Yamaha S90 Manual de usuario

Marca: Yamaha

Modelo: S90

Categoría: Software

Tipo: Manual de usuario

Este manual también es adecuado para

S90 ES
S90ES

OWNER’S MANUAL

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

Yamaha Web Site (English only)

http://www.yamahasynth.com/

Yamaha Manual Library

http://www.yamaha.co.jp/manual/

U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

WE71930 505MWCP25.2-01A0

Printed in Japan

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic products

may have either labels similar to the graphics shown below or

molded/stamped facsimiles of these graphics on the

enclosure. The explanation of these graphics appears on this

page. Please observe all cautions indicated on this page and

those indicated in the safety instruction section.

The exclamation point within the equilateral

triangle is intended to alert the user to the

presence of important operating and

maintenance (servicing) instructions in the

literature accompanying the product.

The lightning ﬂash with arrowhead symbol,

within the equilateral triangle, is intended to

alert the user to the presence of uninsulated

“dangerous voltage” within the product’s

enclosure that may be of sufﬁcient magnitude to

constitute a risk of electrical shock.

IMPORTANT NOTICE: All Yamaha electronic products are tested

and approved by an independent safety testing laboratory in order

that you may be sure that when it 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 performance 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 information

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 without notice or obligation to update existing

units.

ENVIRONMENTAL ISSUES: Yamaha strives to produce products

that are both user safe and environmentally friendly. We sincerely

believe that our products and the production methods used to

produce them, meet these goals. In keeping 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-rechargable

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 the defective

parts. However, you do have the option of having the servicer dispose

of these parts for you.

Disposal Notice: Should this product become damaged beyond

repair, or for some reason its useful life is considered 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 knowledge relating

to how a function or effect works (when the unit is operating as

designed) are not covered by the manufacturer’s warranty, and are

therefore the owners responsibility. Please study this manual carefully

and consult your dealer before requesting service.

NAME PLATE LOCATION: The graphic below indicates 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.

Model

Serial No.

Purchase Date

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.

92-469- ➀ (rear)

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 connection to

the main supply.

2. 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.

3. Main Power Supply Veriﬁcation: Yamaha products are

manufactured 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 location,

please refer to the graphic found in the Special Message Section of

this manual.

4. DANGER-Grounding Instructions: This product must be

grounded and therefore has been equipped with a three pin

attachment plug. If this product should malfunction, the ground pin

provides a path of low resistance for electrical current, reducing the

risk of electrical shock. If your wall socket will not accommodate this

type plug, contact an electrician to have the outlet replaced in

accordance with local electrical codes. Do NOT modify the plug or

change the plug to a different type!

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

installations are not provided, it must be assumed that unobstructed

ventilation is required.

7. Temperature considerations: Electronic products should be

installed in locations that do not seriously contribute to their operating

temperature. Placement of this product close to heat sources such

as; radiators, heat registers etc., should be avoided.

8. This product was NOT designed for use in wet/damp locations

and should not be used near water or exposed to rain. Examples 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 supplied

or; a cart,rack, or stand that is recommended by the manufacturer. 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 activity.

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

qualiﬁed 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 does not operate, exhibits a marked change in

performance; or

e. The product has been dropped, or the enclosure of the product

has been damaged.

13. This product, either alone or in combination with an ampliﬁer

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.

14. 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

92-469-3

(2)-10 1/2

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:

• Only use the voltage speciﬁed as correct 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.

• Be sure to connect to an appropriate outlet with a protective grounding

connection. Improper grounding can result in electrical shock.

• This instrument contains no user-serviceable parts. Do not attempt to

disassemble or modify the internal components in any way.

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

conditions, or place containers on it containing liquids which 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.

A burning item 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 you or others, or damage

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

• Always connect the three-pin attachment plug to a properly grounded power

source. (For more information about the main power supply, see page 8.)

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

the plug itself and not the cord. Pulling by 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, or 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 vibrations, 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 where it might accidentally

fall over.

• Before moving the instrument, remove all connected cables.

• When setting up the instrument, make sure that the AC outlet you are using is

easily accessible. If some trouble or malfunction occurs, immediately turn off

the power switch and disconnect the plug from the outlet.

• 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.

Power supply/Power cord

Do not open

Water warning

Fire warning

If you notice any abnormality

Power supply/Power cord

Location

(2)-10 2/2

• 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

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 this might

discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and 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 can cause permanent hearing loss. If you

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

Saving and backing up your data

• The edited settings are lost when you turn off the power to the instrument

without saving. Make sure to save important data to internal (User) memory (see

page 126).

• Saved data may be lost due to malfunction or incorrect operation. Save

important data to a USB storage device.

• Never attempt to turn off the power while data is being written to internal

memory (while an “Executing...” or “Please keep power on” message is shown).

Turning the power off in this state results in loss of all user data and and may

cause the system to freeze.

This means that this synthesizer may not be able to start up properly, even when

turning the power on next time.

Backing up the USB storage device

•To protect against loss through media damage, we recommend that you save

your important data onto two USB storage devices.

Yamaha cannot be held 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 caution

Saving data

Introduction

Owner’s Manual

Introduction

Congratulations and thank you for your purchase of the Yamaha S90 ES Music Production Synthesizer! You now own one of

the best-sounding, most versatile, and most powerful music production instruments on the planet.

We strove to put virtually all our synthesizer technology and music making know-how into one instrument—and we

succeeded. The new S90 ES not only gives you the latest and greatest sounds and rhythms (as well as the ability to create

your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these dynamic sounds/rhythms—in

real time, as you perform!

Take time to look through this manual carefully. It's packed with important information on how to get the most from this

amazing instrument.

Dive in now and enjoy!

Accessories

The following items have been included with your S90ES. Check to see that you have everything listed

here.

❏ Power cord

❏ Owner’s Manual (this document)

❏ Data List

❏ Sticker label for optional mLAN16E expansion board

The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and

may appear somewhat 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, style ﬁles, MIDI ﬁles, WAVE data, musical scores and

sound recordings. Any unauthorized use of such programs and contents outside of personal use is not

permitted under relevant laws. Any violation of copyright has legal consequences. DON’T MAKE,

DISTRIBUTE OR USE ILLEGAL COPIES.

This device is capable of using various types/formats of music data, and it optimizes the data in advance

to the proper format for use with the device. As a result, the data may not be played back precisely as the

creators or composers originally intended.

Copying of the commercially available musical data including but not limited to MIDI data and/or audio

data is strictly prohibited except for your personal use.

• Windows is the registered trademarks of Microsoft

Corporation.

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

• The company names and product names in this Owner’s Manual are the trademarks or registered

trademarks of their respective companies.

Table of Contents

Owner’s Manual

Introduction.............................................................6

Accessories.............................................................6

Setting up and Playing ...........................................8

Power supply connections........................................... 8

Playing the keyboard ................................................. 10

Modes ........................................................................ 12

Basic instructions....................................................... 13

Main Features ............................................................ 14

Using the Owner’s Manual......................................... 15

The Controls & Connectors 16

Front Panel ................................................................. 16

Rear Panel.................................................................. 18

Using USB storage devices....................................... 20

Basic Operation 21

Restoring the Factory-programmed S90 ES .............. 21

Functions of the MODE buttons ................................. 22

Functions and Sub-Functions .................................... 23

Selecting a Program .................................................. 23

About the editing functions ........................................ 25

Confirmation Message ............................................... 26

Information Display .................................................... 27

Note (Key) settings .................................................... 27

Naming....................................................................... 27

Quick Guide 29

Playing the Demo Songs......................................29

Playing the S90 ES................................................30

Voice Play mode ........................................................ 30

Performance Play mode............................................. 34

Using the Arpeggio feature........................................ 39

Using the Controllers on the S90 ES.......................... 41

Editing a Program.................................................44

Editing a Voice ........................................................... 44

Editing a Performance ............................................... 53

Using the Controllers—Advanced Course .........59

Controllers supported by the S90 ES......................... 59

Connecting the Computer and MIDI devices......63

Connections ............................................................... 63

Creating a Song with the Multi mode......................... 70

Using the S90 ES with computer software................. 77

Using mLAN............................................................... 88

Creating Your Original Program Set

(Master mode)........................................................90

Playing back MIDI files

(Sequence Play mode)..........................................96

Using the Plug-in Boards.....................................99

Tips.......................................................................104

Basic Structure 108

Internal Structure (System Overview)....................... 108

Maintaining data....................................................... 126

Reference 127

Voice mode .............................................................. 127

Performance mode................................................... 149

Multi mode................................................................ 157

Multi Voice mode...................................................... 161

Sequence Play mode ............................................... 162

Utility mode .............................................................. 163

File mode.................................................................. 168

Master mode ............................................................ 172

Appendix 176

Information Displays................................................. 176

Display Messages.................................................... 178

About MIDI ............................................................... 180

Installing Optional Hardware.................................... 184

Specifications........................................................... 188

Troubleshooting .......................................................189

Application Index ..................................................... 193

Index ........................................................................198

Table of Contents

Power supply connections

Owner’s Manual

Power supply connections

1. Make sure that the instrument’s POWER switch on the rear panel is at the OFF position.

2. Connect the supplied power cord to the AC INLET on the instrument’s rear panel.

3. Connect the other end of the power cord to an AC outlet. Make sure your S90 ES meets the

voltage requirement for the country or region in which it is being used.

Make sure your S90 ES is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel).

Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock

hazard!

Use only the AC power cord supplied with the S90 ES. If the supplied cord is lost or damaged and needs to be replaced, contact

your Yamaha dealer. The use of an inappropriate replacement can pose a ﬁre and shock hazard!

The type of AC power cord provided with the S90 ES may be different depending on the country in which it is purchased (a third

prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of

electrical shock. Do NOT modify the plug provided with the S90 ES. If the plug will not ﬁt the outlet, have a proper outlet installed

by a qualiﬁed electrician. Do not use a plug adapter which defeats the grounding conductor.

Setting up and Playing

POWER

OFF

Power cord (included)

Power Switch

AC INLET

WARNING

Power supply connections

Owner’s Manual

Connecting the speakers or pair of headphones

Since the S90 ES has no built-in speakers, you will need to monitor the sound of the instrument by using

external equipment. Connect a set of headphones, powered speakers, or other playback equipment as

required.

Turning the power on

Make sure the volume settings of the S90 ES and external devices are turned down to the minimum.

Turn the power on by pressing the [POWER] switch on the S90 ES rear panel, then turn the power on the

ampliﬁers.

Connecting MIDI devices or a Mixer

Make sure that all volume settings are turned down all the way to the minimum. Then turn on the every device in your setup in the

order of MIDI masters (controllers), MIDI slaves (receivers), then audio equipment (mixers, ampliﬁers, speakers, etc.).

When powering down the setup, ﬁrst turn down the volume of each audio device, then switch off each device in the reverse order

(ﬁrst audio devices, then MIDI).

Powered speaker (Left)

Powered speaker (Right)

Headphones

OUTPUT L/MONO

OUTPUT R

PHONES

S90 ES

MASTER VOLUME

MUSIC PRODUCTION SYNTHESIZER

POWER

ON!!

1 2 3

MIDI master

S90 ES Audio equipment (ﬁrst mixer, then ampliﬁer)

Playing the keyboard

Owner’s Manual

Adjusting the sound and the display contrast

Adjust the volume levels of the S90 ES and the connected ampliﬁer/speaker system. If the display is not

easily visible, use the Contrast control to adjust for optimum visibility.

Playing the keyboard

Playing the sounds

Try playing some of the realistic and dynamic S90 ES sounds from the keyboard now.

When you turn the power on following the directions in “Power supply connections” (page 8), the display

below appears.

n In the default settings, the Master mode is selected. For details about the modes, refer to the section “Modes” on page 12.

In this condition you can play the keyboard and hear the sounds of the selected program. When the

instrument is turned on, the “Wide River” program—featuring a natural, mellow piano sound with a

rhythmic arpeggio and ambient synth—is automatically called up.

Notice the indication “Performance:USER1:001(A01)” at the top right of the display. This indicates that

Performance 001 in User bank 1 is currently selected. A “Performance” is one of the types of programs of

the S90 ES. As described below, the instrument also features other types: Voices and Multis.

n For details about Banks, see page 30. Please note that Performances and Multis have only User Banks (no other banks are

available).

Now that you’ve set up the S90 ES properly, you’re ready to begin playing it.

n When you are ready to turn off the S90 ES, make sure to switch off the power of the external device (or lower its volume)

before switching off the S90 ES.

MASTER VOLUME

SF1

Adjust the volume with the

MASTER VOLUME slider.

Contrast control

Adjust the display contrast with the

Contrast control.

Indicates that the Master mode is selected.

Indicates the name and number of

selected program.

Indicates the type of selected program.

Playing the keyboard

Owner’s Manual

Selecting and playing the sounds

The S90 ES provides three different types of programs for playing the sounds: Voices, Performances, and

Multis. The basic difference among these programs is in their use—for playing the keyboard, or for

creating music with multiple parts.

You can choose from 128 different Voices, Performances, and Multis in the Master mode. To change the

desired Master number, use the [INC/ YES] button, [DEC/NO] button, or the Data dial.

Change the Master number, and then try playing the various Voices or Performance types. When a Voice is

assigned to the selected Master number, “Voice” will appear at the top of the display. When a Performance

is assigned, “Performance” will appear in the display.

n Although a Multi can be used for playing the keyboard, it is primarily intended for creating, recording and playback of multi-part

music. For details about using this function, see page 70.

As you play the various Voices and Performances, notice the differences between them—especially how

some Performances sound exceptionally rich and more complex than Voices.

Here, we’ve introduced the operations in the Master mode that is called up ﬁrst when turning the power on.

The S90 ES has other modes of operation as well. In the next section, we’ll explain about the modes of the

S90 ES and how they are used.

For playing the keyboard

Voice:

This program contains a basic

instrument sound, such as a

piano, guitar, bass guitar, drum

kit, etc.

Performance:

This program allows you to

combine several Voices

together—either in a richly

textured layer, or separately

(as in different sections of the

keyboard) for playing several

different parts simultaneously.

For creating music of multiple parts

Multi:

This program allows you to play

multiple tracks from an external

sequencer, using many different

Voices simultaneously.

DEC/NO INC/YES

Decreases number

Increases number

Decreases number

Modes

Owner’s Manual

Modes

There are several operation modes in the S90 ES, and they can be

selected by using the six mode buttons. The use of the individual

modes depends on your particular musical application. For

playing the keyboard conventionally, the Voice or Performance

mode should be used. If you’re creating music, particularly multi-

part arrangements, use the Multi mode and Sequence Play mode.

To make global settings for the instrument and back up your

important data, use the Utility and File modes. A special Master

mode is also included for instantly calling up desired modes and

related settings together in one button press, without having to ﬁrst

select a mode.

n Pressing the [MULTI/SEQ PLAY] button toggles between the Multi mode and Sequence Play mode.

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

EDIT

JOB STORE

COMPARE

REMOTE

EFFECT

BYPASS

ARPEGGIO

1 2 3

4 5 6

Playing the keyboard

using a Voice

Voice mode

[VOICE] button

The S90 ES has a wealth of high-quality,

dynamic sounds—also referred to as “Voices.”

You can play these Voices—one Voice at a

time—from the keyboard in the Voice mode.

The S90 ES also lets you create your own

original Voices.

Playing the keyboard

using multiple Voices

Performance mode

[PERFORM] button

In the Performance mode, you can play

several Voices together in a layer, or play

different Voices from separate ranges of the

keyboard. Each of these combinations of

Voices is called a “Performance.” This mode

lets you create richly textured, layered sounds

or play two different parts simultaneously—for

example, piano and bass guitar—and is

particularly useful when performing solo.

Creating original

program sets

Master mode

[MASTER] button

The Master mode can be used in two ways:

• Storing your favorite programs

This lets you register settings that you often

use in the Voice, Performance, or Multi mode,

and instantly recall the mode and custom

settings together in a single button press,

without having to ﬁrst select a mode.

• Playing as a master keyboard

This lets you divide the keyboard into four

separate sections—just as if you were playing

four different MIDI keyboards.

Backing up data

File mode

[FILE] button

The File mode lets you save your S90 ES

data to the USB storage device, and allows

you to load the USB device data to the

S90 ES.

You can store your data to the S90 ES;

however, for best safe-keeping, Yamaha

recommends that you back up your important

data to a USB storage devise.

Setting the system

parameters

Utility mode

[UTILITY] button

The Utility mode lets you set parameters that

apply to the entire system of the S90 ES.

These parameter settings are applied to all

Voices, Performances, and Multis.

* The settings for each Voice, Performance, or

Multi can be determined in the respective

Voice mode, Performance mode, or Multi

mode.

Recording via an

external sequencer

Multi mode

[MULTI/SEQ PLAY] button

The Multi mode lets you use the S90 ES as a

multi-timbral tone generator for sequencer

song playback. By assigning a different Voice

to each track in a song ﬁle on your external

sequencer, you can play back complex multi-

part ensemble recordings.

Playing back MIDI ﬁles

SMF (Standard MIDI File) format only

Sequence Play mode

[MULTI/SEQ PLAY] button

In the Sequence Play mode, you can play

back song data created on an external

sequencer, using the S90 ES as a multi-part

tone generator. Multiple SMF ﬁles can be

played in order, and ﬁles saved to a USB

storage device can be played back directly

without having to load the data to the S90 ES.

Basic instructions

Owner’s Manual

Basic instructions

Voices—the basic building blocks of the S90 ES

Voices—created in the Voice mode—are the basic sonic building blocks for the other modes of the S90

ES. The Performance and Multi programs are made up of different Voices, used together for speciﬁc

performance or song recording applications. The S90 ES features an exceptionally wide variety of preset

Voices for playing in virtually any musical style. Try searching through the Voices to ﬁnd your favorites.

Once you’ve explored them and feel comfortable with them, try branching out creatively and use the

editing features to make your own original Voices.

Combine several Voices to create a Performance or Multi

To play several different Voices together simultaneously, select a Performance. To use the S90 ES as a

multi-timbral tone generator with your sequencer, select a Multi. The S90 ES contains a full set of specially

programmed 128 Performances and 64 Multis. With the help of the Multis, the S90 ES can be used to play

back MIDI song ﬁles from a connected USB device.

Master mode—Create a master keyboard setup or instantly call up

your desired programs

The Master mode lets you register your favorite Voices, Performances, and Multis together into easy-to-

select Master programs. No matter what mode is used—Voice, Performance or Multi—you can have it

instantly and automatically selected when you call up the appropriate Master.

The Master mode can also be used to divide the keyboard into four sections—each with its own Voice—

just as if you were playing four different MIDI keyboards.

Convenient remote control of your computer software

The panel of the S90 ES also serves as a convenient control surface for your computer music system. Use

the buttons and sliders to control the audio mixer and sequencer transport functions in your MIDI/audio

software. This highly intuitive approach gives you hands-on control over your virtual studio—a level of

control that a keyboard and mouse can’t match. These features are available for any computer sequence

software and Multi Part Editor software (Page 77) compatible with the Remote Control function.

Global settings and data backup

While the Voice, Performance, and Multi modes provide controls for using and editing the programs of the

S90 ES, the Utility mode is the place where you make overall settings for the instrument—for example,

adjusting the transpose and ﬁne tuning controls, or switching between MIDI and USB operation. You can

also archive your important S90 ES data to a USB storage device for safe-keeping.

Selecting a preset Voice

Page 30

Creating a new Voice

Page 44

Selecting a preset Performance

Page 34

Creating a new Performance

Page 36, 53

Creating music using a Multi and your computer

Page 70

Playing back a MIDI ﬁle

Page 96

Making Master mode settings

Page 90

Remote-controlling the software

Page 77

Making global system settings

Page 163

Backing up important data

Page 126

This concludes our short guide to the basic operations and functions of the S90 ES. Enjoy the dynamic,

authentic sounds of the instrument as you continue to play it and create music on it. Make sure to follow the

references above and go on to explore some of the other exciting and powerful features of the S90 ES.

Main Features

Owner’s Manual

Main Features

●Naturally responsive 88-Key Balanced Hammer Effect keyboard (with aftertouch), drawing on our extensive

experience and expertise in piano-making.

●Wide range of dynamic and authentic voices. Use the Category Search function to quickly call up the sounds

you want, based on their instrument type.

●Half Damper function that lets you ﬁnely control the decay of the sound—and expressively recreate the

complex charactistics of acoustic instruments, especially piano and stringed instruments.

●Includes the newly developed Damper Resonance—an Insertion effect that reproduces the rich harmonics and

unique sound characteristics of an actual grand piano when using the damper pedal.

●Stretch tuning used on many Voices—the same kind of tuning as used on an actual acoustic piano.

●Arpeggio feature, which automatically plays a variety of sequenced phrases in response to the keys you play.

This function lets you easily call up various melody and rhythm patterns—over 1,700 types—providing instant

inspiration for song creation and performance.

●Versatile Multi mode lets you set up the S90 ES for playing multiple instrument parts from your sequencer

software, giving you all the sounds you need to realize complete, professional-sounding songs. Moreover, the

corresponding Multi Library lets you have the proper instruments for the selected type of music called up

instantly and automatically.

●Extensive effect processing, with Reverb (20 types), Chorus (49 types), eight separate Insertion blocks (each

having two blocks and a total 117 types), Master Effect (8 types), and a digital equalizer (3-band Part EQ and 5-

band Master EQ).

●Comprehensive real-time control with four Control Sliders—letting you adjust ﬁlter, levels, effects, EG, and more,

while you play.

●Master mode—for using the S90 ES as a master keyboard controller (with independent Zones), and for easily

reconﬁguring the instrument between Voice/Performance play and Multi play in live applications.

●Remote Control—for operating your favorite sequencer software from the S90 ES.

●Three Modular Synthesis Plug-in System slots, which let you upgrade the S90 ES with a completely new

synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more

polyphony and more instrument parts. Plus, special Plug-in voices have already been programmed and stored

to the S90 ES, ready to be played as soon as you install the proper board.

●A full rear panel of input/output connections provides maximum interfacing ﬂexibility. These include Assignable

Outputs, A/D Inputs, MIDI, and two USB. Moreover, an optional mLAN16E board can be installed.

●Two USB connectors—USB TO HOST for connecting to computer, and USB TO DEVICE for connecting to

storage devices, such as a hard disk drive or ﬂash disk.

●Compatibility with Yamaha's powerful Voice Editor and Multi Part Editor software—featuring comprehensive,

intutive editing of all parameters from your computer.

Using the Owner’s Manual

Owner’s Manual

Using the Owner’s Manual

Setting up and Playing .........................................................................................................................................Page 8

This section gives you all you need to know about getting started in playing and using your S90 ES—from setting up and

turning on the power to performing basic operations.

The Controls & Connectors ...............................................................................................................................Page 16

Use this section to ﬁnd out about all of the buttons and controls of the S90 ES.

Basic Operation ..................................................................................................................................................Page 21

This section introduces you to the basic operation conventions of this instrument, such as editing values and changing

settings.

Quick Guide.........................................................................................................................................................Page 29

In this tutorial section, you will take a guided tour through the various functions of this instrument, and get some hands-on

experience in playing using it.

Basic Structure .................................................................................................................................................Page 108

This section provides a detailed overview of all of the main functions and features of this instrument, and shows how they ﬁt

together.

Reference...........................................................................................................................................................Page 127

The S90 ES encyclopedia. This section explains all parameters, settings functions, features, modes and operations in full

detail.

Appendix............................................................................................................................................................Page 176

Information on installing options, speciﬁcations, error messages, and more.

Troubleshooting................................................................................................................................................Page 189

If the S90 ES does not function as expected or you have some problem with the sound or operation, refer to this section

before calling your Yamaha dealer or service center. Most common problems and their solutions are covered here in a very

simple and easy-to-understand way.

Data List (separate booklet)

This contains various important lists such as the Voice List, Effect List, and MIDI Implementation Chart.

Various pages and menus appear on the LCD display of this instrument depending the selected mode or function.

Throughout this manual, arrows are used in the instructions, indicating in shorthand the process of calling up certain

displays and functions. The example instructions below indicate to 1) press the [VOICE] button, 2) select a Normal

Voice, 3) press the [EDIT] button, 4) select an Element, 5) press the [F1] OSC button, and 6) press the [SF2] OUTPUT

button.

[VOICE]

→ Normal Voice selection → [EDIT] → Element selection → [F1] OSC → [SF2] OUTPUT

n When a conﬁrmation message (page 26) or Control Function window (page 42) is shown in the display, press the [EXIT] button to exit from that

condition, then execute the instructions as in the above example. Likewise, press the [REMOTE] button to exit from the Remote Control mode,

then execute the instructions as in the above example when the S90 ES is in the Remote Control mode.

Owner’s Manual

The Controls & Connectors

Front Panel

n When setting the following parameter to “0,” each key corresponds to the note name shown in the illustrations. [UTILITY] → [F1] GENERAL → [SF2]

KBD → Octave. Refer to this illustration when setting parameters having note name values, such as Note Limit.

1 Keyboard

The keyboard is equipped with a touch response

feature (both initial touch and aftertouch). With initial

touch, the instrument senses how strongly or softly you

play the keys, and uses that playing strength to affect

the sound in various ways, depending on the selected

voice. With aftertouch, the instrument senses how much

pressure you apply to the keys while playing, and uses

that pressure to affect the sound in various ways,

depending on the selected voice.

Moreover, any of a variety of functions can be assigned

to aftertouch for each voice (page 62).

2 Pitch bend wheel Page 41

Controls the pitch bend effect. You can also assign

other functions to this controller.

3 Modulation wheel Page 41

Controls the modulation effect. You can also assign

other functions to this controller.

4 [MASTER VOLUME] slider

Adjusts the master volume. Move the slider upwards to

raise the output level from the OUTPUT L/R jacks and

the PHONES jack.

5 Control sliders 1 - 4 Page 42

These four highly versatile sliders let you adjust various

aspects or parameters of the current Voice. Use the

Control function buttons above to change the parameter

set for the Control sliders.

n If all of the Control sliders are set to the minimum, you may not hear

any sound from the instrument, even when playing the keyboard. If

this is the case, raise all the sliders to a suitable level.

n The [MASTER VOLUME] slider adjusts the output level from this

instrument. On the other hand, the volume adjustment by Control

slider adjusts the MIDI volume value for the corresponding Element

or Part.

6 Control function buttons Page 43

Use the Control function buttons to change the

parameter set for the Control sliders.

7 LCD Contrast control Page 10

Use this control to set the LCD display for optimum

legibility.

8 [F1] - [F6] (Function) buttons Page 23

These buttons located directly below the LCD display

call up the corresponding functions indicated in the

display. In the display hierarchy, these functions [F] rank

just below the modes.

PAN/SEND

PAN

ASSIGN A ASSIGN B ASSIGN

1 ASSIGN 2

REVERB CHORUS TEMPO

RELEASE

ASSIGN

MEF

TONE

ARP FX

CUTOFF RESONANCE ATTACK

SWING

MEF

LOW

MEF

2 MEF 3 MEF 4

GATETIME VELOCITY

UNITMULTIPLY

LOW MID

HIGH MID

HIGH

VOLUME

VOLUME 1

VOLUME

2 VOLUME 3 VOLUME 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

MASTER VOLUME

SF1

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

EDIT

JOB STORE

COMPARE

REMOTE

EFFECT

BYPASS

ARPEGGIO

MODE

PROGRAM

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

USER 1

GUITAR/

PLUCKED

SYN LEAD

BCDE F G

12 13

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

USER 2

STRINGS

PLG 1

SLOT

SLOT 2

SLOT 3

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

MUTE

TRACK

SELECT

CATEGORY

SOLO

PAN/SEND

PAN

ASSIGN A ASSIGN B ASSIGN

1 ASSIGN 2

REVERB CHORUS TEMPO

RELEASE

ASSIGN

MEF

TONE

ARP FX

CUTOFF RESONANCE ATTACK

SWING

MEF

LOW

MEF

2 MEF 3 MEF 4

GATETIME VELOCITY

UNITMULTIPLY

LOW MID

HIGH MID

HIGH

VOLUME

VOLUME 1

VOLUME

2 VOLUME 3 VOLUME 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

MASTER VOLUME

SF1

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

EDIT

JOB STORE

COMPARE

REMOTE

EFFECT

BYPASS

ARPEGGIO

MODE

PROGRAM

COMMON

ELEMENT/PERF. PART/ZONE

FAVOR ITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

USER 1

GUITAR/

PLUCKED

SYN LEAD

BCDEF G

12 13

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

USER 2

STRINGS

PLG 1

SLOT

SLOT 2

SLOT 3

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

MUTE

TRACK

SELECT

CATEGORY

SOLO

321

A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B5 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7

∞

8(º¡

¶™#*

Front Panel

The Controls &

Connectors

Owner’s Manual

9 [SF1] - [SF6] (Sub Function) buttons Page 23

These buttons located directly below the LCD display

call up the corresponding sub functions indicated in the

display. In the display hierarchy, these sub functions

[SF] rank just below the functions [F].

These buttons can be also used to store/recall the

Arpeggio type in each Play mode. (page 39)

) LCD Display

The large backlit LCD displays the parameters and

values related to the currently selected operation or

mode.

! [INFORMATION] button Page 27

For calling up a special “help” feature that shows

information about the currently selected mode. You can

go back to the previous display by pressing this button

again or pressing any other button.

Depending on the selected display, this button may be

used to call up a window for inputting characters (page

27), or for selecting keys (page 53).

@ Data dial Page 25

For editing the currently selected parameter. To increase

the value, turn the dial right (clockwise); to decrease the

value, turn the dial left (counter-clockwise). If a

parameter with a wide value range is selected, you can

change the value in broader strokes by quickly turning

the dial.

# [INC/YES] button Page 25

For increasing the value of the currently selected

parameter. Also use it to actually execute a Job or a

Store operation.

$ [DEC/NO] button Page 25

For decreasing the value of the currently selected

parameter. Also use it to cancel a Job or a Store

operation.

n You can also use the [INC/YES] and [DEC/NO] buttons to quickly

move through parameter values in 10-unit jumps, especially those

with large ranges. Simply hold down one of the buttons (of the

direction you want to jump), and simultaneously press the other. For

example, to jump in the positive direction, hold down the [INC/YES]

button and press [DEC/NO].

% Cursor buttons Page 25

The cursor buttons move the “cursor” around the LCD

display screen, highlighting and selecting the various

parameters.

^ [EXIT] button Page 22

The menus and displays of this synthesizer are

organized according to a hierarchical structure.

Press this button to exit from the current display and

return to the previous level in the hierarchy.

& [ENTER] button

Use this button to execute a Job or a Store operation.

Also use this button to actually enter a number when

selecting a Memory or Bank for Voice or Performance.

In the File mode, use this button to go to the next lowest

level in the selected directory.

n In the File mode, the [EXIT] and [ENTER] buttons may be used to

move folders in the USB storage device.

* MODE buttons Page 22

These buttons select the operating modes (e.g., Voice

mode).

( [REMOTE] button Page 78

The Remote mode lets you control sequencer software

on your computer from the panel controls of the

instrument. Turn the [REMOTE] button on to enter the

Remote mode.

n When setting the MIDI IN/OUT parameter to “MIDI” ([UTILITY] →

[F5] MIDI → [SF4] OTHER) or setting both of Mode A and Mode B

to “off” ([UTILITY] → [F4] CTL ASN → [SF4] REMOTE), you cannot

enter the Remote mode even by pressing the [REMOTE] button. Set

these parameters to appropriate values (page 78) then enter the

Remote mode.

º [EFFECT BYPASS] button Page 119

The extensive effect section of the instrument provides

Insertion effects (eight sets, with two effect units per

set), System effects (Reverb and Chorus), and Master

effects.

The [EFFECT BYPASS] button enables you to turn the

corresponding effect blocks on or off with a single

touch. From the following display, you can select the

speciﬁc effect(s) to be bypassed when the [EFFECT

BYPASS] button. [UTILITY] → [F1] GENERAL → [SF3]

EF BYPS display

n If you install an optional Effect Plug-in Board (PLG100-VH), Plug-in

Insertion effects can also be used (page 103).

¡ [ARPEGGIO] button Page 39

Press this button to enable or disable playback of the

Arpeggio for each Voice, Performance, Multi. If the

Arpeggio Switch of the selected part is set to off in the

Performance/Multi mode, however, pressing this button

has no effect.

™ Bank buttons Pages 30, 32

Each button selects a Voice Bank. When the

[CATEGORY SEARCH] button is turned on, these

buttons can be used to select the desired category

(printed below each button).

£ Group [A] - [H] buttons Pages 31, 32

Each button selects a Voice or Performance Group.

When the [CATEGORY SEARCH] button is turned on,

these buttons can be used to select the desired

category (printed below each button).

¢ Number [1] - [16] buttons

Use of these buttons differs depending on the on/off

status of the [TRACK SELECT] and [MUTE] buttons.

Rear Panel

The Controls &

Connectors

Owner’s Manual

∞ [CATEGORY SEARCH] button Page 32

When this button is turned on, the lower row of Bank

buttons (labeled A.PIANO—REED/PIPE below the

buttons) and the Group buttons can be used to select

the Voice/Performance category.

§ [TRACK SELECT] button Page 104

[MUTE] button Page 105

The buttons enable you to switch the function of Number

[1] - [16] buttons. For details, see the “

¢ Number [1] -

[16] buttons.”

¶ SLOT 1 - 3 lamps Page 99

These three lamps show the installation status of the

Plug-in Boards. If the Plug-in Board has been correctly

installed, the corresponding SLOT lamp will light.

n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed

only to slot 1.

n The Multi part Plug-in Board (PLG100-XG) can be installed only to

slot 3.

■ Functions of the Number [1] - [16] buttons

Rear Panel

1 POWER Switch

Use this to switch the synthesizer on or off.

2 AC INLET (AC Power Cord Socket) Page 8

Be sure the plug the AC power cord into this socket

before plugging the power cord into an AC outlet. Use

only the AC power cord supplied with the S90 ES.

3 Plug-in Board Slots 1 - 3 (Plug-in Boards

cover)

Page 184

Installing an optional Plug-in Board to the S90 ES lets

you greatly expand the sonic palette of the instrument.

Up to three boards can be installed to the S90 ES’s rear

panel.

4 USB connectors Page 67

This instrument is equipped with two types of USB

connectors on the rear panel—USB TO HOST and USB

TO DEVICE. The USB TO HOST connector is used to

connect this instrument to the computer via the USB

cable. The USB connection between the instrument and

the computer can only be used for transfer of MIDI data.

Unlike MIDI, USB can handle multiple ports via a single

cable. The USB connection can only be used for

transfer of MIDI data. No audio data can be transferred

via USB.

The USB TO DEVICE connector is used to connect this

instrument to a USB storage device (hard disk drive,

CD-ROM drive, MO drive, ﬂash disk, etc.) via the USB

cable. This lets you save the data created on this

When [TRACK SELECT] button is on When [MUTE] button is on

When both [TRACK SELECT]

and [MUTE] buttons are off

Voice Play mode Keyboard transmit channel setting — Voice selection, according to Groups

A - H

Voice Edit mode Element selection (1 - 4) and Element Mute setting (9 - 12) —

Performance Play mode Keyboard transmit channel setting Performance Part Mute setting (1 - 4) Performance or Voice selection (if

cursor is located at Voice name),

according to Groups A - H

Performance Edit mode Performance part selection (1 - 4)

Master Play mode

Keyboard transmit channel setting (when

memorizing the Voice mode or

Performance mode to the current Master)

or Multi Part selection (when memorizing

the Multi mode to the current Master)

Part Mute setting (when registering a

Performance or a Multi)

Master selection, according to Groups

A - H

Master Edit mode Zone selection (1 - 4) — —

Multi Play mode Part selection Part Mute setting Multi or Voice selection (if cursor is

located at Voice name), according to

Groups A - D

Multi Edit mode

Sequence Play mode Keyboard transmit channel setting Part Mute setting —

Multi Voice Edit mode Element selection (1 - 4) and Element Mute setting (9 - 12) —

Plug-in SLOT

GREEN

YELLOW

ORANGE

USB

TO DEVICE

TO HOST

THRU

OUT

MIDI

ASSIGNABLE OUTPUT

OUTPUT

BREATH

PHONES

ASSIGNABLE SUSTAIN

FOOT SWITCH

FOOT PEDAL

A/D INPUT

GAIN

FOOT CONTROLLER

L/MONO

145$67 83

2 #!9) @

Rear Panel

The Controls &

Connectors

Owner’s Manual

instrument to the external USB storage device and load

the data from the external USB storage device to the

instrument. Save and Load operations are executed in

the File mode. (Pages 50, 56, 76)

n For details about USB, see page 20 .

