano 1

Grand Piano 2

Grand Piano 1

Each voice in a voice combination has

its own parameter settings.

These voices are used for the Main part.

• Non-Dual and non-Split mode

• Dual

• Split

• The right-handed area in Split mode is

set to Dual.

• The left-handed area in Split mode is

set to Dual.

• Split Dual

Each combination of voices (45 preset voices and XG voices)

has unique parameter settings in the [VOICE EDIT] menu.

These combined voices are used for the Main part and the

Layer part.

Main

LeftLeft Main

Left

Layer

Left Main

Left

LeftLayerLeftLayer

Left

LeftLayer

Layer

Left Main

Layer

LayerLayer

Main part

Layer part

LeftLayer

P-250 Design

30 P-250

Basic Operation

■ Performances

On the P-250, a “performance” refers to a group of settings that control the tone generator, MIDI, and so

on. You can recall any of 32 performances from the panel by pressing just one button.

The performances are divided into two banks (A and B). Performances in Bank A are called A01-A16, and

performances in Bank B are called B01-B16.

Refer to “Performance Operation” (page 41) for more information on recalling performances.

Performance parameters

Performance parameters are stored in a performance. You can edit these parameters and store them as a new performance.

Parameter menu Parameter function

Parameter name on screen Reference page

Name Naming a performance (Performance name) 43

Voice Turning the reverb on/off N/A 37

Setting Dual or Split mode N/A 35—36

Selecting a voice

N/A 34

[VOICE EDIT] Setting the octave

Octave 65

Setting the volume level

Volume 65

Setting the position of left and right channels

Pan 66

Adjusting ﬁne pitch offset between two voices in Dual

mode

Detune 66

Selecting the reverb type ReverbType 66

Setting the reverb depth

ReverbSend 66

Setting the chorus type ChorusType 66

Setting the chorus depth

ChorusSend 67

Tur ning the chorus on/off

ChorusOnOff 67

Selecting the insertion effect type

Ins.Type 67

Setting the speed of the vibraphone vibrato effect *1 VibeRotorSpeed 67

Tur ning the vibraphone vibrato on/off

VibeRotorOnOff 67

Adjusting the speed of the rotary speaker

RotarySpeed 67

Adjusting the insertion effect depth

Dry/WetBalance 68

Adjusting the brightness of the sound

Brightness 68

Adjusting the resonance effect

HarmonicContent 68

Adjusting the low-range frequency of the part EQ

EQ LowFreq. 68

Adjusting the high-range frequency of the part EQ

EQ HighFreq. 68

Adjusting the low-range gain (amount of boost/cut) of

the part EQ

EQ LowGain 68

Adjusting the high-range gain (amount of boost/cut) of

the part EQ

EQ HighGain 68

Setting the touch sensitivity

TouchSense 68

Assigening the Pedal 1 function

Pedal 1 69

Assigening the Pedal 2 function

Pedal 2 69

Assigening the Pedal 3 function

Pedal 3 69

Assigening the Pedal 4 function

Pedal 4 69

Assigening the modulation wheel function

Modulation 69

Setting the MSB of the Send Bank Select message

SendBankMSB 70

Setting the LSB of the Send Bank Select message

SendBankLSB 70

Setting the Program Change message

SendPG# 70

Tur ning the Internal tone generator on/off

InternalTG 70

P-250 31

P-250 Design

Basic Operation

*1...The number of parameters varies if Dual (page 35) or Split (page 36) mode is selected.

*2...The number of parameters varies depending on the Split mode setting (page 36).

*3...If the Master Equalizer is locked (EqualizerLock:On), recalling a performance on the top panel will not update the

parameter settings.

[MASTER EQ EDIT] Setting the Master Equalizer type

Edit or Master Equalizer type

name

Adjusting the low range gain of the Master Equalizer

LowGain 71

Adjusting the low-middle range gain of the Master

Equalizer

LowMidGain 71

Adjusting the middle range gain of the Master

Equalize

MidGain 71

Adjusting the high-middle range gain of the Master

Equalize

HighMidGain 71

Adjusting the high range gain of the Master

Equalizer

HighGain 71

Adjusting the low frequency of the Master

Equalizer

LowFreq. 71

Adjusting the low-middle frequency of the Master

Equalizer

LowMidFreq. 71

Adjusting the middle frequency of the Master

Equalizer

MidFreq. 71

Adjusting the high-middle frequency of the Master

Equalizer

HighMidFreq. 71

Adjusting the high frequency of the Master

Equalizer

HighFreq. 71

Adjusting the low range resonance of the Master

Equalizer

LowQ 72

Adjusting the low-middle range resonance of the Mas-

ter Equalizer

LowMidQ 72

Adjusting the middle range resonance of the Master

Equalizer

MidQ 72

Adjusting the high-middle range resonance of the

Master Equalizer

HighMidQ 72

Adjusting the high range resonance of the Master

Equalizer

HighQ 72

[MIDISETTING]

(partial)

Setting the MIDI transmit channel MidiOutChannel 74

Setting the MIDI receive channel MidiInChannel 74

Tur ning the Local control on/off LocalControl 74

Specifying keyboard performance or song data to be

transmitted via MIDI

MidiOutSelect 74

[OTHERSETTING]

(partial)

Selecting a touch response TouchResponse 76

Selecting a tuning curve for a piano voice PianoTuningCurve 76

Selecting a scale Scale 77

Setting the split point SplitPoint 77

Setting the key (transposition) Transpose 77

Specifying the depth of the soft pedal SoftPedalDepth 77

Specifying the depth of string resonance StringResonanceDepth 77

Specifying the depth of sustain sampling for the

damper pedal

SustainSamplingDepth 78

Specifying the volume of the key-off sound KeyOffSamplingDepth 78

Selecting a pedal function for vibraphone VibraphonePedalMode 78

Assigning the START/STOP function to a pedal PedalStart/Stop 78

Setting the point at which the pedal starts to affect the

sound

HalfPedalPoint 78

Setting the pitch bend range PitchBendRange 79

Assigning a function to the [SONG BALANCE] slider SongBalanceAssign 79

P-250 Design

32 P-250

Basic Operation

Performance ﬁle

A performance ﬁle consists of a group of 32 performances.

The P-250 features one special performance ﬁle that consists of unique preset performances. It is called the “preset perfor-

mance ﬁle.” You can edit any performance in the preset performance ﬁle to create a new performance, and store the edited

performance ﬁle in memory (as described later). For more information on using the performance ﬁle, see “Handling Perfor-

mance Files [PERFORM.FILE]” (page 42).

A performance ﬁle stored in memory can be controlled from a connected computer. For more information on connecting a

computer, see “Connecting to a Personal Computer” (page 19).

Performance file

Performance

Main

VOICE EDIT on

Layer

MIDI Setting

A01

A02

A16

B01

B02

B03

B04

A04

A03

B16

P-250 33

P-250 Design

Basic Operation

■ Songs

The P-250 enables you to record and play back your keyboard performance, as well as to recall and play

back the internal demo songs. The P-250 features sixteen recording tracks, which enable you to record

different parts on different tracks or play only the selected tracks.

See “Song Operation” (page 46) for more information on using songs.

Song ﬁle

A song can be stored as a song ﬁle in memory (as described later). See “Song Playback” (page 51) for information on song

ﬁles.

You can import a P-250 song ﬁle into a connected computer (page 19). The imported song ﬁle is in the “SMF format 0.” You

can also import song data as a song ﬁle from a computer into the P-250 for playback. Refer to “Connecting to a Personal

Computer” (page 19) for information on connecting the P-250 to a computer.

The following song data can be played on the P-250:

• Sequence Format

SMF (Standard MIDI File) formats 0 and 1

ESEQ

•Voice Allocation Format

XG voice arrangement

GM system level 1 voice arrangement

Refer to “Data compatibility” on page 88 for more information on formats.

■ About P-250 Memory

Storage memory

Storage memory is an area in memory that stores performance ﬁles and multiple song ﬁles. The performance ﬁles and song

ﬁles in storage memory are not erased when the power to the P-250 is turned off. The memory size is approximately 1.5 MB.

Current memory

Current memory is a memory area that contains the currently-selected performance ﬁles and song ﬁle. You can recall a per-

formance in the performance ﬁle in current memory from the top panel. A song in current memory is recorded or played

back.

CAUTION

The content of current memory is erased when the power is

turned off.

34 P-250

Basic Operation

■ Selecting a Voice

Exit Performance mode.

Press the [PERFORMANCE] button to turn off the

button indicator.

2 Select a voice group.

Press a VOICE/PERFORMANCE button.

3 Select a voice.

Use the VARIATION [†]/[π] or A [–]/[+] buttons

to select a voice.

If you select XG

If you select XG, you can select the XG voice

group ﬁrst, then select the desired voice.

3-1 Simultaneously press the [–]/[+] screen buttons

located next to the XG voice name on the display to

access a screen on which you can select XG voices.

3-2 Use the A [–]/[+] buttons to select the voice group.

3-3 Use the C [–]/[+] buttons to select the desired

voice.

Voice selection is a performance parameter (page 30).

Names in brackets indicate how the unit displays the voice group names on the top panel.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

TIP

Details about Performance on/off are provided in the “Per-

formance Operation.” (page 41)

TIP

XG is a major enhancement of the GM System Level 1 for-

mat. It was developed by Yamaha speciﬁcally to provide

more voices and variations, as well as greater expressive

control over voices and effects, and to ensure data compat-

ibility well into the future.

TIP

If you select XG and press the VARIATION [†]/[π] buttons

simultaneously, the XG voice selection screen will appear.

Voice Group Voice Name Voice Group Voice Name Voice Group Voice Name

GRANDPIANO1

[G.PIANO1]

Grand Piano 1

CLAVI.

[CLAVI.]

Phaser Clavi.

STRINGS

[STRINGS]

Strings

Mellow Piano 1 Clavi. Synth Strings

Rock Piano Wah Clavi. Slow Strings

HonkyTonk Piano

HARPSICHORD

[HARPSI.]

Harpsichord 8'

CHOIR

[CHOIR]

Choir

GRANDPIANO2

[G.PIANO2]

Grand Piano 2 Harpsichord 8'+4' Slow Choir

Mellow Piano 2

VIBRAPHONE

[VIBES]

Vibraphone Scat

E.PIANO1

[E.PIANO1]

Chorus E.Piano Marimba

SYNTH. PAD

[SYNTH. PAD]

Synth Pad 1

Phaser E.Piano Celesta Synth Pad 2

AutoPan E.Piano

ORGAN1

[ORGAN1]

Jazz Organ

GUITAR

[GUITAR]

Nylon Guitar

Standard E.Piano Theater Organ Steel Guitar

E.PIANO2

[E.PIANO2]

DX E.Piano 1 Rock Organ

BASS

[BASS]

Wood Bass

DX E.Piano 2 Draw Organ Bass&Cymbal

Synth Piano

ORGAN2

[ORGAN2]

Pipe Organ Principal Electric Bass

E.PIANO3

[E.PIANO3]

Tremolo Vintage E.P.

Pipe Organ Tutti Fretless Bass

Vintage E.Piano Pipe Organ Flute

Amp.Sim.Vintage E.P.

TIP

Details on XG voices are provided in the “XG voices list.”

(page 6 of the separate “Data List”)

P-250 35

Basic Operation

■ Playing in Dual Mode

In Dual mode, you can play two voices in unison. In this way, you can simulate a melody duet or combine

two similar voices to create a thicker sound.

Dual mode using voices in differ-

ent voice groups

Exit Performance mode.

Press the [PERFORMANCE] button to turn off the

button indicator.

2 Enter Dual mode.

Press the two desired VOICE/PERFORMANCE but-

tons simultaneously.

3 Select a voice.

Use the A [–]/[+] buttons and B [–(NO)]/[+(YES)]

buttons to select a voice.

The voice with the lower voice group number (see

page 90) is referred to as Main part. The other voice is

referred to as Layer part.

4 Exit Dual mode.

Press any VOICE/PERFORMANCE button.

Dual mode using voices in the

same voice group

Exit Performance mode.

Press the [PERFORMANCE] button to turn off the

button indicator.

2 Select a voice group.

Press the VOICE/PERFORMANCE button.

3 Select a voice.

Use the A [–]/[+] buttons to select a voice.

4 Select another voice.

Use the B [–]/[+] buttons to select another voice

in the same voice group.

To select the same voice, press the B [–(NO)] or

[+(YES)] button once.

To select a different voice within the same voice

group, press the B [–(NO)] or [+(YES)] button repeat-

edly.

5 Exit Dual mode.

Press any VOICE/PERFORMANCE button.

The Dual mode setting is a performance parameter

(page 30).

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

Dual mode using voices from

the same group

Dual mode using voices from

different groups

2, 4

2, 5

TIP

If you want to select Dual mode for the left-hand area when

the entire keyboard is divided into left and right areas

(page 36), hold down the [SPLIT] button and simulta-

neously press two VOICE/PERFORMANCE buttons.

TIP

You can also use the VARIATION [†]/[π] buttons to select

voice 1.

TIP

Details on selecting XG voices are provided on page 34.

Main part Layer part

TIP

If you want to select Dual mode for the left-hand area when

the entire keyboard is divided into left and right areas

(page 36), press the D [–] or [+] button.

TIP

If you connect the P-250 to an external tone generator via

MIDI (page 18), you can layer the sounds of the P-250 and

the tone generator and play them simultaneously (Layer

mode) using the “MidiOutChannel” (page 74) and “Intern-

alTG” (page 70) settings.

TIP

Details on recording in Dual mode are provided on page 50.

Basic Operation

36 P-250

Basic Operation

■ Playing in Split Mode

In Split mode, you can play two different voices that are assigned to the left and right-hand areas on the

keyboard respectively. For example, you can play a bass part using the Wood Bass voice with your left

hand, and play a melody with your right hand.

Exit Performance mode.

Press the [PERFORMANCE] button to turn off the

button indicator.

2 Enter Split mode.

Press the [SPLIT] button.

3 Select a voice for the right hand.

Use the VOICE/PERFORMANCE buttons and

VARIATION [†]/[π] buttons to select a voice for

the right-hand.

4 Select a voice for the left hand.

Hold down the [SPLIT] button, then press a

VOICE/PERFORMANCE button to select a voice

group for the left-hand.

Press the C [–]/[+] buttons to select a voice.

5 Specify the split point (the border between

the ranges).

The standard setting for the split point is “F



2.”

Hold down the [SPLIT] button, then use the D [–]/[+]

buttons to specify the split point.

Alternatively, press and hold down the [SPLIT] button

and play the key you wish to assign as the split point.

Release the [SPLIT] button to return to the main screen.

6 Exit Split mode and return to Play mode.

Press the [SPLIT] button.

You can use Dual mode (see page 35) in each area

(right-hand and left-hand) of Split mode.

The Split mode setting is a performance parameter

(page 30).

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

12, 4, 5, 63, 44 5

TIP

You can also use the A [–]/[+] buttons to select a voice for

the right-hand.

TIP

Details on selecting XG voices are provided on page 34.

TIP

A speciﬁed “split point” key is included in the left-hand

range.

Center “C”

TIP

The split point can also be set by using the “SplitPoint”

parameter in the “OTHER SETTING” menu (page 77).

TIP

If you connect the P-250 to an external tone generator via

MIDI (page 18) in Split mode, you can play the sounds of

the P-250 and the tone generator respectively on the right

and left halves of the keyboard (in Split mode) by setting the

“MidiOutChannel” (page 74) and “InternalTG” (page 70)

parameters in the “VOICE EDIT” menu.

TIP

Details on recording in Split mode are provided on page 50.

P-250 37

Basic Operation

■ Effect Structure

The P-250 features system effects and inser-

tion effects.

System effects

The system effects are applied to all parts globally.

The amount of effect can be set per part. The P-

250 system effects include one reverb and one

chorus. The amount of reverb and chorus is set via

the “ReverbSend” (page 66) and “ChorusSend”

(page 67) parameters in the “VOICE EDIT” menu.

• Reverb

Reverb can add a natural ambience and space to a

sound, simulating the natural reverberation of a con-

cert hall or live venue.

Refer to the “XG Effect Type list” on page 12 of the

separate “Data List” for a complete list of reverb types

included in the P-250.

• Chorus

Chorus adds spread and spaciousness, and is an effect

that modiﬁes the sound of a single instrument to simu-

late a group of the same instrument.

Refer to the “XG Effect Type list” on page 12 of the

separate “Data List” for a complete list of chorus types

included in the P-250.

Insertion effects

Insertion effects are applied to speciﬁed parts. The

P-250 features three insertion effect channels,

which means that you can apply the insertion

effects to three parts.

The amount of insertion effect is adjusted via the

“Dry/WetBalance” parameter (page 68) in the

“VOICE EDIT” menu.

■ Using the Effects

Reverb

Press the [REVERB] button repeatedly to toggle

the reverb on and off.

When the reverb is turned on, the indicator above

the [REVERB] button lights up.

Even if the reverb effect is turned off, a “soundboard

reverb” effect is applied when you select the GRAND

PIANO1 or GRAND PIANO2 voice group.

Reverb On/Off is a performance parameter (page

30).

Chorus

Press the [CHORUS] button repeatedly to toggle

the chorus on and off.

When the chorus is turned on, the indicator

above the [CHORUS] button lights up.

You can turn the chorus effect on or off by pressing the

[CHORUS] buttons on the panel or by setting the

“ChorusOnOff” parameter in the “VOICE EDIT” menu

(see page 67). The [CHORUS] button setting on the

panel is cancelled if you select another voice. The

“ChorusOnOff” parameter setting is saved for each

voice. That is, if you select a voice, the chorus setting

is automatically turned on or off, depending on the

saved chorus setting.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

[CHORUS]

[REVERB]

TIP

The P-250 also has one channel of variation effect, which

can be used for the system effect or insertion effect. Refer

to the “XG Effect Type List” on page 12 of the separate

“Data List” for more information on the type of effects you

can use for this channel. You can control the variation effect

only through MIDI messages.

TIP

You can select a reverb type via the “ReverbType” parameter

in the “VOICE EDIT” menu, and adjust the reverb amount for

the selected voice via the “ReverbSend” parameter

(page 66).

TIP

You can select a chorus type via the “ChorusType” parameter

in the “VOICE EDIT” menu, and adjust the chorus amount for

the selected voice via the “ChorusSend” parameter. You can

also turn the chorus on or off by using the “ChorusOnOff”

parameter. (page 66, 67)

Basic Operation

38 P-250

Basic Operation

■ Using the Master Equalizer

The ﬁve-band (LOW, LO-MID, MID, HI-MID,

HIGH) Master Equalizer enables you to adjust

the sound quality.

For example, you can enhance the high range

of the P-250 sound so that it will stand out

from an ensemble. Or, you can boost the lower

range to create a dynamic sound. Use the mas-

ter equalizer to suit the situation or to produce

a desired tonal color.

Raise or lower the MASTER EQUALIZER slid-

ers to boost or cut the corresponding fre-

quency band.

All parameters accessed via the [MASTER EQ EDIT]

button are performance parameters (page 30).

■ Using the Pitch Bend and

Modulation Wheels

You can apply real-time vibrato or a pitch bend

effect to a sound by using the pitch bend and

modulation wheels. Using these wheels will

increase the expressiveness of the sound, partic-

ularly in solo phrases.

Pitch bend wheel

Use the pitch bend wheel to bend notes up or

down while playing the keyboard to add a pitch

bend effect.

“PitchBendRange” is a performance parameter

(page 30).

Modulation wheel

You can apply vibrato effects to the sound, or change

the amount of reverb or modulation effects, by mov-

ing the modulation wheel up and down.

TIP

To set the master equalizer frequency and Q, use the

[MASTER EQ EDIT] button (page 71), which also enables

you to set the gain. However, the latest gain setting by the

sliders or [MASTER EQ EDIT] button will remain in effect.

TIP

The master equalizer is globally applied to the P-250 the

sound currently being played.