5 MIDI IN/OUT/THRU connectors Page 65

MIDI IN receives MIDI messages from an external MIDI

device. Use this connector to control the synthesizer

from an external MIDI device. MIDI OUT is for

transmitting all control, performance and playback data

from the S90 ES to another MIDI device, such as an

external sequencer.

You can also play the external tone generator by using

the S90 ES and control the external MIDI device.

MIDI THRU is simply for redirecting any received MIDI

data (via MIDI IN) to connected devices, allowing

convenient chaining of additional MIDI instruments.

6 BREATH Controller jack Page 59

Connect an optional breath controller BC3 here. You can

use the Breath Controller to change the output level or

tone of the sounds according to the strength of your

breath.

7 FOOT SWITCH jacks Page 59

For connection of optional FC3, FC4 or FC5

Footswitches.

When connected to the SUSTAIN jack, the Footswitch

controls sustain.

When connected to ASSIGNABLE, it can control one of

various different assignable functions.

n The SUSTAIN jack can be used with the FC3, FC4, or FC5. The

ASSIGNABLE jack can be used with the FC4 or FC5.

8 FOOT CONTROLLER 1 and 2 jacks Page 59

An optional foot controller (FC7, etc.) can be connected

here. Each jack lets you continuously control one of

various different assignable functions — such as

volume, tone, pitch, or other aspects of the sound.

9 ASSIGNABLE OUT L and R jacks Page 63

Line level audio signals are output from this instrument

via these phone jacks (1/4" mono phone plug).

These outputs are independent of the main output (at

the L/MONO and R jacks below), and can be freely

assigned to any of the Drum Voice keys or the Parts.

This lets you route speciﬁc Voices or sounds for

processing with a favorite outboard effect unit.

The parts which can be assigned to these jacks are as

follows:

• Drum Voice key to which the drum/percussion instrument is

assigned

• Any Part of a Performance*

• Any Part of a Multi*

* Including the Audio Input Part

) OUTPUT L/MONO & R jacks Pages 9, 63

Line level audio signals are output via these phone

jacks. For monophonic output, use just the L/MONO

jack.

! PHONES jack Page 9

For connection to a pair of stereo headphones.

@ A/D INPUT jacks Page 38

External audio signals can be input via these phone

jacks (1/4" mono phone plug). Various devices such as

microphone, guitar, bass, CD player, synthesizer can be

connected to these jacks and their audio input signal

can be sounded as the AUDIO IN part of the

Performance or Multi.

For stereo signals (such as from audio equipment), use

both jacks. For mono signals (such as from a

microphone or guitar), use only the L jack.

# GAIN knob Page 38

For adjusting the input gain of the audio at the A/D

INPUT jacks (above). Depending on the connected

device (microphone, CD player, etc.), you may need to

adjust this for optimum level.

$ mLAN expansion board (mLAN16E) cover

Pages 88, 184

The mLAN expansion board (mLAN16E) sold separately

can be installed to this instrument.

With the mLAN16E board, you can conveniently and

easily hook up your S90 ES to other mLAN compatible

instruments or devices.

■ When the optional mLAN16E has been installed:

n The illustration above shows the panel of the mLAN16E expansion

board with the included sticker label afﬁxed. Make sure to attach

this label to the mLAN16E (page 187).

1 mLAN (IEEE1394) connectors 1, 2

For connecting mLAN devices or IEEE1394-compatible

devices via IEEE1394 standard (6-pin) cables.

* The name “mLAN” and its logo (above) are trademarks.

USB

USB is an abbreviation for Universal Serial Bus. It is a serial

interface for connecting a computer with peripheral devices,

and enables much faster data transfer compared to

conventional serial port connections.

mLAN

“mLAN” is a digital network designed for musical

applications. It uses and extends the industry standard IEEE

1394 high performance serial bus.

mLAN EXPANSION BOARD mLAN16E

ACTIVE

MADE IN JAPAN

IEEE1394

Using USB storage devices

The Controls &

Connectors

Owner’s Manual

Using USB storage devices

When using USB storage devices, make sure to connect them to the USB TO DEVICE connector, and follow the important

precautions below.

■ Compatible USB devices

Connect only a USB storage device (such as hard disk, CD-

ROM, ﬂash disk and other drives) to the USB TO DEVICE

connector. Other devices such as a computer keyboard or

mouse cannot be used.

Both bus-powered (powered by the host device) or self

powered (battery or external power supply) types can be

used.

The S90 ES does not necessarily support all commercially

available USB storage devices. Yamaha cannot guarantee

operation of USB storage devices that you purchase.

Before purchasing USB storage devices, please consult

your Yamaha dealer, or an authorized Yamaha distributor

(see list at end of the Owner’s Manual) for advice, or see the

following website:

http://www.yamahasynth.com/

n Although CD-R/W drives can be used to load data to the instrument,

they cannot be used for saving data. However, you can transfer

data to a computer and save data to a CD using the CD-R/W drive

on the computer.

■ Formatting USB storage media

When a USB storage device is connected or media is

inserted, a “USB device unformatted.” message may

appear in the LCD display, indicating that the device or

media must be formatted for use. Execute the Format

operation in the File mode (Page 168).

■ To protect your data (Write-protect):

To prevent important data from being inadvertently erased,

apply the write-protect provided with each storage device

or media.

If you are saving data to the USB storage device, make sure

to remove the write-protect.

Precautions when using the USB TO DEVICE

connector

Never turn the USB device’s power on/off and never

plug/unplug the USB cable when the connected USB

storage device is the self powered type. Doing so may

result in the operation of the synthesizer “freezing” or

hanging up.

While the instrument is accessing data (such as in the

Save, Load and Delete operations in the File mode),

do NOT unplug the USB cable, do NOT remove the

media from the device, and do NOT turn the power off

to either device. Doing so may corrupt the data on

either or both devices.

USB connector types

There are two different types of USB connectors, and

the rear panel of the instrument features both. Take

care not to confuse the two.

USB TO HOST connector

This type is used to connect the instrument to a

computer, and allows you to transfer MIDI data

between the devices. The USB connection between

the instrument and the computer can only be used for

transfer of MIDI data. Unlike MIDI, USB can handle

multiple ports via a single cable.

USB cables have different connectors on each end:

the A type and the B type. Connect the A type to your

computer and the B type to the USB TO HOST

connector.

USB TO DEVICE connector

This type is used to connect the instrument to a USB

storage device, and allows you to save data you’ve

created to the connected device, as well as load data

from the connected device. This lets you save the data

created on this instrument to the external USB storage

device and load the data from the external USB

storage device to the instrument. Save and Load

operations are executed in the File mode (page 168).

USB cables have different connectors on each end:

the A type and the B type. Connect the A type to the

USB TO DEVICE connector and the B type to the USB

storage device.

n The computer cannot access the USB storage device

connected to the S90 ES’s USB TO DEVICE connector, even

if connecting as shown above. Only from the File mode on

the instrument itself can you access the data on the USB

storage device connected to the USB TO DEVICE connector.

n Though the S90 ES supports the USB 1.1 standard, you can

connect and use a USB 2.0 storage device with the S90 ES.

However, note that the transfer speed complies to USB 1.1.

S90 ES

MIDI data transfer

Connecting to a computer

Connecting to a USB

storage device (hard

disk, CD-ROM, ﬂash

disk and other drives)

Saving/Loading data in

the File mode (page 168)

A type

B type

USB TO DEVICE

connector

USB TO HOST

connector

Owner’s Manual

Basic Operation

In this section you’ll learn about the fundamental operations of the S90 ES—the use of the panel controls and how to execute

basic functions such as selecting programs, naming programs/ﬁles, and using the keyboard to directly enter

certain values.

This section starts off with the Factory Set operation, which allows you to restore the instrument to its original condition—in

case you’ve inadvertently changed any important settings.

Restoring the Factory-programmed S90 ES

The S90 ES has a Factory Set function for restoring your S90 ES’s memory to the factory default settings.

This lets you restore the synthesizer’s default User Voices, Performances and Multis, as well as its System and other settings.

Keep in mind that once you edit any settings, the corresponding factory defaults will be overwritten and lost. Make sure you are not overwriting any

important data. You should back up any important data to the USB device beforehand (page 126).

1. Press the [UTILITY] button to enter the Utility mode (the indicator lights).

2. Press the [JOB] button to enter the Utility Job mode.

3. Press the [ENTER] button. (The display prompts you for conﬁrmation.)

To return to the original display, press the [DEC/NO] button.

To execute the Factory Set, press the [INC/YES] button.

4. After the Factory Set has been completed, a “Completed” message appears and operation returns to the original

display.

For Factory Set operations that take longer to process, you will see the message “Executing…” or “Please Keep Power On!” during processing. Do not

switch the power off while this message is on the display. Turning the power off in this state results in loss of all user data and may cause the system

to freeze. This means that this synthesizer may not be able to start up properly, even when turning the power on next time.

n All settings in the Utility mode that are related to the Plug-in boards are stored only to the memory on those respective boards, and not to the memory

of this synthesizer. Because of this, the Factory Set operation cannot be used to restore settings for those devices.

CAUTION

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

EDIT

JOB STORE

COMPARE

REMOTE

EFFECT

BYPASS

ARPEGGIO

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

EDIT

JOB STORE

COMPARE

REMOTE

EFFECT

BYPASS

ARPEGGIO

CAUTION

Basic Operation

Functions of the MODE buttons

Owner’s Manual

Functions of the MODE buttons

Mode table

The functions of each mode and how to enter mode are as follows:

n Pressing the [MULTI/SEQ PLAY] button toggles between the Multi mode and Sequence Play mode.

■ How to leave the current display

For most operations or displays, pressing the [EXIT] button will let you leave the current display and return you to the

previous one. You can return back to each Play mode by pressing the [EXIT] button several times in the respective mode.

Mode Function How to enter the mode

Voice mode Play mode Playing a Voice [VOICE]

Edit mode Editing/Creating a Voice [VOICE] → [EDIT]

Job mode Initializing a Voice, etc. [VOICE] → [JOB]

Store mode Storing a Voice to internal memory [VOICE] → [STORE]

Performance mode Play mode Playing a Performance [PERFORM]

Edit mode Editing/Creating a Performance [PERFORM] → [EDIT]

Job mode Initializing a Performance, etc. [PERFORM] → [JOB]

Store mode Storing a Performance to internal memory [PERFORM] → [STORE]

Multi mode Play mode Playing a Multi [MULTI/SEQ PLAY]

Edit mode Editing/Creating a Multi [MULTI/SEQ PLAY] → [EDIT]

Job mode Initializing a Multi, etc. [MULTI/SEQ PLAY] → [JOB]

Store mode Storing a Multi to internal memory [MULTI/SEQ PLAY] → [STORE]

Master mode Play mode Playing a Master [MASTER]

Edit mode Editing/Creating a Master [MASTER] → [EDIT]

Job mode Initializing a Master, etc. [MASTER] → [JOB]

Store mode Storing a Master to internal memory [MASTER] → [STORE]

Sequence Play mode Play mode Playing back MIDI ﬁles [MULTI/SEQ PLAY]

Job mode Utility mode Setting system related parameters [UTILITY]

Job mode Restoring factory defaults [UTILITY] → [JOB]

File mode File mode Managing ﬁles and folders (directories) [FILE]

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

EDIT

JOB STORE

COMPARE

REMOTE

EFFECT

BYPASS

ARPEGGIO

Enters the mode corresponding to each button.

For details about each mode, see page 12.

Enters each Edit mode when pressing the [EDIT]

button in the Voice, Performance, Multi, or Master

mode. You can edit each program in the Edit

Controls the computer software by using the

buttons and controllers on S90 ES (Page 77).

Enters each Store mode when pressing the

[STORE] button in the Voice, Performance, Multi, or

Master mode, letting you store the edited program

for the relevant mode. In the Utility mode,

pressing the [STORE] button directly executes the

Store operation.

Enters each Job mode when pressing the [JOB]

button in the Voice, Performance, Multi, Master, or

Utility mode. You can initialize and copy data in the

Job mode.

Turns the effects and Arpeggio functions on or off (Pages 39, 119).

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

Basic Operation

Functions and Sub-Functions

Owner’s Manual

Functions and Sub-Functions

Each mode described above contains various displays, with various functions and parameters. To navigate your way

through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. When you

select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown

below).

Using the Function buttons [F1] - [F6]

Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6]

buttons. Keep in mind that the available functions differ depending on the selected mode.

Using the Sub-Function buttons [SF1] - [SF5]

Depending on the currently selected mode, up to ﬁve functions (sub-functions) are available and can be called up with the

[SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may

not have any sub-functions for these buttons.)

Selecting a Program

In order to play the S90 ES you’ll need to call up one of its programs, i.e., a Voice, Performance, Multi, or Master. These

programs can be selected in each Play mode via the same procedure.

■ Using the [INC/YES], [DEC/NO] buttons and the data dial

The [INC/YES] and [DEC/NO] buttons let you step up or down through the program numbers in any of the Play modes

(Voice, Performance, Multi, and Master).

Rotating the data dial to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise)

decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the

programs more quickly.

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

These functions can be selected via the

corresponding button ([F1] - [F6]).

In this example, press the [F5] button to go

to the LFO display.

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

These functions can be selected via the

corresponding button ([SF1] - [SF5]).

In this example, press the [SF5] button

to go to the OTHER display.

DEC/NO INC/YES

Decreases number Increases number

Increases number

Decreases number

Basic Operation

Selecting a Program

Owner’s Manual

■ Using the Group, Number buttons

As shown below, you can select a program number by pressing any of the Group [A] - [H] buttons and pressing any of the

Number [1] - [16] buttons.

n The convenient Category Search function (page 32) lets you easily locate and select the Voices or Performance you want by type.

The Voice program numbers and the corresponding Group/Numbers are listed below.

n When selecting a Voice, it is necessary to press one of the Bank buttons before pressing the Group and Number buttons.

n The amount of numbers differ depending on the program. For example, while the selected number range of the Normal Voice, Performance, and

Master is 001 - 128, the selected number range of the Multi is 001 - 064.

Program

Number

Group Number

Program

Number

Group Number

Program

Number

Group Number

Program

Number

Group Number

001 A 1 033 C 1 065 E 1 097 G 1

002 A 2

034 C 2 066 E 2 098 G 2

003 A 3

035 C 3 067 E 3 099 G 3

004 A 4

036 C 4 068 E 4 100 G 4

005 A 5

037 C 5 069 E 5 101 G 5

006 A 6

038 C 6 070 E 6 102 G 6

007 A 7

039 C 7 071 E 7 103 G 7

008 A 8

040 C 8 072 E 8 104 G 8

009 A 9

041 C 9 073 E 9 105 G 9

010 A 10

042 C 10 074 E 10 106 G 10

011 A 11

043 C 11 075 E 11 107 G 11

012 A 12

044 C 12 076 E 12 108 G 12

013 A 13

045 C 13 077 E 13 109 G 13

014 A 14

046 C 14 078 E 14 110 G 14

015 A 15

047 C 15 079 E 15 111 G 15

016 A 16

048 C 16 080 E 16 112 G 16

017 B 1

049 D 1 081 F 1 113 H 1

018 B 2

050 D 2 082 F 2 114 H 2

019 B 3

051 D 3 083 F 3 115 H 3

020 B 4

052 D 4 084 F 4 116 H 4

021 B 5

053 D 5 085 F 5 117 H 5

022 B 6

054 D 6 086 F 6 118 H 6

023 B 7

055 D 7 087 F 7 119 H 7

024 B 8

056 D 8 088 F 8 120 H 8

025 B 9

057 D 9 089 F 9 121 H 9

026 B 10

058 D 10 090 F 10 122 H 10

027 B 11

059 D 11 091 F 11 123 H 11

028 B 12

060 D 12 092 F 12 124 H 12

029 B 13

061 D 13 093 F 13 125 H 13

030 B 14

062 D 14 094 F 14 126 H 14

031 B 15

063 D 15 095 F 15 127 H 15

032 B 16

064 D 16 096 F 16 128 H 16

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

USER 1

GUITAR/

PLUCKED

SYN LEAD

BCDEFG

12 13

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

USER 2

STRINGS

PLG 1

SLOT

SLOT 2

SLOT 3

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

MUTE

TRACK

SELECT

CATEGORY

SOLO

Basic Operation

About the editing functions

Owner’s Manual

About the editing functions

In this section, we’ll explain the basic operations for editing the Voice, Performance, Multi settings.

Moving the Cursor and Setting Parameters

Edit Indicator

You can adjust or set various parameters by using the data dial, [INC/YES] button, [DEC/NO] button, and Control sliders in

each mode.

When changing the value of the parameter in the Voice, Performance, and Multi modes, the [E] (Edit Indicator) will appear

on the top left corner of the LCD display. This indicates that the current program (Voice, Performance, or Multi) has been

modiﬁed but not yet stored. If you wish to store your sound obtained by edit operation, be sure to store the current program

to internal memory in the Store mode before selecting another program (pages 50, 56, 76).

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

Moving the cursor

Use these four buttons to navigate the display, moving

the cursor around the various selectable items and

parameters in the screen. When selected, the relevant

item is highlighted (the cursor appears as a dark block

with inverse characters). You can change the value of

the item (parameter) at which the cursor is located by

using the data dial, [INC/YES] and [DEC/NO] buttons.

Changing (editing) parameter values

Rotating the data dial to the right (clockwise) increases

the value, while rotating it to the left (counter-clockwise)

decreases it.

For parameters with large value ranges, you can

increase the value by 10 by simultaneously holding

down the [INC/YES] button and pressing the [DEC/NO]

button. To decrease by 10, do the opposite;

simultaneously hold down the [DEC/NO] button and

press the [INC/YES] button.

EDIT

JOB STORE

COMPARE

Edit Indicator

If the Edit Indicator

appears...

Basic Operation

Confirmation Message

Owner’s Manual

Compare Function

This convenient function lets you switch between the edited sound and its original, unedited condition—allowing you to

listen to the difference between the two and better hear how your edits affect the sound.

For example, when editing a Voice in the Voice Edit mode, the “E” Edit indicator is shown. Pressing the [EDIT] button in this

condition reverts to the original unedited sound (the button lamp ﬂashes and the “C” Compare indicator is shown). Press the

[EDIT] button again to return to the edited sound (page 104).

Edit Recall Function

If you are editing a program and select a different program without storing your edited one, all the edits you’ve made will be

erased. However, the edited program is maintained in a backup memory location for the Edit Recall function. To restore the

lost data with your latest edits intact, use the Edit Recall function in the Job mode (page 104).

Conﬁrmation Message

When you execute certain operations, such as those in the Job, Store, and File modes, a conﬁrmation message appears.

This lets you actually execute the operation or cancel it if desired. If a conﬁrmation message (like the one illustrated above)

appears, press the [INC/YES] button to execute the operation or press the [DEC/NO] button to cancel it.

Job mode How to call up the Edit Recall display

Voice [VOICE] → [JOB] → [F2] RECALL

Performance [PERFORM] → [JOB] → [F2] RECALL

Multi [MULTI/SEQ PLAY] → [JOB] → [F2] RECALL

EDIT

JOB STORE

COMPARE

EDIT

JOB STORE

COMPARE

Edit Indicator (newly edited sound) Changes to the Compare Indicator (original sound)

Basic Operation

Information Display

Owner’s Manual

Information Display

This convenient function lets you call up relevant details about the selected mode—simply by pressing the [INFORMATION]

button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected,

what Play mode (poly or mono) is being used, which effects are applied, and so on.

For details, see page 176.

Note (Key) settings

Several parameters let you set a key range for a function—for example, in setting up a keyboard split—by specifying certain

note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter

the values from the keyboard by pressing the appropriate keys (as shown below).

n About the note name assigned to each key, see page 16.

Naming

You can freely name data you’ve created, such as voices and ﬁles saved to the USB storage device. The chart below lists

the types of data that can be named along with the operations for calling up the respective naming displays.

First, call up the name input display according to the above table, then, move the cursor by using the Cursor button to the

desired location and input a character. See below for details.

n Since the name of the program is part of the data, make sure that you properly save the program after naming it.

Data types that can be named How to call up the naming display Page

Voice [VOICE] → [EDIT] → [F1] GENERAL → [SF1] NAME 128

[MULTI/SEQ PLAY] → [F3] VOICE → Normal Voice Selection → [F5] VCE ED 161

Performance [PERFORM] → [EDIT] → [F1] GENERAL → [SF1] NAME 150

Multi [MULTI/SEQ PLAY] → [EDIT] → [F1] GENERAL → [SF1] NAME 158

Master [MASTER] → [EDIT] → [F1] NAME 173

Volume Label of the USB storage device [FILE] → [F1] CONFIG → [SF3] FORMAT 168

File/Folder saved to the USB storage device [FILE] → [F2] SAVE or [F4] RENAME 168

INFORMATION

When Note Limit is selected, the [KBD] mark appears,

indicating that you can use the keyboard to set the

value. Simultaneously hold down the [INFORMATION]

button and press the appropriate key.

Basic Operation

Naming

Owner’s Manual

■ Basic naming operation

As shown below, you can set the name by repeating the two operations—moving the cursor to the desired location by using

the Cursor button and selecting a character by using the data dial, [INC/YES] button, and [DEC/NO] button.

■ Using the character list

If you ﬁnd it difﬁcult to select the desired characters with the above method, you may want to use the following method —

selecting the characters from a list.

DEC/NO INC/YES

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

Moving the cursor to the desired location on the name Selecting a character at the cursor location

DEC/NO INC/YES

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

INFORMATION

When the cursor is located at the Name, this [LIST] icon

appears and you can call up the Character List display by

holding the [INFORMATION] button. Release the

[INFORMATION] button to return back to the original display.

Select a character for the cursor location on the name.

Move the cursor to the desired location.

Perform the operations below while holding the [INFORMATION] button.

Quick GuidePlaying the Demo Songs

Playing the Demo Songs

Owner’s Manual

Quick Guide

Several demo songs are included with this synthesizer. In this section, you’ll learn how to play them back.

n Make sure the synthesizer is ready for playback. Details are given in the section “Setting up and Playing” on page 8.

If the following display does not appear, press the [MULTI/SEQ PLAY] button again.

n You can select the ﬁrst song for playback by using the [▲][▼] buttons.

n You can also specify the song tempo or the song position. The operation is the same as in the Sequence Play mode (page 96).

Demo song playback continues indeﬁnitely until stopped.

Playing the Demo Songs

Press the [MULTI/SEQ PLAY] button to enter the Sequence Play mode.

Press the [SF5] DEMO button to call up the Demo songs.

Press the [F6]Fbutton to start playback of the Demo song.

The [SF6]Jbutton lets you pause playback and then start again from the same point in the song.

To exit from the Demo display, stop playback, then press the [EXIT] button.

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

EDIT

JOB STORE

COMPARE

REMOTE

EFFECT

BYPASS

ARPEGGIO

223,4

Quick Guide Playing the S90 ES

Voice Play mode

Owner’s Manual

Voice Play mode

The Voice Play mode is where you select and play the instrument sounds (voices) of this synthesizer.

Selecting a Normal Voice

Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-

type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are

assigned to individual notes on the keyboard. In this section, we’ll show you how to select a Normal Voice.

You can select the desired Voice from various Voice Banks (Preset 1 - 4, User 1 - 2, GM preset, Plug-in 1 - 3) as shown

below.

In this condition, playing the keyboard sounds the Voice indicated in the display.

The parameters shown in the Voice Play mode are brieﬂy explained below.

n Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Voice name here)

may differ slightly from those on your instrument.

Playing the S90 ES

Press the [VOICE] button to enter the Voice Play mode.

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

USER 1

GUITAR/

PLUCKED

USER 2

STRINGS

PLG 1

SLOT

SLOT 2

SLOT 3

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

Preset Bank

Contains the Voices

built into this

instrument.

User Bank

Contains the voices you’ve

created in the Voice Edit mode.

Plug-in Bank

Available when Plug-in Boards have

been installed. See page 99.

GM Preset Bank

Contains the voices allocated according to the

GM standard. For details, see page 112.

Voice Bank

USR1 : 001 (A01) Gt : Unplugged

VOICE

MASTER

PERFORM

ARP1-ARP5

Use the [SF1] - [SF5] buttons

to call up the Arpeggio type

assigned to each button (page

39).

Indicates the Keyboard MIDI

transmit channel. See page 105

for details.

Indicates the Keyboard Octave

setting. See page 105 for details.

Indicates the functions assigned to the respective Control

sliders. See page 47.

Bank

(selected via the

buttons)

Number

(selected via the Number

[1] - [16] buttons)

Group

(selected via the Group [A] - [H] buttons)

Voice Program number

(corresponding to Groups A to H and Numbers 01 to 16)

Bank and Voice Program number

Indicates the currently selected voice.

Category and Voice name

Category Voice name

Voice Play mode

Owner’s Manual

Quick Guide Playing the S90 ES

Select one of the Banks from Preset 1 - 4, User 1 - 2, and

GM.

Voices in each Bank are divided into Groups [A] - [H].

Select a Group to display the Voices that belong to the

selected Group.

Press one of the Number [1] - [16] buttons.

Select a Normal Voice Bank.

About the User Banks

The User Banks contain various factory default Voices.

User Bank 1 (USR1): This Bank contain original Voices for

the User Bank. The same Voices are not included in the

Preset Banks.

User Bank 2 (USR2): This Bank contains recommended

Voices copied from the Preset Banks.

If a Voice in a User Bank (User Voice) is overwritten or

replaced, that User Voice will be lost. When you save an

edited Voice, be careful not to overwrite any important User

Voices.

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

USER 1

GUITAR/

PLUCKED

USER 2

STRINGS

PLG 1

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

Group

Voice

Select a Normal Voice Group.

Select a Normal Voice Number.

Play the keyboard.

SYN LEAD

BCDEFG

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

ELEMENT/PERF. PART/ZONE

12 13

Voice Play mode

Owner’s Manual

Quick Guide Playing the S90 ES

Selecting a Drum Voice

While holding the [DRUM KITS] button, press one of the

following buttons: [PRE 1] (Preset Drum), [USER 1] (User

Drum), or [GM] (GM Drum).

This operation is basically the same as in selecting a

Normal Voice. The numbers of Groups that you can select

depends on the Bank you’ve selected in step 2.

This is the same as in selecting a Normal Voice.

n For details about the instrument assignments for each key, refer to

the separate Data List.

Using the Category Search function

You’ll probably have a lot of fun and inspiration going through the Voices one-by-one, listening to each in order—but it will

take you a long time to get through all of them, since the S90 ES has so many. This is where the Category Search function

comes in handy. It’s a powerful and easy-to-use way to quickly ﬁnd the Voices you want. Let’s try out the feature below,

searching for a Voice in the Pipe Organ category.

n Press the [CATEGORY SEARCH] button again to turn this function

off.

Press the [PRE 3] ORGAN button of the Bank buttons and

Group buttons. The Voices in the Organ Category are

displayed in a list.

Press the [VOICE] button to enter the Voice

Play mode.

Select a Drum Voice Bank.

Select a Drum Voice Group.

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

USER 1

GUITAR/

PLUCKED

USER 2

BASS

Select a Drum Voice Number.

Play the keyboard and check which

instrument is assigned to each key.

Using the [INC/YES], [DEC/NO] buttons and

data dial

In steps 3 and 4 above, you can select a Voice

Number by using the [INC/YES], [DEC/NO] buttons

and data dial.

DEC/NO INC/YES

Increases number

Decreases number Increases number

Decreases number

Turn the Category Search function on by

pressing the [CATEGORY SEARCH] button.

SYN LEAD

BCDEFG

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

CATEGORY

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

STRINGS

PLG 1

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

Select the Organ Category.

SYN LEAD

BCDEFG

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

CATEGORY

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

STRINGS

PLG 1

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

Voice ListCategory

Sub Category

Category names

Voice Play mode

Owner’s Manual

Quick Guide Playing the S90 ES

The Sub Category names are shown at the bottom of the

Category Search display. All Categories are divided into

two or three Sub Categories for further ease in selection.

Here, press the [F2] PIPE button.

n An alternate way of selecting categories is to use the Cursor

buttons to select and highlight the Category name in the display,

then use the [INC/YES] and [DEC/NO] buttons or the data dial to

select the Category.

n Some Voices such as User Voices may not be registered to any

Category. You can search for these Voices by setting the Category

to “--------.”

Step through the available Voices by using the data dial.

You can also use the [INC/YES] and [DEC/NO] buttons, or

use the Cursor [▲][▼] buttons.

n You can also use the [CATEGORY SEARCH] button and [EXIT]

button to select the Voice.

Favorite Category

The S90 ES also lets you collect and store your favorite

Voices to create your personal “Favorite” Category. By

putting your most often-used Voices in the Favorite

Category, you can select your favorite Voices quickly and

easily.

You can un-checkmark the selection by pressing the [F5]

button again.

You also can use the [F5] SET/CLR and [F6] CLR ALL

buttons in this display to register/remove the voices to/from

the Favorite Category.

The settings made in steps 2 - 3 will be lost if you turn the power off

without executing step 5.

step 5.

Never attempt to turn off the power while an “Executing...” or “Please

keep power on” message is shown. Turning the power off in this state

may cause the system to freeze and prevent normal startup the next

time the power is turned on, as well as resulting in the loss of all user

data.

Select the Sub Category of pipe organ.

Select the desired Voice from the Voice list of

pipe organ.

Press the [ENTER] button to actually select

the Voice.

Select the Voice using the Category Search

function.

SF 1SF 2SF 3

F1 F2 F3

SF 1SF 2SF 3

F1 F2 F3

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

Favorite Category by pressing the [F5] SET/

CLR button, checkmarking the box next to the

Voice name.

Press the [FAVORITES] button to see the

Voices you’ve set to the Favorite Category in

step 2.

Press the [FAVORITES] button again to return

to the Category Search display.

Pressing the [CATEGORY SEARCH] button to

exit from the Category Search display will

store the Favorite Category settings to

internal memory automatically.

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

Checkmark on

Checkmark off

Pressing [F5]

toggles between

the two settings:

To remove all the marked Voices from the Favorite

Category, simply press the [F6] CLR ALL button.

FAVORITES

DRUM

KITS

CAUTION

Quick Guide Playing the S90 ES

Performance Play mode

Owner’s Manual

Performance Play mode

Each Performance can contain up to four different Parts. This lets you play, for example, Flute, Violin, and Timpani Voices in

a layer across the keyboard, or split the keyboard according to the bass and melody parts, then play the two different

instruments and sound like a duo—even though you’re playing by yourself.

Selecting a Performance

128 Performances (1 bank) are provided in internal User memory. In the Performance Play mode, you can select and play

individual User Performances.

Since there is only one bank for Performances, you need not select a Performance Bank.

In this condition, playing the keyboard sounds the Performance indicated in the display. The parameters shown in the

Performance Play mode are brieﬂy explained below.

n Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Performance name

here) may differ slightly from those on your instrument.

Press the [PERFORM] button to enter the Performance Play mode.

USER : 001 (A01) Co : Wide River

VOICE

MASTER

PERFORM

Indicates the Keyboard MIDI

transmit channel. See page 105

for details.

Indicates the Keyboard Octave

setting. See page 105 for details.

Number

(selected via the Number

[1] - [16] buttons)

Bank and Performance Program number

Indicates the currently selected Performance.

Category and Performance name

ARP1-ARP5

Use the [SF1] - [SF5] buttons to call

up the Arpeggio type assigned to

each button (page 39).

Group

(selected via the Group [A] - [H] buttons)

Performance Program number

(corresponding to Groups A to H and Numbers 01 to 16)

Category Performance nameBank

Indicates the functions assigned to the respective Control

sliders. See page 42.

Performance Play mode

Owner’s Manual

Quick Guide Playing the S90 ES

Performances are divided into Groups [A] - [H]. Select a

Group to display a list of the Performances.

Press one of the Number [1] - [16] buttons.

Using the Category Search function

As in the Voice Play mode, you can use the Category

Search and Favorite Category functions in the Performance

Play mode.

For details on how to use the function, see page 32.

Select a Performance Group.

SYN LEAD

BCDEFG

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX

COMBI

Group Performance

ELEMENT/PERF. PART/ZONE

12 13

Play the keyboard.

Using the [INC/YES], [DEC/NO] buttons and

data dial

Rather than using the Bank/Number buttons

described in steps 2 and 3 above, you can select a

Performance by using the [INC/YES], [DEC/NO]

buttons and data dial.

DEC/NO INC/YES

Increases number

Decreases number Increases number

Decreases number

Performance Play mode

Owner’s Manual

Quick Guide Playing the S90 ES

Creating a Performance by combining the Voices

Performances can be made up of a maximum of four Parts, each of which can be assigned a different Voice. In this section,

we’ll create a Performance by combining two Voices.

Preparing to create the Performance

(Initializing the Performance)

The Initialize display is shown. Check the “ALL” check box

to initialize all data of the Performance. For details about

the Initialize function, refer to page 156.

Press the [INC/YES] button to initialize the Performance.

n Please note that when you execute the Store operation by pressing

the [STORE] button here, the Performance at the destination will be

replaced with the Initialized Performance created in step 3 above.

n For details about the Store operation, refer to page 56.

The current Performance name will change to “Init Perf” in

the display.

n When you initialize a Performance, the Voice at Preset Bank 1,

Voice number 1 is assigned to Part 1 as the default.

Playing the several Voices together

(Layer)

This calls up a list indicating which Voice is assigned to

each Part of the current Performance.

Since the current Performance has been initialized, the

only Voice in the Performance is “PRE1:

Natural S,” set to Part 1.

6-1 Move the cursor to the Voice Bank or Voice

Number of the Part 2.

6-2 Press the [SF1] ADD INT button. This enables

assignment of the selected internal Voice to Part

n When assigning a Voice from Single-part Plug-in Board (page 99)

to a Part, press the [SF2] ADD PLG button.

Select the desired Performance in the

Performance Play mode.

Press the [JOB] button, and then the [F1]

button.

Press the [ENTER] button. (The display

prompts you for confirmation.)

Press the [PERFORM] button.

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

EDIT

JOB STORE

COMPARE

Press the [F2] VOICE buttom.

Assign the desired Voice to Part 2.

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

Voice Bank

Voice Number

Performance Play mode

Owner’s Manual

Quick Guide Playing the S90 ES

6-3 Select the Voice you’ve assigned to Part 2 as you

did in steps 2 - 4 in the section “Selecting a

Normal Voice” or “Selecting a Drum Voice” (page

30).

You can select the desired Bank and Number directly by

using the [DEC/NO], [INC/YES] buttons and data dial. You

can also use the Category Search function (page 32). Here,

we’ll assign a ﬂute Voice (PRE3: C Flute) to Part 2.

n Voices of the Multi part Plug-in Board PLG100-XG cannot be

assigned to Performance Parts; they are speciﬁcally meant to be

used in the Multi mode for playback of XG song data.