TIP

You can also access the channel equalizer via the [VOICE

EDIT] button. This equalizer enables you to adjust the

sound of each voice independently. (page 68)

TIP

When you set the “EqualizerLock” parameter (page 79),

which is accessed via the [OTHER SETTING] button, to

ON, the master equalizer settings will not be affected by

performance recall or MIDI song playback.

HIGHHI-MID

MASTER EQUALIZER

LOW LO-MID MID

When the corresponding slider is set to center, the equal-

izer level is set to normal.

TIP

The pitch bend effect is applied only to the sound you are

playing on the keyboard.

TIP

To set the bend range, use the “PitchBendRange” parameter,

which is accessed by the [OTHER SETTING] button (page 79).

TIP

If you set the “PitchBendRange” parameter too high, high

notes may sound out of tune.

TIP

You can specify in Edit mode the effect you wish to control

with the modulation wheel (see page 69).

TIP

If you do not need to use the modulation wheel, you can

turn it off so that you will not activate it accidentally during

performance, or to avoid unnecessary transmission of MIDI

messages (see page 69).

TIP

The modulation wheel for some voices is disabled by

default. In that case, operating the wheel will have no effect,

unless you turn the wheel on.

MODULATION

PITCH

P-250 39

Basic Operation

■ Using Pedals

The P-250 features four pedal jacks. Differ-

ent pedals can be used for various pur-

poses, as described below.

See page 23 for information on connecting

the pedals.

Applying the sustain effect

Connect the included foot pedal FC3 to the PEDAL [1

(SUSTAIN)] jack to sustain the current sound.

When you press and hold down the pedal, the effect

is applied and all notes being played will sustain,

even after you release the keys.

If you press the pedal while you are playing the

“GrandPiano 1” voice, the soundboard and string res-

onance effects (sustain sampling) are applied.

Applying the sostenuto effect

Connect the included foot pedal FC3 to the PEDAL

[2(SOSTENUTO)] jack to add a sostenuto effect to the

current sound.

When you press the pedal, the effect will be applied

to only the notes you are playing at that time, and the

effect can remain longer even after you release the

keys. The effect will not be applied to notes you play

after you press the pedal.

Applying the soft effect

Connect the included foot pedal FC3 to the PEDAL [3

(SOFT)] jack to add a soft effect to the current sound.

When you press and hold down the pedal, all the

notes you play after you press the pedal will sound

softer. (Note that the effect is not applied to the notes

you were playing when the pedal was pressed. Press

the pedal just before you start playing the notes to

which you wish to apply the effect.)

Applying the expression effect

Connect an optional FC7 foot controller to the PEDAL

[4(AUX)] jack to add an expression effect to the cur-

rent sound.

The faster you press the foot controller, the greater the

effect applied.

■ Using Panel Lock

The Panel Lock function temporarily disables

the operation of the P-250 panel (locks the

panel controls) so that you will not inadvert-

ently change the voice or mode during perfor-

mance.

Press the [PANEL LOCK] button twice quickly to

turn the panel lock on or off.

When the panel is locked, [PANEL LOCK]

appears on the display.

NOTE

This section explains how to use the pedals based on the

default settings after the power is turned on. Since you can

assign various functions to the pedal jacks, the resultant

effect may differ, depending on the default settings. For

more information, refer to [Pedal 1]/[Pedal 2]/[Pedal 3]/

[Pedal 4] (page 69) in the Voice Edit section.

TIP

Use the “SustainSamplingDepth” parameter in the “OTHER

SETTING” menu to adjust the depth of the resonance effect

for the damper pedal (page 78).

When you press the pedal here,

the sound of notes you are

playing, as well as subsequent

notes will sustain.

When you press the pedal here,

the sound of notes you are

playing at the moment will

sustain.

TIP

Use the “PedalStart/Stop” parameter in the “OTHER SET-

TING” menu to assign the Start/Stop function (same as the

[START/STOP] button on the panel) to the pedal connected

to the PEDAL [2 (SOSTENUTO)], [3 (SOFT)], or [4 (AUX)]

jack (page 78).

TIP

You can reverse the effects of the pedals (such as on/off

status and intensity) using the “PedalType” parameter

(page 78) in the “OTHER SETTING” menu.

TEMPOSONGSONG BALANCE

MASTER VOLUME

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

DOWNSONG SETTING UP

[PANEL LOCK]

Basic Operation

40 P-250

Basic Operation

■ Toggling MIDI Transmis-

sion On/Off

You can toggle MIDI transmission from the

P-250 on or off with just one press.

Press the [MIDI OUT] button to set the P-250 so

that it will or will not transmit MIDI messages.

When the P-250 is ready for MIDI transmission, the

[MIDI OUT] button indicator lights up. The indicator

turns off when MIDI transmission is disabled.

■ Transmitting MIDI Panic

Signals

You can set the P-250 so that it will transmit

MIDI panic signals to stop an accidentally sus-

tained sound triggered from an external tone

generator.

Press and hold down the [MIDI OUT] button and

press the [REVERB] buttons.

The display indicates the transmission of the panic sig-

nals.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

[MIDI OUT]

[MIDI OUT] [REVERB]

Toggling MIDI

transmission on and off

Transmitting MIDI

panic signals

TIP

If MIDI transmission is turned off, the P-250 cannot commu-

nicate with a connected computer.

TIP

MIDI messages that are transmitted while MIDI transmis-

sion is turned off include Sustain Off, Sostenuto Off, and

Soft Off.

TIP

If MIDI transmission is turned off while you are playing the

keys, the Key Off message is output when you release the

keys.

NOTE

MIDI panic signals are designed for use in an emergency

and are not guaranteed to stop the sound.

NOTE

If [REC] button has been pressed, MIDI panic signals can-

not be transmitted.

TIP

MIDI panic signals

ALL NOTE OFF, ALL SOUND OFF, ALL RESET CON-

TROLLER, SUSTAIN OFF, MODULATION DEPTH OFF,

PITCH BEND CENTER, CHANNEL PRESSURE OFF

TIP

MIDI panic signals are transmitted on all channels.

TIP

MIDI panic signal transmission is effective in any mode

other than MIDI transmission off (page 40).

P-250 41

Basic Operation

Performance Operation

■ Selecting a Performance

Load a preset performance ﬁle.

Press the [PERFORM. FILE] button, then press the

A [–]/[+] buttons to select “LoadFromMem.” Press

the C [–]/[+] buttons to select the desired perfor-

mance ﬁle, then press the B [+(YES)] button.

If you wish to select a preset performance ﬁle that has

its performance parameters already set, press the C [–]/

[+] buttons to select “000:PresetPerformance”.

2 The unit enters Performance mode (if the

unit was in another mode).

Press the [PERFORMANCE] button.

3 Select the desired performance.

Press the [EXIT] button, then use the VARIATION

[†]/[π] buttons to switch between Banks A and

B. Then press one of the VOICE/PERFORMANCE

buttons to select the desired performance.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

3 1311

CAUTION

If the [PERFORMANCE] button indicator is ﬂashing, the

currently-selected performance may not match the perfor-

mance name displayed on the LCD.

TIP

Performance OFF......You can select a voice using the

VOICE/PERFORMANCE buttons.

(The button indicator turns off.)

Performance ON .......You can select a performance using

the VOICE/PERFORMANCE buttons.

(The button indicator ﬂashes or lights up.)

Press the [PERFORMANCE] button repeatedly to toggle

between Performance mode on and off.

TIP

To display the voice names for all parts, press the A [+] but-

ton in the performance screen.

TIP

To check the name of the currently-selected performance

ﬁle, press the A[–] button. As long as you hold down the A

[–] button, the performance ﬁle name remains on the

screen.

TIP

To turn Performance mode off while keeping the perfor-

mance parameter setting as is, press and hold down the B

[– (NO)] button and press the [PERFORMANCE] button

while the performance screen is displayed. At this time, if

you press only the [PERFORMANCE] button (without hold-

ing down the B [– (NO)] button), the previous performance

setting (that existed before Performance mode was turned

on) is retained.

Performance file

Performance

Main

VOICE EDIT on

Layer

MIDI Setting

A01

A02

A16

B01

B02

B03

B04

A04

A03

B16

42 P-250

Basic Operation

Handling Performance Files

[PERFORM.FILE]

The following parameters are provided for the performance ﬁles:

■ Basic Operation for the Performance File

A message (information or conﬁrmation dialog) sometimes appears on the LCD to facilitate operation.

Refer to the “Message List” on page 82 for an explanation of each message, the appropriate actions to

take, and troubleshooting information.

1 Access the Performance File menu.

Press the [PERFORM. FILE] button.

To close the Performance File menu during the proce-

dure, press the [EXIT] button once or twice.

2 Select the desired parameter.

Press the [PERFORM. FILE] or A [–]/[+] buttons

repeatedly to display the option desired from the

following list:

•Performance

•Perf.Name

•SaveToMemory

• LoadFromMem.

• DeleteFile

• RenameFile

3 Set the parameter or execute the command.

Use the B [–(NO)]/[+(YES)], C [–]/[+], D [–]/[+],

and [VARIATION] [†]/[π] buttons.

For more information regarding speciﬁc details of this

procedure, refer to the corresponding section below.

4 Close the Performance File menu.

Press the [EXIT] button.

Operation Parameter name Reference page

Storing a performance “Performance” 43

Renaming a performance “Perf.Name” 43

Saving a performance ﬁle in storage memory “SaveToMemory” 44

Loading a performance ﬁle from storage memory “LoadFromMem.” 44

Deleting a performance ﬁle from storage memory “DeleteFile” 45

Renaming a performance ﬁle “RenameFile” 45

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

1, 2

23 43

P-250 43

Handling Performance Files [PERFORM.FILE]

Basic Operation

■ Storing a Performance

[Performance]

Refer to page 42 for information on the

basic operation of performance ﬁles.

The following steps are supplement for

Step 3 on page 42.

3-1 Select a performance.

Use the C[–]/[+] buttons and VARIATION [†]/[π]

buttons to select the performance from 32 settings.

3-2 Execute the operation.

Press the B [+(YES)] button located next to “Set?-->.”

During the operation, “Executing” is displayed on the

screen. When the operation is complete, “Completed”

is displayed.

■ Renaming a Performance

[Perf.Name]

Refer to page 42 for information on the

basic operation of performance ﬁles.

The following steps are supplement for

Step 3 on page 42.

3-1 Rename the performance.

To move the cursor (a small underline), use the C

[–]/[+] buttons.

To insert a space, press the C [–]/[+] buttons

simultaneously.

To select a character on the cursor, press the D [–]/

[+] buttons.

To delete the selected character, press the D [–]/

[+] buttons simultaneously.

You can use up to 20 characters to create a perfor-

mance name.

3-2 Execute the operation.

Press the B [+(YES)] button located next to “Set?-->.”

During the operation, “Executing” is displayed on the

screen. When the operation is complete, “Completed”

is displayed.

CAUTION

If you edit a performance from the preset performance ﬁle

(“PresetPerformance.PER”), storing the performance by the

procedure described above will overwrite the existing per-

formance data in the performance ﬁle without any warning.

To avoid overwriting, ﬁrst change the performance ﬁle name

using the “RenameFile” parameter (page 45).

Main

VOICE EDIT on

Layer

MIDI Setting

A01

A02

A16

B01

B02

B03

B04

A04

A03

B16

Performance file

Performance

CAUTION

If you change the name of a performance from the preset

performance ﬁle (“PresetPerformance.PER”) using the pro-

cedure described above, the performance will overwrite the

existing performance data in the performance ﬁle without

warning. To avoid overwriting, ﬁrst change the performance

ﬁle name using the “RenameFile” parameter (page 45).

TIP

About the performance name on-screen...

You can change the type of characters used to display the

performance name on-screen using the “CharacterCode”

(page 55) parameter, which you can access via the [SONG

FILE] button. (The selected LCD character type will be used

to display song ﬁle and performance.)

Handling Performance Files [PERFORM.FILE]

44 P-250

Basic Operation

■ Saving a Performance File

to Storage Memory

[SaveToMemory]

Refer to page 42 for information on the

basic operation of performance ﬁles.

The following steps are supplement for

Step 3 on page

42.

3-1

Name the performance ﬁle.

To move the cursor (a small underline), use the C

[–]/[+] buttons.

To insert a space, press the C [–]/[+] buttons

simultaneously.

To select a character on the cursor, use the D [–]/

[+] buttons.

To delete a character, press the D [–]/[+] buttons

simultaneously.

You can use up to 58 characters for a performance ﬁle

name. If the name is longer than the screen, use the C

[–]/[+] buttons to move the cursor and scroll the

name.

3-2

Execute the operation.

Press the B [+(YES)] button located next to “Exe-

cute?-->.”

“Sure?” is displayed on screen. Press the B [+(YES)]

button again to conﬁrm the operation. (To cancel the

operation, press the B [–(NO)] button.)

During the operation, “Executing” is displayed on the

screen. When the operation is complete, “Completed”

is displayed.

If storage memory contains one or more performance

ﬁles, and you save a new performance ﬁle, the perfor-

mance ﬁles are automatically sorted alphabetically

and renumbered.

■

Loading a Performance

File from Storage Memory

[LoadFromMem.]

Refer to page 42 for information on the

basic operation of performance ﬁles.

The following steps are supplement for

Step

on page

42.

3-1

Select a performance ﬁle.

Use the C [–]/[+] buttons to select the desired per-

formance ﬁle to load.

3-2

Execute the operation.

Press the B [+(YES)] button located next to “Exe-

cute?-->.”

“Sure?-->.” is displayed on screen. Press the B [+(YES)]

button again to conﬁrm the operation. (To cancel the

operation, press the B [–(NO)] button.)

During the operation, “Executing” is displayed on the

screen. When the operation is complete, “Completed”

is displayed.

CAUTION

Do not turn off the power to the P-250 while the screen dis-

plays “Executing.” Otherwise, the data currently held in stor-

age memory may be lost.

TIP

Performance File Title

•You can change the type of characters on screen using

the “CharacterCode” (page 55) parameter in the “SONG

FILE” menu.

(The selected LCD character type will be used to display

song ﬁles and performance ﬁles.)

• When you later select a saved performance ﬁle, the

name with an extension “.PER” will appear.

CAUTION

If the currently-displayed ﬁle name uses a character type

that is different than the character type used when you cre-

ated the ﬁle, you may be unable to access the ﬁle.

CAUTION

Do not turn off the power to the P-250 while the screen dis-

plays “Executing.” Otherwise, the data currently held in stor-

age memory may be lost.

TIP

The performance ﬁle that has been recalled from storage

memory at the time of shutdown will remain recalled next

time you turn on the unit.

P-250

Handling Performance Files [PERFORM.FILE]

Basic Operation

■

Deleting a Performance File

[DeleteFile]

You can delete a performance ﬁle in storage

memory. (You cannot delete a preset perfor-

mance or the current performance ﬁle.)

Refer to page 42 for information on the

basic operation of performance ﬁles.

The following steps are supplement for

Step

on page

42.

3-1

Select a performance ﬁle to delete.

Use the C [–]/[+] buttons to select a performance

ﬁle.

3-2

Execute the operation.

Press the B [+(YES)] button located next to “Exe-

cute?-->.”

Follow the instructions on screen.

■

Renaming a Performance

File [RenameFile]

You can change the performance ﬁle name in

storage memory. (You cannot change the name

of a preset performance ﬁle.)

Refer to page 42 for information on the

basic operation of performance ﬁles.

The following steps are supplement for

Step

on page

42.

Rename the performance ﬁle as described in

the [SaveToMemory] section (page 44).

After you rename a performance ﬁle, all performances

are sorted alphabetically and renumbered.

CAUTION

Do not turn off the power to the P-250 while the screen dis-

plays “Executing.” Otherwise, the data currently held in stor-

age memory may be lost.

TIP

Deleting the performance ﬁle does not erase the currently-

loaded performance.

After you delete a performance ﬁle, the subsequent perfor-

mance ﬁle numbers are updated automatically.

CAUTION

Do not turn off the power to the P-250 while the screen dis-

plays “Executing.” Otherwise, the data currently held in stor-

age memory may be lost.

TIP

Use “CharacterCode” in the “SONG FILE” menu to change

the type of characters on screen. (The selected LCD char-

acter type will be used to display song ﬁles and perfor-

mances.)

P-250

Basic Operation

Song Operation

■

Recording Songs

This chapter explains how to record your playing using the P-250 recording function.

You can, for example, play back what you played on the keyboard. You can also record just one part, then

practice the other part while playing back the recorded the part.

Also, since you can record up to 16 tracks separately, you could record each part separately to build a

song.

Recording vs. Saving:

The format of data recorded on a cassette tape differs from that of data recorded on the P-250.

A cassette tape records audio signals. On the other hand, the P-250 “saves” information regarding note

timing, voices, and a tempo value — but not audio signals. When you play back recorded songs, the P-

250 produces sound based on the saved information.

Therefore, recording on the P-250 may be more accurately called “saving information.” However, this

book often uses the word “recording,” or if re-recording over existing data, “overwriting.”

A message (information or conﬁrmation dialog) sometimes appears on screen to facilitate operation.

Refer to the “Message List” on page 82 for an explanation of each message, the appropriate actions to

take, and troubleshooting information.

TIP

An alternative way to record:

You can record your performance (audio data) to a cassette

tape recorder or other recording device via the [OUTPUT]

connector. (page 17)

TIP

When the P-250 enters recording mode while Performance

mode is on, Performance mode is temporarily turned off.

(page 41) The performance parameter settings remain the

same.

P-250

Song Operation

Basic Operation

■

Recording a New Song

Recording

Select “NewSong” for recording.

Press the SONG SELECT [ ]/[ ] buttons

simultaneously.

Select a voice.

Select a voice (or voices) for recording. (page 34)

Set other parameters, such as reverb and chorus.

Adjust the [MASTER VOLUME] slider to set the vol-

ume level to suit your preference. You can also use the

slider to adjust the level during playback.

When the settings are complete, press the SONG

SELECT [ ] or [ ] button to return to the “NewS-

ong” screen.

Enter record mode and select a recording

track.

To select Track 1:

Press and hold down the [REC] button and press

the [TRACK 1] button.

The [TRACK 1] and [START/STOP] indicators ﬂash

in red.

To select Track 2:

Press and hold down the [REC] button and press

the [TRACK 2] button.

The [TRACK 2] and [START/STOP] indicator ﬂash

in red.

To select a track from Track 3 through 16:

Hold down the [REC] button, then use the B [–]/

[+] buttons to select a recording track (3—16).

While holding down the [REC] key, press the

[EX.TRACKS] button.

The [EX.TRACK] and [START/STOP] indicators

ﬂash red.

(To stop recording, press the [REC] button again

or press the [STOP] button.)

Record Standby screen

Set the tempo, if necessary.

Press the TEMPO [DOWN] or [UP] button to set the

tempo. If the Record Standby screen does not appear,

press the SONG SELECT [ ] or [ ] button.

Start and stop recording.

Recording begins automatically as soon as you

play a note on the keyboard.

(Optional) Press the SONG [START/STOP] button to

start recording.

The Recording screen indicates the current measure

number.

Recording screen

Recording bar number

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

4, 5 4, 5

NOTE

If you select a song other than “P-000:NewSong” and

record on a track that already contains data, the existing

data on that track will be lost.

TIP

Set the tempo in Step 3.

TIP

See page 50 for more information on recording in Dual/Split

mode.

TIP

If the “ClickOnOff” parameter in the “SONG SETTING”

menu is set to on, the click sound will be heard.

TIP

When you press the SONG [START/STOP] button during

recording, recording is paused. To resume recording, press

the SONG [START/STOP] button again or play a note on

the keyboard.

TIP

When you press the [REC] button, recording pauses.

Song Operation

48 P-250

Basic Operation

To stop recording, press the [TOP] button. The

P-250 locates the top of the song.

When the track is 1 or 2, the ﬂashing red light

changes to a steady green light. (Record mode is auto-

matically cancelled.)

5 Play back the recorded song.

Press the SONG [START/STOP] button to play

back the recording.

When playback is complete, the P-250 automatically

stops and locates the top of the song. To stop playback

in the middle of a song, press the [TOP] button. You

can also pause playback by pressing the [START/

STOP] button.

6 Save the recorded song.

When you turn off the power to the P-250, the

recorded performance data will be lost. If you wish to

keep the recording, save the data using the

“SaveToMemory” parameter (page 54) in the “SONG

FILE” menu.

Re-recording part of a song

This section explains how to record part of a song

again.

1 Pause the song at the beginning of the part

you wish to re-record.

To move through the measures, use the B [–]/[+] but-

tons while the playback screen is displayed, or play

back the recording and press the SONG [START/

STOP] button to locate a point slightly prior to the

beginning of the part you wish to re-record.

2 Select a voice or voices for recording, if nec-

essary.

Repeat Step 2 on page 47. Repeat Step 1 on page 47 if

you wish to change the previous settings.

3 Select the recording method (Start/End).

Press and hold down the [REC] button, and press

the C [–]/[+] buttons repeatedly to specify how

the recording should start. Press the D [–]/[+] but-

tons repeatedly to specify how the recording

should end.

While you are holding down the [REC] button, the fol-

lowing recording method selection screen appears.

Starting methods (start):

Norm (Normal)— The existing data will be erased

after re-recording starts.

Key On— Data that exists prior to the point where

you start playing will not be erased.

Ending methods (End):

Replace— The data after the point you stop recording

will also be erased.

Punch Out— The data after the point you stop record-

ing will not be erased.

Then, resume Step 3 on page 47.

TIP

To erase recorded data from a track, use the “Channel

Clear” parameter in the “SONG SETTING” menu (page 63).

TIP

Press one of the SONG SELECT [ ] or [ ] buttons

once to return to the recording or song selection screen

during song recording or playback.

TIP

If you are not satisﬁed with the recording and wish to record

again, specify the same song and track and repeat these

steps. The original recording will be overwritten by the new

recording.

TIP

If the playback screen is not displayed, press the SONG

SELECT [ ] or [ ] button.

TIP

If you cancel recording by pressing the [REC] button,

recording stops at the point at which you press the button. If

you cancel recording by pressing the [TOP] button, the

P-250 locates the top of the song.

P-250 49

Song Operation

Basic Operation

■ Other Recording Techniques

Adding data to or recording over

an existing song

The previous section explains how to record your per-

formance from the beginning by selecting a blank “P-

000:NewSong.” You can also add data from your play-

ing to or overwrite existing songs (such as preset songs

[P-001—016], commercially-available music data, or

your old recorded performances).

1 Select a song for recording (P-***).

Select one of the preset songs (P-001—016) instead

of “P-000: NewSong” as described in Step 1 of

“Recording” on

page 47

. To select a song from previ-

ously-recorded data, see Steps 1 and 2 on page 51.

To continue recording, follow the procedure described

in “Recording a New Song” on page 47.

Changing the voice or tempo

after recording

You can change the voice or song tempo after record-

ing. For example, you can change the voice to create

a different ambience, or adjust the song tempo to suit

your taste. You can also change these elements in the

middle of a song.

1 Select the song you wish to edit by using the

SONG SELECT [ ]/[ ] buttons.

2 To change the voice or tempo in the middle

of the song, specify the measure using the B

[–]/[+] buttons.

3 Change the settings (voice, reverb, etc.).

For example, if you wish to change the recorded Stan-

dard E.Piano voice to DX E.Piano1, use the VOICE/

PERFORMANCE buttons and the A [–]/[+] buttons to

select E.Piano2.

When the setting is complete, press one of the SONG

SELECT [ ]/[ ] buttons to return to the song

selection screen.

4 Press and hold down the [REC] button and

select the track to change.

The indicator for the selected track lights up in red.

You can change the tempo setting at this point, if you

wish.

At this point, do not play the keyboard or press the

[START/STOP] button. Otherwise, recording will start,

erasing the recorded data.

5 Press the [TOP] or [REC] button to exit record

mode.

Adjusting the volume balance

between playback and the sound of

your playing by using the [SONG

BALANCE] slider

While recording multiple parts into tracks one by one,

you can adjust the volume balance between the play-

back of the recorded parts and your current perfor-

mance.

1 Move the [SONG BALANCE] slider to the left

or right to make the adjustment.

NOTE

If you record on a track that already contains data, the exist-

ing data on the track will be lost.

CAUTION

This operation is effective only when “RecMode” (page 48)

is set to “Start:Norm.”

TIP

For information on the data you can edit, in addition to the

voice and tempo, refer to “Types of recorded (written) data”

on page 50.

TIP

Change the tempo in Step 4.

CAUTION

The edited settings (except for the tempo setting) will be

saved in memory. You will not be able to restore the previ-

ous settings. Proceed with caution!

TIP

You can change the function assigned to the [SONG BAL-

ANCE] slider by setting the “SongBalanceAssign” parameter

(page 79), which is accessed via the [OTHER SETTING]

button.

SONG BALANCE

KEYBOARDSONG

Your playing volume will

be lower.

The song playback vol-

ume will be lower.

Song Operation

50 P-250

Basic Operation

Recording in Dual or Split mode

When you record in Dual or Split mode, the P-250

records each voice onto a separate track. The follow-

ing table shows how tracks are assigned to each

voice.

In the following example, Tracks 1, 2, and EXTRA

TRACK “n” have been selected for recording.

The variable “n” represents a track number from 3

through 16.

If “n+1,” “n+2,” and “n+3” exceed 16, TRACKs 1, 2,

and 3 are used.

Types of data recorded

Data recorded in the tracks:

• Note data (notes you play)

•Voice selection

• P-250 pedals and modulation wheel on/off

• Reverb depth “ReverbSend”

• Chorus depth “ChorusSend”

• Insertion effect depth “Dry/WetBalance”

• Sound brightness “Brightness”

• Resonance effect setting “Harmonic Content”

• Equalizer’s low-range frequency setting “EQLow-

Freq.”

• Equalizer’s low-range gain setting “EQLowGain”

• Equalizer’s low-range frequency setting “EQLow-

Freq.”

• Equalizer’s low-range gain setting “EQLowGain”

•Voice octave setting “Octave”

•Voice volume level “Volume”

• Stereo image of each voice “Pan”

•Fine pitch adjustment between two voices (Dual

only) “Detune”

•Volume level changes for each voice with

response to the way you play “TouchSense”

•Voice transpose setting “Transpose”

• Scale

• Soft pedal depth

• String resonance depth

• Sustain sampling depth

•Key-off volume “KeyOffSamplingDepth”

• Modulation

• Pitch bend

• Pitch bend range

Data shared by tracks

•Tempo

•Time signature

• Reverb type

• Chorus type

• Insertion effect type

*You can change all data except for note data

including “Octave” and “Transpose”, after

recording.

*You can change the time signature while play-

back or recording is stopped, at the top of the

song, or at a position reached by pressing the B

[–]/[+] buttons.

CAUTION

When you record multiple parts into tracks one by one, or

when you record new data over an existing song (see

page 49), the existing data will be erased. Proceed with

caution!

Assigned recording tracks

TRACK1 TRACK2

EXTRA

TRACKn

↓↓ ↓

Main TRACK 1 TRACK 2 TRACK n

Layer TRACK 3 TRACK 4 TRACK n+2

Main TRACK 1 TRACK n

Left TRACK 2 TRACK n+1

Main TRACK 1 TRACK n

Left TRACK 2 TRACK n+1

Layer TRACK 3 TRACK n+2

LeftLayer TRACK 4 TRACK n+3

TIP

A switch between Dual and Split mode in a song will not be

recorded.

Tracks to be recorded

Dual

Split

Split Dual

P-250 51

Basic Operation

Song Playback

The P-250 enables you to play back a recorded performance. You can also play the keyboard

while the P-250 is playing back a song.

■ Playback

Display the song selection screen.

Press either SONG SELECT [ ] or [ ] button.

2 Select the desired song.

2-1 Use A [–]/[+] to select from “PresetSong” or

“MemorySong”.

If the internal storage memory contains one or more

songs, the P-250 will display “MemorySong.”

2-2 Use the C [–]/[+] or SONG SELECT [ ]/[ ]

buttons to select a song.

3 Start playback.

Press the [START/STOP] button.

Starting playback automatically when you

start playing the keyboard (Synchro Start)

You can start playback as soon as you start playing

the keyboard. This is called the “Synchro Start”

function.

To enter Synchro Start standby mode, press and

hold down the [TOP] button and press the [START/

STOP] button. The [START/STOP] indicator ﬂashes.

Now play the keyboard. Playback starts simulta-

neously.

To cancel the Synchro Start function, press the

[TOP] button while the P-250 is in Synchro Start

standby mode.

Use the B [–]/[+] buttons to move back and forth

(fast reverse and fast forward) through the song.

You can play the keyboard while the P-250 is play-

ing back a song. You can also play the notes in a

voice different from the playback voice by select-

ing a voice from the panel. In this case, to adjust

the volume balance between the song playback

and the sound you are playing on the keyboard,

use the [SONG BALANCE] slider. (page 49)

Press either SONG SELECT [ ]/[ ] button to

return to the song selection screen.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

2-2

2-1

4 3 5

TEMPO [DOWN]/[UP]

TIP

Use the “SongRepeat” parameter in the “SONG SETTING”

menu (page 64) to select repeat playback of all songs or

repeat playback of a single song.

NOTE

If the song name extends beyond what can be displayed in

the screen, you can press the D [+] button to step one char-

acter to the right. Press the D [–] button to step one charac-

ter to the left.

Song Playback

52 P-250

Basic Operation

Adjusting the tempo

You can use the TEMPO [DOWN]/[UP] buttons to

adjust the playback tempo as required before or

during playback. The default tempo (the song’s

original tempo) is set when you press the [DOWN]

and [UP] buttons simultaneously.

Press the SONG SELECT [ ] or [ ] button to

return to the song selection screen.

4 Stop playback.

When playback is complete, the P-250 automatically

stops and locates the top of the song.

To stop playback in the middle of a song, press the

[TOP] button. You can also pause playback by press-

ing the [START/STOP] button.

5 Return to the main screen.

Press the [EXIT] button.

Turning Track Playback On and Off

When you select a song on the P-250, the indica-

tors for tracks that contain data ([TRACK 1],

[TRACK 2], [EX.TRACKS]) light up green.

While the P-250 is playing or stopped, pressing

these track buttons turns off the indicators, and the

data on those tracks will not be played. Press the

track buttons repeatedly to toggle track playback

on and off.

You can play the part that is turned off.

See page 33 for information on the type of song data

that the P-250 can play back.

TIP

In the song selection screen:

• Press the SONG SELECT [ ] or the C[–] button while

playback is stopped in the middle of a song to locate the

top of the song.

• Press the SONG SELECT [ ] or the C[–] button dur-

ing playback to restart playback from the top of the song.

• Press the SONG SELECT [ ] or the C[+] button dur-

ing playback to start playback from the next song.

NOTE

In songs recorded at a free tempo, the actual number of

bars occasionally may not match the number of bars indi-

cated on screen.

NOTE

Some preset songs contain song data recorded at a free

tempo.

TIP

Songs containing a large amount of data may not be read

properly by the instrument, and as such you may not be

able to select them. The maximum capacity is about 200—

300KB. However, this may vary, depending on the data con-

tent of each song.

TIP

Change the character type (CharacterCode) as appropriate

for the selected song (page 55).

TIP

If the P-250 starts playing back while Performance mode is

on, Performance mode will be temporarily turned off. The

performance parameter settings remain the same.

P-250 53

Basic Operation

Handling Song Files [SONG FILE]

Song File screens, which are accessed via the [SONG FILE] button, enable you to save, delete,

and rename recorded songs, and change the type of characters on screen.

The following parameters are provided for these operations:

■ Basic Song File Operation

Message are occasionally displayed on screen to facilitate operation. Refer to the “Message List” on

page 82 for an explanation of each message, the appropriate actions to take, and troubleshooting informa-

tion.

1 Select the desired song.

Select a song you wish to save or rename.

2 Access the Song File menu.

Press the [SONG FILE] button.

To close the Song File menu, press the [EXIT] button

once or twice.

3 Select the desired parameter.

Press the [SONG FILE] or A [–]/[+] buttons repeat-

edly to display the desired item from the following:

•SaveToMemory

• DeleteSong

• RenameSong

• CharacterCode

4 Set the parameter or execute the command.

Use the B [–(NO)]/[+(YES)], C [–]/[+], or D [–]/[+]

buttons.

For more information regarding this procedure, refer

to the corresponding section.

5 Close the Song File menu.

Press the [EXIT] button.

Operation Parameter Reference page

Saving a Song File in Storage Memory SaveToMemory 54

Deleting a Song File from Storage Memory DeleteSong 54

Renaming a Song (Song File) RenameSong 55

Changing the On-Screen Character Type CharacterCode 55

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

2 31

Handling Song Files [SONG FILE]

54 P-250

Basic Operation

■ Saving a Song File in Storage

Memory [SaveToMemory]

If you record a song and then turn off the

power, the song will be erased. To save a

recorded song, you must save it into the P-250

storage memory. You can also save preset

songs, as well as additional or overwritten

recordings (page 49) to storage memory.

Refer to page 53 for information on the

basic operation of song ﬁles. The follow-

ing steps are supplement for Step 4 on

page

53.

4-1

Name the song.

To move the cursor (a small underline), use the C

[–]/[+] buttons.

To insert a space, press the C [–]/[+] buttons

simultaneously.

To select a character marked by the cursor, use the D

[–]/[+] buttons.

To delete a character, press the D [–]/[+] buttons

simultaneously.

You can use up to 58 characters for a song name. If

the name is longer than the screen, use the C [–]/[+]

buttons to move the cursor and scroll the name.

4-2

Execute the operation.

Press the B [+(YES)] button located next to “Exe-

cute?-->.”

“Sure?-->” is displayed on screen. Press the B [+(YES)]

button again to conﬁrm the operation. (To cancel the

operation, press the B [–(NO)] button.)

During the operation, “Executing” is displayed on

screen. When the operation is complete, “Completed”

is displayed.

The song is automatically numbered as “Mxx,” where

“M” means “Memory” and “xx” is a number.

If storage memory contains one or more songs, and

you save a new song, the P-250 automatically sorts

the songs alphabetically and renumbers them.

■

Deleting a Song File from

Storage Memory [Delete-

Song]

You can delete song ﬁles in storage memory.

You cannot delete preset songs or the cur-

rently-selected song.

Refer to page 53 for information on the

basic operation of song ﬁles. The follow-

ing steps are supplement for Step

page

53.

4-1

Select a song to delete.

Use the C [–]/[+] buttons to select a song.

4-2

Execute the operation.

Press the B [+(YES)] button located next to “Exe-

cute?-->.”

Follow the instructions on-screen.

Deleting the memory song does not erase the song

data from the current memory. However, if you return

to the song selection screen, song information other

than the song name is replaced by a dashed line “—

—————”.

After you delete a song, the P-250 automatically

updates the song numbers.

CAUTION

Do not turn off the power to the P-250 while the screen dis-

plays “Executing.” Otherwise, the data currently held in stor-

age memory may be lost.

TIP

Song Title

•You can change the type of characters on screen using

the “CharacterCode” (page 55) parameter.

• When you later select a saved song, the name with an

extension “.MID” will appear.

CAUTION

Do not turn off the power to the P-250 while the screen dis-

plays “Executing.” Otherwise, the data currently held in stor-

age memory may be lost.

TIP

To delete the currently-selected song, select “ALL” for the

“ChannelClear” parameter (page 63) accessed from the

[SONG SETTING] button. Alternatively, press the SONG

SELECT [ ]/[ ] buttons simultaneously to display

“SongChanged Save?”. This message means: “A song has

been edited. Do you wish to save the change?” Press the B

[–(NO)] button. The currently-selected song is deleted and

a blank “NewSong” is selected.

P-250

Handling Song Files [SONG FILE]

Basic Operation

■

Renaming a Song (Song

File) [RenameSong]

You can change the title of any song, except

for preset songs and “P-000:NewSong”.

Refer to page 53 for information on the

basic operation of song ﬁles. The follow-

ing steps are supplement for Step

page

53.

Name the song as described in the

“SaveToMemory” section (page 54).

After you rename a song, all songs are sorted alpha-

betically and renumbered.

■

Changing the On-Screen

Character Type

[CharacterCode]

You can change the type of characters that

appear on-screen.

To select International or Japanese, use the D [–]/[+]

buttons.

Character list

International

Japanese

CAUTION

Do not turn off the power to the P-250 while the screen dis-

plays “Executing.” Otherwise, the data currently held in stor-

age memory may be lost.

TIP

The [CharacterCode] setting is also reﬂected in the display

of the performance and performance ﬁle names.

MEMO

P-250

Edit Operation

P-250

Edit Operation

Edit Operation explains detailed functions and settings for convenient and advanced techniques.

Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Settings for Song Recording and Playback [SONG SETTING] . . . . . . . . . . . . .62

Editing a Voice in Detail [VOICE EDIT] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Adjusting the Master Equalizer [MASTER EQ EDIT]. . . . . . . . . . . . . . . . . . . . .71

MIDI [MIDI SETTING] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Other Settings [OTHER SETTING] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

P-250

Edit Operation

Editing

You can set various parameters to make the best use of P-250 functions. For a basic procedure

to make these settings, refer to page 61.

■

Parameter List

The following parameters are available.

Song recording and playback [SONG SETTING]

Voices [VOICE EDIT]

In Dual mode, assign parameters with an asterisk (*) to the Main part and Layer part voices. In Split Dual mode, assign them

to the Main, Layer, Left, and LeftLayer part voices.