The Part 1 (piano Voice) and Part 2 (ﬂute Voice) can be

played in unison.

Next, we'll divide the keyboard into two sections for each

Voice.

Dividing the keyboard into separate

sections— Split

8-1 Move the cursor to Part 1.

8-2 Press a note on the keyboard while holding down

the [SF5] LIMIT H button to set the highest note

for Part 1.

n Note that the dark bar (at “NOTE”) for Part 1 changes as the note

range is changed.

9-1 Move the cursor to Part 2.

9-2 Press a note on the keyboard while holding the

[SF4] LIMIT L button down to set the lowest note

of Part 2.

n Note that the dark bar (at “NOTE”) for Part 2 changes as the note

range is changed.

Use your left hand to play piano sounds and your right

hand to play ﬂute sounds.

Adjusting the Part levels and storing

the Performance

For details, see page 42.

For details about the Store operation, see page 56.

n If you are editing a program and you select a different program

without storing your edited one, all the edits you’ve made will be

erased.

In the section above, you learned how to assign two Voices

to two different Parts. Use same procedure to assign

Voices to Parts 3 and 4, and create a full orchestral sound

or the sound of a 3- or 4-piece band—just by using a single

S90 ES. You can also use the preset Performances as

starting points in building your own custom Voice

combinations.

Play the keyboard.

Assign the Voice of Part 1 to the lower key

range.

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

Voice Bank

Voice Number

Assigns an internal Voice

to the selected Part. Part.

Deletes the Voice assignment of

the selected Part.

Assigns a Plug-in Voice to the selected Part.

(Available when a Plug-in Board has been installed.)

Part 1: Piano

Part 2: Flute

Assign the Voice of Part 2 to the higher key

range.

Play the keyboard.

Adjust the Volume settings of Parts 1 and 2 by

using the Control sliders.

Store the settings as a User Performance in

the Performance Store mode.

SF 4 SF 5

Note Limit Low Note Limit High

Part 1: Piano Part 2: Flute

Performance Play mode

Owner’s Manual

Quick Guide Playing the S90 ES

Using a microphone and other audio device sounds

One of the enormous beneﬁts of the Performance mode is that you can have the A/D input sound—such as your voice

through a microphone, a guitar, bass, or CD player—assigned as one of the four Parts of a Performance. Various parameters

such as volume, pan, and effect can be set to this Part and the sound is output together with other Parts. These parameters

are set and stored in the Performance Store mode for each Performance.

n The Audio Input part is available also in the Multi mode, but is not available in the Voice mode. The procedure and explanations here apply to the Multi

mode as well.

n A standard dynamic microphone is recommended. (The S90 ES

does not support phantom-powered condenser microphones.)

When the output level of the connected equipment (such

as a microphone, guitar, bass) is low, set this parameter to

“mic.” When the output level of the connected equipment

(such as a synthesizer keyboard, CD player) is high, set

this parameter to “line.”

n This setting is available for all modes. If you wish to store this

setting, press the [STORE] button.

n If you are using the mLAN input Part, the GAIN knob has no effect

on the input level.

For details about each parameter, see page 151 in the

Reference section.

Make sure to turn the power of the S90 ES off

and set the GAIN knob on the rear panel to the

minimum.

Plug the external device to the A/D INPUT

jack(s) on the rear panel.

Turn on the power of the external device, and

then turn on the power of the S90 ES.

Press the [PERFORM] button to enter the

Performance Play mode and select the desired

Performance.

Press the [UTILITY] button to enter the Utility

mode, press the [F2] I/O button, then press the

[SF1] INPUT button.

A/D INPUT

GAIN

A/D INPUT

GAIN

monaural stereo

MULTI/

SEQ PLAY

FILE UTILITY

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

Set the Mic/Line parameter.

Adjust the external device input level by using

the GAIN knob on the rear panel while

listening to the sound of the external device.

Set the audio input related parameters as

necessary from the AUDIO IN display

([PERFORM]

→ [EDIT] → [COMMON] → [F5]

AUDIO IN).

Store the settings as a User Performance in

the Performance Store mode (page 56).

A/D INPUT

GAIN

When the optional mLAN16E has been installed, call up the A/D

display by pressing the [SF5] button.

Using the Arpeggio feature

Owner’s Manual

Quick Guide Playing the S90 ES

Using the Arpeggio feature

The versatile Arpeggio feature allows you to automatically play various rhythms and phrases by simply pressing a key or

playing a chord. The S90 ES contains a remarkably wide variety of Arpeggios—a total of 1,787—from

conventional, popular phrases to the latest cutting-edge rhythm patterns. In addition, you can assign your favorite

Arpeggios to the [SF1] - [SF5] buttons and switch between Arpeggio phrases instantly. This powerful function is an

unending source of inspiration and will help you create various riffs, phrases and songs quickly and easily.

Since the preset Voices and Performances already have their own Arpeggio types pre-assigned, all you need to do is select

the desired Voice and turn on the Arpeggio function.

n For details about Arpeggio, see page 124.

n Different Arpeggio types cannot be played back for each Part in the Performance or Multi mode.

Selecting some programs (Voices, Performances, Multis)

automatically turns this lamp on.

The particular rhythm pattern or phrase that plays depends

on the actual notes or chords you play, as well as on the

selected Arpeggio type. For details, see page 124 in the

Basic Structure section.

■ Changing the Arpeggio type during your

keyboard performance

A different Arpeggio type is assigned to each of the [SF1]

ARP1 - [SF5] ARP5 buttons for each preset Voice. When a

musical note icon appears to the right of each Arpeggio

number in the display (see below), the corresponding

button is assigned an Arpeggio type. The selected

Arpeggio type is highlighted. Try out various Arpeggio

types by pressing the [SF1] - [SF5] buttons.

You can conﬁrm the currently selected Arpeggio type in the

[F6] ARP display.

n You can load User Arpeggio data from the MOTIF ES to the S90

ES, but you cannot create User Arpeggio data on the S90 ES itself.

Press the [ARPEGGIO] button to turn

Arpeggio on.

Play a note or notes on the keyboard to trigger

the Arpeggio playback.

REMOTE

EFFECT

BYPASS

ARPEGGIO

Bank Selects “pre” (Preset) or “usr” (User). To play Arpeggios of

the “usr” bank, User Arpeggio data of the MOTIF ES must

be loaded to the S90 ES.

Ctgr For details, refer to page 124.

Type Refer to the separate Data List booklet for details.

SF 1SF 2SF 3 SF 4SF 5

Arpeggio type currently selected.

Using the Arpeggio feature

Owner’s Manual

Quick Guide Playing the S90 ES

■ Controlling Arpeggio playback by using the

Control sliders.

These four Control sliders let you adjust the tempo and

volume of Arpeggio playback. If you like the results and

want to save them, you can store the changes as a User

Voice, User Performance or User Multi.

Selecting some voices automatically turns this lamp on.

For details on the functions controlled by the sliders, see

page 42.

[SF1] - [SF5] buttons

You can change the default settings and assign any

Arpeggio types you like to the [SF1] - [SF5] buttons.

1 Select the desired Voice, Performance, or Multi, and

then press the [ARPEGGIO] button to turn Arpeggio

on.

2 Select the desired Arpeggio type in the [VOICE] →

[F6] (or [F5]) ARP display.

3 While holding the [STORE] button, press one of the

[SF1] - [SF5] buttons.

The currently selected Arpeggio type is assigned to

the pressed button. If you execute this operation with

the [ARPEGGIO] lamp off, no Arpeggio type will be

assigned to the pressed button.

4 Repeat steps 2 - 3 as necessary.

5 Store the changes as a User Voice, User Performance

or User Multi (pages 50, 56, 76).

Transmitting Arpeggio playback as

MIDI data

If you want to use the Arpeggios to trigger other MIDI

tone generators or record the MIDI data of Arpeggios

to a sequencer for further editing, you can have the

Arpeggio playback data transmitted as MIDI data.

This is done by setting the following switch

parameters to “on”:

• Voice Arpeggio:

• Performance/Multi Arpeggio

TIP

Voice mode → [UTILITY] → [F3] VOICE → [SF3] ARP CH

→ OutputSwitch

Performance mode/Multi mode → Performance/Multi

selection → [EDIT] → [COMMON] → [F3] ARP →

[SF4]OUT CH → OutputSwitch

Press the [ARP FX] button to turn the lamp on.

Move the sliders while the Arpeggio is playing.

If you’re satisfied with the results, you can

store the changes as a User Voice, User

Performance or User Multi (pages 50, 56, 76).

PAN/SEND

PAN

ASSIGN A ASSIGN B ASSIGN

1 ASSIGN 2

REVERB CHORUS TEMPO

RELEASE

ASSIGN

MEF

TONE

ARP FX

CUTOFF RESONANCE ATTACK

SWING

MEF

LOW

MEF 2 MEF 3 MEF 4

GATETIME VELOCITY

UNITMULTIPLY

LOW MID

HIGH MID

HIGH

Using the Controllers on the S90 ES

Owner’s Manual

Quick Guide Playing the S90 ES

Using the Controllers on the S90 ES

This section shows you how to change the sounds by using the controllers on the S90 ES. When using the external

controllers, see page 59.

Pitch Bend Wheel

Use the Pitch Bend wheel to bend notes up (roll the wheel away from you) or down (roll the wheel toward you) while playing

the keyboard. The Pitch Bend wheel is self-centering and will automatically return to normal pitch when released. Try out the

Pitch Bend wheel while pressing a note on the keyboard.

When playing a Performance, the Pitch Bend Range depends on the setting of the Voice assigned to each Part (made in the

Voice mode).

n • The Pitch Bend Range setting for each Voice can be changed in the “OTHER” display ([VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF5]

OTHER) and stored as a User Voice in the Voice Store mode.

• The Pitch Bend Range setting also allows you to set the wheel to bend notes up or down in the opposite direction (i.e., the pitch goes down when you

move the wheel up).

n Functions other than Pitch Bend can be assigned to the Pitch Bend Wheel in the “CTL SET” display ([VOICE] → [EDIT] → [COMMON] → [F4] CTL

SET). These assignment settings can be stored as a User Voice in the Voice Store mode. Even if a different function is assigned to this wheel, the Pitch

Bend function is available and Pitch Bend messages are still generated when the wheel is used.

Modulation Wheel

Even though the Modulation wheel is conventionally used to apply vibrato to the sound, many of the preset Voices have

other functions and effects assigned to the wheel. The more you move this wheel up, the greater the effect that is applied to

the sound. Try out the Modulation wheel with various preset voices while playing the keyboard.

When playing a Performance, the effect of the Modulation Wheel depends on the setting of the Voice assigned to each Part

(made in the Voice mode).

n To avoid accidentally applying effects to the current Voice, make sure the Modulation Wheel is set to minimum before you start playing.

n Various functions can be assigned to the Modulation Wheel in the “CTL SET” display ([VOICE] → [EDIT] → [COMMON] → [F4] CTL SET). These

assignment settings can be stored as a User Voice in the Voice Store mode.

Pitch Up

Pitch Down

Pitch Bend Wheel

Maximum

Minimum

Modulation Wheel

Quick Guide Playing the S90 ES

Using the Controllers on the S90 ES

Owner’s Manual

Control sliders

Changing the sounds

The Control sliders are a powerful live performance feature, in that they let you change the brightness and tonal

characteristics of the current Voice, Performance, or Multi in real time as you play. Moving a slider forward increases the

effect while pulling the slider back decreases it. The sliders can be used for different function “sets.” You can select the

particular function set assigned to the sliders by pressing the appropriate Control function button (as shown below).

Function sets assigned to the Control slider

* For Drum Voices, this affects the decay time for all played notes, whether held or released.

** Available only when setting the Zone Switch to “on” in the Master mode (page 92)

When pressing any of the Control function buttons, the lamp(s) of the buttons will light according to the above table and the

status of the Control sliders (currently assigned functions and set values) is shown on the LCD display. The appearance of

the slider in the display indicates the actual control status of the slider. When a slider graphic in the display is shown with a

shadow, the corresponding control slider on the panel affects the sound as indicated. A slider graphic without a shadow

indicates that the current Control slider position differs from the actual parameter value. In this case, moving the slider does

not affect the sound until the slider position reaches the parameter’s current value (after which the slider graphic has a

shadow).

Operation Lamp-on indication

Functions controlled by each Control slider

Control slider 1 Control slider 2 Control slider 3 Control slider 4

When pressing the

[PAN/SEND] button

[PAN/SEND] button Pan (stereo position) Reverb Send Level Chorus Send Level Tempo of the Seqence

Play mode/Arpeggio

playback

When pressing the

[TONE] button

[TONE] button Filter Cutoff Frequency

(degree of brightness)

Resonance (the level of

the signal in the area of

the cutoff frequency)

Attack Time of the

sound

Release Time of the

sound (decay time after

the key is released)*

When pressing the [ARP

FX] button

[ARP FX] button Amount of swing in the

Arpeggio playback

Gate time (length) of the

Arpeggio

playback

Velocity of the Arpeggio

playback

Arpeggio playback time

When pressing the [EQ]

button

[EQ] button Low band of the Master

EQ in the Voice/

Performance mode, part

EQ in the Multi/

Sequence Play mode

Low-mid band of the

Master EQ in the Voice/

Performance mode, part

EQ in the Multi/

Sequence Play mode

Hi-mid band of the

Master EQ in the Voice/

Performance mode.

(Not available in the

Multi/Sequence Play

mode.)

High band of the Master

EQ in the Voice/

Performance mode, part

EQ in the Multi/

Sequence Play mode

When pressing the

[PAN/SEND] button and

the [TONE] button

simultaneously

[PAN/SEND] button

[TONE] button

Function assigned from the [UTILITY] → [F4]

CTLASN → [SF2] ASSIGN display (page 165) in

the Utility mode

Function assigned for each Voice from the [VOICE]

→ [EDIT] → [COMMON] → [F4]

CTLSET display (page 131)

When pressing the

[TONE] button and the

[ARP FX] button

simultaneously**

All the buttons are off Function assigned for each Master from the [MASTER] → [EDIT] → Zone selection → [F5] CS display

(page 174)

When pressing the [ARP

FX] button and the [EQ]

button simultaneously

[ARP FX] button

[EQ] button

Function assigned to the Master Effect parameters from the [UTILITY] → [F4] CTL ASN → [SF5] MEF

display.

PAN/SEND

PAN

ASSIGN A ASSIGN B ASSIGN

1 ASSIGN 2

REVERB CHORUS TEMPO

RELEASE

ASSIGN

MEF

TONE

ARP FX

CUTOFF RESONANCE ATTACK

SWING

MEF

LOW

MEF

2 MEF 3 MEF 4

GATETIME VELOCITY

UNITMULTIPLY

LOW MID

HIGH MID

HIGH

Adjusting these sliders affects the sound immediately.

Adjusting these sliders will not affect the sound until the

current value is reached.

Using the Controllers on the S90 ES

Owner’s Manual

Quick Guide Playing the S90 ES

Changing the Volume

You can use the Control sliders to adjust relative volume settings in real time, by pressing the [VOLUME] button. This lets you

adjust independent volume settings of the Voice or Performance you play on the keyboard, or those of a Multi (page 70).

Function sets assigned to the Control sliders

* An Element is the fundamental tone generating unit of a Voice. For details, see page 44.

n Precautions — Using Sliders in the Performance mode

In the Performance mode, the Control sliders are assigned according to the speciﬁc

Parts that are assigned in each Performance. Keep in mind that the Slider number may

not correspond to the same numbered Part.

For example, when using a Performance (as shown at right) in which two Parts (Part 1

and Part 4) are combined, the sliders are assigned as follows:

• Slider 1 controls the volume of Part 1.

• Slider 2 controls the volume of Part 4.

• Sliders 3 and 4 are not used.

n The [MASTER VOLUME] slider adjusts the overall output level of the instrument. The Control sliders, on the other hand, adjust the MIDI volume value

for the corresponding element or part.

Mode

Functions controlled by each Control Slider

Control slider 1 Control slider 2 Control slider 3 Control slider 4

Voice mode When a Normal Voice is

selected (page 30)

Element 1 Volume* Element 2 Volume* Element 3 Volume* Element 4 Volume*

When a Drum Voice is

selected (page 32)

Volume of the entire Voice sound (moving any slider produces same volume)

Performance mode Controls Volume of the assigned Parts (see “Precautions” note below).

Multi/Sequence Play

mode

When tracks (Parts) 1 - 4

are selected

Track 1 (Part 1) Volume Track 2 (Part 2) Volume Track 3 (Part 3) Volume Track 4 (Part 4) Volume

When tracks (Parts) 5 - 8

are selected

Track 5 (Part 5) Volume Track 6 (Part 6) Volume Track 7 (Part 7) Volume Track 8 (Part 8) Volume

When tracks (Parts) 9 -

12 are selected

Track 9 (Part 9) Volume Track 10 (Part 10)

Volume

Track 11 (Part 11)

Volume

Track 12 (Part 12)

Volume

When tracks (Parts) 13 -

16 are selected

Track 13 (Part 13)

Volume

Track 14 (Part 14)

Volume

Track 15 (Part 15)

Volume

Track 16 (Part 16)

Volume

Edit Indicator

Moving the sliders directly changes the parameters of the Voice, Performance or Multi. When any of the parameters are

changed, the [E] (Edit) Indicator appears in the top left of the display. This indicates that the current Voice,

Performance, or Multi has been modiﬁed but not yet stored.

For details about the Edit indicator, see page 25.

PAN/SEND

PAN

ASSIGN A ASSIGN B ASSIGN

1 ASSIGN 2

REVERB CHORUS TEMPO

RELEASE

ASSIGN

MEF

TONE

ARP FX

CUTOFF RESONANCE ATTACK

SWING

MEF

LOW

MEF

2 MEF 3 MEF 4

GATETIME VELOCITY

UNITMULTIPLY

LOW MID

HIGH MID

HIGH

VOLUME

VOLUME 1

VOLUME

2 VOLUME 3 VOLUME 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

MASTER VOLUME

Quick Guide Editing a Program

Editing a Voice

Owner’s Manual

Editing a Voice

Each Voice can consist of up to four Elements. An Element is made up of a basic waveform—the basic sound of

a musical instrument—plus the various synthesizer processing parameters used to enhance, alter or deﬁne the

sound, such as pitch, ﬁlter, and amplitude controls.

For example, a piano Voice can be actually made up of several different piano waveforms: one for high notes,

one for low notes, and waveforms for when the keyboard is played softly. Combining different elements in a set

for playing at same time, or programming them to switch depending on how strongly the keyboard is played

helps to create a much more powerful and realistic piano sound.

n A Drum Voice is made up of different “Keys”—or separate percussion/drum sounds that are assigned to individual notes on the keyboard.

Normal Voice Edit

Editing a Program

Press the [VOICE] button to enter the Voice mode, then select a Normal Voice to be edited (page 30).

Press the [EDIT] button to enter the Voice Edit mode.

Creates each Element sound in the

Element Edit mode.

Element

Piano wave for high notes

Piano wave for low notes

Piano wave for when playing

the keyboard is played soltly

Common Edit

Determines the parameters

for entire Voice in the

Common Edit mode

Piano Voice

EDIT

JOB STORE

COMPARE

Editing a Voice

Quick GuideEditing a Program

Owner’s Manual

If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound—such as Oscillator,

Pitch, Filter, Amplitude, and EG (Envelope Generator)—call up the Element Edit display.

If you wish to edit more global parameters related to the overall Voice and how it’s processed—such as Arpeggio, Controller,

and Effects—call up the Common Edit display.

The following brieﬂy describes the main Voice parameters.

● Basic parameters for creating a sound

Pages 112, 133

If you wish to edit the basic sound-generating and sound-

shaping parameters for the Voice—such as Oscillator,

Pitch, Filter, Amplitude, and EG (Envelope Generator)—use

the Common Edit display.

● Effect related parameters Pages 118, 133

The Effects use DSP (Digital Signal Processing) to alter and

enhance the sound of a Voice. Effects are applied in the

ﬁnal stages of editing, letting you change the sound of the

created Voice as desired. The Common Edit display lets

you edit the Effect related parameters.

● Controller related parameters Pages 41, 59, 131

For each Voice, you can assign various functions to built-in

controllers such as Pitch Bend Wheel, Modulation Wheel,

Control sliders (ASSIGN1 and 2), Keyboard Aftertouch and

optionally connected controllers such as Footswitch, Foot

Controller, Breath Controller. These settings can be edited

in the Common Edit display.

● Arpeggio related parameters Pages 124, 129

For each Voice, you can set the Arpeggio related

parameters such as Arpeggio type and playback tempo.

These settings can be edited in the Common Edit display.

Enter a name for the Voice from the NAME display

([COMMON] → [F1] GENERAL → [SF1] NAME).

For detailed instructions on naming a voice, refer to Page

27.

The edited Voice can be stored in the Voice Store mode.

For details, see page 50.

Call up the Common Edit display or Element Edit display.

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

SYN LEAD

BCD

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

SYN LEAD

BCD

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

Calling up the Common Edit display

Press the [COMMON] button to call up the

Common Edit display.

In the Edit mode, the [DRUM KITS] button

functions as the [COMMON] button.

While in the Voice Edit mode, you can switch

between the Common Edit display and the

Element Edit display as shown below.

Indicates a Common Edit display.

Calling up the Element Edit display

Press the desired element number from the ELEMENT

[1] - [4] buttons to call up the Element Edit display.

Indicates the display for

editing Element 1.

To turn each Element on or off (to hear how each affects the overall sound), use

buttons [9] - [12]. You can also isolate or solo an Element by holding down the

[MUTE] button and pressing the desired number button ([9] - [12]). To cancel the

solo, press the [MUTE] button again.

Select the menu you wish to edit by pressing

the [F1] - [F5] buttons and [SF1] - [SF5]

buttons, then edit the parameters in each

display.

Element selection → [F1] - [F6]

[COMMON] → [F6] EFFECT

[COMMON] → [F4] CTL SET (Controller Set)

[COMMON] → [F3] ARP (Arpeggio)

Repeat steps 3 - 4 as desired.

Name the edited Normal Voice.

Store the settings as a User Voice.

Enter the desired Voice name

Quick Guide Editing a Program

Editing a Voice

Owner’s Manual

Editing a Voice by using the Control sliders

The four sliders at the top left of the instrument are not only for tweaking the sound while you perform—you can also

use them to edit a Voice, either in the Voice Play mode or the Voice Edit mode.

● When the [PAN/SEND] indicator is turned on:

● When the [TONE] indicator is turned on:

n The settings above are applied as offsets to the AEG and FEG settings in the Voice Edit mode.

● When the [ARP FX] indicator is turned on:

● When the [EQ] indicator is turned on:

n The settings above are applied as offsets to the EQ settings in the [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ display.

● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):

n In addition to above functions, Master Effect related parameters (set in the [UTILITY] → [F3] VOICE → [SF2] MEF display) can be assigned to

these four sliders by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters assigned to the four sliders can be

set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display.

● When the [VOLUME] indicator is turned on:

n When selection a Drum Voice, adjusts the entire level of Voice.

PAN Determines the stereo pan position of the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F2] OUTPUT → Pan

page 129

REVERB Determines the amount of Reverb effect that is applied to the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F2] OUTPUT → RevSend

page 129

CHORUS Determines the amount of Chorus effect that is applied to the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F2] OUTPUT → ChoSend

page 129

TEMPO

Determines the tempo of the Arpeggio assigned to the currently selected

Voice.

[VOICE] → Voice selection → [F6] ARP → Tempo page 128

CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance. [VOICE] → Voice selection → [F5] EG → CUTOF page 128

RESONANCE Boosts or attenuates the level at the area around the Filter cutoff

frequency.

[VOICE] → Voice selection → [F5] EG → RESO page 128

ATTACK Determines the attack time of the sound. For example, you can adjust a

strings Voice so that the sound gradually swells in volume by setting a

slow attack time—simply move the slider upwards.

[VOICE] → Voice selection → [F5] EG → ATK (AEG) page 128

RELEASE Determines the release time of the sound. Moving the slider upwards

sets a long release time and (depending on the selected Voice) lets the

sound sustain after the key is released. To produce a sharp release, in

which the sound abruptly cuts off, set a short release time.

[VOICE] → Voice selection → [F5] EG → REL (AEG) page 128

SWING Adjusts the swing feel of the Arpeggio playback. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F3] ARP → [SF3] PLAY FX → Swing

page 130

GATE TIME Adjusts the Gate Time (length) of the Arpeggio notes. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F3] ARP → [SF3] PLAY FX → GateTimeRate

page 131

VELOCITY Adjusts the velocity of the Arpeggio notes. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F3] ARP → [SF3] PLAY FX → VelocityRate

page 130

UNIT

MULTIPLY

Adjusts the Arpeggio playback time based on tempo. [VOICE] → Voice selection → [EDIT] → [COMMON] →

[F3] ARP → [SF3] PLAY FX → UnitMultiply

page 130

LO Determines the amount of boost or attenuation applied to the low

frequency band of the Master EQ.

[VOICE] → Voice selection → [EDIT] → [COMMON] →

[F1] GENERAL → [SF3] MEQ OFS → LOW

page 129

LO MID Determines the amount of boost or attenuation applied to the low-

midrange frequency band of the Master EQ.

[VOICE] → Voice selection → [EDIT] → [COMMON] →

[F1] GENERAL → [SF3] MEQ OFS → LOW MID

page 129

HI MID Determines the amount of boost or attenuation applied to the high-

midrange frequency band of the Master EQ.

[VOICE] → Voice selection → [EDIT] → [COMMON] →

[F1] GENERAL → [SF3] MEQ OFS → HIGH MID

page 129

HI Determines the amount of boost or attenuation applied to the high

frequency band of the Master EQ.

[VOICE] → Voice selection → [EDIT] → [COMMON] →

[F1] GENERAL → [SF3] MEQ OFS → HIGH

page 129

ASSIGN A Adjusts parameters assigned to these sliders in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. page 165

ASSIGN B

ASSIGN 1 Adjusts parameters assigned to these sliders in the [VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET display. page 131

ASSIGN 2

EL 1 - 4

(Element 1 - 4)

Adjusts the level balance among the Elements. [VOICE] → Voice selection → [EDIT] → Element selection →

[F4] AMP → [SF1] LVL/PAN → Level

page 137

TIP

Editing a Voice

Quick GuideEditing a Program

Owner’s Manual

Drum Voice Edit

If you want to edit the sounds that make up a Drum Voice and the basic parameters that determine the sound—such as

Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)—call up the Key Edit display. Next, press the desired note

on the keyboard. To edit more global parameters related to the overall Drum Voice and how it’s processed—such as

Arpeggio, Controller, and Effects—call up the Common Edit display.

The main parameters available are basically the same as in

the Normal Voice Edit (page 44). What is called “Key Edit”

in the Drum Voice corresponds to “Element Edit” in the

Normal Voice. Please keep in mind that the LFO

parameters are not available in the Drum Voice.

Enter a name for the Voice from the NAME display

([COMMON]

→ [F1] GENERAL → [SF1] NAME). For

detailed instructions on naming a voice, refer to page 27.

The edited Voice can be stored in the Voice Store mode.

For details, see page 50.

Press the [VOICE] button to enter the Voice mode, then select a Drum Voice to be edited (page 32).

Press the [EDIT] button to enter the Voice Edit mode.

Call up the Common Edit display or Key Edit display.

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

SYN LEAD

BCD

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

Key 1 Key 5 Key 10 Key 18 Key 21 Key 73

While in the Voice Edit mode, you can switch between

the Common Edit display and the Key Edit display as

shown below.

Indicates a Common Edit

display.

Calling up the Key Edit display

Press the Number [1] button to call up the Key Edit

display, then select the key to which the desired

instrument is assigned.

Key Edit (1 - 73)

Indicates the display for editing the key C0.

Calling up the Common Edit display

Press the [COMMON] button to call up the

Common Edit display.

In the Edit mode, the [DRUM KITS] button

functions as the [COMMON] button.

Select the menu you wish to edit by pressing

the [F1] - [F5] buttons and [SF1] - [SF5]

buttons, then edit the parameters in each

display.

Repeat steps 3 - 4 as desired.

Name the edited Drum Voice.

Store the settings as a User Drum Voice.

Enter the

desired Voice

name.

EDIT

JOB STORE

COMPARE

Editing a Voice

Owner’s Manual

Quick Guide Editing a Program

Assigning drum/percussion instruments to individual keys

In the Drum Voice Edit mode, you can create your own original drum kits by assigning speciﬁc instrument sounds to

individual keys — in any desired order — and edit detailed parameters for each key’s sound.

Call up the Key Edit display in the Voice Edit

mode.

Refer to step 3 on page 47.

2 Call up the [F1] OSC → [SF1] WAVE display.

3 Press the key to which you want to assign a

sound.

The drum instrument currently assigned to the

pressed key will sound.

4 Select the desired Waveform to be assigned.

Move the cursor to “Number” and change the

value by using the data dial, [INC/YES] button,

and [DEC/NO] button. Then, press the same key

set in step 3 again to conﬁrm the selected

instrument sound.

Create your original drum kit by repeating steps 3

- 4.

6 Store the created drum kit as a Drum Voice

User memory.

The edited Voice can be stored in the Voice Store

mode. See page 50 for details.

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF1] WAVE

TIP

Editing a Voice

Quick GuideEditing a Program

Owner’s Manual

Setting the drum key for independent open and closed hi-hat sounds

In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats.

You can prevent drum instruments from playing back simultaneously by assigning them to the same Alternate Group.

The preset Drum Voices have many such Alternate Group assignments to ensure the most authentic, natural sound.

When creating a Voice from scratch, you can use this feature—either to ensure authentic sound, or to create special

effects, where playing one sound cancels out a previous one.

Call up the Key Edit display in the Voice Edit

mode.

Refer to step 3 on page 47.

2 Call up the [F1] OSC → [SF5] OTHER display.

3 Press the key which corresponds to “Hi-Hat

Open” and set the Alternate Group to “1.”

Press the key which corresponds to “Hi-Hat Close”

and set it to the same Alternate Group (1) as in step

5 Conﬁrm whether the Alternate Group has been set

properly.

Immediately after pressing the “Hi-Hat Open” key,

press the “Hi-Hat Close” key. Pressing the second key

should cut off the sound of the ﬁrst.

Since the settings above are included in the Drum

Voice data, store them as a Drum Voice in the Voice

Store mode.

Determining how the Drum Voice responds when the key is released

You can determine whether or not the selected Drum key responds to MIDI Note Off messages. Setting the Receive

Note Off parameter to “off” can be useful for cymbal sounds and other sustaining sounds. This lets you have the

selected sounds sustain to the length of their natural decay—even if you release the note, or when a Note Off message

is received. If this parameter is set to “on,” the sound will stop immediately when the note is released or a Note Off

message is received.

Setting the Output jack for each key (drum/percussion instrument)

You can change the output jack on the rear panel for the individual Drum key signal. This function is useful when you

wish to apply a connected external effect to a speciﬁc drum instrument.

For details, see page 63.

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → AltnateGroup

TIP

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → RcvNoteOff

TIP

[VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF2] OUTPUT → OutputSel

Editing a Voice

Owner’s Manual

Quick Guide Editing a Program

Storing/Saving the created Voice

Two steps are necessary in order to store (save) your voice—storing the edited voice to internal memory and saving the

stored voices to a USB storage device.

When you turn off the power to the instrument, User Voices saved in the Voice Store mode are not erased. As such it is not

necessary to save the data to USB storage device; however, you may want to save it for backup or organizational purposes,

using the Save operation.

Storing the edited Voice as a User Voice to internal memory

Make sure to execute the Store operation before selecting

another Voice.

Select a User Bank (“USR1” or “USR2” when storing a

Normal Voice, “UDR” when storing a Drum Voice, “P1-U”—

“P3-U” when storing a Plug-in Voice) and the desired Voice

number by using the data dial, [INC/YES] and [DEC/NO]

button.

n When you execute the Store operation, the settings for the

destination memory will be overwritten. Important data should

always be backed up to a separate USB storage device.

The display prompts you for conﬁrmation.

Press the [DEC/NO] button to cancel the Store operation.

User Plug-in Voice 064

User Plug-in Voice 001

User Plug-in Voice 002

User Plug-in Voice 003

User Plug-in Voice 064

User Plug-in Voice 001

User Plug-in Voice 002

User Plug-in Voice 003

Voice Edit

STORE

User Normal Voice 128

User Normal Voice 001 User Drum Voice 001

User Drum Voice 002

User Drum Voice 003

User Drum Voice 32

User Drum Voice Bank

Internal memory (Flash ROM)

User Normal Voice 002

User Normal Voice 003

User Normal Voice Bank 1

User Normal Voice 128

USB storage

device

User Plug-in Voice 001

User Plug-in Voice 002

User Plug-in Voice 003

User Plug-in Voice 064

User Plug-in Voice Bank 1

SAVE

All the User

Voice data in

internal

memory can

be saved as

a single ﬁle.

Storing

edited Voices

individually

[VOICE] → [STORE]

After editing the Voice, press the [STORE]

button to enter the Voice Store mode.

Select the destination Voice memory.

Select a User Bank.

Select a Voice number.

Press the [ENTER] button.

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

Editing a Voice

Quick GuideEditing a Program

Owner’s Manual

After the Voice has been stored, a “Completed” message

appears and operation returns to the Voice Play display.

Never attempt to turn off the power while an “Executing...” or “Please

keep power on” message is shown. Turning the power off in this state

may cause the system to freeze and prevent normal startup the next

time the power is turned on, as well as resulting in the loss of all user

data.

If you select another Voice without storing, the currently edited Voice

will be lost. Make sure to store the edited Voice before selecting another

Voice.

Saving the edited Voices to a USB

storage device

Connect the USB device and follow the instructions below.

n When a USB storage device is connected or media is inserted, an

error message “USB device unformatted.” may appear in the LCD

display, indicating that the device must be formatted for use in the

File mode (page 168).

If the device is divided into several partitions, select the

speciﬁc partition for use. If the device has several media

(e.g., discs) inserted, select a speciﬁc Slot number.

The following three ﬁle types are available for saving Voice

data. Here, select “All Voice.”

Move the cursor to the ﬁle name ﬁeld, then input the

desired ﬁle name. For detailed instructions on naming a

voice, refer to page 27.

For information on how to select a folder, see the section

“Supplementary information” on page 170. For information

on how to create/delete a folder and change the folder

name, see the section “File mode” on page 168.

If you are about to overwrite an existing ﬁle, the display

prompts you for conﬁrmation. Press the [INC/YES] button

to execute the Save operation to overwrite the existing ﬁle,

or press the [DEC/NO] button to cancel it.

While the data is being saved/loaded, make sure to follow these

precautions:

• Do not remove or eject the media from the USB storage device.

• Do not unplug or disconnect the USB storage device.

• Do not turn off the power of the instrument or the relevant devices.

To execute the Store operation, press the

[INC/YES] button.

[FILE] → [F2] SAVE

Press the [FILE] button to enter the File mode.

Then press the [F1] CONFIG button and [SF2]

CURRENT button.

Press the [F2] SAVE button to call up the Save

display.

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

CAUTION

Set the Type parameter to “All Voice.”

All When this is selected, execute the Save operation to

save all the created data including the User Voices as

a single ﬁle (extension: S7A).

AllVoice When this is selected, execute the Save operation to

save all User Voices as a single ﬁle (extension: S7V).

Voice Editor When this is selected, execute the Save operation to

save all User Voices as a single ﬁle (extension: S7E)

which can be exported to the Voice Editor software

(page 77).

Input a file name.

If you have created a destination folder, select

the folder.

Press the [SF1] EXEC button to actually save

the file.