Operation Parameter name on the screen Reference page

Correcting note timing Quantize 62

Specifying whether playback starts immediately along with the ﬁrst

voicing

QuickPlay 62

Auditioning channel ChannelListen 63

Deleting data from a channel ChannelClear 63

Specifying the range and playing back repeatedly FromToRepeat 63

Specifying a phrase for playback by phrase number PhraseMark 63

Playing back a song repeatedly SongRepeat 64

Setting the click time signature TimeSignature 64

Setting the click volume ClickVolume 64

Tur ning the click on/off ClickOnOff 64

Operation Parameter name on the screen Reference page

Setting the octave* Octave 65

Setting the volume level* Volume 65

Setting the position of right and left channels* Pan 66

Adjusting ﬁne pitch offset between two voices in Dual mode Detune 66

Selecting the reverb type ReverbType 66

Setting the reverb depth* ReverbSend 66

Setting the chorus type ChorusType 66

Setting the chorus depth* ChorusSend 67

Tur ning the chorus on/off ChorusOnOff 67

Selecting the insertion effect type* Ins.Type (Ins) 67

Setting the speed of the vibraphone vibrato effect* VibeRotorSpeed (RotorSpeed) 67

Tur ning the vibraphone vibrato on/off* VibeRotorOnOff (RotorOnOff) 67

Adjusting the speed of the rotary speaker* RotarySpeed (Rot.Speed) 67

Adjusting the insertion effect depth* Dry/WetBalance (Dry/Wet) 68

Adjusting the brightness of the sound* Brightness 68

Adjusting the resonance effect* HarmonicContent (Harmonic) 68

Adjusting the low-range frequency of the part EQ* EQ LowFreq. (EQ L.Freq) 68

Adjusting the low-range gain (amount of boost/cut) of the part EQ* EG LowGain 68

Adjusting the high-range frequency of the part EQ* EQ HighFreq. (EQ H.Freq) 68

Adjusting the high-range gain (amount of boost/cut) of the part EQ* EG HighGain 68

Setting the touch sensitivity* TouchSense 68

Assigning the Pedal 1 function Pedal 1 69

Assigning the Pedal 2 function Pedal 2 69

Assigning the Pedal 3 function Pedal 3 69

P-250

Editing

Edit Operation

Master Equalizer [MASTER EQ EDIT]

MIDI [MIDI SETTING]

Other settings [OTHER SETTING]

Assigning the Pedal 4 function Pedal 4 69

Assigning the modulation wheel function Modulation 69

Setting the MSB of the Send Bank Select message* SendBankMSB (SendMSB) 70

Setting the LSB of the Send Bank Select message* SendBankLSB (SendLSB) 70

Setting the Program Change message* SendPG# 70

Tur ning the Internal tone generator on/off* InternalTG 70

Operation Parameter name on the screen Reference page

Setting the Master Equalizer type Edit or Master Equalizer type name 71

Adjusting the low range gain of the Master Equalizer LowGain 71

Adjusting the low-middle range gain of the Master Equalizer LowMidGain 71

Adjusting the middle range gain of the Master Equalizer MidGain 71

Adjusting the high-middle range gain of the Master Equalizer HighMidGain 71

Adjusting the high range gain of the Master Equalizer HighGain 71

Adjusting the low frequency of the Master Equalizer LowFreq. 71

Adjusting the low-middle frequency of the Master Equalizer LowMidFreq. 71

Adjusting the middle frequency of the Master Equalizer MidFreq. 71

Adjusting the high-middle frequency of the Master Equalizer HighMidFreq. 71

Adjusting the high frequency of the Master Equalizer HighFreq. 71

Adjusting the low range resonance of the Master Equalizer LowQ 72

Adjusting the low-middle range resonance of the Master Equalizer LowMidQ 72

Adjusting the middle range resonance of the Master Equalizer MidQ 72

Adjusting the high-middle range resonance of the Master Equalizer HighMidQ 72

Adjusting the high range resonance of the Master Equalizer HighQ 72

Operation Parameter name on the screen Reference page

Setting the MIDI transmit channel MidiOutChannel 74

Setting the MIDI receive channel MidiInChannel 74

Tur ning the Local control on/off LocalControl 74

Specifying keyboard performance or song data to be transmitted via

MIDI

MidiOutSelect 74

Specifying the type of data received via MIDI ReceiveParameter 75

Specifying the type of data transmitted via MIDI TransmitParameter 75

Transmitting the initial settings on the panel InitialSetup 75

Executing Voice Data Bulk Dump VoiceBulkDump 75

Operation Parameter name on the screen Reference page

Selecting a touch response TouchResponse 76

Fine-tuning the pitch Tune 76

Selecting a tuning curve for a piano voice PianoTuningCurve 76

Selecting a scale Scale 77

Setting the Split Point SplitPoint 77

Setting the key Transpose 77

Specifying the depth of the soft pedal SoftPedalDepth 77

Specifying the depth of the string resonance StringResonanceDepth 77

Specifying the depth of sustain sampling for the damper pedal SustainSamplingDepth 78

Specify the volume of the key-off sound KeyOffSamplingDepth 78

Selecting a pedal function for vibraphone VibraphonePedalMode 78

Assigning the START/STOP function to a pedal PedalStart/Stop 78

Editing

P-250

Edit Operation

Selecting a type of pedal PedalType 78

Setting the point at which the pedal starts to affect the sound HalfPedalPoint 78

Pitch bend range PitchBendRange 79

Setting the [SONG BALANCE] function assignment SongBalanceAssign 79

Tur ning the speaker on/off Speaker 79

Setting the Master Equalizer lock EqualizerLock 79

Selecting items saved at shutdown MemoryBackUp 79

Restoring the normal (default) settings FactorySet 79

P-250

Editing

Edit Operation

■

Basic Editing Flow

Access a setting menu.

Press the desired setting button ([SONG SET-

TING], [VOICE EDIT], [MASTER EQ EDIT], [MIDI

SETTING], or [OTHER SETTING]) to access the

corresponding setting menu.

Press the [EXIT] button at any time to close the setting

menu.

Select the desired parameter or part.

Press the setting button, A [–]/[+], and/or C [–]/[+]

buttons repeatedly as required.

Set the parameter or part.

Some parameters or parts lead you to more

options. Use the B [–(NO)]/[+(YES)], C [–]/[+],

and D [–]/[+] buttons to select or set the option.

To restore the default parameter value, press the [

–

]

and [+] buttons simultaneously.

Write, execute, or save the data.

There are three ways to respond to the messages dis-

played at this juncture.

If “Execute?-->” or “Start?-->” appears:

Press the B [+(YES)] button to display conﬁrmation

message “Sure?-->.”

To proceed, press the B [+(YES)] button again. The P-

250 displays “Executing” and writes the data. When

the operation is complete, it displays “Completed” for

three seconds, then returns to the previous screen. To

cancel the operation, press the B [–(NO)] button

instead of the B [+(YES)] button.

If the P-250 does not display the previous screen three

seconds after it displays “Completed,” press the B [+

(YES)] or [EXIT] button. The P-250 then displays the

previous screen.

If “Set?-->” appears:

Press the B [+(YES)] button to execute the setting. The

P-250 displays “Executing” and saves the data.When

the operation is complete, the P-250 displays “Com-

pleted” for three seconds, then displays the previous

screen.

Close the parameter setting menu.

Press the [EXIT] button.

If you wish to save the parameter setting for

a particular performance ﬁle:

Press the [PERFORM.FILE] button, press the A [–]/[+]

buttons to select “Performance” on the screen, press

the C [–]/[+] or VARIATION [

†

]/[

] buttons to select

the destination performance, then press the B [+(YES)]

button.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

2, 3

1 13, 4

3 1

5 1

P-250

Edit Operation

Settings for Song Recording and

Playback [SONG SETTING]

You can make detailed settings for the selected song. First, select the desired song (page 51).

Select the desired song and press the [SONG SETTING] button to access the [Song Setting] menu.

■

Correcting note timing [Quantize]

The P-250 enables you to correct the timing of notes. For

example, you can adjust recorded notes to precise eighth

or sixteenth notes, or make the entire song feel more

lively by adding a swing rhythm. You can modify any

song, and listen while you change the settings.

Press the D [–]/[+] buttons to specify the note type, and

press one of the B [–(NO)]/[+(YES)] buttons to specify

whether or not you wish to store the changed value.

If you select “1/8” or “1/16” for correction, “Swing-

Rate=xx%” is displayed. You can specify the swing rate

from 0% to 100% by using the C [–]/[+] buttons. Setting

the swing rate to an appropriate value will make the

song sound more lively and swinging.

Adjusting the timing

OFF

1/4 . . . . . . . . . . . Quarter note

1/8 . . . . . . . . . . . Eight note

1/12 . . . . . . . . . . Eight note triplets

1/16 . . . . . . . . . . Sixteen note

1/24 . . . . . . . . . . Sixteenth note triplets

Adjusting the timing of 1/8 notes:

■

Specifying whether playback starts immedi-

ately along with the ﬁrst voicing [QuickPlay]

Press the D [–]/[+] buttons to specify whether a song that

starts in the middle of a bar or with a silence prior to the

ﬁrst note should be played from the ﬁrst note (ON) or

from the top of the bar (rest or blank) (OFF).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

[SONG SETTING]

TERMINOLOGY

Quantize: To correct the timing of notes. (To perform an

operation to the MIDI data that will bring notes closer to a

speciﬁed grid of acceptable timing values.)

NOTE

Save the edited song data to memory using “SaveToMem-

ory.” (page 54)

3 3

Your playing timing on the Keyboard

Swing rate = 50% : not swinging

Swing rate = 75% (51% or higher) :

The timing of even beat notes is slightly delayed.

Swing rate = 25% (49% or lower) :

The timing of even beat notes is slightly early.

Swing rate = 67% :

The timing of the even beat notes is moved to

the third beat of the triplets.

P-250

Settings for Song Recording and Playback [SONG SETTING]

Edit Operation

■

Auditioning channel [ChannelListen]

You can select a single channel to listen to its contents.

Playback starts from the ﬁrst note.

Press the D [–]/[+] buttons to select a channel for play-

back. Press and hold down the B [+(YES)] button to play

the channel.

■

Deleting data from a channel [ChannelClear]

You can delete data from the 16 channels one by one or

all together.

Press the D [–]/[+] buttons to select a channel to delete,

and press the B [+(YES)] button to delete the data.

■

Specifying the range and playing back

repeatedly [FromToRepeat]

You can specify a range (in steps of beats) that you wish

to play back repeatedly.

• Playback repeats after it reaches the end point. (The

end point is not played.)

• If you start playing back a song with “Repeat On”

selected, the count down starts, followed by the

repeated playback of the speciﬁed part until you

press the [TOP] button.

• If you select “Repeat Off,” normal playback starts.

Press the B [–(NO)]/[+(YES)] buttons to select “Repeat

On” or “Repeat Off.” Press the C [–]/[+] buttons to spec-

ify the start point of the repeated range, and press the D

[–]/[+] buttons to specify the end point of the repeated

range.

■

Specifying a phrase for playback by phrase

number [PhraseMark]

If you select a song that contains “PhraseMark” data you

can specify phrase numbers to play back from the mark

point, or to play back repeatedly.

• If you start playing back a song with “Repeat On”

selected, the metronome sound starts ticking, fol-

lowed by the repeated playback of the speciﬁed

phrase until you press the [TOP] button.

• If you select “Repeat Off,” normal playback starts

from the speciﬁed phrase.

Press the C [–]/[+] buttons to specify a phrase number,

and press the B [–(NO)]/[+(YES)] buttons to select

“Repeat On” or “Repeat Off.”

You can set the phrase number to Off (not speciﬁed), or

from 1 through the last phrase number in the song.

• If you select a song that doesn’t contain “Phrase-

Mark” data, you can select only “Off”.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

TIP

Channels that do not contain any data are not displayed.

However, for some songs, all channels (including channels

that contain no data) may be displayed.

TIP

Channels that do not contain data are not displayed. How-

ever, for some songs, all channels (including channels that

contain no data) may be displayed.

NOTE

Save the edited song data to memory using the

“SaveToMemory” (page 54) parameter.

TIP

Press the C [–]/[+] and D [–]/[+] buttons to specify the range

to be repeated during song playback.

TIP

When you select another song, the speciﬁed range is auto-

matically cancelled and the Repeat function is turned off.

NOTE

If you set the [FromToRepeat] parameter for a song

recorded at free tempo, the timing of the metronome sound

and the song may occasionally not match.

NOTE

Some preset songs contain song data recorded at free

tempo.

Settings for Song Recording and Playback [SONG SETTING]

64 P-250

Edit Operation

■ Playing back a song repeatedly [SongRepeat]

You can repeatedly play back all songs, or a single song

selected from the preset songs or from storage memory.

• When you start playback, the P-250 plays the cur-

rently-selected song, then starts repeat playback of

the speciﬁed songs, continuing until you press the

[TOP] button.

• Press the B [–(NO)]/[+(YES)] buttons to select “On” or

“Off,” and press the D [–]/[+] buttons to specify the

songs to be repeated.

Range to be repeated:

• MemorySongs ... All songs in the storage memory

• PresetSongs....... All preset songs

• All..................... All songs in the storage memory

and all preset songs

• OneSong........... Song selected on the panel

■ Setting the click time signature

[TimeSignature]

Press the C [–]/[+] buttons to set the numerator of the

time signature, and press the D [–]/[+] buttons to set the

denominator of the time signature.

For example, to specify “3/4,” press the C [

–]/[+] buttons

to select “3” and the D [

–]/[+] buttons to select “4.”

■ Setting the click volume [ClickVolume]

Press the D [–]/[+] buttons to set the volume (0—127).

■ Turning the click on/off [ClickOnOff]

Use the D [–]/[+] buttons to select one of the following:

• Off.....................No click sounds.

• BellOn...............Chime sounds on the ﬁrst beat in a

measure. Click sounds on the rest

of the beats.

• BellOff...............Click sounds on every beat.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

TERMINOLOGY

TimeSignature = The standard method of denoting the

meter of a piece of music.

TIP

Click does not sound in any mode other than recording,

regardless of the “ClickOnOff” setting.

P-250 65

Edit Operation

Editing a Voice in Detail [VOICE EDIT]

This menu enables you to make detailed settings for the voices in Dual or Split mode, as well as for the

effects. You can make these settings for each voice or for a combination of voices. In addition, you can

listen to the notes you play on the keyboard while you change the settings.

Basic voice editing using [VOICE

EDIT]

1 Select a voice and press the [VOICE EDIT] but-

ton to access the “VOICE EDIT” menu.

2 Press the A [–]/[+] buttons to select the part

for which you wish to change the voice.

The range of the displayed voice part varies depend-

ing on the selected voice.

Main .................Voices for the Main part (page 29).

The Main part voice is used in non-

Split, non-Dual mode, or in Split

mode when the right-hand area is

not in Dual mode.

Main x Layer .....Voices for the Main or Layer part

(page 29). These voices are used in

Dual mode, or in Split mode when

the right-hand area is in Dual mode.

Left....................Voices for the Left part (page 28).

These voices are used in Split mode

when the left-hand area is not in

Dual mode.

Left x Layer........Voices for the Left or Layer part

(page 28). These voices are used in

Split mode when the left-hand area is

in Dual mode.

■ Setting the octave* [Octave]

The pitch of a note can be shifted up or down by one or

two octaves.

Press the D [–]/[+] buttons to set the pitch to the range

from –2 (two octaves lower) through 0 (no pitch shift)

to +2 (two octaves higher).

■ Setting the volume level* [Volume]

You can set the volume level for each voice.

Press the D [–]/[+] buttons to set the volume level (0 to

127).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

• All parameters accessed via the [VOICE EDIT] button are performance parameters (page 30).

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

[VOICE EDIT]

TIP

In Dual mode, assign parameters with an asterisk (*) to the

Main part and Layer part voices. In Split Dual mode, assign

them to the Main, Layer, Left, and Left/Layer part voices.

TIP

Parameter names enclosed in parentheses ( ) are dis-

played in Dual mode.

In Dual mode:

Voice for editing (Main part or Layer part)

In Dual mode:

Editing a Voice in Detail [VOICE EDIT]

66 P-250

Edit Operation

■ Setting the position of the right and left

channels* [Pan]

You can specify the position in the stereo image from

which the sound is output.

Press the D [–]/[+] buttons to set the pan position in the

range of L64 (hard left)— C (center) — R63 (hard right).

■ Adjusting ﬁne pitch offset between two

voices in Dual mode [Detune]

The pitch of the two voices selected in Dual mode can

be “skewed” slightly away from each other.

Press the D [–]/[+] buttons to set the skewing value (–20

— +20).

Positive (+) settings will raise the pitch of the ﬁrst sound

and lower the pitch of the second sound.

Negative settings will lower the pitch of the ﬁrst sound

and raise the pitch of the second sound.

■ Selecting the reverb type [ReverbType]

Press the D [–]/[+] button to select one of the following:

Room ............ Reverberation in a room

Hall1............. Reverberation in a concert hall

Hall2............. Reverberation in a hall slightly larger than

Hall1

Stage ..............Reverberation suitable for a solo instrument

Plate.............. Reverberation similar to vintage plate

reverb (created by suspending a steel

plate with springs)

■ Setting the reverb depth* [ReverbSend]

Press the D [–]/[+] buttons to set the value (0—127).

■ Setting the chorus type [ChorusType]

Press the D [–]/[+] buttons to select one of the following:

Chorus .......... Adds a rich spread to the sound.

Celeste .......... Adds a swell and spread to the sound.

Flanger ...........Adds an ascending or descending jet sweep.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

• All parameters accessed via the [VOICE EDIT] button are performance parameters (page 30).

TERMINOLOGY

Pan = Moving the sound from left to right, or right to left

TERMINOLOGY

Detune = Shifting the pitch of one sound relative to another

In Dual mode:

Voice for editing (Main part or Layer part)

TIP

You cannot set this parameter for the voice parts “Left” and

“Left X Layer.”

TIP

You cannot set this parameter for the voice parts “Left” and

“Left X Layer.”

In Dual mode:

Voice for editing (Main part or Layer part)

P-250 67

Editing a Voice in Detail [VOICE EDIT]

Edit Operation

■ Setting the chorus depth* [ChorusSend]

Press the D [–]/[+] buttons to set the value (0—127).

■ Turning the chorus on/off [ChorusOnOff]

You can set the [CHORUS] button on or off for each voice.

When you select a voice, the voice automatically uses this

chorus on/off setting.

Press the D [–]/[+] buttons to turn On/Off.

■ Selecting the insertion effect type*

[Ins.Type(Ins)]

You can select other effects (than reverb and chorus).

Press the D [–]/[+] buttons to select one of the following:

Delay LCR .......... Delays the sound on left, center, and

right.

Delay LR............. Delays the sound on left and right.

Echo ................... Echo-like delay

CrossDelay ......... Left and right delays are crossed.

Symphonic ......... Adds a rich, deep dimension to the

sound.

Rotary................. Reproduces the vibrato effect of rotary

speakers.

Tremolo .............. The volume level changes in cycles.

VibeRotor ........... Vibrato effect typical of a vibraphone

AutoPan.............. Moves the sound left and right.

Phaser................. Changes the phase periodically to cre-

ate a swell.

AutoWah ............ Changes the center frequency of the

wah ﬁlter periodically.

SoundBoard ........Creates reverberation that simulates a

piano sound board.

AmpSimulator.....Distortion effects

Off ......................No effect

■ Setting the speed of the vibraphone vibrato

effect* [VibeRotorSpeed(RotorSpeed)]

This parameter is displayed only if VibeRotor is selected

for the “Ins.Type” parameter.

This parameter enables you to set the speed of vibrato when

you select the Vibraphone voice and use a vibe rotor pedal.

Press the D [–]/[+] buttons to set the speed (1—10).

■ Turning the Vibraphone vibrato on/off*

[VibeRotorOnOff (RotorOnOff)]

This parameter is displayed only if VibeRotor is selected

for the “Ins.Type” parameter.

This parameter turns on/off the vibrato effect that is

applied when you use the VibeRotor pedal.

Press the D [–]/[+] buttons to turn the parameter On or Off.

■ Adjusting the speed of the rotary speaker*

[RotarySpeed (Rot.Speed)]

This parameter is displayed only if Rotory is selected for

the “Ins.Type” parameter.

This parameter sets the rotation speed of the rotary

speaker effect.

Press the D [–]/[+] buttons to simulate a speaker turning

Slow or Fast.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

• All parameters accessed via the [VOICE EDIT] button are performance parameters (page 30).

In Dual mode:

Voice for editing (Main part or Layer part)

TERMINOLOGY

Rotor = The rotating portion of an electric motor.

Editing a Voice in Detail [VOICE EDIT]

68 P-250

Edit Operation

■ Adjusting the insertion effect depth*

[Dry/WetBalance(Dry/Wet)]

This parameter sets the depth of the insertion effect.

Some insertion effects do not allow you to set the dry/

wet balance.

Press the D [–]/[+] buttons to specify the dry/wet balance

in the range from “D63>W” (mostly dry sound) through

“D=W” (dry/wet balance is even) to “D<W63” (only the

effect sound is output).

■ Adjusting the brightness of the sound*

[Brightness]

Use the D [–]/[+] buttons to set the value (–64 to +63).

■ Adjusting the resonance effect* [Harmonic-

Content (Harmonic)]

Press the D [–]/[+] buttons to set the value (–64 — +63).

■ Adjusting the low-range frequency of the

part EQ* [EQ LowFreq.(EQ L.Freq)]

■ Adjusting the high-range frequency of the

part EQ* [EQ HighFreq.(EQ H.Freq)]

For the Part equalizer (Part EQ), you can adjust the gain

of two bands for each voice.

Press the D [–]/[+] buttons to specify the low-range fre-

quency (32Hz to 2.0kHz) and the high-range frequency

(500Hz to 16.0 kHz).

■ Adjusting the low-range gain (amount of

boost/cut) of the part EQ* [EQLowGain]

■ Adjusting the high-range gain (amount of

boost/cut) of the part EQ* [EQHighGain]

Press the D [–]/[+] buttons to specify the gain for each

band (–12 — +12dB).

■ Setting the touch sensitivity* [TouchSense]

This parameter enables you to determine the manner and

degree to which the volume level changes in response to

your touch on the keyboard (how hard you play).

Press the D [–]/[+] buttons to set the sensitivity from 0

(softest) to 64 (largest change in the level) to 127 (loudest

and ﬁxed).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

• All parameters accessed via [VOICE EDIT] are performance parameters (page 30).

TERMINOLOGY

Resonance = Vibration or oscillation at a certain frequency

TIP

The P-250 has two types of equalizer: ﬁve-band Master

Equalizer (Master EQ) and two-band Part Equalizer (part

EQ). Refer to pages 38 and 71 for more information on the

Master Equalizer.

TIP

See page 74 for differences between the “TouchSense”

parameter and the “TouchResponse” parameter in the

“OTHER SETTING” menu.

Low Gain

High Gain

Low Freq. High Freq.

Voice for editing (Main part or Left part)

In Dual mode:

P-250 69

Editing a Voice in Detail [VOICE EDIT]

Edit Operation

■ Assigning the Pedal 1 function [Pedal 1]

■ Assigning the Pedal 2 function [Pedal 2]

■ Assigning the Pedal 3 function [Pedal 3]

You can assign a function to a pedal connected to the

pedal jack.

Press the D [–]/[+] buttons to select one of the following

functions:

Sustain...........On/Off switch-type damper (page 39)

SustainCont ...Damper effect that sustains notes longer

when you press the pedal further down

(page 39)

Sostenuto.......Sostenuto pedal (page 39)

Soft................Soft pedal (page 39)

Expression .....Adds accents to notes being played.

Off.................No function is assigned.

■ Assigning the Pedal 4 function [Pedal 4]

Press the D [–]/[+] buttons to select one of the following

functions:

Sustain...........On/Off switch-type damper (page 39)

SustainCont ...Damper effect that sustains notes longer

when you press the pedal further down

(page 39)

Sostenuto.......Sostenuto pedal (page 39)

Soft................Soft pedal (page 39)

Expression .....Adds accents to notes being played.

ReverbSend ...Adds reverb accents to notes being

played.

ChorusSend ...Adds chorus accents to notes being

played.

Brightness......Adds brightness accents to notes being

played.

Harmonic

Content..........Adds resonance accents to notes being

played.

After Touch ....Adds after-touch accents to notes being

played. (MIDI transmit only)

Ctrl#0—#119 ..Adds accents by controller #0—119 to notes

being played.

(MIDI transmit only)

Off.................No function is assigned.

■ Assigning the modulation wheel function

[Modulation]

You can specify the parameter controlled by the modula-

tion wheel.

Press the D [–]/[+] buttons to select one of the following

functions:

Expression......Adds accents to notes being played.

Main

Volume ..........Changes the volume level of the Main part

notes being played.

Layer

Volume ..........Changes the volume level of the Layer

part notes being played.

(Displayed only when Main is in Dual

mode.)

LeftVolume ....Changes the volume level of the Left part

note being played.

LeftLayer

Volume ..........Changes the volume level of the LeftLayer

part note being played.

(Displayed only when Left is in Dual

mode.)

RotarySpeed...Changes the rotary speaker’s rotation

speed during performance

VibeRotor ......Changes the vibraphone’s vibrato speed

during performance

Modulation ....Adds modulation accents.

ReverbSend....Adds reverb accents to notes being

played.

ChorusSend ...Adds chorus accents to notes being

played.

Brightness ......Adds brightness accents to notes being

played.

Harmonic ......Adds resonance accents to notes being

played.

After Touch.....Adds after-touch accents to notes being

played. (MIDI transmit only)

Ctrl#0—#119 ..Adds accents by controller #0—119 to

notes being played.

(MIDI transmit only)

Off .................No function is assigned.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

• All parameters accessed via the [VOICE EDIT] button are performance parameters (page 30).

TIP

Recommended pedals:

For the Sustain, SustainCont, Sostenuto, and Soft func-

tions, use FC3, FC4/FC5, FC7 pedals. For other functions,

use FC7.

Editing a Voice in Detail [VOICE EDIT]

70 P-250

Edit Operation

■ Setting the MSB of the Send Bank Select

message* [SendBankMSB(SendMSB)]

■ Setting the LSB of the Send Bank Select mes-

sage* [SendBankLSB(SendLSB)]

■ Setting the Program Change message*

[SendPG#]

Press the D[–]/[+] buttons to select “PRESET” (preset

value) or a ﬁxed value ranging from 0 through 127 (For

the “SendPG#” parameter, from 1 through 128).

If you select “PRESET,” the same value as that is sent to

the internal tone generator will be output. If you change

one of these three parameter settings from a ﬁxed value

to “PRESET,” the rest of the parameters will be also

changed to “PRESET.” On the other hand, if you change

one of the settings from “PRESET” to a ﬁxed value, the

rest of the parameters will be set to the same ﬁxed value.

■ Turning the Internal tone generator on/off*

[InternalTG]

Press the D[–]/[+] buttons to turn the Internal Voice on/

off.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parame-

ter settings.

• All parameters accessed via the [VOICE EDIT] button are performance parameters (page 30).

P-250 71

Edit Operation

Adjusting the Master Equalizer

[MASTER EQ EDIT]

The P-250 enables you to set the Master Equalizer settings.

You can also set the EQ gain by moving the MASTER EQUALIZER sliders (page 38) on the panel. Regard-

less of the method you use, the latest gain setting is effective.

■ Setting the Master Equalizer type

You can set the Master Equalizer parameters to the preset

values.

Press the B [–]/[+] buttons to select from Mellow 3-1

(mellow and round sound), Normal, Bright 1-3 (bright

sound), and Edit. If you select “Edit,” the settings for the

other parameters accessed via the [MASTER EQ EDIT]

buttons become enabled. However, the position of the

[MASTER EQUALIZER] sliders is used as a gain value. If

you set the other parameters, this parameter is set to Edit.

■ Adjusting the low range gain of the Master

Equalizer [LowGain]

■ Adjusting the low-middle range gain of the

Master Equalizer [LowMidGain]

■ Adjusting the middle range gain of the Mas-

ter Equalizer [MidGain]

■ Adjusting the high-middle range gain of the

Master Equalizer [HighMidGain]

■ Adjusting the high range gain of the Master

Equalizer [HighGain]

You can specify the gain of each band of Master EQ.

Press the D [–]/[+] buttons to specify each gain level (–9

to +9dB).

■ Adjusting the low frequency of the Master

Equalizer [LowFreq.]

■ Adjusting the low-middle frequency of the

Master Equalizer [LowMidFreq.]

■ Adjusting the middle frequency of the Mas-

ter Equalizer [MidFreq.]

■ Adjusting the high-middle frequency of the

Master Equalizer [HighMidFreq.]

■ Adjusting the high frequency of the Master

Equalizer [HighFreq.]

You can specify the center frequency for each band of

the Master Equalizer.

Press the D [–]/[+] buttons to specify the frequencies (Lo:

32Hz to 2.0kHz; Lo Mid to Hi Mid: 100Hz to 10.0kHz;

Hi: 500Hz to 16.0kHz).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the default parameter

settings.

• All parameters accessed via the [MASTER EQ EDIT] button are performance parame-

ters (page 30).

ELECTRONIC

HIGHHI-MID

MASTER EQUALIZERVOICE/PERFORMANCETEMPOSONG

LOW

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOP RECSTART/STOP

SYNCHRO START

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

LO-MID MID

DOWNSONG SETTING UP

[MASTER EQ EDIT]

TIP

You can specify the gain in the range of –12dB through

+12dB for MIDI input signal.The range of indication is also –

12dB through +12dB.

Adjusting the Master Equalizer [MASTER EQ EDIT]

72 P-250

Edit Operation

■ Adjusting the low range resonance of the

Master Equalizer [LowQ]

■ Adjusting the low-middle range resonance

of the Master Equalizer [LowMidQ]

■ Adjusting the middle range resonance of the

Master Equalizer [MidQ]

■ Adjusting the high-middle range resonance

of the Master Equalizer [HighMidQ]

■ Adjusting the high range resonance of the

Master Equalizer [HighQ]

Press the D [–]/[+] buttons to set the Q for each band

(0.1—12.0).

HighMidQ

LowMidQ MidQ

LowFreq. LowMidFreq. MidFreq. HighMidFreq. HighFreq.

HighGain

LowGain

TIP

If you set the Q to a lower value and the gain to a higher

value, the sound may distort. In this case, raise the Q or

lower the gain.

TIP

If you set the “EqualizerLock” parameter (accessed via the

[OTHER SETTING] button to “ON,” the Master Equalizer

settings will not be affected by performance recall or MIDI/

song playback.

P-250 73

Edit Operation

MIDI [MIDI SETTING]

You can set detailed MIDI-related parameters, such as setting up the MIDI transmit and receive

channels.

■ About MIDI

MIDI (Musical Instrument Digital Interface) is a standard format for data transmission and reception. It

enables the transfer of performance data and commands between MIDI devices and personal comput-

ers.

Using MIDI, you can control a connected MIDI device from the P-250, or control the P-250 from a con-

nected MIDI device or computer.

Refer to “Connecting External MIDI Equipment” on page 18 for more information on connecting MIDI

devices.

[MIDI] connector

MIDI [IN]: Receives MIDI data.

MIDI [OUT]: Transmits MIDI data.

MIDI [THRU]: Transmits data received at the MIDI [IN]

connector without modifying the data.

[TO HOST] connector

Use this connector to connect the P-250 to a computer.

The type of connecting cable varies depending on the

computer. Refer to “Connecting to a Personal Com-

puter” on page 19 for more information.

[USB] connector

Use this connector to connect the P-250 to a computer.

MIDI

IN THRUOUT

TO HOST

USB

MIDI [MIDI SETTING]

74 P-250

Edit Operation

Press the [MIDI SETTING] button to enter MIDI Setting mode.

■ Setting the MIDI transmit channel

[MidiOutChannel]

This parameter enables you to specify the channel on

which the P-250 transmits MIDI data.

Press the C [–]/[+] buttons to select the voice part (Main,

Left, Layer, Left Layer), and press the D [–]/[+] buttons to

specify a channel (Ch1—Ch16, Off: Not transmitted).

[MidiOutChannel] is a performance parameter (page

30).

■ Setting the MIDI receive channel

[MidiInChannel]

You can specify which channel receives part.

Press the C [–]/[+] buttons to select a channel (Ch1—

Ch32), and press the D [–]/[+] buttons to select the MIDI

receive part (Song, Main, Left, Layer, Left Layer, Key-

board, or Off).

[MidiInChannel] is a performance parameter (page

30).

■ Turning the Local Control On/Off

[LocalControl]

“Local Control On” is a state in which the P-250 pro-

duces sound from its tone generator when you play the

keyboard. In the “Local Control Off” state, the keyboard

and the tone generator are cut off from each other. This

means that even if you play the keyboard, the P-250 will

not produce sound. Instead, the keyboard data can be

transmitted via MIDI to a connected MIDI device, which

can in turn produce the sound. The “Local Control Off”

setting is useful if you wish to play an external sound

source while playing the keys on the P-250.

Press the D [–]/[+] buttons to turn Local Control on or

off.

[LocalControl] is a performance parameter (page

30).

■ Specifying keyboard performance or song data

to be transmitted via MIDI [MidiOutSelect]

You can specify whether the data from your performance

on the keyboard or song playback data (including demo

songs) is sent via MIDI.

Press the D [–]/[+] buttons to select one of the following:

Keyboard....... Data from your performance on the key-

board

Song.............. Song playback data

[MidiOutSelect] is a performance parameter (page

30).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the

default parameter settings.

ELECTRONIC PIANO

HIGHHI-MID

MASTER EQUALIZERVOICE/PERFORMANCETEMPOSONG

LOW

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

RECSTART/STOP

CHRO START

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

LO-MID MID

DOWNSONG SETTING UP

[MIDI SETTING]

MIDI IN

TO HOST

Sound source A

Channels 1-16

Port A Port B

Sound source B

Channels 17-32

MIDI data

Used for song

playback

Used for song

playback

(When the channel

setting is other

than Song or Off)

Played from

the keyboard

USB

P-250 75

MIDI [MIDI SETTING]

Edit Operation

■ Specifying the type of data received via MIDI

[ReceiveParameter]

This parameter enables you to specify the MIDI data type

the P-250 will receive.

Press the C [–]/[+] buttons to select the data type (Note,

Control, Program, AfterTouch, PitchBend, SysEx), and

press the D [–]/[+] buttons to specify On or Off.

■ Specifying the type of data transmitted via

MIDI [TransmitParameter]

This parameter enables you to specify the MIDI data type

the P-250 will transmit.

Press the C [–]/[+] buttons to select the data type: (Note,

Control, AfterTouch, Program, PitchBend, SystemReal-

Time, SysEx), then press the D [–]/[+] buttons to specify

On or Off.

■ Transmitting the initial settings on the panel

[InitialSetup]

You can transmit the panel data, such as voice selection,

to a connected sequencer. Before you record your play-

ing on the keyboard to a connected sequencer, it is use-

ful if you ﬁrst send and record (at the beginning of your

recording) the panel setup data for your performance

during playback.

Press the B [+(YES)] button to start transmission.

■ Executing Voice Data Bulk Dump [VoiceBulk-

Dump]

You can transmit the voice data speciﬁed in the “VOICE

EDIT” menu (page 65) as MIDI bulk data.

Press the B [+] button to start the transmission.

You can interrupt voice data bulk dump transmission by

pressing the B [

–(NO)] button.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the

default parameter settings.

76 P-250

Edit Operation

Other Settings [OTHER SETTING]

The P-250 enables you to set detailed parameters for touch, tuning, scale, etc.

Press the [OTHER SETTING] button to enter Other Setting mode.

■ Selecting a touch response [TouchResponse]

You can specify a touch response (how the sound

responds to the way you play the keys).

Press the D[–]/[+] buttons to select one of the following:

Light ............. With this setting, a soft touch can produce

a loud sound. Each note will sound at a

more even level.

Medium ........ Standard touch

Heavy ........... You must play with a stronger touch to

make the sound louder. This is suitable for

expressive performance from pianissimo

to fortissimo.

Fixed............. The volume level is ﬁxed. The force with

which you play will not affect the loud-

ness.

If you select “Fixed,” press the B [–]/[+] buttons to set the

volume (1—127).

[TouchResponse] is a performance parameter.

■ Fine-tuning the pitch [Tune]

You can ﬁne tune the pitch of the entire instrument. This

function is useful when you play the P-250 along with

other instruments or CD music.

Press the D [–]/[+] buttons to set the A3 pitch (427.0Hz

to 453.0, in 0.1Hz steps).

■ Selecting a tuning curve for a piano voice

[PianoTuningCurve]

You can select a tuning curve for [GRANDPIANO1] and

[GRANDPIANO2]. Select [Flat] if you feel the tuning

curve of the piano voice does not quite match that of the

other instruments.

Use D [–]/[+] to select one of the following:

Stretch........... Tuning curve typical for piano

Flat................ With this tuning curve, the frequency is

doubled per octave over the entire range.

[PianoTuningCurve] is a performance parameter (page

30).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the

default parameter settings.

VOICE/PERFORMANCETEMPOSONGSONG BALANCE

MASTER VOLUME

MIDI SETTING

CHORUS

REVERBSPLITCONTRAST

YESNO

BASS

PERFORM. FILE

MASTER EQ EDIT

VARIATION

PERFORMANCE

VOICE EDITVIBES

GUITAR

SYNTH.PAD

E.PIANO3 HARPSI.

CLAVI.

ORGAN 1

EXIT

9 BA

G.PIANO 1

EX.TRACKS SONG FILE

PANEL LOCK

TRACK1

TOPSONG SELECT

KEYBOARDSONG

MIN MAX

RECSTART/STOP

SYNCHRO STARTNEW SONG

TRACK2

MIDI OUT

ORGAN 2

G.PIANO 2

STRINGS

E.PIANO1

CHOIR

E.PIANO2

OTHER SETTING

DOWNSONG SETTING UP

[OTHER SETTING]

TIP

Difference between “TouchResponse” and “TouchSense” in

the “VOICE EDIT” menu (page 66):

“TouchSense” speciﬁes for each part how loud the sound is

produced. The Note On velocity data transmitted via MIDI is

always ﬁxed, but the volume level changes.

“TouchResponse” speciﬁes how sensitive the instrument is

in response to your key strokes. When you play the key-

board with a consistent force, the Note On velocity data

transmitted via MIDI change.

P-250 77

Other Settings [OTHER SETTING]

Edit Operation

■ Selecting a scale [Scale]

The P-250 enables you to select various scales. Equal

Temperament is the most common contemporary piano

tuning scale. However, history has known numerous

other scales, many of which serve as the basis for certain

genres of music. You can experience the tunings of these

genres.

Press the D [–]/[+] buttons to select from the scales

below.

Equal

One octave is divided into twelve equal intervals. This is

currently the most popular piano tuning scale.

PureMajor/PureMinor

Based on natural overtones, three major chords using

these scales produce a beautiful, pure sound. They are

sometimes used for chorus parts.

Pythagorean

This scale, designed by Pythagoras, a Greek philosopher,

is composed of only ﬁve pitches. The 3rd produces

swells, but the 4th and 5th are beautiful and suitable for

some leads.

MeanTone

This scale is an improvement on the Pythagorean scale

in that the swell of the 3rd has been eliminated. It

became popular during the late 16th century through the

late 18th century. Handel used this scale.

WerckMeister/KirnBerger

These scales combine Mean Tone and Pythagorean in

different ways. With these scales, modulation changes

the impression and feel of the songs. These scales were

often used in the era of Bach and Beethoven. They are

also often used now to reproduce the music of that era

on harpsichords.

If you select a scale other than Equal, you need to specify

the root note. Press the B [–(NO)]/[+(YES)] buttons to

select from C, C



, D, E



, E, F, F



, G, A



, A, B



, or B.

[Scale] is a performance parameter (page 30).

■ Setting the split point [SplitPoint]

Set the split point on the keyboard that separates the

right and left-hand sections.

Press the D [–]/[+] buttons to set the value (A-1 — C7).

[SplitPoint] is a performance parameter (page 30).

■ Setting the key [Transpose]

The P-250’s Transpose function makes it possible to shift

the pitch of the entire keyboard up or down in semitone

intervals to facilitate playing in difﬁcult key signatures,

and to let you easily match the pitch of the keyboard to

the range of a singer or other instruments.

For example, if you set the transposition amount to “5,”

playing key C produces pitch F. In this way, you can play

the song as if it were in C major, and the P-250 will

transpose it to the key of F.

Press the C [–]/[+] buttons to select one of the following

to transpose:

Master ..........Any sound of the instrument (actual play-

ing, playback song)

Keyboard......Actual playing

Song .............Playback song

Press the D [–]/[+] buttons to set the transposition

amount from –12 (–1 octave) to 0 (standard pitch) to +12

(+1 octave).

[Transpose] is a performance parameter (page 30).

■ Specifying the depth of the soft pedal [Soft-

PedalDepth]

Press the D [–]/[+] buttons to set the value (1—10).

[SoftPedalDepth] is a performance parameter (page

30).

■ Specifying the depth of string resonance

[StringResonanceDepth]

This parameter is effective on the voice group

GRANDPIANO1.

Press the D [–]/[+] buttons to set the value (Off, 1—10).

[StringResonanceDepth] is a performance parameter

(page 30).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the

default parameter settings.

Other Settings [OTHER SETTING]

78 P-250

Edit Operation

■ Specifying the depth of sustain sampling for

the damper pedal [SustainSamplingDepth]

This parameter is effective only on the voice group

GRANDPIANO1.

Press the D [–]/[+] buttons to set the value (Off, 1—10).

[SustainSamplingDepth] is a performance parameter

(page 30).

■ Specifying the volume of the key-off sound

[KeyOffSamplingDepth]

You can adjust the volume of the key-off sound (the sub-

tle sound that occurs when you release a key).

This is effective on the voice groups GRANDPIANO1,

E.PIANO1, CLAVI., and HARPSICHORD.