File name

CAUTION

Editing a Voice

Owner’s Manual

Quick Guide Editing a Program

■ Loading Voice data from a USB storage device

In the previous section, we saved Voice data as an “All

Voice” ﬁle to a USB storage device. Here, we’ll recall that

Voice data and load it to the instrument with the Load

operation.

If the device is divided into several partitions, select the

speciﬁc partition for use. If the device has several media

(e.g., discs) inserted, select a speciﬁc Slot number.

The ﬁle saved in operation explained on the previous page

has all the User Voices.

If you wish to load all the User Voices, set Type to “All

Voice.”

If you wish to load only a speciﬁc voice, set Type to

“Voice.”

Move the cursor to the ﬁle (extension: S7V) saved in the

operation explained on the previous page. If you set the

Type parameter to “AllVoice” in step 3, go to step 5. If the

desired ﬁle was saved in speciﬁc folder, enter the folder

and select the ﬁle. For information on how to select a folder,

see the section “Supplementary information” on page 170.

If you set the Type parameter to “Voice” in step 3, execute

the operations in the following box, then go to step 5.

After the data has been loaded, a “Completed” message

appears and operation returns to the original display.

While the data is being saved/loaded, make sure to follow these

precautions:

• Do not remove or eject the media from the USB storage device.

• Do not unplug or disconnect the USB storage device.

• Do not turn off the power of the instrument or the relevant devices.

[FILE] → [F3] LOAD

Press the [FILE] button to enter the File mode.

Then press the [F1] CONFIG button and [SF2]

CURRENT button.

Press the [F3] LOAD button to call up the Load

display.

Select the file type to be loaded.

Select the file (“ ”) to be loaded.

When Type is set to “Voice”:

When Type is set to “Voice,” you can specify and load

a speciﬁc Voice from a ﬁle (with the extension S7V or

S7A).

Loading data to this instrument automatically erases and

replaces any existing data in the User memory.

Press the [SF1] EXEC button to actually load

the file.

ENTER

EXECUTE

Move the cursor to the ﬁle (extension: S7A) saved

in the operation explained on the previous page.

Select a source Voice Bank from the selected ﬁle

with the following operation.

To select a User Normal Voice Bank, press one of

the [USER1] and [USER2] buttons. To select a

User Drum Voice Bank, simultaneously hold the

[DRUM KITS] button and press the [USER1]

button. To select a User Plug-in Voice Bank,

press one of the [PLG1], [PLG2] and [PLG3]

buttons.

After selecting a source Voice Bank, all the

Voices contained in the selected Bank are listed

in the display. Move the cursor to the desired

Voice to be loaded.

Select a destination Voice Number.

Select a Voice or a Plug-in Voice by moving the

cursor to the location of “USR1” in the above

display and using the data dial. When loading

Plug-in Voice data, note that the Plug-in Board

for the source Voice Bank should match the

one for the destination Voice Bank.

When a source Voice Bank is created for the

PLG150-AN, for example, you should select

the Voice Bank for the PLG150- AN as the

destination.

CAUTION

Quick GuideEditing a Program

Editing a Performance

Owner’s Manual

Editing a Performance

The Performance Edit mode ([PERFORM] → [EDIT]) lets you create your own original Performances—containing up to four

different Parts (Voices)—by editing the various parameters. The Voices can be selected from the internal tone generator or

the installed Plug-in Boards. After assigning different Voices to separate ranges of the keyboard, edit the detailed

parameters in the Performance Edit mode.

Use the Part Edit to edit the parameters for each Part.

Use Common Edit to edit the parameters for all of the Parts.

Press the [PERFORM] button to enter the Performance mode, then select a Performance to be edited

(page 34).

Press the [EDIT] button to enter the Performance Edit mode.

Call up the Common Edit display or Part Edit display.

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

SYN LEAD

BCD

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

While in the Voice Edit mode, you can switch between

the Common Edit display amd the Part Edit display

as shown below.

Indicates a Common Edit

display.

Calling up the Common Edit display

Press the [COMMON] button to call up the

Common Edit display.

In the Edit mode, the [DRUM KITS] button

functions as the [COMMON] button.

Calling up the Part Edit display

Press the desired Part number from the

PERF. PART [1] - [4] buttons to call up the

Part Edit display.

To switch between the Part 1 - 4

display and the Plug-in Part 1 - 3

display, press the [F6] button.

Indicates the display for editing Part 1.

Part1 Edit

Plug-in part 1 (PLG1) Edit

You can select the four Performance Parts

from this group of seven.

Part2 Edit

Part3 Edit

Part4 Edit

Plug-in part 2 (PLG2) Edit

Plug-in part 3 (PLG3) Edit

Common Edit

Parts to which

Internal voices

are assigned

Parts to which

Plug-in Board

voices are

assigned

Editing a Performance

Owner’s Manual

Quick Guide Editing a Program

The following brieﬂy describes the main Performance

parameters.

● Parameters for the Voice assigned to each Part

Page 152

The Voice assigned to each part and its note range can be

set also in the Performance Play mode (page 152). In

addition to the parameters available in the Performance

Play mode, the Performance Edit mode also lets you set

Portamento (pitch glide) and Arpeggio Switch (which

determines whether the Arpeggio plays a speciﬁc Part or

not).

● Basic parameters for creating the sound

Page 154

Edit the parameters for each Part’s Voice such as Pitch,

Filter, and Amplitude. The parameters offset the same

parameters in the Voice Element Edit mode.

● Parameters related to the Audio Input Part

Page 151

The audio signal input from the A/D INPUT jack (or the

optional audio inputs) can be handled as an Audio Input

part. Various parameters such as volume, pan, and effect

can be set to this Part and the sound is output together

with other Parts. The parameters related to the Audio Input

Part can be edited in Common Edit for each Performance.

● Parameters related to the OUTPUT jacks for each

Part

Page 154

You can assign each individual Part’s Voice to be output

from a speciﬁc hardware output jack on the rear panel. This

function is useful when you want to output a speciﬁc Part to

a separate speaker or process it with a favorite external

effect.

● Effect related parameters

Pages 118, 150, 152

The Effects use DSP (Digital Signal Processing) to alter and

enhance the sound of a Performance. The Common Edit

display lets you edit the Effect-related parameters.

● Master EQ related parameters

Pages 120, 150

These parameters let you use the ﬁve-band Master EQ to

process the overall sound of the Performance. Master EQ

also features separate EQ shape parameters for the Low

and High bands, as well as the Frequency, Gain and Q

controls for each band.

● Controller related parameters

Pages 41, 59, 151

For each Performance, you can assign the Control Change

Number to built-in controllers such as Control sliders

(ASSIGN1 and 2) and optionally connected controllers,

such as Foot Controller and Breath Controller.

n Functions assigned to Controllers depend on the settings of each

Part's Voice edited in the Voice Edit mode.

● Arpeggio related parameters

Pages 124, 151

For each Performance, you can set the Arpeggio related

parameters, such as Arpeggio type and playback tempo.

These settings can be edited in the Common Edit display.

Enter a name for the Voice from the NAME display

([COMMON]

→ [F1] GENERAL → [SF1] NAME).

For detailed instructions on naming a voice, refer to page

27.

The edited Performance can be stored in the Performance

Store mode. For details, see page 56.

Select the menu you wish to edit by pressing

the [F1] - [F6] buttons and [SF1] - [SF5]

buttons, then edit the parameters in each

display.

Part selection → [F1] VOICE

Part selection → [F4] TONE

[COMMON] → [F5] AUDIO IN

Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel

[COMMON] → [F6] EFFECT

[COMMON] → [F2] OUT/MEF → [SF3] MEF (Master Effect)

[COMMON] → [F2] OUT/MEF → [SF3] MEQ (Master Equalizer)

[COMMON] → [F4] CTL ASN (Controller Assign)

[COMMON] → [F3] ARP (Arpeggio)

Repeat steps 3 - 4 as desired.

Name the edited Performance.

Store the settings as a User Performance.

Enter the desired Performance name.

Quick GuideEditing a Program

Editing a Performance

Owner’s Manual

Editing a Performance by using the Control sliders

The four sliders at the top left of the instrument are not only for tweaking the sound while you perform—you can also

use them to edit a Performance, either in the Performance Play mode or the Performance Edit mode.

● When the [PAN/SEND] indicator is turned on:

● When the [TONE] indicator is turned on:

n The settings above are applied as offsets to the AEG and FEG settings in the Performance Edit mode.

● When the [ARP FX] indicator is turned on:

● When the [EQ] indicator is turned on:

n The settings above are applied as offsets to the EQ settings in the [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2]

OUT/MEF → [SF2] MEQ (Master EQ) display.

● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):

n In addition to above functions, Master Effect related parameters (set in the [PERFORM] → Performance selection → [COMMON] → [F2] OUT/

MEF → [SF3] MEF display) can be assigned to these four sliders by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular

parameters are assigned to the four sliders can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display.

● When the [VOLUME] indicator is turned on:

PAN Determines the stereo pan position of the Performance. [PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F2] OUT/MEF → [SF1] OUT → Pan

Page 150

REVERB Determines the amount of Reverb effect that is applied to the

Performance.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F2] OUT/MEF → [SF1] OUT → RevSend

Page 150

CHORUS Determines the amount of Chorus effect that is applied to the

Performance.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F2] OUT/MEF → [SF1] OUT → ChoSend

Page 150

TEMPO Determines the tempo of the Arpeggio assigned to the currently

selected Performance.

[PERFORM] → Performance selection → [F6] ARP → Tempo Page 149

CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance. [PERFORM] → Performance selection → [F5] EG → CUTOF Page 149

RESONANCE Boosts or attenuates the level at the area around the Filter cutoff

frequency.

[PERFORM] → Performance selection → [F5] EG → RESO Page 149

ATTACK Determines the attack time of the sound. For example, you can adjust a

strings Voice so that the sound gradually swells in volume by setting a

slow attack time—simply move the slider upwards.

[PERFORM] → Performance selection → [F5] EG → ATK

(AEG)

Page 149

RELEASE

Determines the release time of the sound. Moving the slider upwards sets a

long release time and (depending on the Voice assigned to the selected

Performance) lets the sound sustain after the key is released. To produce a

sharp release, in which the sound abruptly cuts off, set a short release time.

[PERFORM] → Performance selection → [F5] EG → REL

(AEG)

Page 149

SWING Adjusts the swing feel of the Arpeggio playback. [PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F3] ARP → [SF3] PLAY FX → Swing

Page 151

GATE TIME Adjusts the Gate Time (length) of the Arpeggio notes. [PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F3] ARP → [SF3] PLAY FX → GateTimeRate

Page 151

VELOCITY Adjusts the velocity of the Arpeggio notes. [PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F3] ARP → [SF3] PLAY FX → VelocityRate

Page 151

UNITMULTIPLY

Adjusts the Arpeggio playback time based on tempo.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F3] ARP → [SF3] PLAY FX → UnitMultiply

Page 151

LO Determines the amount of boost or attenuation applied to the low

frequency band of the Master EQ.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW

Page 150

LO MID Determines the amount of boost or attenuation applied to the low-

midrange frequency band of the Master EQ.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW

MID

Page 150

HI MID Determines the amount of boost or attenuation applied to the high-

midrange frequency band of the Master EQ.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH

MID

Page 150

HI Determines the amount of boost or attenuation applied to the high

frequency band of the Master EQ.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH

Page 150

ASSIGN A Adjusts parameters assigned to these sliders in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 165

ASSIGN B

ASSIGN 1 Depends on the settings of the Voice assigned to the selected Performance. Page 151

ASSIGN 2

PART1 - 4 Adjusts the level balance among the Parts. [PERFORM] → Performance selection → [EDIT] →

Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume

Page 153

TIP

Editing a Performance

Owner’s Manual

Quick Guide Editing a Program

Storing/Saving the created Performance

Two steps are necessary in order to store (save) your Performance—storing the edited Performance to internal memory and

saving the stored Performances to a USB storage device.

When you turn off the power to the instrument, User Performance saved in the Performance Store mode is not erased. As

such it is not necessary to save the data to USB storage device; however, you may want to save it for backup or

organizational purposes, using the Save operation.

Storing the edited Performance as a User Performance to internal memory

Select a Performance number by using the data dial, [INC/

YES] and [DEC/NO] button.

When you execute the Store operation, the settings for the destination

memory will be overwritten. Important data should always be backed

up to a separate USB storage device.

The display prompts you for conﬁrmation. Press the [DEC/

NO] button to cancel the Store operation.

After the Performance has been stored, a “Completed”

message appears and operation returns to the

Performance Play display.

Never attempt to turn off the power while an “Executing...” or “Please

keep power on” message is shown. Turning the power off in this state

may cause the system to freeze and prevent normal startup the next

time the power is turned on, as well as resulting in the loss of all user

data.

If you select another Performance without storing, the currently edited

Performance will be lost. Make sure to store the edited Performance

before selecting another Performance.

Performance Edit

STORE SAVE

USB storage

device

Performance 001

Performance 002

Performance 003

Performance 128

Internal memory

Performance Edit

STORE SAVE

USB storage

device

Performance 001

Performance 002

Performance 003

Performance 128

Internal memory

Storing edited

Performances individually

All the User

Performance data in

internal memory can

be saved as a single

ﬁle.

[PERFORM] → [STORE]

After editing the Performance, press the

[STORE] button to enter the Performance

Store mode.

Select the destination Performance memory.

Press the [ENTER] button.

CAUTION

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

To execute the Store operation, press the

[INC/YES] button.

DEC/NO

INC/YES

EXIT ENTER

EXECUTE

CAUTION

Quick GuideEditing a Program

Editing a Performance

Owner’s Manual

Saving the edited Performances to a USB storage device

The basic operations are the same as in the Voice mode (page 51).

However, keep in mind that you must set the Type parameter to “All.” When Type is set to “All,” executing the Save operation

saves all the created data, including the Performances as well as the Voices assigned to them, as a single ﬁle (extension:

S7A).

Loading Performance data from the USB storage device

These instructions describe how to recall the data saved as an “All” ﬁle type (extension: S7A) from the USB storage device,

by using the Load operation.

If the device is divided into several partitions, select the speciﬁc partition for use. If the device has several media (e.g.,

discs) inserted, select a speciﬁc Slot number.

The “All” ﬁle contains all the Performances.

If you wish to load all the Performances, set Type to “All.” In this case, all data that can be created on this instrument will be

loaded in step 5 below. If you wish to load only a speciﬁc Performance, set Type to “Performance.”

When Type (ﬁle type) is set to “All” and the Load operation is executed, all data that can be created on the instrument will be loaded. This means that

any existing data in User memory will automatically be overwritten and lost. Make sure to save any important data to a USB storage device before

performing the Load operations, especially when Type is set to “All.”

n When Type (ﬁle type) is set to “Performance” and the Load operation is executed, the sound of the Performances may not be reproduced properly if

the User Voices assigned to the Performances saved in the ﬁle have been changed by editing.

[FILE] → [F2] SAVE

[FILE] → [F3] LOAD

Press the [FILE] button to enter the File mode. Then press the [F1] CONFIG button and [SF2] CURRENT

button.

Press the [F3] LOAD button to call up the Load display.

Select the file type to be loaded.

USB storage device

Performance 001

Performance 002

Performance 003

Performance 128

File extension: S7A

Internal Memory

Performance 001

Performance 002

Performance 003

Performance 128

Loading a speciﬁc

Performance when Type

is set to “Performance.”

All Performances are

loaded when Type is set

to “All.”

CAUTION

Quick Guide Editing a Program

Editing a Performance

Owner’s Manual

Move the cursor to the ﬁle (extension: S7A) saved in the operation explained in the previous instructions. If the desired ﬁle

was saved in speciﬁc folder, enter the folder and select the ﬁle. For information on how to select a folder, see the section

“Supplementary information” on page 170. If you have set the Type parameter to “All” in step 3, go on to step 5.

If you have set the Type parameter to “Performance” in step 3, execute the operations in the following box, then go on to

step 5.

After the data has been loaded, a “Completed” message appears and operation returns to the original display.

While the data is being saved/loaded, make sure to follow these precautions:

• Do not remove or eject the media from the USB storage device.

• Do not unplug or disconnect the USB storage device.

• Do not turn off the power of the instrument or the relevant devices.

Select the file (“ ”) to be loaded.

When Type is set to “Performance”:

When Type is set to “Performance,” you can specify and load a speciﬁc Performance from a ﬁle (with the extension

S7A).

Loading data to this instrument automatically erases and replaces any existing data in the User memory.

Press the [SF1] EXEC button to actually load the file.

ENTER

EXECUTE

Move the cursor to the ﬁle (extension:

S7A) saved in the operation explained

on the previous page.

All the Performances contained in

the selected ﬁle are listed on the

display. Move the cursor to the

desired Performance.

Select the desired

Performance to be loaded.

Select the destination Performance number.

CAUTION

Quick GuideUsing the Controllers—Advanced Course

Controllers supported by the S90 ES

Owner’s Manual

Controllers supported by the S90 ES

You can control tone, volume, pitch and other parameters by using the controllers on the front panel, as well as by using

external controllers connected to several controller jacks on the rear panel.

Controllers on the S90 ES

■ Pitch Bend wheel/Modulation wheel

Controls pitch or vibrato. For details, see page 41.

■ Control sliders

Controls various parameters. For details, see page 42.

Controllers (optional) that can be connected to the rear panel of the

S90 ES

■ Breath Controller

You can connect an optional Breath Controller (BC3) to the BREATH jack on the rear panel, and use it to control various

parameters on this instrument—particularly those controlled by a wind player’s breath, including dynamics, timbre, pitch

and so on. The Breath Controller is ideally suited for realistic expression with wind instrument Voices.

■ Footswitch (assignable)

An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack can be

assigned to a range of parameters. It is suited for switch-type (on/off) controls, such as Portamento Switch, increment/

decrement of a Voice or Performance Number, start/stop of the Sequencer, and holding the Arpeggio on or off.

■ Footswitch (sustain)

An optional FC3, FC4 or FC5 Footswitch connected to the SUSTAIN jack on the rear panel lets you control sustain. When you

press the damper pedal, the notes you play have a longer sustain. The S90 ES also provides a special Half Damper function

for ﬁner control over sustain.

Using the Controllers—Advanced Course

Plug-in SLOT

GREEN

YELLOW

ORANGE

USB

TO DEVICE

TO HOST

THRU

OUT

MIDI

ASSIGNABLE OUTPUT

OUTPUT

BREATH

PHONES

ASSIGNABLE SUSTAIN

FOOT SWITCH

FOOT PEDAL

A/D INPUT

GAIN

FOOT CONTROLLER

L/MONO

BREATH

ASSIGNABLE SUSTAIN

FOOT SWITCH

FOOT PEDAL

FOOT CONTROLLER

VOLUME 1

VOLUME

2 VOLUME 3 VOLUME 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

FC7

FC3/FC4/FC5

FC4/FC5

BC3

Pitch Bend Wheel

Modulation Wheel

Control sliders

Controllers on the front panel

S90 ES rear panel

Optional Controllers

Quick Guide Using the Controllers—Advanced Course

Controllers supported by the S90 ES

Owner’s Manual

When the Half Damper function is set to on (only FC3)

By connecting an optional FC3 foot controller, you can use the Half Damper feature. The Half Damper feature reproduces

the ﬁne control of an acoustic piano's damper pedal to control the sustain over time: pressing the pedal fully down makes

the sound last longer, while letting up on the pedal part of the way slightly mutes the sustained sound. Effective use of the

Half Damper feature lets you play piano sounds more expressively and realistically.

When the Half Damper function is set to off

By pressing the footswitch (sustain) on/off, you can control whether the sound is cut off or continues playing, even when the

keys are released.

Keep in mind that some sounds may not be suitable for use in all situations with the Sustain footswitch. For example, for

organ sounds that have no natural decay, the sound continues at the same level when holding down the Sustain footswitch.

On the other hand, many sounds beneﬁt from the use of Sustain, such as piano, which has a natural decay when a note is

held.

You can switch the Half Damper function on or off in the following parameters:

n Keep in mind that two separate parameters must be set to on in order to use the Half Damper function.

n The on/off setting of the half-damper feature automatically affects the AEG (Amplitude Envelope Generator) settings. For details, refer to page 114.

n The default setting for the SusPedal parameter is “FC (Half On).” When using the FC4 or FC5, make sure to change this setting, depending on the

particular footswitch you are using.

■ Foot Controller

An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jack on the rear panel, can be

assigned to control a variety of parameters on the instrument. By using a foot controller for parameter control in this way,

both your hands are left free to play the keyboard (or to operate other controllers)—an exceptional convenience when

playing live.

Controlling a Voice with Controller Set

Each of the Preset Voices of S90 ES is programmed with appropriate Modulation Wheel and Control slider assignments, for

adjusting the sound and effects in ways that best match the selected Voice.

For example, you can apply the chorus effect by using the Modulation Wheel in a piano Voice and control the decay time

parameter using the Control slider in a bass guitar Voice. The settings for all the controllers are referred to as a “Controller

Set.” These Controller Set settings can be stored with the User Voice.

1 Element Switch

Select whether the controller will affect each individual Element.

Keep in mind that some destinations affect only the entire Voice (all Elements). In this case, the Element Switch parameter

will be indicated by “----” and cannot be changed. This applies only to Normal Voices.

2 Source (controller)

Determines the desired controller. For details about the abbreviations for each controller, see page 131.

The number in brackets indicates the Control Change number generated when moving the controller.

3 Destination (function)

Determines the function assigned to the Source (controller). For the details about the abbreviations and the parameter types,

refer to the Control List in the separate Data List booklet.

[UTILITY] → [F4] CTL ASN → [SF3] FT SW → SusPedal (page 165)

[VOICE] → Voice selection → [EDIT] → Element selection → [SF3] AEG → Half Damper switch parameter (page 138)

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET (page 131)

Switch the display for each Controller Set by using the [SF1] - [SF3] buttons

Quick GuideUsing the Controllers—Advanced Course

Controllers supported by the S90 ES

Owner’s Manual

4 Depth

Determines the amount by which the parameter selected in Destination can be controlled. For negative values, the controller

operation is reversed.

n The Controller Set edited in the Voice Edit mode is available when the corresponding Voice is selected in the Performance and Multi.

n The functions assigned to the Controller by the Controller Set function are applied only to the internal tone generator block. For connected external

MIDI instruments, use of the controllers generates separate MIDI Control Change numbers, as shown in the Source parameter.

n Even if a different function is assigned to this wheel, the Pitch Bend function is available and Pitch Bend messages are still generated when the wheel

is used.

Controlling the overall system with ASSIGN A and B

The ASSIGN A and B (Control slider 1 and 2) settings let you control the functions that affect all Voices, Performances, and

Multis.

You can store the ASSIGN A and B settings as the system settings by pressing the [STORE] button.

n ASSIGN A and B are common to all Voices/Performances/Multis. Changing the setting of ASSIGN A and B may result in changes to the data of stored

User Voices/Performances/Multis.

1 ASSIGN A, ASSIGN B

Determines the Control Change numbers generated when controlling the ASSIGN A and B (Control sliders 1 and 2).

Normally, there is no need to change these parameters. The general features used for the control numbers are indicated in

the parentheses.

2 Destination (function)

Determines the functions assigned to ASSIGN A and B. For the details about the abbreviations and the parameter types,

refer to the Control List in the separate Data List booklet.

Assigning multiple functions to a controller

You can have a single controller affect different aspects of the sound at the same time. For example, set the Source

parameter of Control Set 1 to MW (Modulation wheel) and the Destination parameter to ELFO-PM (Element LFO Pitch

Modulation Depth). Then set the Source parameter of Control Set 2 also to MW, but set the Destination parameter to

ELM PAN (Element Pan). In this example, when you move the Modulation Wheel upward, the amount of Pitch

Modulation increases accordingly, and the Element is simultaneously panned from left to right.

[UTILITY] → [F4] CTL ASN → [SF2] ASSIGN (page 165 )

TIP

Quick Guide Using the Controllers—Advanced Course

Controllers supported by the S90 ES

Owner’s Manual

Changing Control Change numbers

The functions assigned to the controllers by the Controller Set and ASSIGN A/B functions are applied only to the internal

tone generator block.

For connected external MIDI instruments, use of the controllers generates MIDI Control Change messages, as assigned in

the chart below.

* The S90 ES does not have a Ribbon Controller. However, keep in mind that if the same MIDI Control Change messages as set here are

received from an external device, the internal tone generator also responds to those messages as if the Ribbon Controller of the

instrument was used.

Conventional controllers, such as Modulation wheel, will affect connected MIDI instruments in their conventional way. For

example, when the pan function is assigned to the Modulation wheel under Controller Set, using the Modulation wheel will

apply the pan function to the internal tone generator, but will transmit the Modulation messages to the external MIDI

instrument.

Keep in mind also that if the same MIDI Control Change messages as set here are received from an external device, the

internal tone generator also responds to those messages as if the controller on the S90 ES itself was used.

Controller Generated MIDI message Display to set the Control Change number

Aftertouch Channel Aftertouch (DnH) -

Pitch Bend wheel Pitch Bend (EnH) -

Modulation wheel Control Change (BnH, 01H) -

Footswitch (connected to the SUSTAIN connector) Control Change (BnH, 40H) -

ASSIGN A, B Control Change (BnH) [UTILITY]

→ [F4] CTL ASN → [SF2] ASSIGN

Footswitch (connected to the ASSIGNABLE jack)* Control Change (BnH) [UTILITY]

→ [F4] CTL ASN → [SF3] FT SW

Ribbon Controller* Control Change (BnH) [VOICE]

→ [UTILITY] → [F3] VOICE → [SF4]

CTL ASN

[PERFORM]

→ Performance selection → [EDIT]

→ [COMMON] → [F4] CTL ASN

[MULTI/SEQ PLAY] (selecting Multi mode)

→ Multi

selection

→ [EDIT] → [COMMON] → [F4] CTL

ASN

ASSIGN 1, 2

Foot Controller 1, 2

Breath Controller

Using the Controllers effectively

You can also set up a controller such that it sends one kind of Control message to the internal tone generator of the S90

ES, yet another kind of message to the MIDI Out. For example, in a Controller Set you could assign Resonance to

ASSIGN 1 (Control slider 3). Then, in the Utility mode, you could assign Control Change number 1 (modulation) to the

same slider. Now, when you move Control slider 3, resonance will be applied to the sound of the internal tone generator

block, while modulation messages will be transmitted to the external MIDI instrument.

External MIDI

instrument

Controller

Tone generator

block

Transmitting the Control Change messages

Affecting the destination (Dest)

TIP

Quick GuideConnecting the Computer and Midi devices

Connections

Owner’s Manual

Connections

Connecting to External Audio Equipment

Since the S90 ES has no built-in speakers, you'll need an external audio system or a set of stereo headphones to properly

monitor it. Alternatively, you could use a pair of headphones.

There are several methods of connecting to external audio equipment, as described in the following illustrations.

Audio Output

■ Connecting stereo powered speakers

Hooking up a pair of powered speakers lets you hear accurate reproduction of the instrument's rich sounds with their own

pan and effect settings. Connect the powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.

n When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.

■ Connecting to a Mixer

There are extra audio outputs in addition to the main OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer for

separately controlling and processing individual Drum Key sounds or Parts. Installing the mLAN16E expands the output

capabilities with sixteen addition digital outputs, over a single FireWire (IEEE 1394) connector/cable. For details on how to

set the Part/output jack assignments, refer to the chart below.

Outputting separate notes (keys) of a Drum Voice

This is done from the OutputSel parameter (as selected below) as Drum Voice data.

This setting is available for Parts for which the OutputSel parameter is set to “drum” in another mode (e.g., Performance or

Multi).

Outputting separate Parts of a Performance

This is done from the OutputSel parameter (as selected below).

Assigning an audio input Part of a Performance to an output is done from the OutputSel parameter (as selected below).

Outputting separate Parts of a Multi

This is done from the OutputSel parameter (as selected below).

Assigning an audio input Part of a Multi to an output is done from the OutputSel parameter (as selected below).

Connecting the Computer and MIDI devices

[VOICE] → Drum Voice selection → [EDIT] → Drum Key selection → [F1] OSC → [SF2] OUTPUT → OutputSel (page 141)

[PERFORM] → Performance selection → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel (page 154)

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → OutputSel (page 151)

[MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT →

OutputSel (page 159)

[MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → [COMMON] →[F5] AUDIO IN → [SF1] OUTPUT →

Outputsel (page 158)

S90 ES

OUTPUT L/MONO

OUTPUT R

PHONES

Powered speaker (Left)

Powered speaker (Right)

Headphones

Quick Guide Connecting the Computer and Midi devices

Connections

Owner’s Manual

The following settings can be made from the parameter pages listed above.

* Available only when the optional mLAN16E board has been installed.

● Connection example when the optional mLAN16E board has been installed (analog and digital outputs)

n • Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks.

• The sound monitored through the headphones is identical to the sound of the OUTPUT L/MONO and R jacks.

• Any Parts/Drum keys assigned to the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E will not be output through the OUTPUT L/

MONO and R jacks.

• The System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT

jacks or mLAN connectors on mLAN16E. (Only the Part EQ and the Insertion Effect are applied.)

• The output from the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E is not affected by the [MASTER VOLUME] slider.

• In the Voice mode, Normal Voices cannot be output via the ASSIGNABLE OUTPUT jacks or mLAN connectors on the mLAN16E.

Audio Input

■ Connecting a microphone or other audio equipment to the A/D INPUT jacks (analog input)

Virtually any audio device—such as a microphone, guitar, bass, CD player, synthesizer, etc.—can be connected to these

jacks and its audio input signal can be mixed with and sounded as the AUDIO IN part of the Performance or Multi. For

details, see the “Using the microphone and audio device sounds” section on page 38.

■ Digital Input using the optional mLAN16E

The optional mLAN16E allows you to connect this instrument to an mLAN device or computer, giving you high-speed audio

and MIDI data transfer between devices with just one IEEE 1394 cable connection.

Display indication Output jacks Stereo/Mono Display indication Output jacks Stereo/Mono

L&R OUTPUT L and R Stereo asL ASSIGNABLE OUTPUT L Mono

asL&R ASSIGNABLE OUTPUT L and R Stereo asR ASSIGNABLE OUTPUT R Mono

as1&2 mLAN16E Audio Output 1 and 2 Stereo (1:L, 2:R) * as1 mLAN16E Audio Output 1 Mono *

as3&4 mLAN16E Audio Output 3 and 4 Stereo (3:L, 4:R) * as2 mLAN16E Audio Output 2 Mono *

as5&6 mLAN16E Audio Output 5 and 6 Stereo (5:L, 6:R) *

as7&8 mLAN16E Audio Output 7 and 8 Stereo (7:L, 8:R) * as7 mLAN16E Audio Output 7 Mono *

as9&10 mLAN16E Audio Output 9 and 10 Stereo (9:L, 10:R) *

as11&12 mLAN16E Audio Output 11 and 12 Stereo (11:L, 12:R) * as13 mLAN16E Audio Output 13 Mono *

as13&14 mLAN16E Audio Output 13 and 14 Stereo (13:L, 14:R) * as14 mLAN16E Audio Output 14 Mono *

ASSIGNABLE OUTPUT R

ASSIGNABLE OUTPUT L

OUTPUT R

OUTPUT L/MONO

S90 ES

mLAN16E

OUTPUT L

OUTPUT R

PHONE jack

Mixer

Headphones

Ampliﬁer

Speaker

(Left)

Speaker

(Right)

IEEE1394 cable

mLAN16E

S90 ES

mLAN device

(Data Rate S400)

IEEE1394 cable

Computer with an IEEE1394 interface

IEEE1394 cable

Quick GuideConnecting the Computer and Midi devices

Connections

Owner’s Manual

Connecting External MIDI Equipment

Using a standard MIDI cable (optional), you can connect an external MIDI device, and control it from the S90 ES. Likewise,

you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the S90 ES. This section

introduces several different applications of MIDI.

n When using the MIDI cable, make sure to set the following parameter to “MIDI.” [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT parameter

■ Controlling from an external MIDI keyboard

Use an external keyboard to remotely select and play Voices of the S90 ES.

■ Controlling an external MIDI keyboard

This connection lets you sound an external MIDI tone generator (synthesizer, tone generator module, etc.) by playing the

S90 ES or playing back the MIDI song ﬁle. Use this connection when you wish to sound the another instrument along with

the S90 ES.

MIDI Transmit Channel and Receive Channel

Make sure to match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the

S90 ES. For details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the owner's manual of

the instrument. For details on setting the MIDI Receive Channel of the S90 ES, follow the instructions below.

In the Voice mode/Performance mode (using the S90 ES as a single timbre tone generator)

Conﬁrm the MIDI Basic Receive Channel with the operation below. If necessary, change this parameter to the same

number as the MIDI Transmit Channel of the external MIDI instrument.

In the Multi mode/Sequence Play mode (using the S90 ES as a multi-timbral tone generator)

Change the settings of the desired parts to match the MIDI Transmit Channel settings on the external MIDI instrument.

Conﬁrm and change the MIDI Receive Channel for each Part of the Multi with the operation below.

Please note that all parts whose MIDI Receive Channel are the same as the MIDI Transmit Channel of the external MIDI

instrument are sounded by your keyboard performance. Change the settings of the desired parts to match the MIDI

Transmit Channel settings on the external MIDI instrument.

n For details about the tone generator block of S90 ES, see page 115.

MUSIC PRODUCTION SYNTHESIZER

S90 ES

MIDI IN

MIDI OUT

External MIDI keyboard or synthesizer, such as

the MOTIF ES series

[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh

[MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE →

ReceiveChITY] → [F5] MIDI → [SF1] CH → BasicRcvCh

S90 ES

MIDI IN

MIDI OUT

External MIDI keyboard or synthesizer, such as

the S/SY/EX series

Quick Guide Connecting the Computer and Midi devices

Connections

Owner’s Manual

■ Controlling another MIDI device via MIDI THRU

MIDI THRU simply re-transmits the MIDI messages received via MIDI IN. In the example below, the MIDI messages

generated by playing an external keyboard are transmitted to an external tone generator via the MIDI THRU connector on

the S90 ES. The MIDI data of your performance on the S90 ES are transmitted to an external device via the MIDI OUT

connector on the S90 ES.

■ Using an IEEE1394 interface (when an optional mLAN16E has been installed)

The mLAN connection to computer (page 64) allows you to transfer both audio and MIDI data between your S90 ES and a

computer.

Splitting the sound between the S90 ES and an external tone generator by MIDI channel

Using the connection example shown above, you can play both instruments and have them separately sound different

parts. To use this feature, you must set the S90 ES's output channel and the external tone generator's receive channel

to the same channel number. Follow the instructions below.

■ In the Voice mode/Performance mode

You can check the MIDI Transmit Channel at the right corner of the [F1] PLAY display in the Voice Play mode/

Performance Play mode. If necessary, change the MIDI Transmit Channel by turning the [TRACK SELECT] button on

and entering the desired value with the Number buttons. When you wish to mute the sound of the S90 ES and sound

only the external tone generator, set Master Volume to “0,” or set Local Control to “off” with the following operation.

For details on how to set the MIDI Receive Channel of the external MIDI instrument, refer to the owner's manual of the

instrument.

■ In the Multi mode/Sequence Play mode

In the Multi mode and Sequence Play mode, the MIDI messages generated by playing the keyboard are transmitted on

the same MIDI channel number as that of the currently selected Part.

Alternately, you can set the output destination (Internal or external MIDI tone generator) for each Part from the following

display in the Sequence Play mode (page 99).