Press the D [–]/[+] buttons to set the value (Off, 1—10).

[KeyOffSamplingDepth] is a performance parameter

(page 30).

■ Selecting a pedal function for vibraphone

[VibraphonePedalMode]

This parameter enables you to select whether the sound

is sustained (a) while you press the keys on the keyboard

(“PianoLike”) or (b) while you press and hold down the

sustain pedal, like playing a real vibraphone (“Normal”).

Press the D [–]/[+] buttons to specify PianoLike or Nor-

mal.

[VibraphonePedalMode] is a performance parameter

(page 30)

■ Assigning the START/STOP function to a

pedal [PedalStart/Stop]

If you assign the START/STOP function to a pedal and

activate the function, the pedal function assigned to the

pedal in the VOICE EDIT menu (page 69) is disabled.

Press the C [–]/[+] buttons to select a pedal (Pedal 2,

Pedal 3, Pedal 4) to assign the function, and press the D

[–]/[+] buttons to specify On or Off.

[PedalStart/Stop] is a performance parameter (page

30).

■ Selecting a type of pedal [Pedal Type]

A pedal connected to the PEDAL [1 (SUSTAIN)], [2 (SOS-

UTENUTO)], [3 (SOFT)], [4 (AUX)] connector may

switch on and off differently. For example, some pedals

turn on the effects when pressed, and others turn them

off. Use this parameter to reverse this mechanism.

Press the C[–]/[+] buttons to select a pedal from Pedal 1,

Pedal 2, Pedal 3, or Pedal 4, then press the D [–]/[+] but-

tons to specify Make or Break.

■ Setting the point at which the pedal starts to

affect the sound [HalfPedalPoint]

This parameter enables you to specify the point to which

you must depress the pedal before the assigned effect is

applied. (This setting applies to effects that can be

assigned to each pedal, such as damper or sostenuto

(page 69). Expression is not affected by this setting.) If the

effect is an on/off type, this setting speciﬁes the point at

which the effect will be switched on or off.

Press the D [–]/[+] buttons to specify from –2 (effective

with the shallowest press) to 0 to +2 (effective with the

deepest press).

[HalfPedalPoint] is a performance parameter (page

30).

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the

default parameter settings.

P-250 79

Other Settings [OTHER SETTING]

Edit Operation

■ Setting the pitch bend range [PitchBendRange]

This parameter speciﬁes the amount of change that can

be produced by the pitch bend function (Pitch, page 38),

which smoothly varies the pitch. This parameter is effec-

tive only on the notes played on the keyboard.

Press the D [–]/[+] buttons to specify a range from 0 to –

12 (pitch is lowered by 12 semitones [one octave]).

[PitchBendRange] is a performance parameter (page 30).

■ Assigning a function to the [SONG BAL-

ANCE] slider [SongBalanceAssign]

Press the D [–]/[+] buttons to select one of the following:

Off.................The slider does not work.

SongBalance..Changes the level balance between song

playback sound and notes played on the

keyboard.

DualBalance..Changes the level balance between the

Main (Left) art and Layer (LeftLayer) part.

SplitBalance...Changes the level balance between the

Main (Layer) part and Left (LeftLayer) part.

[SongBalanceAssign] is a performance parameter

(page 30).

■ Switching the speaker on/off [Speaker]

This switch turns the internal speakers on or off

Press the D [–]/[+] buttons to select one of the following:

Normal

(HeadphoneSW) ...The speakers output sound only when

the headphones are not connected.

On...................... The speakers always output sound.

Off...................... The speakers do not output sound.

■ Locking the Master Equalizer settings

[EqualizerLock]

This function prevents the Master Equalizer settings from

being changed when a performance is recalled or during

MIDI or song playback.

Press the D [–]/[+] buttons to turn this parameter on or off.

■ Selecting items saved at shutdown

[MemoryBackUp]

You can back up some settings, such as the voice selec-

tion and MIDI setting, so that they will not be lost after

you turn off the power to the P-250.

• Memory songs (saved in the P-250’s memory), the Memory-

BackUp parameter (this parameter), and the CharacterCode

parameter (page 55) are always backed up.

Press the C [–]/[+] buttons to select the desired item

(Transpose, Equalizer, ReverbOnOff, SplitPoint, Main/

LeftVoice, SongSetting, MidiSetting, Other Setting), and

press the D [–]/[+] buttons to select On or Off.

“Transpose” and “SplitPoint” in the “OTHER SETTING”

menu are excluded.

■ Restoring the normal (default) settings

[FactorySet]

You can reset the P-250 to its normal (factory default) set-

tings (page 3 of the separate “Data List”).

•The “CharacterCode” parameter setting in the [Song

File] menu does not change.

•The “MemoryBackUp” parameter setting (On/Off)

(see above) is reset to its default setting.

•You can specify whether the ﬁles in storage memory

are erased or retained.

Press the D [–]/[+] buttons to specify MemoryFileExcluded or

MemoryFileIncluded, then press the B [+] button to execute.

Alternative method for restoring the normal settings

Press and hold down the white key on the right end (C7)

of the keyboard, then press the [POWER] switch to turn

on the power to the P-250. The ﬁles saved in storage

memory are not erased.

If you wish to erase the ﬁles in memory at this time, press

and hold down the right-most white key (C7) and black

key (B



6), then press the [POWER] switch.

• Refer to page 61 for general information on setting the parameters.

• Refer to pages 3—5 of the separate “Data List” for information on the

default parameter settings.

TIP

You can still adjust the [MASTER EQUALIZER] sliders and

[MASTER EQ EDIT] parameters on the panel when [Equal-

izerLock] is set to “On.”

MEMO

80 P-250

Appendix

P-250 81

Appendix

Appendix includes a list of voice and performance presets, reference materials, a Troubleshooting section

and an Index.

Message List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

Midi Data Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Preset Voice List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Preset Performance List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

Application Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96

82 P-250

Appendix

Message List

The messages are listed in alphabetical order.

Message Meaning

This will be displayed following the “BulkDataReceiving Voice” mes-

sage. This indicates that the P-250 ﬁnished receiving the bulk data.

Once you have veriﬁed this message, you may proceed to the next step.

Receiving bulk data has failed. Check the parameter settings and try

again.

The P-250 is receiving the voice setting bulk data while this message is

displayed. Wait until the message disappears, then proceed to the next

step.

This message conﬁrms that in the “VoiceBulkDump” operation

(page 75), you pressed the B [–(NO)] button to cancel the operation

while data was being transmitted.

This message is displayed following the message “Executing.” The P-

250’s internal processing is complete. You may proceed to the next step.

This message is displayed if the ﬁle format is incorrect when you load a

performance ﬁle using the “LoadFromMem.” function.

“Duplicate song name or performance ﬁle name”: This message is dis-

played when you attempt to rename and save a song using the

“RenameSong” function (page 55) or a performance ﬁle using the

“RenameFile” function (page 43) if an identically-named song or per-

formance ﬁle already exists in memory. Three seconds after this mes-

sage is displayed, the P-250 displays the previous screen. Please specify

a different name.

This message prompts you to execute a ﬁle-related operation. Press the

B [+(YES)] button to proceed, or press the [EXIT] button to cancel.

The P-250 is processing the data internally. Wait until the message dis-

appears, then proceed to the next step.

The normal (factory default) settings (except for the memory ﬁle setting)

(“FactorySet” on page 79) have been restored. This message also

appears if you press and hold down the C7 key and turn on the power

to the P-250 (page 79).

The normal (factory default) settings (including the memory ﬁle setting)

(“FactorySet” on page 79) have been restored. This message also

appears if you press and hold down the C7 and B



6 keys and turn on the

power to the P-250 (page 79).

P-250 83

Message List

Appendix

Message Meaning

The P-250’s ﬂash memory (storage memory) has expired. Consult your

Yamaha dealer. If this message appears, the P-250 will not back up the

songs and settings in memory. Press the [EXIT] button to return to the

previous screen.

There is a problem with the TO HOST/USB connector.

When using the P-250 connected to your personal computer ...

The driver or MIDI application on your computer is not functioning correctly,

perhaps because the computer is turned off, the cable is not connected cor-

rectly, or the HOST SELECT switch is not set correctly. In this case, turn off the

power to the P-250 and your computer, and check the cable connections and

HOST SELECT switch setting. Then turn on the power ﬁrst to your computer,

then to the P-250, then check that the driver and MIDI application on your

computer are functioning correctly.

When using the P-250 by itself ...

This message may appear if a cable is left connected to the [TO HOST] or

[USB] connector on the P-250. In this case, turn off the power of the P-250,

disconnect the cable, and then turn on the power again. If the cable is left con-

nected, the P-250 may not function correctly.

You turned off the power to the P-250 while it was writing a ﬁle to stor-

age memory. This message appears next time you turn on the power.

The P-250 checks whether the contents of storage memory can be

recovered.

This message appears following the message “LastPowerOffIllegalMem-

oryFileChecking,” indicating that the P-250 recovered data in the stor-

age memory as much as possible.

This message appears following the message “LastPowerOffIllegalMem-

oryFileChecking,” indicating that the P-250 could not recover data in

the storage memory and that all memory ﬁles were deleted.

While a song was being read, the P-250 detected defects in memory.

Reset the P-250 to its normal (factory default) settings with “Memory-

FileIncluded” (page 79) after you back up all song data.

This message indicates that there may be a problem with the memory. If

the message appears repeatedly when you continue using the P-250,

back up the song data and performance ﬁle, then restore the default set-

ting by using “FactorySet” with “MemoryFileIncluded” selected

(page 79).

There is not enough memory space left and you cannot save any more

songs and ﬁles. Save or delete some songs and performance ﬁles in the

storage memory, then save new data to memory.

Message List

84 P-250

Appendix

Message Meaning

This message will appear if there is no song for the “SaveToMemory”

(page 54) operation to save. In this case, no song will be saved.

You tried to delete a ﬁle that does not exist in the storage memory. You

cannot delete the ﬁle.

You tried to delete a song that does not exist in the storage memory. You

cannot delete the song.

“Overwrite?”

When you record additional material on a song that already contains

data, or if you have edited a performance ﬁle that already contains data,

this message asks you to conﬁrm that you really want to save the new

data by overwriting the previous song.

Press the B [+(YES)] button to allow overwriting. Press the B

[–(NO)]

button to cancel the operation.

You tried to start playing a song or perform another operation right after

you selected the song. Wait until the message disappears.

You tried to edit data in internally-protected ﬁles. You cannot edit such

ﬁles.

After you load an internally-protected song, such as commercially-

available music data, into the P-250’s current memory or storage mem-

ory, you tried to save the song to a personal computer. You cannot save

such a song to a personal computer, etc.

This message prompts you to select whether to save the edited settings.

Press the B [+(YES)] button to save the settings. Press the [EXIT] button

to cancel.

You tried to perform another operation before saving the recorded song

to storage memory. If you continue the operation, the recorded song

will be lost. To delete the new recording, press the B [–(NO)] button. To

keep the recording, press the B [+(YES)] button. The P-250 displays the

“SaveToMemory” (page 54) parameter screen. Save the recorded song,

then proceed another operation.

1. This message will appear if a problem is found with the song data

when you select a song or while the song is playing. In this case, re-

select the song, and try once again to play it back. If the message still

appears, the song data may have been damaged.

2. This message will appear if a different “CharacterCode” (page 55) is

selected than when you assigned the song name. In this case, switch

the “CharacterCode,” re-select the song, and start the playback.

P-250 85

Message List

Appendix

Message Meaning

1. This message will be displayed if current memory ﬁlls up during

recording. Recording will stop automatically at this point. The data

that had been recorded up to that point will remain. This message will

also be displayed if you attempt to enter Record mode for additional

recording if that song already occupies all of current memory. In this

case, additional recording will not be possible. If there is an already-

recorded track that you do not need to keep, you can use “Channel-

Clear” (page 63) to delete the unneeded track so that you will then be

able to record the equivalent amount of additional material.

2. This message will be displayed when you select a song if that song is

larger than the capacity of the current memory. This song cannot be

loaded into the P-250, and cannot be played back. Please select a dif-

ferent song.

This message will be displayed when you edit a song if that song is

larger than the capacity of the current memory. This song cannot be

edited on the P-250.

This message prompts you to start the operation. To start, press the B

[+(YES)] button. Press the [EXIT] button to cancel the operation.

This message prompts you to conﬁrm the execution. Press the

[+(YES)] button to continue. Press the B [–(NO)] button to cancel.

This message means that the P-250 was unable to transmit voice bulk

data. If this message appears, make sure that the power to your com-

puter is not turned off, that the cable is connected correctly, that the

HOST SELECT switch is set correctly, and that the driver on your com-

puter is functioning correctly. Then try transmitting the data once again.

You used a period or space at the beginning of a song name or ﬁle

name, or you tried to edit a song name or ﬁle name that includes

unsupported characters. The P-250 could not process the name. The P-

250 will display the previous screen in three seconds. Rename the song

correctly.

86 P-250

Appendix

Troubleshooting

Problem Possible causes Solution

The P-250 does not turn on. The P-250 has not been plugged in prop-

erly.

Securely insert the female plug into the socket on

the P-250, and the male plug into a proper AC out-

let. (page 16)

A click or pop is heard when the

power is turned on or off.

Electrical current is being applied to the

instrument.

This is normal.

Noise is heard from the P-250

speakers.

A mobile phone is being used near the P-

250 (or the ring tone is sounding).

Turn off the mobile phone, or use it further away

from the P-250. Using a mobile phone in close

proximity to the P-250 may produce interference.

The overall volume is too low, or

there is no sound at all.

The [MASTER VOLUME] is set too low

(page 16).

Raise the [MASTER VOLUME] level.

Headphones are connected (applicable

only if the Speaker setting is [Normal

HeadphoneSW]). (page 79)

Disconnect the headphone plug.

Speaker setting is off. Set “Speaker” to “Normal” or “ON”. (page 79)

The “Local Control” function is set to off.

(page 74)

Turn the “Local Control” function on.

The “InternalTG” is set to off (page 70). Set the “InternalTG” to on.

“Expression” is assigned to one of the

connected pedals or the modulation

wheel.

Assign any function other than “Expression” to the

pedal.

The Master EQ gain level is low

(page 38).

Raise the Master EQ gain level.

The Part EQ gain level is low (page 68). Raise the Part EQ gain level.

The keyboard volume is lower

than the song playback volume.

The volume level for the keyboard perfor-

mance is set too low.

Move the [SONG BALANCE] slider toward “KEY-

BOARD” to increase the keyboard volume.

The speakers do not turn off

when a pair of headphones is

connected.

The speaker setting is on. Set “Speaker” to “Normal”. (page 79)

The buttons do not respond. While you are using a function, some but-

tons not used for the function are dis-

abled.

If a song is recording or playing, stop recording or

playback. Otherwise, press the [EXIT] button to

return to the main screen. Then, perform the

desired operation.

The sound sustains and does

not decay when I press the

pedal to which [Sostenuto] is

assigned.

With the voices in the ORGAN1,

ORGAN2, STRINGS, CHOIR, or

SYNTH.PAD group, or part of the XG

group, the sound continues sustaining

while you hold down the sostenuto pedal.

This is normal.

Higher or lower notes do not

sound correctly when the trans-

pose or octave setting is made.

The setting range for the transposition

and octave setting is C-2 - G8. (With the

normal setting, the unit’s 88 keys cover

the range of A-1 - C7.) If the lowest key is

set to a note lower than C-2, it will pro-

duce a sound one octave higher. If the

highest key is set to a note higher than

G8, it will produce a sound one octave

lower.

This is normal.

The tempo does not change

even though I recorded with

tempo changes.

Depending on the timing of the tempo

changes, the changed tempo may not be

recorded. In this case, the recording will

be played back at the original tempo.

Make tempo changes when the recording

track is selected and the red track indica-

tor is ﬂashing. The same trick applies to

editing the tempo after recording.

This is normal.

Check the location at which the tempo was

changed.

P-250 87

Troubleshooting

Appendix

Performance in Dual or Split

mode is not recorded.

Track data is lost unexpectedly.

For Dual or Split mode recording, the

recording track for the second voice or

the voice for the left-hand part is automat-

ically assigned (page 50). Therefore, if

the track already contains data, the data

will be overwritten during recording. Also,

switching to Dual mode or Split mode in

the middle of a song is not recorded.

Therefore, the notes you play with the

second voice (or the notes lower than the

Split point) will not be recorded.

This is normal.

I cannot change the time signa-

ture in the song after recording.

Due to limitations, the time signature of

some recorded songs may not be

changed after the recording is complete.

Press the [TOP] button to locate the top of the

song, use the B [–]/[+] buttons to locate the mea-

sure in which you wish to change the time signa-

ture, then change it.

The song title is not correct. The “CharacterCode” setting may be dif-

ferent than that used when you named

the song. Also, if the song was recorded

on another instrument, the title might be

displayed incorrectly.

Use the “CharacterCode” parameter (page 55) in

the “SONG FILE” menu to change the setting.

However, if the song was recorded on another

instrument, changing the “CharacterCode” param-

eter setting may not resolve the problem.

When I turn on the power to the

P-250 in the normal way (without

trying to reset it to the default

settings), the performance ﬁle

(that was selected before shut-

down) is not loaded.

The “CharacterCode” setting (page 53)

has been changed since you named the

performance ﬁle.

Set the “CharacterCode” parameter to the previ-

ous setting you made when you named the perfor-

mance ﬁle.

Before shutdown, the performance ﬁle

was erased.

Save the desired performance ﬁle to memory and

load it again.

Storage memory may be defective. If the symptom does not go away, back up the ﬁles

in memory, then set the “FactorySet” parameter to

“MemoryFileIncluded” and reset the unit to the

default settings.

Problem Possible causes Solution

88 P-250

Appendix

Midi Data Compatibility

This section covers basic information on data compatibility, including whether or not other MIDI devices can

play back the data recorded by P-250, and whether or not the P-250 can play back commercially-available

song data or song data created for other instruments or on a computer.

Depending on the MIDI device or data characteristics, you may be able to play back the data without any

problem, or you may have to perform some special operations before the data can be played back. If you run

into problems playing back data, please refer to the information below.

Basic Check Points

The data and the MIDI device must match in

regards to the items below.

• Sequence format

•Voice allocation format

Sequence Format

A system that records song data generally utilizes a

speciﬁc “sequence format.”

• Playback is possible only when the sequence for-

mat of the disk matches that of the MIDI device.

[Common Sequence Formats]

■ SMF (Standard MIDI File)

This is the most common sequence format.

• Standard MIDI Files are generally available as

one of two types: Format 0 or Format 1.

• Many MIDI devices are compatible with For-

mat 0, and most commercially available soft-

ware is recorded as Format 0.

•The P-250 is compatible with both Format 0

and Format 1.

•Performance data recorded on the P-250 is

saved in SMF Format 0 in memory.

■ ESEQ

This sequence format is compatible with many

of Yamaha’s MIDI devices, including P-250

series instruments.

•The P-250 is compatible with ESEQ.

P-250 89

Midi Data Compatibility

Appendix

With MIDI, voices are assigned to speciﬁc num-

bers, called “program numbers.” The numbering

standard (order of voice allocation) is referred to as

the “voice allocation format.”

•Voices may not play back as expected unless the

voice allocation format of the song data matches

that of the compatible MIDI device used for

playback.

[Main Voice Allocation Formats]

■ GM System Level 1 (logo )

This logo (GM logo) is afﬁxed to tone generators

and music data that supports “GM system level

1.”

“GM system level 1” is a standard speciﬁcation

for the sound map and MIDI functionality of a

tone generator, and is designed to ensure that

music data will produce essentially identical

playback on tone generators from different man-

ufacturers or models.

• Many MIDI devices are compatible with GM

System Level 1, as is most commercially avail-

able software.

•The P-250 is compatible with GM System

Level 1.

■ XG (logo )

This logo (XG logo) appears on tone generators

and music data that supports “XG.”

XG is Yamaha’s tone generator format that

extends “GM system level 1” to allow richer

expressive power and future data compatibility.

•The P-250 is compatible with XG.

•Performance data recorded with preset voices

on the P-250 can be played on other XG-com-

patible instruments.

90 P-250

Appendix

Preset Voice List

: YES, ×: No

Voice group

(Panel display)

<sound group

number>

Voice name

Stereo

sampling

Touch

Sense

Dynamic

sampling

Key-off

sampling

String

resonance

Voice description

GRANDPIANO1

(G.PIANO1)

<1>

GrandPiano1

This sound was sampled from a full concert grand

piano. Three stages of dynamics were sampled, and no

effort has been spared in making the sound virtually

identical to that of an acoustic piano. Even the tonal

changes produced by the damper pedal and the subtle

sounds of releasing a key are reproduced. The sympa-

thetic vibration (string resonance) that occurs between

the strings of an acoustic piano has also been simu-

lated. This sound is suitable for any style of music.

MellowPiano1

A warm and mellow piano sound. Ideal for accompani-

ment of ballads or other songs.

RockPiano

A bright-sounding piano. Ideal for rock styles.

HonkyTonk

Piano

A honky-tonk style piano. Enjoy a tonal character that is

quite different than a grand piano.

GRAND PIANO2

(G.PIANO2)

<2>

GrandPiano2

×××

A spacious and clear piano sound with a bright reso-

nance. Ideal for popular music.

Mellow Piano2

×××

A mellow piano sound with a different character than

Mellow Piano 1.

E.PIANO1

(E.PIANO1)

<3>

Chorus E.Piano

××

The sound of an electric piano that generates sound by

striking metal poles with a hammer. Softly played notes

will have a mellow character, and strongly played notes

will sound more forceful. A chorus effect is applied to

create spaciousness.

Phaser E.Piano

××

A distinctive phaser effect makes this ideal for fusion styles.

AutoPan

E.Piano

××

An electric piano with a characteristic panning effect.

Standard

E.Piano

××

A straightforward electric piano sound with reverb as

the only effect.

E.PIANO2

(E.PIANO2)

<4>

DX E.Piano 1

××

The sound of an electronic piano as simulated by an FM

synthesizer such as the DX7. Differences in playing

dynamics will affect the tone. Ideal for popular songs.

DX E.Piano 2

× ×××

An FM synthesizer electronic piano sound using a dif-

ferent algorithm than DX E.Piano 1, with a bright-

sounding character.

Synth Piano

× ×××

A synthesized electronic piano sound often heard in

popular music. This also sounds good when played

together with a piano.

E.PIANO3

(E.PIANO3)

<5>

Tremolo

Vintage E.P.

×××

The sound of an electric piano of a different type than

E.Piano 1, often used in rock and popular music.

Vintage

E.Piano

×××

An electric piano sound with a vintage character, and

reverb as the only effect.

Amp.Sim.

Vintage E.P.

×××

The sound of an electric piano distorted by an amp sim-

ulator effect. Ideal for rock music.

CLAVI.

(CLAVI.)

<6>

Phaser Clavi.

×××

This is the voice of a keyboard that produces sound by

striking the strings with magnetic pickups. This funky

sound is popular in black contemporary music. Because

of its unique structure, the instrument produces a pecu-

liar sound when you release the keys. The popular

phaser effect is applied.

Clavi.

×××

A struck-string keyboard instrument with electromagnetic

pickups. A straightforward sound with only reverb applied.

Wah Clavi.

×××

A distinctive effect is preset.

P-250 91

Preset Voice List

Appendix

Voice group

(Panel display)

<sound group

number>

Voice name

Stereo

sampling

Touch

Sense

Dynamic

sampling

Key-off

sampling

String

resonance

Voice description

HARPSICHORD

(HARPSI.)

<7>

Harpsichord8'

×× ×

The sound of an instrument frequently used in baroque

music. Variations in playing touch will not affect the vol-

ume, and a characteristic sound will be heard when you

release the key.

Harpsichord

8'+4'

×× ×

A harpsichord with an added upper octave. Produces a

more brilliant sound.

VIBRAPHONE

(VIBES)

<8>

Vibraphone

××

Vibraphone played with relatively soft mallets. The tone

becomes more metallic the harder you play. Distinctive

vibraphone effects and stereo sampling provide a spa-

cious sound.

Marimba

×××

A marimba sound, sampled in stereo for spaciousness

and realism.

Celesta

××

The celesta sound often used memorably in an orches-

tra.

ORGAN1

(ORGAN1)

<9>

JazzOrgan

×××××

The sound of a “tonewheel” type electric organ. Often

heard in jazz and rock idioms.

Theater Organ

×××××

A bright electric organ sound.

Rock Organ

×××××

An aggressive electric organ sound, ideal for rock.

Draw Organ

×××××

A standard electric organ sound.

ORGAN2

(ORGAN2)

<10>

PipeOrgan

Principal

××××

This voice features the combination of pipes (8'+4'+2')

of a principal (brass instrument) organ. It is suitable for

Baroque church music.

PipeOrgan

Tutti

××××

This voice features a full coupler of a pipe organ, famous

for the sound used in Toccatta and Fugue by Bach.

PipeOrgan

Flute

××××

A pipe organ sound that combines ﬂute-type (woodwind

type) stops of different pitches (8' + 4'). This is a gentle

sound that is ideal for accompanying hymns.

STRINGS

(STRINGS)

<11>

Strings

×××

Stereo-sampled, large-scale string ensemble with real-

istic reverb. Try combining this voice with piano in Dual

mode.

SynthStrings

×××

A bright and spacious strings sound. Suitable for sus-

tained parts backing an ensemble.

SlowStrings

×××

The sound of a string ensemble, with a slow attack.

Suitable for playing together with grand piano sounds

or electric piano sounds.

CHOIR

(CHOIR)

<12>

Choir

× ×××

A big, spacious choir voice. Perfect for creating rich

harmonies in slow pieces.

SlowChoir

× ×××

The sound of a choir with a slow attack. Suitable for

playing together with grand piano sounds or electric

piano sounds.

Scat

×××

You can enjoy jazz “scatting” with this voice. Depending

on how hard and what note range you play, different

sounds will be produced.

SYNTH.PAD

(SYNTH.PAD)

<13>

SynthPad1

× ×××

A warm, mellow, and spacious synth sound. Ideal for

sustained parts in the background of an ensemble.

SynthPad2

× ×××

A clear and spacious synth sound. Ideal for sustained

parts in the background of an ensemble.

GUITAR

(GUITAR)

<14>

NylonGuitar

× ×××

A warm and natural nylon-string guitar sound. Enjoy

the atmosphere it adds to a quiet song.

SteelGuitar

× ×××

A bright steel guitar sound. Ideal for popular music.

BASS

(BASS)

<15>

WoodBass

× ×××

The sound of a ﬁnger-plucked upright bass. Frequently

used in jazz and Latin music.

Bass&

Cymbal

× ×××

The sound of a cymbal has been layered onto the bass.

Effective when used for jazz walking-bass lines.

ElectricBass

× ×××

The sound of an electric bass. Frequently used in jazz,

rock, and popular music.

FretlessBass

× ×××

The sound of a fretless bass. Suitable for styles such

as jazz and fusion.

92 P-250

Appendix

Preset Performance List

Voice group

(Panel display)

<sound group

number>

Voice name

MSB

(0-127)

LSB

(0-127)

prg#

(1-128)

GRANDPIANO1

(G.PIANO1)

<1>

Grand Piano 1 0 122 1

Mellow Piano 1 0 123 1

Rock Piano 0 122 3

HonkyTonk Piano 0 122 4

GRAND PIANO2

(G.PIANO2)

<2>

Grand Piano 2 0 112 1

Mellow Piano 2 0 114 1

E.PIANO1

(E.PIANO1)

<3>

Chorus E.Piano 0 122 5

Phaser E.Piano 0 124 5

AutoPan E.Piano 0 125 5

Standard E.Piano 0 126 5

E.PIANO2

(E.PIANO2)

<4>

DX E.Piano 1 0 122 6

DX E.Piano 2 0 123 6

Synth Piano 0 122 89

E.PIANO3

(E.PIANO3)

<5>

Tremolo Vintage E.P.

0 123 5

Vintage E.Piano 0 121 5

Amp.Sim.Vintage

E.P.

0 120 5

CLAVI.

(CLAVI.)

<6>

Phaser Clavi. 0 124 8

Clavi. 0 122 8

Wah Clavi. 0 123 8

HARPSICHORD

(HARPSI.)

<7>

Harpsichord 8' 0 122 7

Harpsichord 8'+4' 0 123 7

VIBRAPHONE

(VIBES)

<8>

Vibraphone 0 122 12

Marimba 0 122 13

Celesta 0 122 9

Voice group

(Panel display)

<sound group

number>

Voice name

MSB

(0-127)

LSB

(0-127)

prg#

(1-128)

ORGAN1

(ORGAN1)

<9>

Jazz Organ 0 122 17

Theater Organ 0 124 17

Rock Organ 0 122 19

Draw Organ 0 125 17

ORGAN2

(ORGAN2)

<10>

Pipe Organ Principal

0 123 20

Pipe Organ Tutti 0 122 20

Pipe Organ Flute 0 124 20

STRINGS

(STRINGS)

<11>

Strings 0 122 49

Synth Strings 0 122 51

Slow Strings 0 122 50

CHOIR

(CHOIR)

<12>

Choir 0 122 53

Slow Choir 0 123 53

Scat 0 122 54

SYNTH.PAD

(SYNTH.PAD)

<13>

Synth Pad 1 0 122 90

Synth Pad 2 0 122 92

GUITAR

(GUITAR)

<14>

Nylon Guitar 0 122 25

Steel Guitar 0 122 26

BASS

(BASS)

<15>

Wood Bass 0 122 33

Bass&Cymbal 0 124 33

Electric Bass 0 122 34

Fretless Bass 0 122 36

Performance

name

Type

Sounds used

Performance notes

Main Layer Left LeftLayer

A01

Piano+

Pad

Dual GrandPiano1 WarmPad

Grand piano layered with a warm-sounding

pad. Usable in a variety of situations from

rapid passages to ballads.

A02

Piano+

E.Piano

Dual GrandPiano1 ChorusE.P.

Widely-used layered sound with piano and

electric piano. Ideal for 80’s pop.

A03

Piano+

DX E.P.1

Dual GrandPiano1 DX E.Piano1

Widely-used layered sound with piano and DX

electric piano. Enjoy harmonies with the spar-

kling electric piano.

A04

Piano+

DX E.P.2

Dual GrandPiano2 DX E.Piano2

Another type of layered piano and DX electric

piano.

A05

Piano+

SoftStr

Dual GrandPiano2 S.SlwStr

Piano layered with soft strings.

A06

HonkyTonk

Piano

Dual GrandPiano1 GrandPiano1

Honky-tonk piano that simulates slight detun-

ing.

A07

E.Piano+

Pad

Dual AutoPanE.P SynthPad1

Auto-panned electric piano layered with a soft

pad. Beautifully spacious stereo spread.

A08

E.Piano+

DX E.P.

Dual StandardE.P DX E.Piano1

Layered electric piano and DX electric piano.

Preset Voice List/Preset Performance List

P-250 93

Preset Performance List

Appendix

A09

E.Piano+

SlowStr

Dual ChorusE.P. SlowStrings

Chorused electric piano layered with slow-

attack strings.

A10

E.Piano+

Vintage E.P.

Dual StandardE.P VintageE.P.

Standard electric piano layered with vintage-

type electric piano.

A11

DX E.P.+

SoftStr

Dual DX E.Piano2 S.SlwStr

DX electric piano layered with soft strings.

A12

DX E.P.+

SynthPiano

Dual DX E.Paino2 SynthPiano

DX electric piano layered with synth piano.

A13

PipeOrgan+

Choir

Dual PipeOrganTu Choir

Magniﬁcent layered sound with pipe organ and

chorus.

A14

Strings+

Choir

Dual Strings Choir

Classical layered sound with strings and cho-

rus.

A15

Orchestral

Harp

Dual NylnHarp Harp

Beautiful layered sound of two harps, slightly

delayed.

A16

PolySynth

Pad

Dual PolySyPd NewAgePd

Dense and rich motion pad. Key-on modiﬁes

the sound.

B01

WoodBass/

GrandPiano

Split

Grand

Piano 1

Wood Bass

Standard wood bass split with piano. Ideal

for playing jazz by yourself.

B02

WoodBass/

NylonGuitar

Split Nylon Guitar

Wood Bass

Nylon-string guitar split with wood bass.

B03

WoodBass/

VibraPhone

Split Vibraphone

Wood Bass

Standard wood bass split with vibraphone.

B04

Bass+Cym/

JazzOrgan

Split JazzOrgan

Bass &

Cymbal

Play rhythm with bass and cymbal in the left

hand, and solo organ in the right hand.

B05

E.Bass/

PhaserE.P.

Split

PhaserE.

Piano

Electric

Bass

Electric piano with phaser (typical of 70’s

fusion), split with electric bass.

B06

Bass+

Cym/Scat

Split Scat

Bass+

Cymbal

Play scat in the right hand, and bass and

cymbal in the left. Scat sounds are velocity-

switched.

B07

Organ

Upper/

Lower

Dual

+Split

JazzOrgan SoloSine Jazz Organ

Simulates a dual-manual organ. Play chords

in the left hand, and solo with the right.

B08

E.Piano/

GrandPiano

Split

Grand

Piano 1

Phaser

E.Piano

Play chords in the left hand on an electric

piano with phaser applied, and piano solo in

the right.

B09

JazzOrg/

GrandPiano

Split

Grand

Piano1

Jazz Organ

Play organ backing in the left hand, and

piano solo in the right.

B10

SynBass/

SynBrass

Dual

+Split

SynBrss1 SynBrss1

SynBass

1Dark

Play synth bass in the left hand, and bright

synth brass in the right.

B11

Delay

E.Piano

Single

Standard

E.Piano

Electric piano with delay applied to create a

sense of space.

B12

Room

Piano

Single

GrandPiano1

Piano that sounds as if heard at a distance in

a spacious room.

B13 Old piano Single

GrandPiano2

Simulation of a piano sound heard on an old

record. Distorts slightly as you play harder.

B14

Baroque

Ensemble

Dual

+Split

Hc8'+4' PipeOrganP Strings Choir

Play strings and chorus in the left hand, and

harpsichord and pipe organ in the right.

B15 AOR Split

Dual

+Split

GrandPiano2

SynthPad1 E.Bass MuteGtr

Rich sound that lets you play muted guitar

and bass in the left hand, and piano and pad

in the right.

B16 Drum Kit Drm

StandardKit1

The P-250 provides high-quality drum

sounds as well as piano sounds. Try out your

drumming skills!

Performance

name

Type

Sounds used

Performance notes

Main Layer Left LeftLayer

94 P-250

Appendix

Application Index

■ Listening and playing

• Listening to a demo song . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Listening to Demo and Preset Songs” on page 24

• Selecting and playing a voice (sound of a musical instrument). . . . . . . . . . . . . . . “Selecting a Voice” on page 34

• Viewing a list of panel sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Selecting a Voice” on page 34

• Playing separate sounds in low and high keyboard ranges . . . . . . . . . . . . . . .“Playing in Split Mode” on page 36

• Changing the part played by the keyboard. . . . . . . . . . . . . . . . [MIDI SETTING]—[MidiOutChannel] on page 74

• Selecting the velocity response (touch sensitivity) . . . . . . . . . [OTHER SETTING]—[TouchResponse] on page 76

■ Using the controllers

• Connecting a foot controller (pedal). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Connecting Pedals” on page 23

• Adjusting the range of pitch change for the pitch bend wheel. . .[OTHER SETTING]—[PitchBendRange] on page 79

• Assigning a specific function

to the pedal/foot controller/foot switch. . . . . . [VOICE EDIT]—[Pedal 1] [Pedal 2] [Pedal 3] [Pedal 4] on page 69

• Using the foot switch to start/stop the sequencer . . . . . . . . . . [OTHER SETTING]—[PedalStart/Stop] on page 78

• Assigning a specific function to the modulation wheel. . . . . . . . . . . . . [VOICE EDIT]—[Modulation] on page 69

■ Changing the sound

• Layering two voices (parts). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Playing in Dual Mode” on page 35

• What sounds can I choose?

. . . . . . . . . . . . . . . . . . . . “Preset Voice List” on page 90, “XG Voice List” on page 6 of the separate “Data List”

• Applying reverberation (reverb) to the sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Reverb” on page 37

• Adding spaciousness (chorus) to the sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .“Chorus” on page 37

• Learning about the effect types. . . . . . . . . . . . . . . . . “XG Effect Type List” on page 12 of the separate “Data List”

• Making the tone brighter or darker easily. . . [MASTER EQ EDIT] “Setting the Master Equalizer type” on page 71

• How can I modify the sound? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Editing” on page 58

• Adjusting the gain of the Master Equalizer . . . . . . . . . . . . . . . . . . . . . . “Using the Master Equalizer” on page 38

• Modifying the settings of the Master Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . .[MASTER EQ EDIT] on page 71

■ Changing the pitch

• Adjusting the pitch offset between two Dual parts . . . . . . . . . . . . . . . . . . . [VOICE EDIT]—[Detune] on page 66

• Transposing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [OTHER SETTING]—[Transpose] on page 77

• Tuning to another instrument. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [OTHER SETTING]—[Tune] on page 76

• Matching the pitch curve to another instrument. . . . . . . . .[OTHER SETTING]—[PianoTuningCurve] on page 76

P-250 95

Application Index

Appendix

■ Adjusting the volume Level

• Adjusting the overall volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [MASTER VOLUME] on page 16

• Adjusting the volume of each part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [VOICE EDIT]—[Volume] on page 65

■ Recording, playing, and saving a song

• Recording your performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Recording a New Song” on page 47

• Adding a click tone when recording . . . . . . . . . . . . . . . . . . . . . . . [SONG SETTING]—[ClickOnOff] on page 64

• Playing back a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Playback” on page 51

• Switching individual parts on and off for playback . . . . . . . . . “Turning Track Playback On and Off” on page 52

• Saving a recorded song to memory . . . . . . . . . . . . . . . . . . . . . . . . . [SONG FILE]—[SaveToMemory] on page 54

• Naming or renaming a song file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [SONG FILE]—[RenameSong] on page 55

• Switching the display character set . . . . . . . . . . . . . . . . . . . . . . . . . .[SONG FILE]—[CharacterCode] on page 55

■ Using, editing, and saving a performance

• What is a performance? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Performances” on page 30

• What is a performance file? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Performance file” on page 32

• Selecting a performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Selecting a Performance” on page 41

• What is Performance ON? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Selecting a Performance” on page 41

• What is Performance OFF? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Selecting a Performance” on page 41

• Preventing the sound settings from changing

when you switch Performance from ON to OFF . . . . . . . . . . . . . . . . . . . . “Selecting a Performance” on page 41

• Storing an edited performance into internal memory . . . . . . . . . . .[PERFORM.FILE]—[Performance] on page 43

• Naming or renaming a performance . . . . . . . . . . . . . . . . . . . . . . . . . [PERFORM.FILE]—[Perf.Name] on page 43

• Saving a performance file to memory . . . . . . . . . . . . . . . . . . . . [PERFORM.FILE]—[SaveToMemory] on page 44

• Naming or renaming a performance file . . . . . . . . . . . . . . . . . . . . . [PERFORM.FILE]—[RenameFile] on page 45

• Switching the display character set . . . . . . . . . . . . . . . . . . . . . . . . . .[SONG FILE]—[CharacterCode] on page 55

■ Connecting the P-250 to other devices

• Connecting to your computer . . . . . . . . . . . . . . . . . . . . . . . . . “Connecting to a Personal Computer” on page 19

• Switching the Local setting on and off. . . . . . . . . . . . . . . . . . . . . . .[MIDI SETTING]—[LocalControl] on page 74

• What is MIDI?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .“About MIDI” on page 73

• Producing a louder sound. . . . . . . . . . . . . . . . . . . . . . . . “Connecting to External Audio Equipment” on page 17

■ If you . . .