Please note that all parts whose MIDI Receive Channel are the same as the MIDI Transmit Channel of the external MIDI

instrument are sounded by your keyboard performance. Change the settings of the desired parts to match the MIDI

Transmit Channel settings on the external MIDI instrument.

n You can also split the sound between the S90 ES and external tone generators by using the Zone settings.

n For details about the tone generator block of S90 ES, see page 115.

TIP

[UTILITY] → [F5] MIDI → [SF2] SWITCH → LocalCtrl

[MULTI/SEQ PLAY] (select Sequence Play mode) → [F2] OUTPUT → INT SW (Internal Switch), EXT SW (External Switch)

S90 ES

MUSIC PRODUCTION SYNTHESIZER

MIDI OUT

MIDI THRUMIDI IN

MIDI IN MIDI IN

MIDI tone generator

MIDI Keyboad

MIDI Synthesizer

Quick GuideConnecting the Computer and Midi devices

Connections

Owner’s Manual

Connecting to a Computer

Connecting this instrument to a computer via MIDI opens up a whole world of musical possibilities—such as using

sequencer software to record and play back compositions with the S90 ES sounds or using the Voice Editor/Multi Part Editor

software to create and edit your own custom Voices/Multis.

Using a USB cable

MIDI messages can be transferred between the sequencer software and S90 ES using the USB cable. However, audio data

cannot be transmitted or received via USB on the S90 ES.

When using a USB connection, make sure to set the following parameter to “USB.”

n USB cables have different connectors on each end: the A type and the B type. When connecting this synthesizer to the computer, connect the A type

to your computer and the B type to the USB TO HOST connector. When connecting this synthesizer to the computer, connect the A type to your

computer and the B type to the USB TO HOST connector.

n If you are using the Remote Control function of the S90 ES to control operations on a computer sequencer, use the USB connection.

In order to use the instrument with a computer via a USB connection, you will need to install an appropriate

USB-MIDI driver. You can download the proper driver from our website:

http://www.global.yamaha.com/download/usb_midi/

OS: Windows XP Professional/Home Edition, Mac OS X 10.2-10.4.0

*This information is current as of May 2005. For the latest information check the web site above.

[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT = USB

MIDI channel and MIDI port

MIDI data is assigned to one of sixteen channels, and this instrument is capable of simultaneously playing sixteen

separate parts via these channels. While a single MIDI cable is equipped to handle data over up to sixteen channels

simultaneously, a USB connection is capable of handling far more—thanks to the use of MIDI ports. Each MIDI port can

handle sixteen channels, and the USB connection allows up to eight ports, letting you use up to 128 channels (8 ports

x 16 channels) on your computer.

n This instrument can recognize and use up to three ports at the same time.

n When using a USB connection, make sure to match the MIDI transmit port and the MIDI receive port as well as the MIDI transmit channel and the

MIDI receive channel.

Synchronizing with an external sequencer (Master and Slave)

When using multiple MIDI devices, the tempo settings of the MIDI devices must be synchronized by clock signal.

The device set to internal clock serves as a reference for all connected devices, and is referred to as the “master”

instrument. The connected devices set to external clock are referred to as “slaves.” When using playback data of an

external sequencer to trigger the Arpeggio function on the S90 ES, make sure to set the MIDI synchronization

parameter in the Utility mode so that the external clock is used (as shown below).

In addition, make sure that the external MIDI sequencer is set to “master” or internal sync.

n Certain sequencers may not send clock signals to an external device while playback is stopped. When “MIDI Sync” is set to “MIDI,” the

Arpeggio function is available only while the S90 ES receives clock signals from the master instrument.

S90 ES

USB TO HOST

USB cable

Computer with a USB interface

[UTILITY] → MIDI display → MIDI Sync = MIDI

Quick Guide Connecting the Computer and Midi devices

Connections

Owner’s Manual

Thru Port Setting

MIDI ports can be used to divide playback among multiple synthesizers, as well as expand the MIDI channel

capacity beyond sixteen.

In the example below, a separate synthesizer connected to the S90 ES is played by MIDI data via port 5, as set in the

ThruPort parameter with the following operation.

Using an IEEE1394 (mLAN) cable (when an optional mLAN16E has been

installed)

By installing an optional mLAN16E interface, you can connect a computer (with an IEEE 1394 interface) to this instrument

and have both MIDI and audio data transfer via a single cable.

The mLAN connection using an IEEE1394 cable lets you transfer both MIDI data and audio data. For example, you can

record your keyboard performance to hard disk of the computer as audio data (page 88).

[UTILITY] → [F5] MIDI → [SF4] OTHER → ThruPort = 5

Precautions when using the USB TO HOST connector

When connecting the computer to the USB TO HOST connector, make sure to observe the following points.

Failing to do so risks freezing the computer and corrupting or even losing the data. If the computer or the instrument

freezes, turn the power to the instrument off or restart the computer.

• Before connecting the computer to the USB TO HOST connector, exit from any power-saving mode (such as suspended, sleep, standby) of the

computer.

• Before turning on the power to the instrument, connect the computer to the USB TO HOST connector.

•Execute the following before turning the power to the instrument on/off or plugging/unplugging the USB cable to/from the USB TO HOST

connector.

· Quit any open applications (such as Voice Editor, Multi Part Editor, and sequencer software).

· Make sure that data is not being transmitted from the instrument. (Data is transmitted only by playing notes on the keyboard or playing back

a song.)

• While a USB device is connected to the instrument, you should wait for six seconds or more between these operations: (1) when turning the

power of the instrument off then on again, or (2) when alternately connecting/disconnecting the USB cable.

[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT = mLAN

TIP

S90 ES

MIDI OUT USB TO HOST

MIDI IN

Only MIDI data over port 5 will be

transmitted through the S90 ES to this

tone generator.

MIDI cable USB cable

Outputting the MIDI data

via multiple ports

Only MIDI data over ports 1, 2, and 3 are recognized. For details on the

relationship between the MIDI port and the tone generator block, see page 115.

CAUTION

S90 ES

mLAN16E

mLAN connector

Computer with an IEEE1394 interface

IEEE1394 cable

Quick GuideConnecting the Computer and Midi devices

Connections

Owner’s Manual

Using a MIDI cable

n Use an appropriate MIDI interface for your computer. If you are using a computer that has a USB port, make sure to connect the computer and the S90

ES by USB. (The data transfer rate is faster than MIDI and you'll have access to multiple MIDI ports.)

Local On/Off—when Connected to a Computer

When connecting this synthesizer to a computer, the keyboard performance data is generally sent to the computer, and

then returned from the computer to play the tone generator block. If the Local Control in the Utility mode is set to “on,” a

“double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and

the computer. Use the setting suggestions below as a guideline; speciﬁc instructions may differ depending on your

computer and the software used.

• When MIDI “Echo” (MIDI Thru) is set to “on” the software/computer:

n When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that

MIDI “Echo” (MIDI through) on the computer software is set to “off.”

• When MIDI “Echo” (MIDI Thru) is set to “off” the software/computer:

n Although not indicated in the illustration above, the S90 ES actually receives and responds to MIDI data from the computer application

(sequencer), regardless of the Local Control setting on the S90 ES.

* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI OUT. In some

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

n For details about the MIDI Echo, refer to the owner’s manual of your particular software.

S90 ES

MIDI OUTMIDI IN

MIDI cable

MIDI interface

Serial port (modem or printer port)

or USB port

Computer

S90 ES

IN OUT

USB TO HOST

OUT

Computer (SQ01, etc.)

MIDI Echo (MIDI thru) = on

Tone generator

block

Keyboard

[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = off

OUT

USB TO HOST

S90 ES

Computer (SQ01, etc.)

MIDI Echo (MIDI thru) = off

Tone generator

block

Keyboard

[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = on

Creating a Song with the Multi mode

Owner’s Manual

Quick Guide Connecting the Computer and Midi devices

Creating a Song with the Multi mode

The Multi Mode lets you set up the S90 ES as a multi-timbral tone generator for use with computer-based music software or

external sequencers. If each track in a MIDI song ﬁle uses a different MIDI channel, you can independently assign each of

the Parts in a Multi to those MIDI channels. In this way, you can play back the song data on a sequencer with each track

playing a different Voice.

You can create a Multi containing up to 16 Parts using the internal tone generator. Installing Plug-in Boards allows you to

create a Multi containing up to 34 Parts (page 117).

Since there is only one bank of Multi presets, you can select a Multi directly without specifying a bank.

n About the User Bank of Multis

When shipped from the factory, this tone generator contains a full set of specially programmed 32 User Multis in the User Bank.

If a Multi in a User Bank (User Voice) is overwritten, the User Voice will be lost. When you save the edited Multi, be careful not to overwrite any

important User Multis. Up to 64 Multis can be stored in the User Bank.

Playing the Multi

In the Multi Play mode, you can select and play any of the Multis. For more details about Multis, see page 109. Here, you'll

learn how to play back song ﬁles of your computer sequencer software with the S90 ES.

Setting up for using a computer

n In the example explanations below, the S90 ES is connected to a

computer via USB. You can also use MIDI cables or an mLAN

(IEEE1394) cable to connect the instrument to a computer.

http://www.global.yamaha.com/download/usb_midi/

OS: Windows XP Professional/Home Edition, Mac OS X

10.2-10.4.0

* This information is current as of May 2005. For the latest

information check the web site above.

For information about how to install, refer to the installation

guide included in the downloaded ﬁle.

For details, see page 67.

Never attempt to turn off the power while an “Executing...” or “Please

keep power on” message is shown. Turning the power off in this state

may cause the system to freeze and prevent normal startup the next

time the power is turned on, as well as resulting in the loss of all user

data.

Using the sounds of the S90 ES for

song playback from a sequencer

Set the MIDI port and MIDI channel setting of each track in

the sequencer song ﬁle as desired.

MIDI Port settings

If you are using the internal tone generator of the S90 ES,

set the MIDI port of each track of the sequencer to “1.” If

you are using Plug-in Board Voices, set the MIDI port of the

track(s) to the same number as in the “PORT NO.”

parameter.

MIDI channel settings

Match the MIDI transmit channels of the sequencer with

the receive channels of the Multi Parts (Step 6). The

receive channels of the Multi can be set in the [F1] VOICE

display in the Multi Part Edit mode (page 159).

n MIDI ports 1 - 8 of USB are shown as “YAMAHA USB IN/OUT 0 - 1”

- “YAMAHA USB IN/OUT 0 - 8” in Windows, and as “YAMAHA S90

ES Port 1” - “YAMAHA S90 ES Port 8” on the Macintosh.

Download the latest USB-MIDI driver from the

website at the following URL:

Install the USB-MIDI driver to the computer.

Connect the S90 ES to the computer by the

USB cable.

Set the following parameter to “USB.”

[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT

Press the [STORE] button to store the settings

as the system setting of Utility mode.

CAUTION

Follow the instructions described in “Setting

up for using a computer” (at left).

Start up the sequencer software on the

computer, and then open a new song file in

the sequencer.

[UTILITY] → [F6] PLUG → [SF2] MIDI → PORT NO.

Creating a Song with the Multi mode

Owner’s Manual

Quick GuideConnecting the Computer and Midi devices

This operation is the same as in the “Selecting a

Performance” section on page 34. However, keep in mind

that the following points differ from the Performance.

• Only Group buttons [A] - [D] can be used. (A maximum of

64 channels can be used with a Multi.)

• You cannot use the Category Search function.

Set the Voices to be assigned to each Multi Part, as well as

the Receive Channels and Effects for the desired song. For

more information, refer to “Simple Mixing functions (Multi

Play mode)” on page 72 and “Detailed Mixing functions

(Multi Edit mode)” on page 74.

n When shipped from the factory, this tone generator contains a full

set of specially programmed 32 User Multis in the User Bank.

For details, refer to the owner's manual of your sequencer.

When a Note On message is received, the corresponding

Part is played. For example, when you play back tracks on

the sequencer, the Part whose Receive Channel is same as

the sequencer track's Transmit Channel is played. If two or

more Parts have the same MIDI receive channel value,

those Parts will play in unison.

Press the [MULTI/SEQ PLAY] button once or

twice to enter the Multi mode.

Select a Multi.

Selecting Multis from a computer

As in the Voice mode, you can select a Multi on this

instrument from your computer software by specifying

the following MIDI messages (page 107). The Bank

Select MSB/LSB values for changing the Multi are as

follows:

• Bank Select MSB (Control Change #000) = 63

• Bank Select LSB (Control Change #032) = 65

This Bank Select/Program Change data must be sent

over the same MIDI channel as that of the

BasicRcvCh (Basic Receive Channel) setting.

n When switching the mode (e.g., changing the Voice mode to

the Multi mode), transmit the proper Mode Change message

(System Exclusive) before sending the Bank Select MSB to

the S90 ES (page 183).

n After sending the Bank Select MSB/LSB, transmit the proper

Program Change message to select the Multi program

number.

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

TIP

Record your song data to the sequencer song

file.

Play back the sequencer song file using the

sounds of the S90 ES.

12345678 16

External keyboard

External sequencer

Song playback

Tone generator

Part

Multi

Voice

Playing a Multi

Multi Play Mode

Quick Guide Connecting the Computer and Midi devices

Creating a Song with the Multi mode

Owner’s Manual

Simple mixing functions (Multi Play mode)

The Multi Play mode gives you convenient editing functions over some basic parameters, and features a graphic mixer—like

layout that allows you to easily check each Part's setting. This mode is useful for changing parameters for each Part even

while song data is being played back from a connected sequencer. Simple mixing functions and basic parameters are

provided in the mode, such as selecting Voices, changing effect settings and so on.

If you want to edit a Multi in greater detail, use the Multi Edit mode (page 74).

When creating a new Multi from scratch, you can conveniently clear the settings for the current Multi beforehand by using

the Initialize function in the Multi Job mode (page 160).

When you play the keyboard, the Voice assigned to the current selected Part will be played.

Pressing the [F6] button switches among the following displays: the display for Parts 1 - 16, to which the internal Voices are

assigned, the display for Multi Plug-in Parts (17 - 32), to which the PLG100-XG voices are assigned, and the display for

Plug-in Parts (PLG1 - 3), to which the Plug-in Voices of the single part Plug-in board are assigned.

Multi Part mute/solo

■ To mute a Part

1. Press the [MUTE] button so that its lamp lights.

To turn Mute off, press the [MUTE] button again (the

lamp goes off).

2. Press any of the Number [1] - [16] buttons to

select the Part number to be muted.

The corresponding Part is set to mute (its lamp goes

off) and produces no sound. When pressing the

same number button again, the Part mute is

canceled (its lamp lights).

■ To solo a Part

Simultaneously hold down the [MUTE] button and press

one of the Number buttons [1] to [16] to solo the

corresponding Part. Once you've selected a Part for

soloing, the [MUTE] button's lamp ﬂashes, indicating

the Solo function is active. While Solo is active, you can

change the soloed track simply by pressing the

corresponding Number button [1] to [16].

n When selecting a Multi in the Master mode, the mute/solo settings apply not to each Part but to each MIDI transmit channel. Details are the

same as for the mute/solo settings in the Sequence Play mode.

Select the Multi you wish to edit according to the instructions in “Using the sounds of the S90 ES for

song playback from a sequencer” on page 70.

Turn the [TRACK SELECT] button on and select a Part by using the Number [1] - [16] buttons.

Notes on playing the selected Part using the keyboard

The process of step 2 above not only selects the Part in the display, but the MIDI transmit channel that is assigned to

the same number as the Part number as well (just as in the Voice or Performance mode). Therefore, when the MIDI

receiving channel (ReceiveCh) is changed, the Voice assigned to an unselected Part may sound.

For example, when you set the [TRACK SELECT] button to on and press the number [2] button, Part 2 is selected, and

the MIDI transmit channel of the keyboard is set to channel 2 at the same time.

However, if you've set the MIDI receive channel (ReceiveCh) of Part 2 to channel 3, and the MIDI receive channel of

Part 3 to channel 2, the MIDI data of your keyboard performance is output to channel 2, and Part 3's voice will be

output—instead of the selected Part 2 voice. (See illustration below.)

n The Receive Channel can be set in the Multi Edit mode (page 159).

TIP

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

Press the buttons simultaneously

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

Creating a Song with the Multi mode

Owner’s Manual

Quick GuideConnecting the Computer and Midi devices

[F2] VOL/PAN

Set the pan and output level (volume) of each Part.

[F3] VOICE

Turn the [TRACK SELECT] button and [MUTE] button to off,

and then select the Voice Bank or Number, in the same way

as in the Voice mode (page 30).

n Bank

By selecting the “BankMSB/BankLSB” parameter and using the

data dial, you can call up the Voice Banks listed below.

* For details about Plug-in Board Voices, see page 100.

[F4] EF SEND (Effect Send)

Adjust the Reverb/Chorus Effect for each Part.

For details about the effect settings, see page 123.

[F5] VCE ED (Multi Voice Edit)

Edit the Normal Voice assigned to each Part. This is the

same function as in both Common Edit and Voice Element

Edit in the Voice mode (page 45).

n Certain parameters cannot be edited in Multi Voice Edit.

n Only Normal Voices can be edited.

n A Voice edited with this function will be saved as a User Voice.

n Please note that the functions of the [F5] and [F6] buttons depend

on whether the [F1] PLAY display is selected or not. For details,

see page 157.

You can store up to 64 Multis to internal memory. For

details about storing Multis, see page 76.

Select the desired display, then edit the

desired parameters by using the [F1] - [F6]

and [SF1] - [SF5] buttons.

Normal Voice Drum Voice Plug-in Voice

Pr 1 - 4: Preset PD: Preset Drum Pp: Plug-in Preset

GM GD: GM Drum Pu1: Plug-in User

Us 1 - 2: User UD: User Drum PB: Plug-in Board *

Using Category Search to assign

Voices to the Parts

You can select Voices using the Category Search

function, just as is done in the Voice Play mode (page

32).

Assigning Voices to the Parts from a

computer

You can use a computer to select Voices to be

assigned to the Parts by specifying appropriate MIDI

messages. If you transmit the relevant Bank Select

MSB/LSB and Program Change messages to the S90

ES, the Part Voice corresponding to the MIDI channel

of these messages can be changed (page 107).

n Make sure that the MIDI Channel of the MIDI message is set

to the same value as the Receive Channel (ReceiveCh) of

the desired Part.

TIP

Store the edited Multi.

Playing Single-part Plug-in Board Voices

In the default settings, the Receive Channels are set

to 1 for the PLG1 Part, 2 for PLG2, and 3 for PLG3. If

the MIDI Port for a PLG Part is set to 1, the internal

Parts which are set to the same receive channel as

that of the Plug-in Part are also played when a Note

On message is received.

To prevent this from happening, set the receive chan-

nels of the Parts that you want to keep from playing to

“off,” or set the MIDI port of the Plug-in Part(s) to “2” or

“3” (page 100).

Quick Guide Connecting the Computer and Midi devices

Creating a Song with the Multi mode

Owner’s Manual

Detailed mixing functions (Multi Edit mode)

The Multi Edit mode has a detailed mixing function that lets you change the Multi parameter settings in the same way as the

Voice Edit mode. There are two types of Multi Edit displays: those for Common Edit, and those for editing individual Parts

(Part Edit). Use Common Edit to edit the settings common to all Parts and Part Edit to edit the settings for individual Parts.

When creating a new Multi from scratch, you can conveniently clear the settings for the current Multi beforehand by using

the Initialize function in the Multi Job mode (page 160).

Use Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts.

For details on the available parameters, see page 157.

For detailed instructions on naming a Multi, refer to Page 27.

Press the [MULTI/SEQ PLAY] button to enter the Multi mode, then select a Multi to be edited (page 70).

Press the [EDIT] button to enter the Multi Edit mode.

Call up the Common Edit display or Part Edit display.

Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit

the parameters in each display.

Repeat steps 3 - 4 as desired.

Name the edited Multi.

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

SYN LEAD

BCD

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

......

COMMON

ELEMENT/PERF. PART/ZONE

FAVORITES

DRUM

KITS

A. PIANO KEYBOARD ORGAN

PRE 1

PRE 2

PRE 3

PRE 4

GUITAR/

PLUCKED

SYN LEAD

BCD

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

......

Calling up the Common Edit display

Press the [COMMON] button to call up the

Common Edit display.

In the Edit mode, the [DRUM KITS] button

functions as the [COMMON] button.

Calling up the Part Edit display

Press the desired Part number from the PART

[1] - [16] buttons to call up the Part Edit display.

Indicates the display for editing part 1.

n Common Edit operations cannot be

performed on the Multi-part Plug-in parts

17 - 32. The Multi settings for the Multi-Part

Plug-in Part (17 - 32) apply not to one

individual song but to all 64 songs.

Part1 Edit

Part2 Edit

Part3 Edit

Part4 Edit

Part 16 Edit

Part 17 Edit

Part 32 Edit

Plug-in part 1 (PLG1) Edit

Plug-in part 2 (PLG2) Edit

Plug-in part 3 (PLG3) Edit

Common Edit

Internal

Tone Generator

Multi-Part Plug-in

Board PLG100-XG

Single Part

Plug-in

Board

While in the Multi Edit mode, you can switch between

the Common Edit display and the Part Edit display as

shown below.

Indicates a Common Edit

display.

n You can mute or solo a Part just as is done with Parts

in the Multi Play mode.

To switch between the Part

1 - 16 display, Part 17 - 32,

and Part PLG1 - 3 display,

press the [F6] button.

Quick GuideConnecting the Computer and Midi devices

Creating a Song with the Multi mode

Owner’s Manual

The edited Multi can be stored in the Multi Store mode. For details, refer to page 76.

Editing a Multi by using the Control sliders

The four sliders at the top left of the instrument are not only for tweaking the sound while you perform — you can also

use them to edit a Multi, either in the Multi Play mode or the Multi Edit mode.

For details on the parameters edited by the sliders, refer to the descriptions in the Performance mode (page 55).

● When the [PAN/SEND] indicator is turned on:

● When the [TONE] indicator is turned on:

n The settings above are applied as offsets to the AEG and FEG settings in the Performance Edit mode.

● When the [ARP FX] indicator is turned on:

● When the [EQ] indicator is turned on:

● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):

n In addition to above functions, Master Effect related parameters (set in the [MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection →

[EDIT] → [COMMON] → [F2] MEQ/MEF → [SF2] MEFF display) can be assigned to these four sliders by pressing the [ARP FX] and [EQ]

buttons simultaneously. The particular parameters are assigned to the four sliders can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF

display.

● When the [VOLUME] indicator is turned on:

Store the settings as a User Multi.

PAN [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F2] OUTPUT → [SF1] VOL/PAN → Pan Page 159

REVERB [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F2] OUTPUT → [SF2] EF SEND → RevSend Page 159

CHORUS [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F2] OUTPUT → [SF2] EF SEND → ChoSend Page 159

TEMPO [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMOM] → [F3] APP → [SF1] TYPE → Tempo Page 158

CUTOFF [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF2] FILTER → Cutoff Page 159

RESONANCE [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF2] FILTER → Resonance Page 159

ATTACK [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF4] AEG → Attack Page 159

RELEASE [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF4] AEG → Release Page 159

SWING [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → Swing Page 158

GATE TIME [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → Gate Time Rate Page 158

VELOCITY [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → Velocity Rate Page 158

UNIT MULTIPLY [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → UnitMultiply Page 158

LO [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → Part Selection → [F3] EQ → Low Gain Page 159

LO MID [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → Part Selection → [F3] EQ → Mid Gain Page 159

HI MID – Page 159

HI [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → Part Selection → [F3] EQ → High Gain Page 159

ASSIGN A Adjusts parameters assigned to these sliders in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 165

ASSIGN B

ASSIGN 1 Depends on the settings of the Voice assigned to the selected Multi. Page 131

ASSIGN 2

PART Adjusts the level balance among the Parts.

[MULTI/SEQ PLAY] (Selecting Multi mode) → Multi selection → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume

Page 159

Compare function and Edit Recall (Multi mode)

These are the same as in the Voice mode and Performance mode. For details, refer to page 105.

TIP

Creating a Song with the Multi mode

Owner’s Manual

Quick Guide Connecting the Computer and Midi devices

Storing/saving the created Multi

Two steps are necessary in order to store (save) your Multi—storing the edited Multi to internal memory and saving the

stored Multis to a USB storage device.

When you turn off the power to the instrument, User Multis saved in the Multi Store mode are not erased. As such it is not

necessary to save the data to USB storage device; however, you may want to save it for backup or organizational purposes,

using the Save operation.

Storing the edited Multi as a User

Multi to internal memory

The operation is the same as in the Performance mode

(page 56).

Saving the edited Multis to a USB

storage device

The basic operation is the same as in the Voice mode

(page 51). However, you must select the ﬁle type “All” as in

the Performance mode. When Type is set to “All,” execute

the Save operation to save all the created data, including

the Multis as well as the Voices assigned to them, as a

single ﬁle (extension: S7A).

Loading Multi data from the USB

storage device

These instructions describe how to recall the “All” ﬁle data

saved to the USB storage device, using the Load operation

to transfer the data to the instrument. An “All” ﬁle

(extension: S7A) contains all Multis.

If the device is divided into several partitions, select the

speciﬁc partition for use. If the device has several media

(e.g., discs) inserted, select a speciﬁc Slot number.

If the desired ﬁle was saved to a speciﬁc folder, enter the

folder and select the ﬁle. For information on how to select a

folder, see the “Supplementary information” on page 170.

n Multis cannot be loaded separately from the other data in an “All”

ﬁle.

When Type (ﬁle type) is set to “All” and the Load operation is executed,

all data that can be created on the instrument will be loaded. This

means that any existing data in User memory will automatically be

overwritten and lost. Make sure to save any important data to a USB

storage device before performing the Load operations, especially when

Type is set to “All.”

After the data has been loaded, a “Completed” message

appears and operation returns to the original display.

While the data is being saved/loaded, make sure to follow these

precautions:

* Do not remove or eject the media from the USB storage device.

* Do not unplug or disconnect the USB storage device.

* Do not turn off the power of the instrument or the relevant devices.

Multi Play/

Multi Edit

STORE SAVE

USB storage

device

Multi 001

Multi 002

Multi 003

Multi 128

Internal memory

All the Multi data in

internal memory can

be saved as a single

ﬁle.

Storing edited Multis individually

[MULTI/SEQ PLAY] (select Multi mode) → [STORE]

[FILE] → [F2] SAVE

[FILE] → [F3] LOAD

Press the [FILE] button to enter the File mode.

Then press the [F1] CONFIG button and [SF2]

CURRENT button.

Press the [F3] LOAD button to call up the Load

display.

Select the file type “All.”

Press the [SF1] EXEC button to actually load

the file.

USB storage

Internal memory

(Flash ROM)

Multi 001

Multi 002

Multi 003

Multi 064

Multi 001

Multi 002

Multi 003

Multi 064

File extension: S7A

All the Multi

data in

internal

memory can

be saved as a

single ﬁle.

CAUTION

Quick GuideConnecting the Computer and Midi devices

Using the S90 ES with computer software

Owner’s Manual

Using the S90 ES with computer software

Editing the S90 ES as a software synthesizer

Voice Editor and Multi Part Editor

The Voice Editor and Multi Part Editor for S90 ES provide a highly intuitive way to create and edit the Voice and Multi settings

completely from your computer display. These programs not only allow you to see virtually all parameters at once, they also

give you direct graphic control—for example, letting you adjust the settings by clicking and dragging on a graph—enabling

you to edit Voices and Multis with remarkable efﬁciency, speed and convenience.

The latest versions of Voice Editor and Multi Part Editor for S90 ES can be downloaded at our website:

http://www.yamahasynth.com/download/

For details on how to operate the Editor, refer to the PDF manual included with the Editor.

OS: Windows XP Professional/Home Edition, Mac OS X 10.3 or later

*This information is current as of May 2005. For the latest information check the web site above.

n You will need the Studio Manager software (Version 2) to start each Editor. Make sure to download Studio Manager together with the appropriate

Editors from the website above.

Studio Connections

Studio Connections is a sophisticated software/hardware solution that lets you

seamlessly integrate the S90 ES into your computer music system. If you are using

sequencer software that is compatible with Studio Connections, such as Cubase SX 3,

you can start the Voice Editor and Multi Part Editor from your sequencer and make all

edits within the program and save all Editor settings along with the project (song) ﬁle.

Then, when you open the project again, all your Voice/Multi settings for the song are

instantly recalled and automatically loaded to the S90 ES. Using Studio Connections

effectively lets you control your hardware synthesizer as easily and conveniently as if it

were a software synthesizer within your sequencer—all with no decrease in the

processing power of your system

For details about Studio Connections, visit our website at:

http://www.studioconnections.org/

Editing the S90 ES from a computer

Multi Part Editor

Voice Editor

Computer

S90 ES

Managing software and hardware with Studio Connections

Mixer compatible with

Studio Connections

Computer

Tone generator compatible with

Studio Connections

Sequencer software compatible

with Studio Connections (such as

Cubase SX 3)

Editor for each

hardware device

Using the S90 ES with computer software

Owner’s Manual

Quick Guide Connecting the Computer and Midi devices

Remote-controlling the software

This powerful feature lets you control your music/audio software programs by using sliders and buttons on the panel of the

S90 ES, rather than your computer's mouse and keyboard. The S90 ES can be used to control sequencer software and DAW

(digital audio workstation) software, such as Cubase SX, Logic, and SONAR.

These sequencers or DAWs are already set to respond to speciﬁc hardware controllers. The Remote Control function on the

S90 ES emulates popular hardware controllers such as the Yamaha 01X, letting you use the panel buttons/controllers on the

S90 ES for controlling your music/audio software.

Computer Software that can be controlled from the instrument

Setting up for Remote Control

The mLAN connection can also be used for remote control (page 68).

If connecting via mLAN, set the MIDI IN/OUT parameter to “mLAN.”

n If the S90 ES is connected to the computer by MIDI cable, the Remote Control function cannot be used.

n If you are using the Remote Control function, we recommend making connections with a USB cable.

From the S90 ES, you can remote-control the sequencer and Multi Part Editor simultaneously using Mode A and Mode B.

Windows Macintosh

Cubase SX 3

SQ01

SONAR 4

S90 ES Multi Part Editor

MOTIF ES Multi Part Editor

MOTIF-RACK Multi Part Editor

MOTIF-RACK ES Multi Part Editor

Cubase SX 3

Logic Pro 7

Digital Performer 4.52

S90 ES Multi Part Editor

MOTIF ES Multi Part Editor

MOTIF-RACK Multi Part Editor

MOTIF-RACK ES Multi Part Editor

Connect the S90 ES to the computer via USB (page 67).

Set the following parameter to “USB.”

[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT

Call up the Remote Control Setup display by pressing the [F4] CTL ASN button, followed by the [SF4]

REMOTE button.

Select the software to be controlled and the Port number.

Using the S90 ES with computer software

Owner’s Manual

Quick GuideConnecting the Computer and Midi devices

● When controlling Cubase SX via MIDI port 4

Mode A

Set the Port for remote control of the sequencer or DAW. Select your sequencer and the desired Port number. When

controlling Yamaha software, select “general.”

Mode B

Set the Port for remote control of the Multi Part Editor. When controlling the Multi Part Editor, select “general.” In this case, the

parameter is set to “off” because the Multi Part Editor is not used.

n The “general” setting is for remote control of the Yamaha software. This lets you control the Multi Part Editor in Mode A, and control Yamaha sequencer

software in Mode B.

n For details on how to operate the Editor, refer to the PDF manual included with the software.

* In the Multi mode or Sequence Play mode, the transmit Port may be set to 2 or 3 (page 100). In this case, if you try to use Port number 2

or 3 for the remote control function, the function may not work properly because of Port conﬂicts.

If you turn the power off without storing, the currently edited settings will be lost.

Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause

the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data.

Set the Port setting for remote-control on the software, referring to the illustration in step 4.

Press the [ENTER] button to execute the settings.

Press the [STORE] button to store the settings as the system setting of Utility mode.

Start the software to be remote-controlled, and make the MIDI settings and remote control settings.

Remote-control block

Tone generator block

Multi

When using the Port 1 for

internal Parts and Port2 for

PLG Parts

Port 4 (Mode A)

Port 1 and 2 (Playback data from sequencer)

Port 1 (Playback data from keyboard of S90 ES)*

Computer

Project ﬁle

(Song ﬁle)

Cubass SX

S90 ES

CAUTION

Using the S90 ES with computer software

Owner’s Manual

Quick Guide Connecting the Computer and Midi devices

Speciﬁc instructions for setting up your particular software follow. For instructions on how to start the software, refer to the

documentation included with the software.

■ Cubase SX 3

1 Pull down the [Devices] menu and select [Device

Setup] to call up the “Device Setup” window.

2 Click the [+] button and add “Mackie Control.”

3 Select “Mackie Control” from the popup list.

4 When setting the Port to “4,” for example, in step 4 of

“Setting up for Remote Control,” set the MIDI Input to

“YAMAHA USB IN 0 - 4” and the MIDI Output to

“YAMAHA USB OUT 0 - 4.”

n The functions of buttons on the Mackie Control are assigned to the

buttons of the S90 ES, with the exception of UserA and UserB

(FootSw) which are not supported by the S90 ES.

■ SONAR 4

1 Pull down the [Options] menu and select [MIDI

Devices] to call up the “MIDI Devices” window.

2 When setting the Port to “4” for example in step 4 of

“Setting up for Remote Control” add “YAMAHA USB IN

0-4” to the “Inputs” and add “YAMAHA USB OUT 0 - 4”

to the “Outputs.”

3 Pull down the [Options] menu and select [Control

Surfaces] to call up the Control Surface window.

4 Click the “[+] button, select “Mackie Control,” then set

the Input Port to “YAMAHA USB IN 0 - 4” and the

Output Port to “YAMAHA USB OUT 0 - 4” (for example,

when setting the Port to “4” in step 4 of “Setting up for

Remote Control”).

■ Digital Performer 4.52

1 Pull down the [Setup] menu and select [Control Surface

Setup] to call up the “Control Surface” window.

2 Click the [+] button.

3 Select “Mackie Control” in the Driver section.

4 In the box for setting “Unit” and “MIDI,” select “Mackie

Control” in the “Unit” section and select the MIDI port in

the “MIDI” section.

■ Logic Pro 7

When turning on the power of the S90 ES before

starting Logic:

1 Start Logic on the computer, then turn on the power of

the S90 ES.

2 Start Logic on the computer.

Logic automatically recognizes the S90 ES as Logic

Control and performs the required settings.

When starting Logic before turning on the power of the

S90 ES:

1 Start Logic on the computer, then turn the power to the

S90 ES on.

If you have already set the software to be controlled to

“Logic” in the Utility mode, you need not perform step 2

because Logic automatically recognizes the S90 ES

when this step is performed.

2 Set the software to be controlled to “Logic” in the Utility

mode, then enter the Remote Control mode.

Logic automatically recognizes the S90 ES and

performs the required settings.

Using the Remote Control functions

The REMOTE display appears, and the panel controls are enabled for Remote operation of the computer software (their

normal functions are disabled).

n Press this button again to exit from the Remote Control mode.

To enter the Remote Control mode, press the [REMOTE] button (the lamp flashes).

REMOTE

EFFECT

BYPASS

ARPEGGIO

Quick GuideConnecting the Computer and Midi devices

Using the S90 ES with computer software

Owner’s Manual

Change the Mode by simultaneously holding down the [F6] SHIFT button and pressing the [REMOTE] button.

The following explains which sequencer functions are assigned to which panel controls in the remote control.

n For details about how to operate the Editor, refer to the PDF manual included the Editor.

■ [J], [F], [I], [ IE], [G], [H] buttons

The six MODE buttons are used as transport controls, letting you start/stop playback of the DAW software on the computer.

■ [EDIT], [JOB], and [STORE] buttons

■ [DRUM KIT] button

■ Data dial, [INC/YES] and [DEC/NO] buttons

n You can also move the song position by using the cursor [E] [F] buttons.