• Want to modify the instrument settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Editing” on page 58

• See a message you don’t understand. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Message List” on page 82

• Experience problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Troubleshooting” on page 86

• Want to return to the main screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .[EXIT] on page 14

• Want to restore the factory settings . . . . . . . . . . . . . . . . . . . . . . . . .[OTHER SETTING]—[FactorySet] on page 79

• Want to prevent settings from being changed accidentally . . . . . . . . . . . . . . . . . “Using Panel Lock” on page 39

96 P-250

Appendix

Index

[AC INLET] connector 16

Accessories 6

Adding Data to an Existing Song 49

Adjusting the Tempo 52

Adjusting the Volume Balance Between

Playback and Performance 49

AmpSimulator 67

Appendix 81

Assigning a Function to the [SONG

BALANCE] Slider 79

Assigning the Start/Stop Function to a

Pedal 78

Attaching the Music Rest 16

Auditioning Channel 63

Auto Pan 67

Auto Wah 67

Basic Editing Flow 61

Basic Operation 34

Basic Operation for the Performance File

Basic Song File Operation 53

Brightness 68

Brightness of the Sound 68

Bulk Dump of the Voice Data 75

Celeste 66

Changing the On-Screen Character Type

Changing the Tempo after Recording 49

Changing the Voice after Recording 49

ChannelClear 63

ChannelListen 63

CharacterCode 55

Checking the Name of Selected

Performance File 41

[CHORUS] Button 37

Chorus Depth 67

Chorus On/Off 67

Chorus Type 66

Click On/Off 64

Click Time Signature 64

Click Volume 64

Connecting Foot Controller 23

Connecting Foot Pedal 23

Connecting Foot Switch 23

Connecting to a Personal Computer 19

Connecting to External Audio Equipment

Connecting to External Midi Equipment

Connections 17

[CONTRAST] Knob 16

Correcting Note Timing 62

Cross Delay 67

Current Memory 33

Damper Pedal Start Point to Affect the

Sound 78

Damper Pedal Sustain Sampling Depth

Delay LCR 67

Delay LR 67

Deleting a Performance File 45

Deleting a Song File from Storage

Memory 54

Deleting Data from a Channel 63

Demo Songs 24

Depth of String Resonance 77

Depth of Sustain Sampling for the

Damper Pedal 78

Depth of the Soft Pedal 77

Dual Mode 35

Dual Mode Using Voices in Different

Voice Group 35

Dual Mode Using Voices in the Same

Voice Groups 35

Dump the Voice Data in Bulk 75

Echo 67

EQ HighFreq. 68

EQ LowFreq. 68

EQHighGain 68

EQLowGain 68

Equal 77

ESEQ 33

[EX.TRACKS] Button 47

[EXIT] Button 16

FactorySet 79

Fine Pitch Adjustment in Dual Mode 66

Flanger 66

Foot Pedal 39

Foot Pedal Jacks 23

GM 89

HalfPedalPoint 78

HarmonicContent 68

High Frequency of the Master Equalizer

High Range Gain of the Master Equalizer

High Range Resonance of the Master

Equalizer 72

HighFreq. 71

HighGain 71

High-Middle Frequency of the Master

Equalizer 71

High-Middle Range Gain of the Master

Equalizer 71

High-Middle Range Resonance of the

Master Equalizer 72

HighMidFreq. 71

HighMidGain 71

HighMidQ 72

HighQ 72

[HOST SELECT] switch 19

InitialSetup 75

INPUT Jacks 17

Insertion Effect 37

InternalTG 70

Items Saved at Shutdown 79

Key-Off Sound Volume 78

KeyOffSamplingDepth 78

KirnBerger 77

Layer 29

P-250 97

Index

Appendix

LCD 16

LCD Control Buttons 16

Left 28

LeftLayer 28

Listening to a Single Channel 63

Listening to the Demo Songs 24

Listening to the Preset Songs 25

Loading a Performance File from Storage

Memory 44

Local Control On/Off 74

Locking the Master Equalizer 79

Logo Mark 89

Low Frequency of the Master Equalizer

Low Range Gain of the Master Equalizer

Low Range Resonance of the Master

Equalizer 72

LowFreq. 71

LowGain 71

Low-Middle Frequency of the Masteer

Equalizer 71

Low-Middle Range Gain of the Master

Equalizer 71

Low-Middle Range Resonance of the

Master Equalizer 72

LowMidFreq. 71

LowMidGain 71

LowMidQ 72

LowQ 72

Main 29

MASTER EQ EDIT 71

Master Equalizer 38

Master Equalizer Lock 79

Master Equalizer Type Setting 71

[Master Volume] Control 16

MeanTone 77

MemoryBackUp 79

Message List 82

Middle Frequency of the Master

Equalizer 71

Middle Range Gain of the Master

Equalizer 71

Middle Range Resonance of the Master

Equalizer 72

MidFreq. 71

MidGain 71

MIDI 73

MIDI Connectors 73

Midi Data Compatibility 88

[MIDI OUT] Button 40

MIDI Panic 40

MIDI Receive Channel 74

MIDI Setting 73

MIDI Transmission On/Off 40

MIDI Transmit Channel 74

MidiInChannel 74

MidiOutChannel 74

MidiOutSelect 74

MidQ 72

Modulation 69

Modulation Wheel 38

Modulation Wheel Function 69

Music Rest (attaching) 16

Octave 65

Option 6

OUTPUT Jacks 17

Pan 66

Panel Initial Setting Transmittion 75

Panel Lock 39

Panel Logos 89

Pedal 39

Pedal Function for Vibraphone 78

Pedal Jacks 23

Pedal Type 78

PedalStart/Stop 78

Performance 30

[PERFORMANCE] Button 41

Performance File 32

Performance File Operation 42

Performance Notes 92

Performance Operation 41

Performance Parameter 30

Performances 30

Phaser 67

[PHONES] Jack 17

PhraseMark 63

Piano Voice Tuning Curve 76

PianoTuningCurve 76

Pitch Bend 38

Pitch Bend Range 79

Playing Back a Song Repeatedly 64

Playing Back in Selecting Phrase Mark

Playing Back Repeatedly in Specifying

the Range 63

Point at which the Damper Pedal Starts to

Affect the Sound 78

Position of the Right and Left Channels

Power 16

Preset Performance List 92

Preset Voice List 90

Pythagorean 77

Quantize 62

Quick Guide 24

QuickPlay 62

Rear Panel 15

Received Data Type via MIDI 75

ReceiveParameter 75

Recording 47

Recording a New Song 47

Recording in Dual Mode 50

Recording in Sprit Mode 50

Recording over an Existing Song 49

Recording Songs 46

RenameSong 55

Renaming a Performance File 45

Renaming a Song 55

Re-recording Part of a Song 48

Resonance 68

Resonance Effect 68

Restoring the Default Settings 79

Restoring the Normal Settings 79

[REVERB] Button 37

Reverb Depth 66

Reverb Type 66

Rotary 67

RotarySpeed 67

Rotor 67

RotorOnOff 67

Saving a Performance File to Storage

Memory 44

Saving a Song File in Storage Memory

Scale 77

Selecting a Performance 41

Selecting a Recording Method 48

Selecting a Song 51

Selecting a Voice 34

Selecting Recording Track 47

SendBankLSB 70

Index

98 P-250

Appendix

SendBankMSB 70

SendPG# 70

serial 20

Serial cable 21

Setting the key 77

Setting the Master Equalizer type 71

SMF 33

Soft Pedal Depth 77

[SONG BALANCE] Slider 49

[SONG BALANCE] Slider Function 79

Song File 33

Song Operation 46

Song Playback 51

SONG SELECT Buttons 47, 51

Song Setting 62

SONG [START/STOP] Buttons 47

Sound Board 67

Sound Group Number 90

Speaker On/Off 79

Specifying whether playback starts

immediately along with the first voicing

Speed of the Rotary Speaker 67

Speed of the Vibraphone Vibrator Effect

Split Mode 36

Split Playing 36

Split Point 36, 77

Standard MIDI File 33

START/STOP Function to a Pedal 78

Starting Playback 51

Starting Playback Immediately along

with the First Voicing 62

Stopping Playback 52

Storage Memory 33

Storing a Performance 43

String Resonance Depth 77

Sustain Sampling Depth for the Damper

Pedal 78

Symphonic 67

System Effect 37

TEMPO [DOWN][UP] Buttons 51

Time Signature 64

[TO HOST] Connector 20, 73

Toggling MIDI Transmission On or Off

Top Panel 14

Touch Response 76

Touch Sensitivity 68

[TRACK1] Button 47

[TRACK2] Button 47

TransmitParameter 75

Transmitted Data Type via MIDI 75

Transmitting MIDI Panic Signal 40

Transmitting MIDI Signal of Keyboard

Playing 74

Transmitting MIDI Signal of Song

Playback 74

Transmitting the Initial Settings on the

Panel 75

Transmitting the Panel Initial Settings 75

Tremolo 67

Tune 76

Tuning Curve for a Piano Voice 76

Turning the Vibraphone Vibrator On/Off

Turning Track Playback On/Off 52

Type of Data Received via MIDI 75

Type of Data Transmitted via MIDI 75

Type of Pedal 78

Types of data recorded 50

[USB] Connector 19, 73

USB driver 19

Using Foot Pedal 39

Using pedal 39

VARIATION Buttons 34

Variation Effect 37

Vibe Rotor 67

VibeRotorOnOff 67

VibraphonePedalMode 78

Voice 28, 34

Voice Description 90

VOICE EDIT 65

Voice Group 34

Voice in Performance 41

VOICE/PERFORMANCE Buttons 34

VoiceBulkDump 75

Volume Balance 49

Volume Level (Voice) 65

Volume of the Key-Off Sound 78

WerckMeister 77

XG 89

P-250 99

IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING- When using any electrical or electronic product,

basic precautions should always be followed. These precautions

include, but are not limited to, the following:

1. Read all Safety Instructions, Installation Instructions, Special

Message Section items, and any Assembly Instructions found in

this manual BEFORE making any connections, including connec-

tion to the main supply.

2. Main Power Supply Veriﬁcation: Yamaha products are manu-

factured speciﬁcally for the supply voltage in the area where they

are to be sold. If you should move, or if any doubt exists about the

supply voltage in your area, please contact your dealer for supply

voltage veriﬁcation and (if applicable) instructions. The required

supply voltage is printed on the name plate. For name plate loca-

tion, please refer to the graphic found in the Special Message Sec-

tion of this manual.

3. This product may be equipped with a polarized plug (one

blade wider than the other). If you are unable to insert the plug into

the outlet, turn the plug over and try again. If the problem persists,

contact an electrician to have the obsolete outlet replaced. Do NOT

defeat the safety purpose of the plug.

4. Some electronic products utilize external power supplies or

adapters. Do NOT connect this type of product to any power supply

or adapter other than one described in the owners manual, on the

name plate, or speciﬁcally recommended by Yamaha.

5. WARNING: Do not place this product or any other objects

on the power cord or place it in a position where anyone could walk

on, trip over, or roll anything over power or connecting cords of any

kind. The use of an extension cord is not recommended! If you

must use an extension cord, the minimum wire size for a 25’ cord

(or less) is 18 AWG. NOTE: The smaller the AWG number, the

larger the current handling capacity. For longer extension cords,

consult a local electrician.

6. Ventilation: Electronic products, unless speciﬁcally designed

for enclosed installations, should be placed in locations that do not

interfere with proper ventilation. If instructions for enclosed instal-

lations are not provided, it must be assumed that unobstructed ven-

tilation is required.

7. Temperature considerations: Electronic products should be

installed in locations that do not signiﬁcantly contribute to their

operating temperature. Placement of this product close to heat

sources such as; radiators, heat registers and other devices that pro-

duce heat should be avoided.

8. This product was NOT designed for use in wet/damp loca-

tions and should not be used near water or exposed to rain. Exam-

ples of wet/damp locations are; near a swimming pool, spa, tub,

sink, or wet basement.

9. This product should be used only with the components sup-

plied or; a cart, rack, or stand that is recommended by the manufac-

turer. If a cart, rack, or stand is used, please observe all safety

markings and instructions that accompany the accessory product.

10.

The power supply cord (plug) should be disconnected from

the outlet when electronic products are to be left unused for

extended periods of time. Cords should also be disconnected when

there is a high probability of lightning and/or electrical storm activ-

ity.

11. Care should be taken that objects do not fall and liquids are not

spilled into the enclosure through any openings that may exist.

12. Electrical/electronic products should be serviced by a quali-

ﬁed service person when:

a. The power supply cord has been damaged; or

b. Objects have fallen, been inserted, or liquids have been

spilled into the enclosure through openings; or

c. The product has been exposed to rain: or

d. The product dose not operate, exhibits a marked change in

performance; or

e. The product has been dropped, or the enclosure of the prod-

uct has been damaged.

13. Do not attempt to service this product beyond that described

in the user-maintenance instructions. All other servicing should be

referred to qualiﬁed service personnel.

14. This product, either alone or in combination with an ampli-

ﬁer and headphones or speaker/s, may be capable of producing

sound levels that could cause permanent hearing loss. DO NOT

operate for a long period of time at a high volume level or at a level

that is uncomfortable. If you experience any hearing loss or ringing

in the ears, you should consult an audiologist.

IMPORTANT: The louder the sound, the shorter the time period

before damage occurs.

15. Some Yamaha products may have benches and/or accessory

mounting ﬁxtures that are either supplied as a part of the product or

as optional accessories. Some of these items are designed to be dealer

assembled or installed. Please make sure that benches are stable and

any optional ﬁxtures (where applicable) are well secured BEFORE

using. Benches supplied by Yamaha are designed for seating only. No

other uses are recommended.

PLEASE KEEP THIS MANUAL

92-469-2

100 P-250

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

(2 wires)

• This applies only to products distributed by Yamaha-Kemble Music

(U.K.) Ltd.

(polarity)

• This applies only to products distributed by Yamaha Canada Music

Ltd.

• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada

Musique Ltée.

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instruc-

tions contained in this manual, meets FCC require-

ments. Modiﬁcations not expressly approved by

Yamaha may void your authority, granted by the FCC, to

use the product.

2. IMPORTANT: When connecting this product to acces-

sories and/or another product use only high quality

shielded cables. Cable/s supplied with this product

MUST be used. Follow all installation instructions. Fail-

ure to follow instructions could void your FCC authori-

zation to use this product in the USA.

3. NOTE: This product has been tested and found to com-

ply with the requirements listed in FCC Regulations,

Part 15 for Class “B” digital devices. Compliance with

these requirements provides a reasonable level of

assurance that your use of this product in a residential

environment will not result in harmful interference with

other electronic devices. This equipment generates/

uses radio frequencies and, if not installed and used

according to the instructions found in the users manual,

may cause interference harmful to the operation of

other electronic devices. Compliance with FCC regula-

tions does not guarantee that interference will not occur

in all installations. If this product is found to be the

source of interference, which can be determined by

turning the unit “OFF” and “ON”, please try to eliminate

the problem by using one of the following measures:

Relocate either this product or the device that is being

affected by the interference.

Utilize power outlets that are on different branch (circuit

breaker or fuse) circuits or install AC line ﬁlter/s.

In the case of radio or TV interference, relocate/reorient

the antenna. If the antenna lead-in is 300 ohm ribbon

lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfac-

tory results, please contact the local retailer authorized

to distribute this type of product. If you can not locate

the appropriate retailer, please contact Yamaha Corpo-

ration of America, Electronic Service Division, 6600

Orangethorpe Ave, Buena Park, CA90620

The above statements apply ONLY to those products

distributed by Yamaha Corporation of America or its

subsidiaries.

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

IMPORTANT. The wires in this mains lead are coloured in

accordance with the following code:

BLUE : NEUTRAL

BROWN : LIVE

As the colours of the wires in the mains lead of this appa-

ratus may not correspond with the coloured makings iden-

tifying the terminals in your plug proceed as follows:

The wire which is coloured BLUE must be connected to

the terminal which is marked with the letter N or coloured

BLACK.

The wire which is coloured BROWN must be connected to

the terminal which is marked with the letter L or coloured

RED.

Making sure that neither core is connected to the earth ter-

minal of the three pin plug.

CAUTION: TO PREVENT ELECTRIC SHOCK, MATCH

WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.

ATTENTION: POUR ÉVITER LES CHOCS ÉLEC-

TRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE

LA FICHE DANS LA BORNE CORRESPONDANTE DE

LA PRISE ET POUSSER JUSQU’AU FOND.

P-250 101

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: +81-53-460-2445

SY31

For details of products, please contact your nearest Yamaha

representative or the authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou

au distributeur le plus proche de vous ﬁgurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten

Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

MEXICO

Yamaha de Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 55-5804-0600

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-3085-1377

ARGENTINA

Yamaha Music Latin America, S.A.

Sucursal de Argentina

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-4371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha Music Latin America, S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, Panamá

Tel: +507-269-5311

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: 04101-3030

SWITZERLAND/LIECHTENSTEIN

Yamaha Music Central Europe GmbH,

Branch Switzerland

Seefeldstrasse 94, 8008 Zürich, Switzerland

Tel: 01-383 3990

AUSTRIA

Yamaha Music Central Europe GmbH,

Branch Austria

Schleiergasse 20, A-1100 Wien, Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Central Europe,

Branch Nederland

Clarissenhof 5-b, 4133 AB Vianen, The Netherlands

Tel: 0347-358 040

BELGIUM/LUXEMBOURG

Yamaha Music Central Europe GmbH,

Branch Belgium

Rue de Geneve (Genevastraat) 10, 1140 - Brussels,

Belgium

Tel: 02-726 6032

FRANCE

Yamaha Musique France

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

ITALY

Yamaha Musica Italia S.P.A.

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha-Hazen Música, S.A.

Ctra. de la Coruna km. 17, 200, 28230

Las Rozas (Madrid), Spain

Tel: 91-639-8888

GREECE

Philippos Nakas S.A. The Music House

147 Skiathou Street, 112-55 Athens, Greece

Tel: 01-228 2160

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Ofﬁce

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

F-Musiikki Oy

Kluuvikatu 6, P.O. Box 260,

SF-00101 Helsinki, Finland

Tel: 09 618511

NORWAY

Norsk ﬁlial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: +49-4101-3030

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: +81-53-460-2312

TURKEY/CYPRUS

Yamaha Music Central Europe GmbH

Siemensstraße 22-34, 25462 Rellingen, Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Music Gulf FZE

LB21-128 Jebel Ali Freezone

P.O.Box 17328, Dubai, U.A.E.

Tel: +971-4-881-5868

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 2737-7688

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot Sub-

roto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Yamaha Music Korea Ltd.

Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,

Youngdungpo-ku, Seoul, Korea

Tel: 02-3770-0660

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-78030900

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

No.11 Ubi Road 1, No.06-02,

Meiban Industrial Building, Singapore

Tel: 747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

3F, #6, Sec.2, Nan Jing E. Rd. Taipei.

Taiwan 104, R.O.C.

Tel: 02-2511-8688

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320, Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: +81-53-460-2317

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

Level 1, 99 Queensbridge Street, Southbank,

Victoria 3006, Australia

Tel: 3-9693-5111

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: +81-53-460-2312

NORTH AMERICA

CENTRAL & SOUTH AMERICA

EUROPE

AFRICA

MIDDLE EAST

ASIA

OCEANIA

POWE

P-

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ELECTRONIC PIANO

M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

V960150 309APAP1.3-04C0 Printed in Japan

Owner's Manual

This document is printed on recycled chlorine free (ECF) paper with soy ink.

Yamaha Web Site (English only)

http://www.yamahasynth.com/

Yamaha Manual Library

http://www2.yamaha.co.jp/manual/english/

Yamaha P-250 El manual del propietario

Marca: Yamaha

Modelo: P-250

Categoría: Sintetizador

Tipo: El manual del propietario

Descargar PDF

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