Select the software to be remote-controlled (Mode A or Mode B).

Use the Control sliders and buttons on the S90 ES to remotely control the software.

When the Mode is set to “General”

or “Cubase”

Not used.

When the Mode is set to “Logic” These buttons perform the same functions as those of the [OPTION], [CONTROL] and [ALT] buttons on the Logic

Control.

When the Mode is set to “SONAR” These buttons perform the same functions as those of the [M2], [M3] and [M4] buttons on the Mackie Control.

When the Mode is set to “D.Perf” These buttons perform the same functions as those of the [OPTION], [CONTROL] and [COMMAND] buttons on the

Mackie Control.

When the Mode is set to “General”

or “Cubase”

Not used.

When the Mode is set to “Logic” The button can be used to switch the whether the track/slot number of DAW is displayed on the LCD or not.

When the Mode is set to “SONAR” The button can be used to switch the whether the track/slot number of DAW is displayed on the LCD or not.

When the Mode is set to “D.Perf” The button can be used to switch the whether the send/effect number of DAW is displayed on the LCD or not.

When the [DIAL] menu appears at

the [SF4] button

These controls can be used to set the value for the knob of the DAW controller, for the track/part selected by the cursor.

The Control sliders can also be used, but these help you make ﬁne adjustments to the value that are difﬁcult to make

with the Control sliders.

When the menu does not appear at

the [SF4] button

The buttons can be used to move the song position in the DAW.

REMOTE

Mode A Mode B

PAN/SEND

ASSIGN

MEF

TONE

ARP FX

These dark bars serve as the cursor, indicating the

track/part currently being edited by the slider.

Moving the slider automatically moves the cursor to

the corresponding track/part.

Press the Control function

button to change the functions

assigned to the [F1] - [F6] and

[SF1] - [SF5] buttons (shown at

the bottom of the display).

Refer to the separate Data List.

Indicates which DAW controller is

assigned to the Control sliders:

knobs or faders. Use the [VOLUME]

button to change the assignment.

Upper row indicates the setting

values for knobs/sliders 1 - 4

on the DAW controller.

Bottom row indicates the

setting values for knobs/sliders

5 - 8 on the DAW controller.

The functions of the buttons on each DAW controller are assigned

to the [F1] - [F6] and [SF1] - [SF5] button on the S90 ES. The

functions to be assigned depend on the software selected in the

Mode A or B. For details, refer to the “Remote Control

Assignments.” on page 83.

Quick Guide Connecting the Computer and Midi devices

Using the S90 ES with computer software

Owner’s Manual

■ Control sliders

Assigns the functions of eight sliders and eight knobs on the DAW controller (01X, Mackie Control, and Logic Control) to the

four Control sliders on the S90 ES. You can switch between fader and knob control by pressing the [VOLUME] button.

■ Control function buttons, [F1] - [F6] buttons, [SF1] - [SF5] buttons

n Among the functions assigned to the [F1] - [F6] buttons and [SF1] - [SF5] buttons, the functions indicated with brackets (such as [DIAL]) are not

related to the Mackie Control, Logic Control and 01X but are unique to the S90 ES.

■ Cursor [E][F] buttons

By moving the cursor left/right, you can change the track or part to controlled by the data dial and [INC/YES]/[DEC/NO]

buttons. Pressing the Cursor [

F] button moves through the columns in succession (1, 2, 3, 4...). After 4, the cursor is

hidden and wraps around to 1.

Press the [SF5] KN 5 - 8 (KN 1 - 4) button to move the cursor up/down.

■ Cursor [▲][▼] buttons

■ [EXIT] button

■ Bank, Group [A] - [H], Number [1] - [16] buttons

These buttons are assigned to perform the same functions as the buttons directly over the faders on the 01X, Mackie Control

and Logic Control.

When assigning the functions of

faders to the Control sliders (The

[VOLUME] button lights.)

Controls the volume of each track (part). Pressing the [SF5] button changes which group of faders (faders 1 - 4 or

faders 5 - 8 on the DAW controller) is assigned to the Control sliders on the S90 ES.

When assigning the functions of

knobs to the Control sliders (The

[VOLUME] button turns off.)

Controls various parameters of each track (part). As with the fader assignment above, pressing the [SF5] button

changes which group of knobs is assigned (knobs 1 - 4 or knobs 5 - 8).

The eight knobs on the DAW controller can also be used as switches. The switch function corresponding to the knob

track (part) at the cursor position is also assigned automatically to the [ENTER] button, since the Control sliders on the

S90 ES do not have a switch function.

When the Mode is set to “General” These buttons are assigned to perform the same functions as the panel buttons on the 01X. The corresponding names

of the 01X panel buttons are also indicated at the bottom of the display of the S90 ES.

When the Mode is set to “Logic” These buttons are assigned to perform the same functions as the panel buttons on the Logic Control. The

corresponding names of the Logic Control panel buttons are also indicated at the bottom of the display of the S90 ES.

When the Mode is set to “Cubase,”

“SONAR,” or “D.Perf”

These buttons are assigned to perform the same functions as the panel buttons on the Mackie Control. The

corresponding names of the Mackie Control panel buttons are also indicated at the bottom of the display of the S90

ES.

When the Mode is set to “General” These buttons are assigned to the functions of the DISPLAY [▲][▼] buttons on the 01X.

When the Mode is not set to

“General”

These buttons are assigned to the functions of the cursor [▲][▼] buttons on the Mackie Control and Logic Control.

When the Mode is set to “General” The button is assigned to the function of the [PAGE SHIFT] button on the 01X.

When the Mode is not set to

“General”

Not used.

When the Mode is set to “General” Numbers [1] - [8] and [TRACK SELECT] buttons

These buttons are assigned to the functions of the nine [SEL] buttons on the 01X.

Numbers [9] - [16] and [MUTE] buttons

These buttons are assigned to the functions of the nine [ON] buttons on the 01X.

When the Mode is not set to

“General”

[PRE1] - [PLG3] buttons

These buttons are assigned to the functions of the eight [REC/RDY] buttons on the Mackie Control and Logic Control.

Group [A] - [H] buttons

These buttons are assigned to the functions of the eight [SOLO] buttons on the Mackie Control and Logic Control.

Numbers [1] - [8] buttons

These buttons are assigned to the functions of the eight [MUTE] buttons on the Mackie Control and Logic Control.

Numbers [9] - [16] buttons

These buttons are assigned to the functions of the eight [SELECT] buttons on the Mackie Control and Logic Control.

Using the S90 ES with computer software

Owner’s Manual

Quick GuideConnecting the Computer and Midi devices

Remote Con trol Assignments

When controlling Multi Part Editor/SQ01 V2

Functions of 01X assigned to [F1] - [F6] and [SF1] - [SF5]

buttons

Checking the Remote Control assignments

If you're unsure as to which software function has

been assigned to a particular panel control on the S90

ES, this convenient feature lets you quickly check it

from the display.

1 In the Remote Control mode, press the

[INFORMATION] button to call up the

information display, indicating the function of

the last pressed button.

2 Press the button for which you want to check

the assignment.

This display shown above appears when you press the [F]

([PERFORM]) button. In this way, you can check each button's control

assignment simply by pressing it.

3 Press the [INFORMATION] button again to

return to the Remote Control mode.

n While the Information display is shown, the panel buttons

cannot be used to control the computer software.

Button/Controller

names on 01X

Functions

In all modes:

[DISPLAY UP]

[DISPLAY DOWN]

Changes the parameter to be edited.

[NAME/VALUE] Changes the indication of the parameter name and its value.

[SHIFT]+[NAME/VALUE] Changes the meter display mode.

[ON] (in the normal status)

Tur ns each channel off or on (mutes/unmutes the signal).

[SHIFT] + [ON] of the Master

Channel (in the normal

status)

Tur ns all the channels including the Master Channel off or on

(mutes/unmutes the signal).

[SHIFT] + [ON] of each

channel (in the normal status)

Tur ns all the channels with the exception of the Master

Channel off or on (mutes/unmutes the signal).

[ON] (with the [SOLO] lamp

turned on)

Tur ns the Solo function of each channel on or off (applies to

the Channel Module/Software Synthesizer Module)

[SHIFT] + [ON] (with the

[SOLO] lamp turned on)

Tur ns the Solo function of each channel on or off (applies to

the Channel Module/Software Synthesizer Module)

[SOLO] Changes the function of the [ON] button to the Solo function.

[SHIFT]+[SOLO] Determines the Solo/Mute settings of the selected tracks in

the Track View window.

[SHIFT]+[REC RDY] Turns track recording on or off.

[AUDIO] Starts the Audio Mixer or moves the Audio Mixer Window to

the front of the computer screen. This button operation

applies to the Channel Module software.

[INST] Starts the Audio Mixer or moves the Audio Mixer Window to

the front of the computer screen. This button operation

applies to the Software Synthesizer Module.

[MIDI] Starts the MIDI Editor (such as the Multi Part Editor) or moves

it to the front of the computer screen.

SF1

F1 F2 F3 F4 F5 F6

SF2 SF3 SF4 SF5

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

PAGE1

FADER BANKS

PAN/SEND

TONE

MIXER/LAYER

ARP FX

PAGE2

TONE

ARP FX

SEND

PA NDYNAMICS EFFECT BANK-L BANK-R SHIFT

GROUP NAME/VALUE DIAL RESET KN1-4/5-8

FLIP

SOLO REC/RDY BANK-L BANK-R SHIFT

NAME/VALUE DIAL RESET KN1-4/5-8

INST

AUDIO MIDI OTHER BANK-L BANK-R SHIFT

AUX/BUS NAME/VALUE DIAL RESET KN1-4/5-8

EQ LOW

SEL CH EQ LOW-MID EQ HIGH BANK-L BANK-R SHIFT

EQ HIGH-MID NAME/VALUE DIAL RESET KN1-4/5-8

F1 F2 F3 F4 SHIFT

F6 F7 F8 KN1-4/5-8

BANK-L BANK-R SHIFT

NAME/VALUE DIAL RESET KN1-4/5-8

CURSOR-L

CURSOR-DWN

CURSOR-UP ZOOM BANK-L BANK-R SHIFT

CURSOR-R SCRUB DIAL RESET KN1-4/5-8

Using the S90 ES with computer software

Owner’s Manual

Quick Guide Connecting the Computer and Midi devices

When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform

the same functions as the Knobs on the DAW controller.

When controlling Logic Pro 7:

Functions of Logic Control assigned to [F1] - [F6] and [SF1] -

[SF5] buttons

[AUX/BUS] Opens the AUX/BUS window or brings it to the front of the

computer screen (when the Audio Mixer is active).

[OTHER] Starts the Audio Mixer or brings it to the front of the computer

screen. This operation applies to the Effect Module software.

(Only PAN is available in the R settings.)

[BANK </>] Scrolls through the track indication every eight channels.

[SHIFT]+[F1] Brings the Track View window to the front of the computer

screen. (This operation applies to the current song.)

[SHIFT]+[F2] Starts the Mixer window (Audio Mixer/Multi Part Editor) or

brings it to the front of the computer screen.

[SHIFT]+[F3] Opens the List window or brings it to the front of the computer

screen.

[SHIFT]+[F4] Closes the current window.

[SHIFT]+[F5] Opens the Piano Roll window or brings it to the front of the

computer screen.

[SHIFT]+[F6] —

[SHIFT]+[F7] Starts the TWE (Wave Editor).

[SHIFT]+[F8] Alternately hides/shows the Transport window (Transport Bar/

Location Bar/Record).

[RWD] Press brieﬂy to move back one measure at a time, or hold to

continuously rewind.

[FF] Press brieﬂy to move forward one measure at a time, or hold

to continuously fast-forward.

[STOP] Press to stop recording or playback. Pressing this when

playback is stopped goes to the top of the song.

[PLAY] Press to start playback from the current point.

[REC] Press this to enter/exit from the Recording Standby. The [F]

(Play) and [I] (Rec) lamp are turned on during recording.

[SCRUB] Determines how the Scrub function is applied when using the

dial. When this is set to on, Scrub moves according to the

Grid position in the Track View window. When set to off, it

moves in measures.

[UP] (with the [ZOOM] lamp

turned off)

Moves the cursor (indicating the current track) up.

[DOWN] (with the [ZOOM]

lamp turned off)

Moves the cursor (indicating the current track) down.

[LEFT] (with the [ZOOM]

lamp turned off)

Selects the next block.

[RIGHT] (with the [ZOOM]

lamp turned off)

Selects the previous block.

[ZOOM] Turns Zoom on and off.

[UP]/[DOWN]/[LEFT]/[RIGHT]

(with the [ZOOM] lamp turned

on)

Zooms in/out in the active Track View and Piano Roll Window.

PAN mode [PAN]

Knobs 1 - 8 (tweaking) Edits the Pan (on page 1).

Knobs 1 - 8 (tweaking) Edits the Input level (on page 2).

[SHIFT] + Knobs 1 - 8

(pressing)

Resets the edited parameter to the default value (CENTER/

0.00).

AUX SEND mode [SEND] (Not available when the AUX/BUS window is active.)

Knobs 1 - 8 (tweaking) Edits the AUX Send Level.

[SHIFT] + Knobs 1 - 8

(pressing)

Resets the edited parameter to the default value (-∞).

EFF SEND mode [EFFECT] (Not available when the AUX/BUS window is active.)

Knobs 1 - 8 (tweaking) Edits the Effect Send Level.

[SHIFT] + Knobs 1 - 8

(pressing)

Resets the edited parameter to the default value (-∞).

Button/Controller

names on 01X

Functions

Button/Controller

names on Logic Control

Functions

In all modes:

[NAME/VALUE] Changes the indication of the parameter name and its value.

[SHIFT]+[NAME/VALUE] Changes the meter display mode.

[SEL] Selects a channel.

[MUTE] Mutes or unmutes each channel.

[OPTION]+[MUTE] Sets all channels to on.

[SOLO] Sets the Solo of each channel to on or off.

[OPTION]+[SOLO] Sets the Solo of all the channels to off.

[REC RDY] Sets the REC RDY of each channel to on or off.

[OPTION]+[REC RDY] Sets the REC RDY of all the channels to off.

[MIDI TR] Makes the Global View mode active and displays the MIDI

track with the Multi Channel view.

[INPUT] Makes the Global View mode active and displays the AUDIO

INPUT object with the Multi Channel view.

[AUDIO TR] Makes the Global View mode active and displays the Audio

track with the Multi Channel view.

[AUDIO INST] Makes the Global View mode active and displays the Audio

Instrument track with the Multi Channel view.

[AUX] Makes the Global View mode active and displays the AUX

object with the Multi Channel view.

[BUSSES] Makes the Global View mode active and displays the BUS

object with the Multi Channel view.

[OUTPUT] Makes the Global View mode active and displays the AUDIO

OUTPUT object with the Multi Channel view.

[GLOBAL VIEW] Switches between the Global View mode and Track View

mode.

[BANK </>] Scrolls through the track indication every eight channels.

[CHANNEL </>] Scrolls through the track indication channel-by-channel.

[SHIFT]+[FLIP] Exchanges the functions between the Channel Knobs and the

Faders.

[FLIP] Assigns the function of the Channel Knob to the Fader.

[NUDGE] Turns Nudge on or off.

[SHIFT]+[NUDGE] Enters the Nudge Option mode.

[CYCLE] Turns Loop on or off.

[SHIFT]+[CYCLE] Enters the Cycle Option mode.

[F1] - [F7] Calls up Screen Sets 1 - 7.

[F8] Closes the window located at the front of the computer or

ﬂoating window.

[UNDO] Executes the Undo operation.

ASSIGNMENT

FADER BANKS

PAN/SEND

TONE

GLOBAL VIEW

ARP FX

UTILITIES

TONE

ARP FX

SEND

TRACK PAN/SURND EQ BANK-L BANK-R SHIFT

PLUG-IN INSTRUMENT DIAL RESET KN1-4/5-8

FLIP

CHANNEL-L CHANNEL-R BANK-L BANK-R SHIFT

NAME/VALUE DIAL RESET KN1-4/5-8

AUX

MIDI TR INPUTS AUDIO TR AUDIO INST GLOBAL VIEW SHIFT

BUSSES OUTPUTS USER KN1-4/5-8

SAVE

CANCEL ENTER BANK-L BANK-R SHIFT

UNDO NAME/VALUE DIAL RESET KN1-4/5-8

F1 F2 F3 F4 SHIFT

F6 F7 F8 KN1-4/5-8

NUDGE

MARKER CYCLE REPLACE SOLO SHIFT

DROP CLICK DIAL RESET KN1-4/5-8

CURSOR-L

CURSOR-DWN

CURSOR-UP ZOOM BANK-L BANK-R SHIFT

CURSOR-R SCRUB DIAL RESET KN1-4/5-8

Using the S90 ES with computer software

Owner’s Manual

Quick GuideConnecting the Computer and Midi devices

When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform

the same functions as the Knobs on the DAW controller.

Press the [DRUM KIT] button to indicate the Track/Slot number in the brackets [ ] at the top of

the LCD.

The [OPTION], [CONTROL], and [ALT] buttons on the Logic Control corresponds to the [EDIT],

[JOB], and [STORE] buttons at left below the LCD respectively.

Additional operations other than those listed above are available. For details, refer to the relevant

documentation of Logic Control.

When controlling Cubase SX 3:

Functions of Mackie Control assigned to [F1] - [F6] and [SF1] -

[SF5] buttons

[SHIFT]+[UNDO] Executes the Redo operation.

[SAVE] Executes the Save operation.

[MARKER] Turns the Marker on or off.

[SHIFT]+[MARKER] Enters the Marker Option mode.

[RWD] Press to continuously rewind. Press repeatedly to rewind

more quickly. When the Marker is turned on, this operation

moves the song position to the previous Marker. When Nudge

is turned on, this operation moves the current object.

[FF] Press to continuously fast-forward. Press repeatedly to fast-

forward more quickly. When the Marker is turned on, this

operation moves the song position to the next Marker. When

Nudge is turned on, this operation moves the current object.

[STOP] Press to stop recording or playback. Pressing this when

playback is stopped goes to the top of the song.

[PLAY] Press to start playback from the current point.

[REC] Press this to start song recording. The [F] (Play) and [I]

(Rec) lamp are turned on during recording.

[ZOOM] Turns Zoom on and off.

[SCRUB] Turns Scrub on and off. When Scrub is on, the dial can be

used for Scrub playback. When Scrub is off, the dial is used

to move the song position.

PAN mode [PAN] (Multi Channel View)

[PAN] → [PAN] (Track Parameter View of PAN/SURROUND)

Knobs 1 - 8 (turning) Edits the parameter.

Knobs 1 - 8 (pressing)

(Parameters other than Mode

selection)

Resets the edited parameter to the default value.

SEND mode [SEND] (Multi Channel View)

[SEND] → [SEND] (Track Parameter View)

Cursor [UP]/[DOWN]

(Multi Channel View)

Changes the Slot number.

Cursor [LEFT]

Cursor [RIGHT]

(Multi Channel View)

Changes the parameter to be edited.

Cursor [LEFT]

Cursor [RIGHT]

(Track Parameter View)

Switches between SEND 1/2 and SEND 3/4...

Knobs 1 - 8 (turning/turning

→ pressing)

For editing parameters. When setting the Send destination,

turn the knob to select it (indication ﬂashes), then press the

knob to actually enter the selected setting.

Knobs 1 - 8 (pressing)

(when the edited parameter

is Send Level)

Reset the parameter value to the default.

Knobs 1 - 8 (pressing)

(when the edited parameter

is PRE/POST or Mute)

Changes the setup.

PLUG-IN mode [PLUG-IN] (Multi Channel View)

[PLUG-IN] → [PLUG-IN] (Track Parameter View)

Cursor [UP]/[DOWN]

(Multi Channel View)

Changes the Slot number.

Knobs 1 - 8 (tweaking →

pressing)

Turn the knob to select the desired Plug-in for insertion

(indication ﬂashes), then press the knob to actually enter the

selected setting.

Knobs 1 - 8 (pressing)

(Knob to which the Plug-in is

assigned)

Calls up the parameter page and opens the Editor window on

Logic.

Knobs 1 - 8 (tweaking)

(Parameter page)

For editing parameters.

Knobs 1 - 8 (pressing)

(Parameter page)

Reset the parameter value to the default. (Some parameters

cannot be reset.)

Cursor [LEFT]

Cursor [RIGHT]

(Parameter page)

Changes the page.

[PLUG-IN] Return to the PLUG-IN mode.

INSTRUMENT mode [INSTRUMENT] (Multi Channel View)

[INSTRUMENT] → [INSTRUMENT] (Track Parameter View)

Knobs 1 - 8 (tweaking →

pressing)

Turn the knob to select the desired instrument for insertion

(indication ﬂashes), then press the knob to actually enter the

selected setting.

Knobs 1 - 8 (pressing)

(a Knob to which the

Instrument is assigned)

Calls up the parameter page and opens the Editor window on

Logic.

Knobs 1 - 8 (tweaking)

(Parameter page)

Edits the parameter.

Knobs 1 - 8 (pressing)

(Parameter page)

Resets the edited parameter value to the default. (Please note

that some parameters cannot be reset.)

Cursor [LEFT]

Cursor [RIGHT]

(Parameter page)

Changes the page.

[INSTRUMENT] Return to the INSTRUMENT mode.

Button/Controller

names on Logic Control

Functions

In all modes:

Button/Controller names on

Mackie Control

Functions

In all modes:

[PAGE UP]

[PAGE DOWN]

Calls up the next/previous page.

[SHIFT]+[PAGE UP] Calls up the ﬁrst page.

[SHIFT]+[PAGE DOWN] Calls up the last page.

[NAME/VALUE] Changes the indication of the parameter name and its value.

[SEL] Selects a channel.

[MUTE] Mutes or unmutes each channel.

[SHIFT]+[SOLO DEFEAT] Unmutes all channels.

[SOLO] Sets Solo for each channel to on or off.

[SOLO DEFEAT] Sets Solo for all channels to off.

[REC RDY] Sets the REC RDY of each channel to on or off.

[BANK </>] Scrolls through the track indication every eight channels.

[CHANNEL </>] Scrolls through the track indication channel-by-channel.

[FLIP] Switches the functions of the Channel Knobs and Faders.

[CYCLE] Turns Loop on or off.

[F1] - [F8] [F1] - [F8] as deﬁned in Cubase SX.

[PROJECT] Brings the Track View window to the front of the computer

screen.

[MIXER] Opens the Mixer window.

[SHIFT]+[EDIT] Closes the current window.

[1] - [8] Corresponds to 1 - 8 of the Channel View on the Mixer

Window.

[UNDO] Executes the Undo operation.

[REDO] Executes the Redo operation.

[SAVE] Executes the Save operation.

[ADD] Enters a Marker at the current song position.

[RWD] Hold to continuously rewind.

[SHIFT]+[RWD] Moves the song position to the top of the song.

[PREV] Moves the song position to the previous Marker.

[FF] Hold to continuously fast-forward.

[SHIFT]+[FF] Moves the song position to the end of the song.

[NEXT] Moves the song position to the next Marker. (This may not

work in certain conditions.)

[STOP] Press to stop recording or playback. Pressing this when

playback is stopped goes to the song location at which the

song playback started at last time.

[PLAY] Press to start playback from the current point.

[REC] Press this to start song recording. The [F] (Play) and [I]

(Rec) lamp are turned on during recording.

PAN mode [PAN] (MULTI CHANNEL only)

Knobs 1 - 8 For editing parameters.

EQ mode [EQ] (SELECTED CHANNEL only)

Knobs 1 - 8 For editing parameters.

SEND mode [DYN] (SELECTED CHANNEL only)

Knobs 1 - 8 For editing parameters.

ASSIGNMENT

FADER BANKS

PAN/SEND

TONE

ARP FX

FaderGroup

TONE

ARP FX

PAGE UP

PAGE DWN PAN EQ BANK-L BANK-R SHIFT

PLUG-INS DYN DIAL RESET KN1-4/5-8

FLIP

CHANNEL-L CHANNEL-R BANK-L BANK-R SHIFT

EDIT NAME/VALUE DIAL RESET KN1-4/5-8

MASTER

SENDS INSTRUMENTS UNDO REDO SHIFT

SAVE REVERT DIAL RESET KN1-4/5-8

1234 SHIFT

678KN1-4/5-8

F1 F2 F3 F4 SHIFT

F6 F7 F8 KN1-4/5-8

PROJECT

LEFT RIGHT CYCLE PUNCH SHIFT

MIXER SOLO DEFAT DIAL RESET KN1-4/5-8

CURSOR-L

CURSOR-DWN

CURSOR-UP PREV NEXT EDIT SHIFT

CURSOR-R ADD DIAL RESET KN1-4/5-8

Using the S90 ES with computer software

Owner’s Manual

Quick Guide Connecting the Computer and Midi devices

Parameters to be edited differ depending on the assigned Effect and Software Tone Generator.

Additional operations other than those listed above are available. For details, refer to the relevant

documentation of Mackie Control.

When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform

the same functions as the Knobs on the DAW controller.

When controlling SONAR 4:

Functions of Mackie Control assigned to [F1] - [F6] and [SF1] -

[SF5] buttons

When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform

the same functions as the Knobs on the DAW controller.

The Song Position Bar may not synchronize with the actual playback position during Scrub

playback.

Parameters to be edited may differ depending on the assigned Effect and Software Tone

Generator.

Some parameters may not be available depending on the selected Effect Type.

Press the [DRUM KIT] button to indicate the Track/Slot/EQ/DYN number in the brackets [ ] at the

top of the LCD.

The [M2] - [M4] buttons on the Mackie Control correspond respectively to the [EDIT], [JOB], and

[STORE] buttons at left below the LCD.

Additional operations other than those listed above are available. For details, refer to the relevant

documentation of Mackie Control.

You can ﬁnd the Help window by selecting “Mackie Control” from the Tool Menu on SONAR and

pressing the [F1] button.

Please keep in mind that some functions may not be available.

PLUG-IN mode [PLUG-IN] (SELECTED CHANNEL only)

Knob 1 Changes the Slot Number (on page 1 only).

Knob 2 Turns the Effects on or off (on page 1 only).

Knob 3 Selects an Effect Type (on page 1 only).

Knobs 1 - 8 (turning) Edits each of the parameters (on page 2 and later).

SEND EFFECT mode [SENDS]/MASTER EFFECT mode [MASTER] (Global mode only)

Knob 1 Changes the Slot Number (on page 1 only).

Knob 2 Turns the Effects on or off (on page 1 only).

Knobs 1 - 8 Edits each of the parameters (on page 2 and later).

INSTRUMENT mode [INSTRUMENTS] (Global mode only)

Knob 1 Changes the Slot Number (on page 1 only).

Knob 2 Turns the software tone generator on or off (on page 1 only).

Knobs 1 - 8 Edits each of the parameters (on page 2 and later).

Button/Controller names on

Mackie Control

Functions

In all modes:

[EDIT] Assigns a parameter to a Knob by using the [CHANNEL] and

[BANK] buttons.

[CHANNEL </>] (Multi

channel)

Changes a parameter to be edited via a Knob in order one by

one when [EDIT] is turned on.

[BANK </>] (Multi channel) Changes the parameters to be edited via a Knob in groups of

eight when [EDIT] is turned on.

[CHANNEL </>]

(Selected channel)

Changes an indicated parameter in order one by one when

[EDIT] is turned on.

[BANK </>] (Selected

channel)

Changes the indicated parameters in groups of eight when

[EDIT] is turned on.

[NAME/VALUE] Changes the indication of the parameter name and its value.

[SEL] Selects a channel.

[MUTE] Mutes or unmutes each channel.

[M4]+[MUTE] Unmutes all channels.

[SOLO] Sets Solo for each channel to on or off.

[M4]+[SOLO] Sets Solo for all channels to off.

[REC RDY] Sets the REC RDY of each channel to on or off.

[M4]+[REC RDY] Sets the REC RDY of all channels to off.

[TRACK] Assigns a Track to a Fader.

[AUX] Assigns an AUX BUS to a Fader.

Button/Controller names on

Mackie Control

Functions

ASSIGNMENT

TRACKS/DIALOG/WINDOW

FADER BANKS

PAN/SEND

TONE

ARP FX

TONE

ARP FX

SENDS

TRACKS PAN EQ BANK-L BANK-R M1

PLUG-INS DYN DIAL RESET KN1-4/5-8

FLIP

CHANNEL-L CHANNEL-R BANK-L BANK-R M1

EDIT NAME/VALUE DIAL RESET KN1-4/5-8

OK/ENTER

NEW AUDIO NEW MIDI FIT TRACK FIT PROJECT M1

CANCEL

NEXT WINDOW CLOSE WINDOW

KN1-4/5-8

TRACK

SAVE UNDO REDO BANK-L BANK-R M1

AUX MAIN DIAL RESET KN1-4/5-8

F1 F2 F3 F4 M1

F6 F7 F8 KN1-4/5-8

JOG PRM

MAKER LOOP SELECT PUNCH M1

LOOP ON/OFF HOME DIAL RESET KN1-4/5-8

CURSOR-L

CURSOR-DWN

CURSOR-UP ZOOM BANK-L BANK-R M1

CURSOR-R SCRUB DIAL RESET KN1-4/5-8

[MAIN] Assigns output level adjustment of the Virtual Main Bus to the

Faders.

[BANK </>] Scrolls through the track indication every eight channels.

[CHANNEL </>] Scrolls through the track indication channel-by-channel.

[FLIP] Assigns the functions of the Channel Knobs to the Faders.

[FLIP] → [FLIP] Switches the functions of the Channel Knobs and the Faders.

[NEXT WINDOW] Moves the next window to the front of the screen.

[LOOP SW] Sets Loop to on or off.

[F1] - [F8] [F1] - [F8] as deﬁned in SONAR.

[CLOSE WINDOW] Closes the current window.

[UNDO] Executes the Undo operation.

[REDO] Executes the Redo operation.

[SAVE] Executes the Save operation.

[M1]+[MARKER] Opens the window for entering the Marker to the current song

position.

[MARKER] Turns the Marker on or off.

[RWD] Press brieﬂy to move back one measure at a time, or hold to

continuously rewind.

When the Marker is turned on, this operation moves the song

position to the previous Marker.

[M1]+[RWD] Moves the song position to the top of the song. When the

Marker is turned on, this operation opens the window for

entering the Marker.

[FF] Press brieﬂy to move forward one measure at a time, or hold

to continuously fast-forward.

When the Marker is turned on, this operation moves the song

position to the next Marker.

[M1]+[FF] Moves the song position to the end of the song. When the

Marker is turned on, this operation opens the window for

entering the Marker.

[STOP] Stops recording or playback.

[PLAY] Press to start playback from the current point.

[REC] Press this to start song recording. The [F] (Play) and [I]

(Rec) lamp are turned on during recording.

[ZOOM] Turns Zoom on and off.

[SCRUB] Turns Scrub on and off. When Scrub is on, the dial can be

used for Scrub playback. When Scrub is off, the dial is used

to move the song position.

[JOG PRM] Turns Data Entry on and off. When turned on (the lamp lights),

rotating the dial has the Data Entry function.

TRACK mode [TRACKS] (Track Parameter mode)

[TRACKS] → [TRACKS] (Selected Channel mode)

Knobs 1 - 8 (turning) For editing parameters. (The LCD indication may not be

updated.)

Knobs 1 - 8 (pressing) Resets the parameter value to its default.

PAN mode [PAN]

[PAN] → [PAN] (Selected Channel mode of PAN/SURROUND)

Knobs 1 - 8 (turning) For editing parameters.

Knobs 1 - 8 (pressing) Resets the parameter value to its default.

SEND mode [SENDS]

[SENDS] → [SENDS] (Selected Channel mode)

Knobs 1 - 8 (turning) For editing parameters.

Knobs 1 - 8 (pressing) Resets the parameter value to its default.

PLUG-IN mode [PLUG-IN]

[PLUG-IN] → [PLUG-IN] (Selected Channel mode)

[M1]+[CHANNEL </>] Changes the Plug-in number when the [EDIT] is turned on.

Knobs 1 - 8 (turning) For editing parameters.

Knobs 1 - 8 (pressing) Resets the parameter value to its default.

EQ Edit [EQ]

[EQ] → [EQ] (Selected Channel mode)

(in the Selected Channel mode) [EQ] (Band mode)

[M1]+[CHANNEL </>] Changes the EQ number when the [EDIT] is turned on.

Knobs 1 - 8 (Band mode) For editing each frequency band.

Faders (Band mode) For editing the gain of each Band.

Button/Controller names on

Mackie Control

Functions

Using the S90 ES with computer software

Owner’s Manual

Quick GuideConnecting the Computer and Midi devices

When controlling Digital Performer 4.52:

Functions of Mackie Control assigned to [F1] - [F6] and [SF1] -

[SF5] buttons

When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform

the same functions as the Knobs on the DAW controller.

Some edited values are not shown on the S90 ES display.

Press the [DRUM KIT] button to indicate the Send/Effect number in the brackets [ ] at the top of

the LCD.

Some parameters may not be available depending on the Effect Type.

The [OPTION], [CONTROL], and [COMMAND] buttons on the Mackie Control correspond

respectively to the [EDIT], [JOB], and [STORE] buttons at left below the LCD.

Additional operations other than those listed above are available. For details, refer to the relevant

documentation of Mackie Control.

Please keep in mind that some functions may not be available.

Button/Controller names on

Mackie Control

Functions

In all modes:

[I/O] Calls up the Mode list display.

[LEVEL METERS] Turns the Meter indication on or off.

[SEL] Selects a channel.

[SHIFT] + [SEL] Selects multiple channels.

[MUTE] Mutes or unmutes each channel.

[SOLO] Sets Solo for each channel to on or off.

[REC RDY] Sets the REC RDY of each channel to on or off.

[BANK </>] Scrolls through the track indication every eight channels.

[CHANNEL </>] Scrolls through the track indication channel-by-channel.

[CONTROL]+[CYCLE] Turns Loop on or off.

[TR OVERVIEW] Moves the Track Overview to front.

[MIXING BOARD] Opens the Mixer window.

[SEQ EDITOR] Starts the Sequencer Editor window.

[SHIFT]+[SEQ EDITOR] Starts the Soundbites window.

[UNDO] Executes the Undo operation.

[REDO] Executes the Redo operation.

[SAVE] When the lamp lights, press this so that the lamp ﬂashes.

Press this again to execute the Save operation (lamp turns

off).

[MARKER] Turns the Marker on or off.

[SHIFT]+[MARKER] Opens the Marker Option window.

[RWD] Press to continuously rewind. Press again to rewind more

quickly. When the Marker is turned on, this operation moves

the song position to the previous Marker.

[FF] Press to continuously fast-forward. Press again to fast-forward

more quickly. When the Marker is turned on, this operation

moves the song position to the next Marker.

[STOP] Stops recording or playback.

[PLAY] Press to start playback from the current point.

[REC] Press this to start song recording. The [F] (Play) and [I]

(Rec) lamp are turned on during recording.

[ZOOM] Switches between Scroll (lamp lights), Zoom (lamp is off), and

Nudge (lamp ﬂashes).

[SCRUB] Turns Scrub on and off. When turned on, you can use the dial

to move the song position. (A malfunction may occur.)

PAN mode [PAN] (or [I/O] → knob)

Knobs 1 - 8 (turning) For editing parameters.

[DYN] + Knobs 1 - 8

(pressing)

Resets the edited parameter to the default value (center).

[FLIP] Switches the functions of the Channel Knobs and the Faders.

[PAN] in the PAN mode Turns the Meter on or off.

ASSIGNMENT

FADER BANKS

Track Groups/Windows

PAN/SEND

TONE

ARP FX

Dialog/Record

Transport/Project

TONE

ARP FX

SENDS

I/O PAN EQ BANK-L BANK-R SHIFT

PLUG-INS DYN DIAL RESET KN1-4/5-8

FLIP

CHANNEL-L CHANNEL-R BANK-L BANK-R SHIFT

EDIT

LEVEL METERS

DIAL RESET KN1-4/5-8

SEQ EDITOR

GROUOP UNGROUP SUSPEND BANK-L BANK-R SHIFT

TR OVERVIEW

MIXING BOARD

DIAL RESET KN1-4/5-8

OVERDUB

ENTER ESCAPE CLICK COUNTOFF SHIFT

PATCH THRU CLEAR CLIP DIAL RESET KN1-4/5-8

UNDO

SLAVE EXT SYNC

MEMORY LINK

PRE/POST ROLL

BANK-L BANK-R SHIFT

REDO SAVE

AUDIBLE MODE

KN1-4/5-8

PUNCH

MARKER EDIT GRID CYCLE BANK-L BANK-R SHIFT

SELECT SOLO DIAL RESET KN1-4/5-8

CURSOR-L

CURSOR-DWN

CURSOR-UP ZOOM BANK-L BANK-R SHIFT

CURSOR-R SCRUB DIAL RESET KN1-4/5-8

SndVal mode [SEND] (or [I/O] → knob)

Knobs 1 - 8 (turning) For editing parameters.

Cursor [UP] [DOWN] Changes the Send number.

Knobs 1 - 8 (pressing) Sets Mute to on or off.

[DYN] + Knobs 1 - 8

(pressing)

Resets the parameter value to the default (0 dB).

[FLIP] Switches the functions of the Channel Knob and the Faders.

[SEND] in the SndVal mode Turns the Meter on or off.

SndOut mode [I/O] → Knob

Cursor [UP] [DOWN] Changes the Send number.

Knobs 1 - 8 (turning) Selects the bus for each Send of the track.

Knobs 1 - 8 (turning)

(except when selecting a

bus)

Switches between Send PRE and POST.

Input mode [I/O] → Knob

Knobs 1 - 8 (turning) Selects an input bus for a track.

Output mode [I/O] → Knob

Knobs 1 - 8 (turning) Selects an output bus for a track.

Effect mode [PLUG-IN] (or [I/O] → Knob)

Knobs 1 - 8 (turning) Selects a Plug-in Effect for each track.

Cursor [UP] [DOWN] Changes the Effect Number.

Knobs 1 - 8 (pressing) Turns the Effect Bypass on or off. When the bus is turned on,

X is indicated above the Effect name.

[EQ] + Knobs 1 - 8 (pressing) Assigns the Parametric EQ to the corresponding track.

[EDIT] + Knobs 1 - 8

(pressing)

(when any track is selected)

Enters the Plug-in Effect Edit mode. (Available only when the

Plug-in Effect is selected.) Please keep in mind that some

parameters may not be available depending on the selected

Effect Type. Press the [EDIT] button again to exit from the Edit

mode.

Edit mode

Knobs 1 - 8 (turning) For editing parameters.

Cursor [UP] [DOWN] Changes an Effect Number.

[LEFT]/[RIGHT] Calls up the Effect of a different track.

[CHANNEL </>] Changes the parameters to be edited with the Knobs in order

one by one.

[BANK </>] Changes the parameters to be edited with the Knobs in

groups of eight.

[FLIP] Switches the functions of the Channel Knobs and the Faders.

Button/Controller names on

Mackie Control

Functions

Using mLAN

Owner’s Manual

Quick Guide Connecting the Computer and Midi devices

Using mLAN

The mLAN interface is a powerful and ﬂexible system that allows you to set up complex audio/MIDI routings through the use

of a standard IEEE 1394 connection—eliminating the need for dozens of audio and MIDI cables, as was necessary on

earlier conventional systems.

By installing the optional mLAN16E, you can directly connect the S90 ES to a computer or another mLAN device, and take

advantage of high-speed audio and MIDI data transfer between the devices with just a single IEEE 1394 cable. Special

software is also available, letting you easily change the audio and MIDI signal routing among several mLAN devices from

your computer.

Recording to computer using mLAN

In these example instructions, we'll record the audio output of the S90 ES (from playing the keyboard in the Voice mode) to

your audio sequencer on the computer.

Setting up the S90 ES

Press the [STORE] button to store the Utility mode settings.

Setting up the computer

Refer to the relevant documentation for the mLAN16E.

From the software patch bay, connect output channels 15

and 16 of the mLAN16E to any two channels of the

computer. For details, refer to the mLAN16E installation

guide and Graphic Patchbay PDF manual.

n The audio signals from playing keyboard in the Voice mode are

sent from output channels 15 and 16 of the mLAN 16E. Refer to the

next section “mLAN Audio/MIDI” signal routing.

Refer to the owner’s manual of your sequencer for details.

Recording the audio

After completing the setup described above, try recording

your keyboard performance to the computer by using the

sequencer software. For speciﬁc information, refer to the

owner’s manual of your particular sequencer.

mLAN16E

S90 ES

Audio/MIDI Interface i88X

IEEE 1394 cable

Digital Mixing Studio 01X

IEEE 1394

compatible computer

Auto Connecter,

Graphic Patchbay

Use the Auto Connector or Graphic Patchbay

software to change the audio/MIDI signal routing

among the mLAN devices.

Install the optional mLAN16E to the S90 ES

After turning the power on, set the MIDI IN/

OUT parameter to “mLAN” ([UTILITY] → [F5]

MIDI → [SF4] OTHER).

Enter the Voice mode by pressing the [VOICE]

button and select the desired Voice.

Install the necessary software such as the

mLAN driver.

Connect the computer to the S90 ES using an

IEEE1394 cable (page 64).

From the mLAN Auto Connector or Graphic

Patchbay software, connect the audio outputs

of the S90 ES to the audio inputs of the

computer.

Enable the mLAN input channels in the audio

device settings in the sequencer.

You can also follow this procedure to record the MIDI

data. However, you must set the MIDI connections on

the mLAN Auto Conenctor or Graphic Patchbay, and

make the appropriate MIDI device settings on your

sequenecer.

Quick GuideConnecting the Computer and Midi devices

Using mLAN

Owner’s Manual

mLAN Audio/MIDI signal routing

Connecting mLAN16E-equipped mLAN devices allows for data transmission of up to eight audio input channels (four stereo

channels) and sixteen output channels, as well as four MIDI in/out ports. Try setting up your own mLAN system, referring to

the illustration below.

1 MIDI

The MIDI settings are the same as those for connecting the USB cable.

2 Audio output channels 1 - 14 (as1 - 14)

When selecting a Drum Voice, Performance or Multi, each Drum key or Part can be output from a speciﬁc mLAN audio

output (channels 1 - 14). For details about the output settings, refer to “Connecting to a Mixer” on page 63.

3 OUTPUT L and R jacks (L&R)

The signals from the OUTPUT L and R jacks (when playing the keyboard using a Normal Voice) are sent from mLAN output

channels 15 and 16.

4 Audio input Parts of the Performance and Multi

You can also use the audio from mLAN input channels 1 - 8 as the Audio Input Part(s). Refer to the “Using the microphone

and audio device sounds” on page 38 and the “Audio Input Part (AUDIO IN)” on page 118.

5 mLAN Monitor Switch

To monitor the sounds from mLAN output channels 1 - 14 and mLAN input channels 1 - 8 (through the OUTPUT L and R

jacks on the rear panel), set the following parameter set to “on.”

[UTILITY] → [F2] I/O → [SF2] OUTPUT → mLANMonitorSw (mLAN Monitor Switch) = on

1 MIDI

mLAN16E

Powered speakers

S90 ES

Computer or mLAN device

IEEE1394

cable

mLAN

output

port 1 – 4

mLAN

output

channels

port 1 – 4

mLAN

output

channels

15 and 16

mLAN input cannels 1 – 8

(Stereo 4 channels)

mLAN

input

port 1 – 4

2 Audio output

channels 1 – 14

(as 1 – 14)

3 OUTPUT L/R

jack(L&R)

4 Audio input Parts

of Performance/

Multi

5 mLAN16E

Monitor

Switch

Quick Guide Creating Your Original Program Set (Master mode)

Creating Your Original Program Set (Master mode)

Owner’s Manual

The Master mode is the highest mode in the S90 ES hierarchy, letting you instantly switch between programs you've created

in the Voice, Performance and Multi modes. Use the Master mode in one of the following ways

■ Storing your favorite programs

This lets you register settings that you often use in the Voice, Performance, or Multi mode, and instantly recall the mode and

custom settings together in a single button press, without having to ﬁrst select a mode. It also lets you set up a sequence of

custom programs—for example, when playing different songs live—and smoothly switch from setting to setting as needed.

■ Playing as a master keyboard

This lets you divide the keyboard into four separate sections—just as if you were playing four different MIDI keyboards. You

can also separately play the sounds of the S90 ES and the sounds of connected MIDI devices—all from the S90 ES

keyboard—by assigning each zone to a different MIDI channel. Moreover, you can use the Control sliders to tweak the

sound of each as desired.

Selecting a Master

The S90 ES features 128 specially programmed Masters. Try some of these out now.

Selecting a Master is done in basically the same way as selecting a Voice. Since there is only one bank for Masters, you

need not select a Master bank.

When the Mode is set to Voice or Performance, play the keyboard.

When the Mode is set to Multi, play the MIDI song ﬁle on the external sequencer.

Creating Your Original Program Set

(Master mode)

Press the [MASTER] button to enter the Master Play mode.

Select a Master.

Play the selected Master program.

VOICE

MASTER

PERFORM

Mode memorized to the current Master.

Program number (Voice number in this

example) memorized to the current Master.

Use the [SF1] - [SF5] buttons to call up the

Arpeggio type assigned to each button

(page 39). Assigned types depend on the

program number memorized to the current

Master.

Indicates information related to the Control

sliders. The settings depend on the program

number memorized to the current Master.

Indicates the currently

selected Master.

Indicates the Keyboard Octave setting.

Same as in the Voice mode/Performance

mode (page 105).

Quick GuideCreating Your Original Program Set (Master mode)

Creating Your Original Program Set (Master mode)

Owner’s Manual

Storing your favorite programs

Input a name in the [EDIT] → [COMMON] → [F1] NAME

display.

For detailed instructions on naming a voice, refer to page

27.

5-1 Press the [STORE] button to enter the Master Store

mode.

5-2 Select the destination Master by using the data dial

or the [INC/YES] and [DEC/NO] buttons.

When you execute the Store operation, the settings for the destination

memory will be overwritten. Important data should always be backed

up to a separate USB storage device (page 127).

5-3 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

To cancel the Store operation, press the [DEC/NO]

button.

5-4 Press the [INC/YES] button to execute the Store

operation.

Never attempt to turn off the power while an “Executing...” or “Please

keep power on” message is shown. Turning the power off in this state

may cause the system to freeze and prevent normal startup the next

time the power is turned on, as well as resulting in the loss of all user

data.

If you select another Master without storing, the currently edited Master

will be lost. Make sure to store the edited Master before selecting

another Master.

Playing as a master keyboard

In the Master mode, you can divide the keyboard into (up to) four independent areas (called “Zones”). Each Zone can have

different MIDI channel assignments as well as different functions for the Control sliders. This makes it possible to control

several parts of the multi-timbral tone generator simultaneously by a single keyboard or to control voices of an external MIDI

instrument over several different channels in addition to the internal voices of this synthesizer itself—letting you use the S90

ES to effectively do the work of several keyboards.

You can set the parameters related to the four Zones in the Master Edit mode and store the settings as a User Master.

Select a Master to be created.

Press the [F2] MEMORY button to call up the

Mode setting display.

Select the desired mode and program number

to register the Mater. If you want to divide the

keyboard into multiple Zones in the Master,

set the Zone Switch to “on.”

Name the edited Master.

Determines the mode that called up

when Master number is selscted.

Determines whether Zone

Switch is set to on or off.

Determines the program number that is called up when

the Master is selected.

Input a Master name.

Store the edited Master to internal User

memory.

CAUTION

Select a Master to be created.

Press the [F2] MEMORY button to call up the Mode setting display.

Quick Guide Creating Your Original Program Set (Master mode)

Creating Your Original Program Set (Master mode)

Owner’s Manual

Use Zone Edit to edit the parameters for each Zone. Use Common Edit to edit the parameters for all of the Zones.

See the next page for details and some setting examples.

Input a name in the [EDIT]

→ [COMMON] → [F1] NAME display.

For detailed instructions on naming a voice, refer to page 27.

Refer to step 5 on page 91.

After setting the Mode and Program number which you wish to memorize to the Master, set the Zone

Switch to “on.”

Press the [EDIT] button to enter the Master Edit mode.

Call up the Common Edit display or Zone Edit display.

Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit

the parameters in each display.

Name the edited Master.

Store the edited Master to internal User memory.

Determines the mode that is called up when the

Master number is selected.

Set the Zone Switch to “on.”

Determines the program number that is called up when the Master is selected.

EDIT

JOB STORE

COMPARE

COMMON

ELEMENT/PERF. PART/ ZONE

FAVORITES

DRUM KITS

A. PIANO KEYBOARD GUITAR/

PLUCKED

PRE 5 PRE 6 USER 1

GUITAR

SYN LEAD

ABCD

4321

SYN PAD/

CHOIR

SYN COMP

CHROMATIC

PERCUSSION

USER 2

Calling up the Common Edit display

Press the [COMMON] button to call up the

Common Edit display.

In the Edit mode, the [DRUM KITS] button

functions as the [COMMON] button.

While in the Master Edit mode, you can switch

between the Common Edit display and the Zone

Edit display as shown below.

Calling up the Zone Edit display

Press the desired Zone number from the ZONE

[1] - [4] buttons to call up the Zone Edit display.

Indicates a Common Edit

display.

Indicates the display for editing Zone 1.

Common Edit

Zone 1 Edit

Zone 2 Edit

Zone 3 Edit

Zone 4 Edit

Quick GuideCreating Your Original Program Set (Master mode)

Creating Your Original Program Set (Master mode)

Owner’s Manual

Using Zones effectively with external

The two examples below show how to use the Zones with both the internal tone generator and a connected external tone

generator. These instructions correspond to step 6 on the previous page.

n Though all four Zones are used in the example below, you can use any number of Zones (two, three, or four). The settings are made with the

MIDISwitch parameter ([MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch) and the TGSwitch parameter ([MASTER] → [EDIT] →

Zone selection → [F1] TRANS → TGSwitch).

n In these examples, the Zones are assigned to different areas of the keyboard. However, two or more Zones can also be assigned to the same area in

a layer, from the NOTE display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE).

■ Master settings with the Voice mode/Performance mode (Single-timbre tone generator mode)

■ Master settings with the Multi mode (Multi-timbral tone generator mode)

For each Zone, set whether or not MIDI data is transmitted

to the external instrument.

Determine the MIDI Transmit Channel for each zone.

[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TransCh

For each Zone, set whether or not MIDI data is transmitted

to each Part of the internal tone generator.

[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch

Determine the note range of each zone.

[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitH

[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitL

[MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch

Internal tone generator (Single Timbre)

External tone generator (Multi-timbral)

Set the MIDI receive channel for each part.

MIDI Transmit

Channel 1

MIDI Transmit

Channel 2

MIDI Transmit

Channel 3

MIDI Transmit

Channel 4

[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh = 01

For each Zone, set whether or not MIDI data is transmitted

to the external instrument.

Determine the MIDI Transmit Channel for each zone.

[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TransCh

For each Zone, set whether or not MIDI data is transmitted

to each Part of the internal tone generator.

[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch

Determine the note range of each zone.

[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitH

[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitL

[MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch

Internal tone generator (Multi-timbral)

External tone generator (Multi-timbral)

Set the MIDI receive channel for each part.

MIDI Transmit

Channel 1

Part 05

Receive

Channel 1

Part 13

Receive

Channel 2

MIDI Transmit

Channel 2

MIDI Transmit

Channel 3

MIDI Transmit

Channel 4

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection →

[F1] VOICE → [SF2] MODE → ReceiveCh

Quick Guide Creating Your Original Program Set (Master mode)

Creating Your Original Program Set (Master mode)

Owner’s Manual

Assigning Control Change numbers to the Conrol sliders for each Zone

Here in the CS display of the Master Edit mode, you can set how the Control sliders will affect each Zone. This lets you

specify a separate MIDI Control Change number for each slider.

Set the parameters as shown below, corresponding to step 6 on page 92.

In the example above, the Control sliders 1 - 2 have been set to 11 (Expression), and sliders 3 - 4 for all Zones have been

set to 10 (Pan). In this way, you can use the Control sliders 1 - 2 to adjust the relative volume balance among the Zones, and

control the stereo position of each Zone with the slider 3 - 4.

PAN/SEND

PAN

ASSIGN A ASSIGN B ASSIGN

1 ASSIGN 2

REVERB CHORUS TEMPO

RELEASE

ASSIGN

MEF

TONE

ARP FX

CUTOFF RESONANCE ATTACK

SWING

MEF

LOW

MEF

2 MEF 3 MEF 4

GATETIME VELOCITY

UNITMULTIPLY

LOW MID

HIGH MID

HIGH

VOLUME

VOLUME 1

VOLUME

2 VOLUME 3 VOLUME 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

MASTER VOLUME

All indicators are turned off by setting the

[MASTER] → [EDIT] → [COMMON] → [F2] OTHER

→ Slider parameter to “zone.”

You can determine which Control Change numbers are used for the Control

sliders for each zone in the [MASTER] → [EDIT] → Zone selection → [F5]

CS display.

Quick GuideCreating Your Original Program Set (Master mode)

Creating Your Original Program Set (Master mode)

Owner’s Manual

Setting up the Master Zones to Split or Layer

This operation lets you easily determine whether the Zones of the selected Master are to be used in a Split or a Layer.

The note range settings for each Zone can be determined by setting the NoteLimitH and NoteLimitL parameters from

the NOTE display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE).

n Zones 1 and 2 are used in the explanations here.

1 In the Master Play mode, press the [JOB] button to enter the Master Job mode.

2 Press the [F1] INIT button to call up the Initialize display.

3 Uncheckmark the box of “All” by using the [DEC/NO] button and checkmark the box of “Zone.”

4 Set the Type to “Split” or “Layer.”

When Type is set to “Split”

Set the UpperCh (MIDI transmit channel of the upper range), LowerCh (MIDI transmit channel of the lower range), and

Split Point (which separates the keyboard into the upper range and lower range).

When Type is set to “Layer”

Set the UpperCh (MIDI transmit channel of Zone 1) and LowerCh (MIDI transmit channel of Zone 2).

5 Press the [ENTER] button. (The display prompts you for conﬁrmation.)

To cancel the Job, press the [DEC/NO] button.

6 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed” message appears and operation returns to the original display.

TIP

Lower Upper

Split Point

(C3)

Layer (Upper)

Layer (Lower)

Playing back MIDI files (Sequence Play mode)

Owner’s Manual

Quick Guide Playing back MIDI file (Sequence Play mode)

In the Sequence Play mode you can directly play back SMF (Standard MIDI File) song data, without the need of a computer

or external sequencer. Simply load your MIDI song data (Format 0) to a USB storage device, such as a USB memory stick

or ﬂash drive, and connect it to the S90 ES. This is a huge convenience in live performance situations, since you could

record the basic rhythm parts of a song beforehand, then play the melody and solo parts over top of them as they play back

during your performance. You can also set the order of playback, having the S90 ES automatically call up the songs in the

proper order for you.

n The settings in the Sequence Play mode cannot be stored to the S90 ES. If you need to save these settings, save them to a USB storage device in the

File mode.

n Make sure to connect a USB storage device Card containing appropriate Song data.

n The S90 ES is compatible with and can play back Standard MIDI Files of Format 0.

Never attempt to remove/insert the USB storage device while in the Sequence Play mode.

Setting the playback order of MIDI ﬁles (Chain)

From the Chain display ([F1] CHAIN), you can specify the order of the MIDI ﬁles to be played, set the particular Multi to be

used for each song, and stop MIDI ﬁle playback as desired. These settings are executed in order according to the speciﬁed

Chain Step numbers. A maximum number of 100 Chain Steps can be programmed; after reaching 100, playback returns to

001.

If the device has several media (e.g., discs, cards)

inserted at the same time, select the Slot number. If the

device is divided into multiple partitions, select the Partition

number.

For information on how to select a folder, see the section

“Supplementary information” on page 170.

n A Chain can only play back song ﬁles contained in the same

directory.

In step 6 below, you can select the speciﬁc MIDI song ﬁle

from the folder you've speciﬁed here.

Parameters

Playing back MIDI ﬁles

(Sequence Play mode)

CAUTION

Chain Step Number Setting to execute

Press the [MULTI/SEQ PLAY] button once or

twice to enter the Sequence Play mode.

Connect the USB storage device, then press

the [F1] CHAIN button to enter the CHAIN

display.

Press the [SF4] GET button and select the

folder which contains the desired MIDI files,

then press the [ENTER] button.

Press the [F5] OK button.

Use the [▲] and [▼] buttons to select the

Chain Step number.

Use the [DEC/NO], [INC/YES] buttons, and

data dial to assign the following parameter to

each Chain Step.

MIDI Selects desired MIDI ﬁle from the folder selected in step 4

Multi name Speciﬁes the Multi to be used for playback of the MIDI ﬁle,

allowing you to set the desired Voices to be used for

playback or the next song.

skip Skips this Chain Step and playback will jump to the next

Chain Step.

end Returns to Chain Step number 001.

stop Stops MIDI ﬁle playback.

Repeat steps 5 and 6 above to set up the

Chain.

Playing back MIDI files (Sequence Play mode)

Owner’s Manual

Quick GuidePlaying back MIDI file (Sequence Play mode)

You can also play back the song by simultaneously holding

down the [MULTI/SEQ PLAY] button and pressing the

[PERFORM] button.

When the Chain Step playback has ﬁnished, the song at

the next Chain Step number will automatically be started.

You can also stop playback by simultaneously holding

down the [MULTI/SEQ PLAY] button and pressing the

[VOICE] button.

Also, if an “end” or “stop” Chain Step is reached, playback

will stop.

Moving the song position/changing the tempo

You can move the Song position or change the playback tempo for the Song at the currently selected Chain Step. When the

Song is played back, the tempo setting made here automatically takes precedence over the original tempo setting of the

Song.

Selecting the MIDI transmit channel for playing back the keyboard

Press the [TRACK SELECT] button so that its indicator lights and press one of the Number [1] - [16] buttons to select the

desired track for playing the keyboard.

The internal Voices of Multi Parts 1-16 are set by default to the respective MIDI receive channels 1-16. As a result, selecting

a Part number will normally select the same numbered MIDI channel for use as the MIDI transmit channel for your keyboard

performance. Keep in mind however, if any of the settings have been changed for the Multi, you will need to check the

channel assignments and select the appropriate channel for the Part you wish to play.

Press the cursor [▲][▼] buttons to move the

cursor to the desired Chain Step.

Press the [F6]Fbutton to start playback of

the song.

Press the [F6]Jbutton to stop playback of

the song.

The measure be speciﬁed when releasing the [F5] button.

Change the tempo Move through the measures

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

Quick Guide Playing back MIDI file (Sequence Play mode)

Playing back MIDI files (Sequence Play mode)

Owner’s Manual

Changing the transmit settings for each MIDI channel

When using a Multi with the Plug-in Boards or an external tone generator, you must set the appropriate transmit ports and

determine whether the playback data is transmitted to internal/external tone generator or not in the [F2] OUTPUT display.

You can set the OUTPUT settings for each Chain Step Number.

OUT CH (MIDI transmit channel)

Displays the MIDI transmit channel. The “M” mark indicates muted channels, while “S” indicates channels set to solo.

PORT (transmit Port)

Determines the transmit Port for each MIDI channel. When this is set to “off,” MIDI data is output without any Port data. Keep

in mind that this parameter can only be set for channels having assignments to Plug-in parts 1 - 3 (for installed single-part

boards) or Plug-in parts 17 -32 (for installed multi-part boards).

n The internal tone generator parts of the S90 ES are automatically set to Port 1.

INT SW (Internal Switch)

Determines whether or not MIDI data is transmitted to the internal tone generator. When using the internal tone generator of

S90 ES or Plug-in Boards, set this parameter to “on.” When this is set to “off,” the tone generator or Plug-in Boards cannot be

played using the corresponding MIDI channels.

EXT SW (External Switch)

Determines whether or not MIDI data is transmitted to the external tone generator. When using an external tone generator,

set this parameter to “on.” When this is set to “off,” the external tone generator cannot be played using the corresponding

MIDI channels.

Changing all channel settings simultaneously

You can change the settings for all MIDI channels simultaneously by holding down the [SF1] ALL button while making the

change. In the same way, if you change the setting while holding down the [SF2] 1-8 or [SF3] 9-16 button, you can

change the respective group of MIDI channels (1-8 or 9-16) at once.

When changing settings in the OUTPUT display

Keep in mind that the OUTPUT settings of the Chain Step last selected in the Sequence Play mode will be maintained,

even when selecting the Multi mode. In other words, depending on the OUTPUT settings called up by the last Chain Step,

the sound may be unexpected or incorrect the next time you play the keyboard in the Multi mode. Always check the

OUTPUT settings and rest them accordingly when returning to the Multi mode from the Sequence Play mode.

MIDI transmit channel mute/solo

n In the Sequence Play mode, you can mute or solo the playback sound of MIDI song data. Playback of the keyboard cannot be mute or soloed.

■ To mute a MIDI transmit channel

1. Press the [MUTE] button so that its lamp lights.

To turn Mute off, press the [MUTE] button again (the

lamp goes off).

2. Press any of the Number [1] - [16] buttons to select

the transmit channel to be muted.

The corresponding transmit channel is set to mute (its lamp

goes off) and produces no sound. When pressing the same

number button again, the channel mute is canceled (its lamp

lights).

■ To mute a MIDI transmit channel

Simultaneously hold down the [MUTE] button and press one of the

Number buttons [1] to [16] to solo the corresponding channel.

Once you’ve selected a channel for soloing, the [MUTE] button’s

lamp ﬂashes, indicating the Solo function is active. While Solo is

active, you can change the soloed channel simply by

pressing the corresponding Number button [1] to [16].

TIP

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

Using the Plug-in Boards

Quick GuideUsing the Plug-in Board

Owner’s Manual

Plug-in Boards give you an enormous amount of additional sonic ﬂexibility and power. When installed, they work seamlessly

and transparently within the system of this synthesizer—meaning that you can use their sounds and functions just as if they

were built right into this synthesizer at the factory.

The boards that are available for and can be installed to this synthesizer are described below.

Up to three Plug-in boards can be installed to the S90 ES. These boards are not simply a source of more Voices; they are

also full-featured, editable tone generators in their own right and extend the system-level speciﬁcations such as maximum

polyphony.

In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal

Voices and use them as Parts in a Performance/Multi.

This synthesizer is compatible with the Modular Synthesis Plug-in System (see below).

Available Plug-in Boards

There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect

Plug-in Board. Using these, you can build your own system based on the sounds you require.

Single Part Plug-in Boards

Single Part Plug-in Boards let you add a completely

different synthesizer or single timbre tone generator (page

115) and play its voices by using a single part of this

synthesizer. Some boards allow you to use synthesis

systems besides AWM2.

● Analog Physical Modeling Plug-in Board

(PLG150-AN)

Using Analog Physical Modeling (AN) synthesis, the very latest

digital technology is used to accurately reproduce the sound of

analog synthesizers. With this board installed, you have real-time

control over the playback of vintage synthesizer sounds as well as

the very latest sounds heard in today’s club-oriented music.

● Piano Plug-in Board (PLG150-PF/PLG150-AP)

These boards have the AWM2 tone generators mounted a massive

waveform memory (16MB), which is dedicated to the reproduction

of piano sounds. The PLG150-PF offers 136 stereo sounds,

including a number of acoustic and electric pianos. The PLG150-

AP offers 32 stereo sounds, including a wide variety of

exceptionally high-quality, authentic acoustic piano sounds, as

well as an assortment of unusual effect-processed piano sounds.

Each board enables you to expand the polyphony of the

instrument by up to 64 notes. You can even install two of these

boards to double the polyphony to 128 notes.

● Advanced DX/TX Plug-in Board (PLG150-DX)

The sounds of the DX7 are available on this Plug-in Board. Unlike

PCM-based tone generators, this board uses the powerful FM

Synthesis system — the same as found on DX-series

synthesizers—for extraordinarily versatile and dynamic sound

shaping potential. Sounds are compatible with those of the DX7,

and the board can even receive DX7 data via MIDI bulk dump.

● Virtual Acoustic Plug-in Board (PLG150-VL)

With Virtual Acoustic (VA) synthesis, the sounds of real instruments

are modeled (simulated) in real time, giving a degree of realism

that cannot be achieved using conventional PCM-based synthesis

techniques. When playing these sounds using an optional MIDI

Wind Controller (WX5), you can even capture some of the physical

feel of woodwind instruments.

● Drum Plug-in Board (PLG150-DR)/Percussion Plug-in

Board (PLG150-PC)

Once connected and installed, the PLG150-DR/PLG150-PC

becomes a seamless additional sound source of AWM2 for the

host tone generator or synthesizer—providing a total of 88 drum/

percussion voices. Thanks to the built-in effect processing power,

the PLG150-DR/PLG150-PC has two separate effect blocks—

Insertion and Reverb—that can be applied to each kit.

Multi-Part Plug-in Board

Multi-Part Plug-in Boards let you add a completely

independent multi-timbral tone generator to the S90 ES

(page 115)—expanding the Voice capacity and polyphony

of the instrument with a full sixteen additional instrument

parts.

● XG Plug-in Board (PLG100-XG)

This Plug-in Board is a 16-part XG sound generator. You can play

back XG/GM song ﬁles using the rich variety of sounds and effects

on this board.

Effect Plug-in Board

Effect Plug-in Boards let you add a completely different

effect block to the host synthesizer.

● Vocal Harmony Plug-in Board (PLG100-VH)

With this board installed, you can add harmonies to selected parts

using four types of effects. Chorus parts for vocals can be created

automatically from chords that have been prepared and stored as

MIDI data. You can also use this synthesizer like a vocoder by

connecting and using a microphone while playing the keyboard.

Using the Plug-in Boards

About MODULAR SYNTHESIS PLUG-IN SYSTEM

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular

Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively

take advantage of sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-

faceted advances in modern music production.

Using the Plug-in Boards

100

Quick Guide Using the Plug-in Board

Owner’s Manual

Using a Single Part Plug-in Board

Install any of the Single Part Plug-in Boards such as the PLG150-AN, PLG150-AP, PLG150-PF, PLG150-DX, PLG150-VL,

PLG150-DR, and PLG150-PC to the S90 ES and play the Plug-in Voice in the Voice Play mode.

See page 184.

The corresponding slot indicator at the right top of the front panel

lights. This indicates that the board has been successfully

installed.

n If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice

may sound simultaneously with the internal Voice, when playing

back a Multi in the Multi/Sequence Play mode. To keep this from

happening, make sure the MIDI Port number of the Plug-in Board is

set to “2” or “3”—especially when using the Multi/Sequencer Play

mode.

To prevent a similar problem when using both a Single Part Plug-in

Board and a Multi Part Plug-in Board together, set each board to a

different MIDI Port number.

Selecting a Plug-in Voice is done in the same way as selecting a

Normal Voice (page 30) with the exception that you select one of

the PLG (Plug-in) Banks. Press the PLG button which corresponds

to the slot to which the Plug-in Board has been installed.

You’ll also need to select a Bank within the Plug-in Board. Press

the [F2] BANK button to call up the Plug-in Board Bank selection

display, then select the desired Bank.

n For details about the Bank structure of each Plug-in Board, refer to

the Owner’s Manual of each Plug-in Board. Regarding the PLGPRE

(Plug-in Preset) bank, refer to the Plug-in Voice List. Regarding the

Board Voice bank displayed as “035/000,” refer to the Voice Map/

List. The PLGUSR (Plug-in User) banks contain the Voices you

edited and stored as User Voices.

n Playing Voices of the Plug-in User banks (PLG1USR, PLG2USR,

PLG3USR) will result in no sound, if the Plug-in Board has just been

installed. These banks become available only after you edit a

Plug-in Voice and store it as a User Plug-in Voice.

After turning the power off, install a Single

Part Plug-in Board to the instrument.

Switch the S90 ES on.

Check the status of the installed Plug-in

Boards in the [UTILITY] → [F6] PLUG → [SF1]

STATUS display.

STRINGS

PLG 1

SLOT

SLOT 2

SLOT 3

BRASS

PLG 2

REED/PIPE

PLG 3

The name of the installed Plug-in Board is displayed.

VOICE

MASTER

PERFORM

MULTI/

SEQ PLAY

FILE UTILITY

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

Set the MIDI port of the installed Plug-in Board

to “2” or “3” in the [UTILITY] → [F6] PLUG →

[SF2] MIDI display.

Press the [VOICE] button to enter the Voice

Play mode and select a Plug-in Voice.

Play the keyboard.

STRINGS

PLG 1

SLOT

SLOT 2

SLOT 3

BRASS

PLG 2

REED/PIPE

PLG 3

Using the Plug-in Boards

101

Quick GuideUsing the Plug-in Board

Owner’s Manual

Playing the PLG150-VL sound with the Breath Controller

With Virtual Acoustic (VA) synthesis, the PLG150-VL has the sounds of real instruments modeled (simulated) in real

time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When

playing these sounds using an optional Breath Controller, you can even capture some of the physical feel of woodwind

instruments.

1 Install the PLG150-VL to the S90 ES.

2 Connect the Breath Controller BC3 to the

BREATH connector on the rear panel (page 59).

3 Switch the S90 ES power on.

4 Set the Plug-in Board related parameters in the

Utility mode, corresponding to steps 3 and 4 in

the instructions on the previous page.

5 Set the Breath Controller Curve via the

[UTILITY] → [F1] GENERAL → [SF1] TG →

BCCurve parameter (page 163).

6 Press the [VOICE] button to enter the Voice Play

mode, then select a Plug-in Voice of the PLG150-

VL.

7 Play the Voice and blow into the Breath Controller

to expressively change the sound.

You can also use the MIDI Wind Controller WX5 to

play the Plug-in Voice of the PLG150-VL. Connect the

WX5 to the S90 ES with a MIDI cable.

n If you are using a Breath Controller and there is no sound, make

sure that the BrthMode parameter is set to "BC/WC" in the [F4]

NATIVE display of the Element Edit mode.

Editing with a Single Part Plug-in Board

● Plug-in Voices and Board Voices

The Voices of a Single Part Plug-in Board installed to this synthesizer can be divided into two types: Board Voices and

Plug-in Voices. Board Voices are unprocessed, unaltered Voices of the Plug-in board—the “raw material” used for the

Plugin Voices. Plug-in Voices, on the other hand, are edited Board Voices—Voices that have been specially

programmed and processed for optimum use with the host synthesizer.

Since the S90 ES includes preset Plug-in Voices for all the Plug-in Boards, you can call up and play appropriate Voices

for each board immediately after installing it.

● Editing the Plug-in Voice

This is basically the same as Normal Voice Edit. Unlike with Normal Voices, the Plug-in Voices only have one Element

for editing. In addition, some of the other parameters may not be available. For details, refer to reference section on

page 143.

● Editing the Board Voice

Board Voices can be edited using the computer software for each Plug-in Board. You cannot edit the Board Voice on

the S90 ES.

TIP

BREATH

ASSIGNABLE SUSTAIN

FOOT SWITCH

FOOT PEDAL

S90 ES

MIDI OUT connector

MIDI IN connector

MIDI cable

WX5

Using the Plug-in Boards

102

Quick Guide Using the Plug-in Board

Owner’s Manual

Using a Multi Part Plug-in Board

In this section, we'll explain how to play back an XG for mat song in the Multi mode, using the PLG100-XG Plug-in Boar d.

Naturally, to get the most out of these instructions, you should prepare to play back XG song data (Standard MIDI File) by

connecting the S90 ES to the computer.

Playback with a Multi Part Plug-in

Board

See page 184 for details.

n If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice

may sound simultaneously with the internal Voice, when playing

back a Multi in the Multi/Sequence Play mode. To keep this from

happening, make sure the MIDI Port number of the Plug-in Board is

set to “2” or “3”—especially when using the Multi/Sequencer Play

mode.

To prevent a similar problem when using both a Single Part Plug-in

Board and a Multi Part Plug-in Board together, set each board to a

different MIDI Port number.

You must set the transmit port of each track on the XG song

to the same number as the port number selected in the

step 4.

For details how to connect the S90 ES to computer, see

page 67.

Editing a Part on a Multi Part Plug-in

Board

How to edit the Multi Part Plug-in Parts 17 - 32 is basically

the same as editing the internal Parts 1 - 16. See page 44.

However, please note that the Multi Part Plug-in Part (17 -

32) settings apply not to one individual Multi but to all

Multis, and the Insertion Effects and System Effects are not

applied to Multi Part Plug-in Parts.

After turning the power off, install the Multi

Part Plug-in Board PLG100-XG to slot 3 of this

synthesizer.

Switch the S90 ES power on.

Check the status of the installed Plug-in

Boards in the [UTILITY] → [F6] PLUG → [SF1]

STATUS display.

Set the MIDI port of the PLG100-XG to “2” or

“3” in the [UTILITY] → [F6] PLUG → [SF2] MIDI

display.

The name of the installed Plug-in Board is displayed.

Press the [MULTI/SEQ PLAY] button to enter

the Multi mode.

Play back XG song from the sequencer

software on the computer.

Using the Plug-in Boards

103

Quick GuideUsing the Plug-in Board

Owner’s Manual

Using an Effect Plug-in Board

In the example explanation below, the PLG100-VH Vocal Harmony Plug-in Board is used to apply harmony effects to the

microphone sound in the Performance mode.

n For Multi, the Effect Plug-in Board related parameters can be edited in the Multi Play mode or Multi Edit mode.

n Please note that the Effect Plug-in Board cannot be used in the Voice mode.

See page 184 for details.

n A standard dynamic microphone is recommended. (The S90 ES

does not support phantom-powered condenser microphones.)

For details, refer to steps 4 - 9 on page 38.

For details, refer to the Owner’s Manual of the PLG100-VH.

After turning the power off, install the Effect

Plug-in Board PLG100-VH to slot 1.

Plug the microphone to the A/D INPUT jack on

the rear panel.

Turn the S90 ES power on.

Press the [PERFORM] button to enter the

Performance Play mode, select the desired

Performance, then set the microphone related

parameters.

Check the status of the installed Plug-in

Boards in the [UTILITY] → [F6] PLUG → [SF1]

STATUS display.

Select “PartAD” as the Part to which the Plug-

in Insertion Effect is applied in the CONNECT

display ([PERFORM] → [F3] EFFECT → [SF1]

CONNECT).

A/D INPUT

GAIN

Move the cursor here, then select the Part.

Select the Plug-in Insertion Effect Type.

Set related parameters from the Plug-in Effect

display ([PERFORM] → [EDIT] → [COMMON]

→ [F6] EFFECT → [SF3] PLG-EF).

Sing or talk into the microphone to check the

effect sound, and adjust the settings as

necessary.

If desired, store the settings for the

microphone sound and PLG100-VH as a

Performance in the Performance Store mode

(page 56).

Move the cursor here, then select the Part.

A/D INPUT

GAIN

Tips

104

Owner’s Manual

Quick Guide Tips

This section explains the useful features included on your S90 ES.

Tips

Comparing the sound before editing

with the just-edited one (Compare

function)

This convenient function lets you switch between the

edited Voice and its original, unedited condition—

allowing you to listen to the difference between the

two and better hear how your edits affect the sound.

You can use the function in each Edit mode (Voice/

Performance/Multi).

1 In the Edit mode (the [EDIT] indicator lighting),

press the [EDIT] button so that its indicator

ﬂashes.

The [C] indicator is shown at the top of the display

(in place of the [E] indicator), and the original,

unedited Performance is restored for monitoring.

2 Press the [EDIT] button again to disable the

“Compare” function and restore the settings

for your edited program.

Compare the edited sound with the unedited

sound by repeating steps 1 and 2.

n While Compare is active, you cannot edit.

Edit Recall Function

If you are editing a program and select a different

program without storing your edited one, all the edits

you've made will be erased.

If this happens, you can use Edit Recall to restore the

program with your latest edits intact.

1 Press the [JOB] button in each mode to enter

the Job mode.

2 Press the [F2] RECALL button to call up the

Recall display.

3 Press the [ENTER] button. (The display

prompts you for conﬁrmation.)

If you wish to cancel the operation, press the

[DEC/NO] button.

4 Press the [INC/YES] button to execute the Edit

Recall to restore the program.

TIP

EDIT

JOB STORE

COMPARE

TIP

Voice Element mute/solo (in the Normal

Voice Edit mode only)

■ Muting an Element

1 Make sure that the [MUTE] button's lamp is

turned on in the Normal Voice Edit mode.

If the indicator is ﬂashing, press the [MUTE]

button.

2 Press one of the [9] - [12] buttons that you want

to mute and turned the indicator off.

Pressing the button alternates on and off.

■ Soloing an Element

1 In the Normal Voice Edit mode, simultaneously

hold down the [SOLO] button and press one of

the Number buttons [9] to [12] to solo the

corresponding Element.

Once you’ve selected an Element for soloing, the

[SOLO] button's lamp ﬂashes, indicating the Solo

function is active and only the selected Element

can be played.

2 To exit from the Solo function, press the

[SOLO] button again.

TIP

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

The example below shows that the Element 3 is muted.

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

Press the buttons simultaneously

The example below shows that the Element 3 is muted.

Tips

105

Owner’s Manual

Quick GuideTips

Multi/Performance Part mute/solo

■ Muting a Part

1 Make sure that the [MUTE] button's lamp is

turned on.

If the indicator is ﬂashing, press the [MUTE]

button.

2 press one of the [1] - [4] buttons in the

Performance mode or press one of the [1] - [16]

buttons in the Multi mode that you want to mute

and turned the indicator off.

■ Soloing a Part

1 Press one of the [1] - [4] buttons in the

Performance mode or press one of the [1] - [16]

buttons in the Multi mode that you want to solo,

whiile holding the [SOLO] button.

Once you’ve selected an Part for soloing, the

[SOLO] button's lamp ﬂashes, indicating the Solo

function is active and only the selected Part can

be played.

2 To exit from the Solo function, press the

[SOLO] button again.

n When selecting a Multi in the Master mode, the mute/solo

settings apply not to each Part but to each MIDI transmit

channel. Details are the same as for the mute/solo settings in

the Sequence Play mode.

TIP

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

The example below shows that the Part 3 is muted.

ELEMENT/PERF. PART/ZONE

421

12 13

MUTE

TRACK

SELECT

SOLO

Press the buttons simultaneously

The example below shows that the Part 3 is muted.

Keyboard MIDI transmit channel setting

Press the [TRACK SELECT] button so that its indicator

lights, and press any of the Number [1] - [16] buttons

to change the Keyboard MIDI transmit channel in any

mode.

n You can also set the MIDI keyboard transmit channel of the

Voice mode and Performance mode from the Utility mode

([UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh).

Transpose setting of the keyboard

You can transpose the pitch up or down of the

keyboard in semitone steps or octave steps.

1 Press the [UTILITY] button to enter the Utility

mode.

2 Press the [F1] GENERAL button, then the [SF2]

KBD button.

3 Move the cursor the “Octave” when you want to

shift the key by one octave. Move the cursor

“Transpose” when you want to shift the key by

one semitone.

4 Change the parameter value by using the [INC/

YES], [DEC/NO] buttons and data dial.

5 Press the [STORE] button to store the settings

as the system setting of Utility mode.

If you turn the power off without storing, the currently edited

settings will be lost.

TIP

ELEMENT/PERF. PART/ZONE

12 13

MUTE

TRACK

SELECT

SOLO

TIP

SF1

SF2

F2 F3 F4 F5 F6

SF3 SF4 SF5

INFORMATION

CAUTION

Tips

106

Owner’s Manual

Quick Guide Tips

Setting a speciﬁc ﬁle to load automatically when the power is turned on

The S90 ES is very easy to use and you can create Voices, Performances, and Multis very quickly on it. However,

there may be times that creating and editing of data may be spread out over several sessions. In such a case, you

may ﬁnd it convenient to have the instrument automatically load the appropriate ﬁles for you when you turn it on, so

you can easily resume your editing session.

nThe Auto Load parameter is set to on when this synthesizer is shipped from the factory.

nThe ﬁle types which can be loaded automatically are “All,” “Plugin All Bulk 1,” “Plugin All Bulk 2,” and “Plugin All Bulk 3.”

1 Change the names of the ﬁles you wish to have load automatically when the power is turned on as

described below, and save them together in a single folder or in the root directory.

2 Enter the Utility mode and call up the Auto Load display ([UTILITY] → [F1] GENERAL → [SF4] OTHER).

3 Set “Auto Load” to on, and press the [SF5] GET button.

4 Select the folder saved in step 1.

If the device is inserted the multiple medias, select the Slot number. If the device is divided the multiple partitions,

select the Partition number.

5 Press the [STORE] button to store the settings as the system setting of Utility mode.

File type File name

All AUTOLOAD.S7A

Plugin All Bulk 1 (for slot 1) AUTOLD1.W2B

Plugin All Bulk 2 (for slot 2) AUTOLD1.W2B

Plugin All Bulk 3 (for slot 3) AUTOLD1.W2B

TIP

Save the data after editing.

Turn the power off

The saved ﬁles are loaded automatically

when you turn the power on next time.

USB storage device USB storage device

Save Auto Load

Quick GuideTips

Tips

107

Owner’s Manual

Selecting programs from a computer

You can select Voices/Performances/Multis on this instrument from your computer software by specifying the following

MIDI messages. When changing the program in each mode, the following three MIDI messages must be transmitted to

the S90 ES.

• Bank Select MSB (Control change #000)

• Bank Select LSB (Control change #032)

• Program Change

For example, transmit the following MIDI messages to select the Voice of number 12 in the PRE2 in the Voice mode.

1 Transmit a Bank Select MSB (Control change #000) value of 63.

2 Transmit a Bank Select LSB (Controll change #032) value of 1.

3 Transmit a Program Change value of 12.

For details on what values are assigned to the Bank Select MSB/LSB and Program Change number of this synthesizer,

refer to the separate Data List.

n When switching Voices in the same Bank or Performances, you can change a Voice or Performances by a Program Change message. When

switching Multis, you must transmit Bank Select MSB/LSB messages before a Program Change.

n When switching the mode (e.g., changing the Voice mode to the Multi mode), transmit the proper Mode Change message (System Exclusive)

before the Bank Select MSB to the S90 ES (page 183).

TIP

Internal Structure (System Overview)

108

Basic Structure

Owner’s Manual

Basic Structure

This section gives you an easy-to-understand overview of the S90 ES — its wide range of sophisticated features, its MIDI

control and performance functions, and its convenient ﬁle management system for original data you’ve created with the

instrument.

Internal Structure (System Overview)

This synthesizer is made up of several blocks, as shown here.

Controller block

This block consists of the keyboard, Pitch Bend and Modulation Wheels, Control sliders, and so on.

The keyboard itself doesn’t generate sounds, but instead generates/transmits note on/off, velocity and other information

(MIDI messages) to the synthesizer’s tone generator block when you play notes. The controllers also generates/transmits

MIDI messages. The synthesizer’s tone generator block produces the sound according to the MIDI messages transmitted

from the keyboard and controllers.

Controller supported by the S90 ES

The controllers you can use on this synthesizer and the reference pages are as follows:

● Controllers with which the S90 ES is equipped

Keyboard (Initial Touch, Aftertouch) ................. page 16

Pitch Bend Wheel ............................................. page 41

Modulation Wheel ............................................. page 41

Control slider (CS) ............................................ page 42

● Controllers (sold separately) that can be

connected to the rear panel of the S90 ES

Foot Controller...................................................page 60

Footswitch.........................................................page 59

Breath Controller ...............................................page 59

VOLUME 1

VOLUME

2 VOLUME 3 VOLUME 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

Controller block

Keyboard Controllers

Effect block

• Reverb

• Chorus

• Master Effect

• Part Equalizer

• Master Equalizer

Microphone, Guitar, Bass,

Audio equipment, etc.

Playback

External MIDI instrument

Audio signal ﬂow

MIDI messages ﬂow

Playback

MIDI output

Audio (sound)

output

Internal AWM2 Plug-in

board

• Voice

• Performance

• Multi

Tone Generator

block

Basic Structure

Internal Structure (System Overview)

109

Owner’s Manual

Tone Generator block

The tone generator block is what actually produces sound in response to the MIDI messages received from the controller

block, and from an external sequencer.

Internal AWM2 Tone Generator and optional Plug-in board

The tone generator block in the S90 ES consists of the built-in AWM2 and optional Plug-in boards.

● AWM2 (Advanced Wave Memory 2)

AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many

Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform.

Furthermore, a wide variety of envelope generator, ﬁlter, modulation, and other parameters can be applied to the basic

waveform.

● Plug-in board

For details, see page 99.

Voice, Performance, and Multi

This instrument features three different types of programs that form the basis for creating and playing sounds.

● Voice

A Voice is a program that contains the sonic Elements for generating a speciﬁc musical instrument sound. Each Voice

consists of up to four Elements (Normal Voice) or up to 73 Keys (Drum Voice). Each Voice is created by editing parameters

unique to each Element/Key and parameters common to all the Elements/Keys in the Voice mode (page 44) or in the Multi

Voice Edit mode (page 73).

● Performance

A Performance is a program in which multiple Voices (Parts) are combined in a layer, or in other conﬁgurations. Each

Performance can contain up to four different Parts (Voices). Each Performance can be created by editing parameters

unique to each Part and parameters common to all the Parts in the Performance mode (page 53).

● Multi

A Multi is a program in which multiple Voices are assigned to Parts for multi-timbral play in the Multi mode. Each Multi can

contain up to 34 Parts. Each Multi can be created by editing parameters unique to each Part and parameters common to all

the Parts in the Multi mode (page 72).

Internal AWM2

Tone Generator

Plug-in boards (optional)

Up to three boards can be installed.

Basic Structure

Internal Structure (System Overview)

110

Owner’s Manual

The illustration below shows the structure and interrelationship of the Voices, Performances, and Multis.

Keyboard Mega Voices

Normal Voices use velocity switching to make the sound quality and/or level of a Voice change according to how strongly or softly you

play it.

This makes the Voices sound authentic and natural. However, with Keyboard Mega Voices, each velocity range (the measure of your

playing strength) has a completely different sound. For example, a guitar Voice includes the sounds of various performance techniques.

In conventional instruments, different Voices having those sounds would be called up via MIDI and played in combination to achieve the

desired effect.

Now with Keyboard Mega Voices, a convincing guitar Part can be played with just a single Voice, using speciﬁc velocity values to play

the desired sounds.

n The Keyboard Mega Voice names are indicated as “Mega **” in the display.

CH16

CH1

PITCH

OSC

(Oscillator)

FILTER

AMP

(Amplitude)

LFO

PEG FEG AEG

VOICE

MULTI/

SEQ PLAY

One Voice

Up to four elements (Normal Voice)

Up to 73 keys (Drum Voice)

Pitch Envelope

Generator

One Multi

Waveform

(AWM2)

Common Edit parameters

Part Edit parameters

Common Edit parameters

Arpeggio, Effects, Controller Set, etc.

Element 1 - 4

or Key C0-C6

• Parts 1 - 16 (of the internal tone generator)

• Parts 17 - 32 (of the optionally installed

PLG100-XG)

• Parts PLG 1 - 3 (of the optionally installed

single part Plug-in boards)

Filter Envelope

Generator

Amplitude Envelope

Generator

Low Frequency

Oscillator

Different Voice for each part

One Performance

Up to four parts

One Part

Voice

Different Voice for each part

One Part

Voice

Element Edit parameters

or Key Edit parameters

Outputs the

wave that makes

up the sound.

Controls the

pitch of the

sound.

Controls the output level

(amplitude) of the sound

output from the FILTER

unit. The signals are

then sent at this level to

the Effect block.

Changes the

tonal quality of

the sound

output from

the PITCH

unit.

Set in the Voice Edit mode (page 44)

n The Drum Voice Key Edit parameters do not contain LFO settings.

Basic Structure

Internal Structure (System Overview)

111

Owner’s Manual

The following illustrations may help in understanding the memory structure of the Voices, Performances, and Multis.

■ Normal Voice and Drum Voice

Internally, there are two Voice Types: Normal Voices and Drum Voices.

Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard.

Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of

assigned percussion/drum waves or Normal Voices is known as a Drum Kit.

1 2 ...... 128

1 2 ...... 64

1 2 ...... 128 1

1 2 ...... 128 1 2 ...... 128 1 2 ...... 32

1 2 ...... 64

1 2 ...... 128

1 2 ...... 64

VOICE

1 2 ...... 128

A. PIANO

PRE 1

KEYBOARD

PRE 2

ORGAN

PRE 3

PRE 4

GUITAR/

PLUCKED

FAVORITES

DRUM

KITS

FAVORITES

DRUM

KITS

FAVORITES

DRUM

KITS

A. PIANO

PRE 1

BASS

USER 1

USER 2

STRINGS

PLG 1

BRASS

PLG 2

REED/PIPE

PLG 3

PERFORM

USER 1

MULTI/

SEQ PLAY

2 ...... 32 ...... 64

Preset 1

(128 Voices)

Preset 2

(128 Voices)

Preset 3

(128 Voices)

Preset 4

(128 Voices)

GM Preset

(128 Voices)

User 1

(128 Voices)

User 2

(128 Voices)

Preset Drum

(64 Voices)

GM Drum

(1 Voice)

User Drum

(32 Voices)

PLG1 Preset

(64 Voices)

PLG1 User

(64 Voices)

PLG2 Preset

(64 Voices)

PLG2 User

(64 Voices)

PLG3 Preset

(64 Voices)

PLG3 User

(64 Voices)

User 1

(128 Performances)

User 1

(64 Multi)

→

Normal Voice

Normal Voices: 512

Drum Voices: 64

Drum Voice

Voices

Preset Voice

Normal Voices: 128

Drum Voice: 1

GM Voice

Normal Voices: 256

Drum Voices: 32

User Voice

* When the PLG150-VL is

installed, there are three Preset

Banks and 192 Preset Voices.

Plug-in Voice

Performance Multi

When shipped from the factory,

preset Multis of 32 different types are

contained in program numbers 1

through 32.

Key 1 Key 5 Key 10 Key 18 Key 21 Key 73

C1 C6

Waveform (Preset 1 - 1935)

Normal Voice

Individual drum sounds (different for each key)

Drum Voice

One Voice

Element 4

Element 1

Element 2

Element 3

Velocity

Basic Structure

Internal Structure (System Overview)

112

Owner’s Manual

■ GM Voices

GM (General MIDI) is a worldwide standard for Voice organization and MIDI functions of synthesizers and tone generators. It

was designed primarily to ensure that any song data created with a speciﬁc GM device would sound virtually the same on

any other GM device—no matter the manufacturer or the model. The GM Voice bank on this synthesizer is designed to

appropriately play back GM song data. However, keep in mind that the sound may not be exactly the same as played by the

original tone generator.

■ Tone generator parameters that produce the Voice sound

Among various parameters that makes up one Voice, Oscillator, Pitch, Filter, Amplitude, LFO and three Envelope Generators

(PEG, FEG, AEG) shown in the illustration on pages 112 - 114 are the basic parameters for creating the Voice sound.

Parameters about Oscillator, Pitch, Filter and Amplitude determine the three basic elements of the sound—Pitch (how low or

high it is), Tone (or its overall sound quality), and Volume (how loud its volume level is) of the Voice. Parameters such as LFO

and EG (Envelope Generator) determine the transition in these three basic elements of the sound from the moment the sound

starts to the moment the sound stops.

In the sections that follow, we’ll explain in detail about the sound-related parameters and provide an introduction to the

basics of electronic synthesis.

● Oscillator

This unit outputs the wave which determines the basic pitch. You can assign the wave (or basic sound material) to each

Element of the Normal Voice or each Key of the Drum Voice. In the case of the Normal Voice, you can set the note range for

Element (the range of notes on the keyboard over which the Element will sound) as well as the velocity response (the range

of note velocities within which the Element will sound). For example, you could set one Element to sound in an upper range

of the keyboard, and another Element to sound in a lower range. Thus, even within the same Voice, you can have two

different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are

layered over a set range. Furthermore, you can set each Element to respond to different velocity ranges so that one Element

sounds for lower note velocities, whereas another Element sounds for higher note velocities.

n You can assign the wave with the following operation.

[VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F1] OSC → [SF1] WAVE

● Pitch

This unit controls the pitch of the sound (wave) output from the Oscillator. In the case of the Normal Voice, you can detune

separate Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how

the pitch changes over time.

PEG (Pitch Envelope Generator)

Using the PEG, you can control the transition in pitch from

the moment the sound starts the moment the sound stops.

You can create the PEG by setting parameters as illustrated

below. When you press a note on the keyboard, the pitch of

the Voice will change according to these envelope settings.

This is useful for creating automatic changes in pitch, which

is effective for example in synth brass sounds. Furthermore,

different PEG parameters can be set for each Element or

each Key.

VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F1] OSC

[VOICE]

→

Voice selection

→

[EDIT]

→

Element selection/Drum Key selection

→

[F2] PITCH

Pitch

Hold

Level

Attack

Level

Decay1

Level

Sustain Level

(Decay2 Level)

Release

Level

Hold

Time

Attack

Time

Decay1

Time

Decay2

Time

Release

Time

Pressing the key (Key on) Releasing the key (Key off)

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● Filter

This unit modiﬁes the tone of the sound output from Pitch by cutting the output of a speciﬁc frequency portion of the sound.

Cutoff Frequency and Resonance

Here’s how ﬁlters work. In the example below (a low pass ﬁlter), a portion of the signal lower than a given frequency is

allowed to pass, and signals above that frequency are cut. This frequency is referred to as the cutoff frequency. You can

produce a relatively bright or darker sound by setting the cutoff. Resonance is a parameter that boosts the level of the signal

in the area of the cutoff frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone,

making the sound brighter and harder.

FEG (Filter Envelope Generator)

Using the FEG, you can control the transition in tone from

the moment the sound starts to the moment the sound

stops. You can create the FEG by setting parameters as

illustrated below. When you press a note on the keyboard,

the cutoff frequency will change according to these

envelope settings. This is useful for creating automatic wah

or ﬁlter sweep effects, for example. Furthermore, different

FEG parameters can be set for each Element or each Key.

[VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F3] FILTER

About the main Filter types

The Low Pass Filter is shown in the illustration above—however, this synthesizer features four other Filter types as shown

below.

•Low Pass Filter (above)

This passes only those signals below the Cutoff

frequency. You can then use the Reso (Resonance)

parameter to add further character to the sound.

• High Pass Filter

This passes only those signals above the Cutoff

frequency. You can then use the Reso (Resonance)

parameter to add further character to the sound.

• Band Pass Filter

This passes only those a band of signals around the

Cutoff frequency. The width of this band can be varied.

• Band Elimination Filter

This attenuates a band of signals around the Cutoff

frequency, but passes everything else.

These frequencies are “passed” by the ﬁlter.

Cutoff frequency

Resonance

Frequency (pitch)

Level

Frequency (pitch)

Cutoff frequency

Level

Resonance

Cutoff frequency

These frequencies are

“passed” by the ﬁlter.

Level

Frequency

Range passed

Cutoff range

Level

Center frequency

Level

Cutoff range

Range passed

Center frequency

Frequency

Cutoff

Frequency

Hold

Level

Attack

Level

Decay1

Level

Sustain Level

(Decay2 Level)

Release

Level

Hold

Time

Attack

Time

Decay1

Time

Decay2

Time

Release

Time

Pressing the key (Key on) Releasing the key (Key off)

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● Amplitude

This unit controls the output level (amplitude) of the sound output from Filter. The signals are then sent at this level to the Effect

block. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time.

AEG (Amplitude Envelope Generator)

Using the AEG, you can control the transition in volume from

the moment the sound starts is to the moment the sound

stops. You can create the AEG by setting parameters as

illustrated below. When you press a note on the keyboard,

the volume will change according to these envelope

settings. Furthermore, different AEG parameters can be set

for each Element or each Key.

● LFO (Low Frequency Oscillator)

As its name suggests, the LFO produces a wave of a low frequency.

These waves can be used to vary the pitch, ﬁlter or amplitude of each Element to create effects such as vibrato, wah and

tremolo. LFO can be set independently for each Element; it can also be set globally for all Elements.

[VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F4] AMP

When using a Footswitch connected to the FOOT SWITCH (SUSTAIN) jack

When the Half Damper function is set to off

When you release the key while holding the Footswitch, the sound will stay at the Sustain Level (Decay 2 Level) shown.

(For Voices having a Sustain Level of 0, the sound decays naturally to silence.)

When releasing the Footswitch, the operation is same as key off; the sound will start to decay, and ﬁnally decay to

silence according to the Release Time.

When the Half Damper function is set to on (FC3 only)

When you release the key while pressing the Footswitch fully down, the sound will decay to the Sustain Level (Decay 2

Level), according to the Sustain Time value.

In this case, you can control the decay time between the Sustain Time and Release Time by how far down you press

the pedal. However, when you release the pedal after releasing the keys (key off event), the sound will decay according

to the Release Time, as if the Half Damper function was set to off.

n For details about the Footswitch and how to turn the Half Damper function on or off, see page 60.

n When releasing the key before the sound reaches the Sustain Level

When pressing the Footswitch fully down, the sound will decay after reaching the Sustain Level (after the Decay 2 Time). When the Footswitch is

not pressed fully down, the sound will decay immediately.

[VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F5] LFO

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F5] LFO

Level

(Volume)

Initial

Level

Attack

Level

Decay1

Level

Sustain Level

(Decay2 Level)

Time

Attack

Time

Decay1

Time

Decay2

Time

Release

Level

Release

Time

Pressing the key (Key on) Releasing the key (Key off)

Level

(Volume)

Attack

Time

Decay1

Time

Decay2

Time

Pressing the key (Key on) Releasing the key (Key off)

Attack

Level

Half Damper

function is

set to off

Half Damper

function is

set to on

Release

Time

Decay 1

Level

Sustain Level

(Decay 2 Level)

Pressing the pedal Releasing the pedal

Sustain

TIme

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Single timbre tone generator (Voice/Performance mode) and multi-timbral tone

generator (Multi mode)

The internal tone generator block operates in two different ways (single timbre and multi-timbral) depending on the selected

mode. The difference between the two is whether they can handle multiple MIDI channels at the same time or not.

● Single Timbre Tone Generator (Voice/Performance mode)

A “single timbre” tone generator receives data over a single MIDI channel and plays a single instrument Part.

This is the operating status of the internal tone generator in the Voice and Performance modes.

n To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode.

[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh

● Multi-timbral Tone Generator (Multi mode)

A “multi-timbral” tone generator simultaneously receives data over multiple MIDI channels and plays multiple instrument

Parts. This allows playback of multichannel MIDI song data—such as on a MIDI sequencer or computer—with each internal

Part being assigned to and played by a different track or channel. This is the operating status of the internal tone generator

in the Multi mode.

n To set the MIDI receive channel for multi-timbre operation (Multi mode), use the following operation in the Multi mode.

[MULTI/SEQ PLAY] (select Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh

Maximum Polyphony

Maximum polyphony refers to the highest number of notes that can be sounded simultaneously from the internal tone generator of the

instrument. The maximum polyphony of this synthesizer is 128. When the internal tone generator block receives a number of notes

exceeding the maximum polyphony, previously played notes are cut off. Keep in mind this may be especially noticeable with Voices

that have a long decay or sustain.

Furthermore, the maximum polyphony applies to the number of Voice Elements used, not the number of Voices. When the Normal

Voices that include up to four Elements are used, the maximum number of simultaneous notes may be less than 128.

n When a Plug-in Board is installed, playing Plug-in Board Voices does not affect the maximum polyphony of the S90 ES. For details on maximum

polyphony for the Plug-in Boards, refer to the owner’s manual of the particular board.

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Part structure of the Tone Generator block

The S90 ES plays the sounds in its tone generator block in response to MIDI messages received from external controllers or

sequencer. The MIDI messages are assigned to sixteen independent channels, and the instrument is capable of simultaneously

playing sixteen separate Parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using

separate MIDI “ports,” each supporting sixteen channels.

The multiple sound sources of this synthesizer (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports

included on the instrument.

n The USB cable supports up to eight separate MIDI ports. However, the S90 ES supports up to three MIDI ports.

n A single MIDI cable/connection cannot handle data over multiple MIDI ports.

■ Part structure of the tone generator block in the Voice mode

In this mode, a Voice is played using a single Part. This Part is used also when the Plug-in Voice is selected. The tone generator

block in the Voice mode receives MIDI data over a single channel. For this reason, song data on an external sequencer consisting

of multiple MIDI channels will not play back properly in this mode. If you are using an external MIDI sequencer or computer to play

the instrument, make sure to use the Multi mode.

n •To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode.

[UTILITY] → MIDI display → BasicRcvCh

• In the Voice mode, the instrument recognizes only data over MIDI Port 1.

n The Multi-part Plug-in Board (PLG100-XG) cannot be used in the Voice mode.

■ Part structure of the tone generator block in the Performance mode

This mode lets you play a Performance (in which multiple Voices or Parts are combined—in a layer, or in other conﬁgurations).

While a total of seven Parts are available in this mode (as shown below), a maximum of four Parts can be used simultaneously.

Although this mode lets you play several Parts at the same time, all are set to receive over the same single MIDI channel, as in the

Voice mode. For this reason, song data on an external sequencer consisting of multiple MIDI channels will not play back properly in

this mode. If you are using an external MIDI sequencer or computer to play the instrument, make sure to use the Multi mode.

n •To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode.

[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh

• In the Performance mode, the instrument recognizes only data over MIDI Port 1.

n The Multi-part Plug-in Board (PLG100-XG) cannot be used in the Performance mode.

MIDI port

Voice mode

Part 1

Tone generator block

MIDI Port 1

Part 1

Part 2

Part 3

Part 4

Part 5

Part 13

PLG2 (Part 15)

PLG3 (Part 14)

PLG1 (Part 16)

Tone generator block

Performance Mode

Parts for the internal

tone generator

Parts for the Single-part

Plug-in Boards

Parts 5-13 are not used.

These seven Parts (1, 2, 3, 4, PLG1, PLG2, PLG3)

are reserved for use in the Performance mode;

however, only up to four of them can be used at the

same time. The Parts selected with the “PartSw”

parameter (in the [PERFORM] → Performance

selection → [EDIT] → Part selection → [F1] VOICE →

[SF1] VOICE display) are played.

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■ Part structure of the tone generator block in the Multi mode/Sequence Play mode

This mode lets you use multiple Parts and assign different Voices to be played back for each Part. Since different MIDI channels

can be set for each Part of the tone generator block, you can use an external MIDI sequencer to play the sounds. As illustrated

below, the sequence data of each track plays the corresponding Parts (those having the same MIDI channel assignment) in the

tone generator block.

Up to 48 Parts are provided for the Multi mode. However, the number of Parts that are actually used is a maximum of 34, as we will

see later in the example.

This example applies when installing one Multi part Plug-in Board and two Single-part Plug-in Boards, and assigning the Multi-part Plug-in

Board to “Port 3” and the Single-part Plug-in Boards to “Port 2.”

When using the internal tone generator of the S90 ES, set the MIDI port of each track on the sequencer to “1.” Keep in mind that data

received over Ports 2 or 3 cannot sound the internal tone generator block. The tone generator of the installed Plug-in Board can be sounded

via any of the MIDI ports 1 - 3.

To set the MIDI receive channel for multi-timbre operation (Multi mode), use the following operation in the Multi mode.

To set the port number assignment for the Plug-in Board, use the following operation.

n The Plug-in Board lets you use only a single Voice at the same time. Please note that you cannot assign multiple Voices of the Plug-in Board to multiple Parts at the

same time.

n The Multi-part Plug-in Board can only be installed to slot 3 (PLG3).

n The Voice and related settings (volume, pan, etc.) are sounded according to the Part parameters of the current Part. Other settings such as Controllers and Effect

types correspond to the Common parameters of the current Multi.

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE →

ReceiveCh

[UTILITY] → [F6] PLUG → [SF2] MIDI

MIDI Port 1

Part 1

Part 2

Part 14

Part 15

Part 16

Part 1

Part 2

Part 14

Part 15

Part 16

Part 1

Part 2

Part 14

Part 15

Part 16

(for the internal tone

generator/Plug-in Board)

MIDI Port 2

(for the Plug-in Board)

MIDI Port3

(for the Plug-in Board)

Tone generator block

Multi Mode

Multi-part

Plug-in Board

Single-part

Plug-in Board

(Receive Channel = 2)

Part 2

Part 1

(Receive Channel = 3)

Part 3 (Receive Channel = 4)

Part 4 (Receive Channel = 1)

....

Part 15 (Receive Channel = 5)

Part 16 (Receive Channel = 6)

PLG1 (

Part

16)

MIDI Port 1

MIDI Port 2

(Receive Channel = 16)

Part 15

(Receive Channel = 8)

(Receive Channel = 7)

(Receive Channel = 10)

(Receive Channel = 13)

....

(Receive Channel = 14)

Part 1

(Receive Channel = 15)

MIDI Port 3

Part 32 (Part 16)

Part 17 (Part 1)

Part 18 (Part 2)

Part 19 (Part 3)

Part 20 (Part 4)

Part 31 (Part 15)

....

Tr ack 1 Transmit Channel = 1 (Port 1)

Tr ack 2 Transmit Channel = 2 (Port 1)

Tr ack 3 Transmit Channel = 3 (Port 1)

Tr ack 4 Transmit Channel = 4 (Port 1)

Tr ack 5 Transmit Channel = 5 (Port 1)

Tr ack 6 Transmit Channel = 6 (Port 1)

Tr ack 7 Transmit Channel = 7 (Port 3)

Tr ack 8 Transmit Channel = 8 (Port 3)

Tr ack 9 Transmit Channel = off (Port off)

Tr ack 10 Transmit Channel = 10 (Port 3)

Tr ack 11 Transmit Channel = 11 (Port off)

Tr ack 12 Transmit Channel = off (Port off)

Tr ack 13 Transmit Channel = 13 (Port 3)

Tr ack 14 Transmit Channel = 14 (Port 3)

Tr ack 15 Transmit Channel = 15 (Port 3)

Tr ack 16 Transmit Channel = 16 (Port 2)

Internal

Tone Generator

External sequencer (example)

The illustration below shows possible example

settings when using a sequencer or computer

software to play the S90 ES.

Tone Generator block (example)

These Parts are not used.

Parts 1-16 of the Multi Plug-in Board’s MIDI port correspond to

Parts 17-32 of a Multi.

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Audio Input Part (AUDIO IN)

The Performance mode and Multi mode are capable of handling the audio input signal (such as a microphone or

guitar) as a Part. Various parameters such as volume, pan, and effect can be set to this Part and the sound is output

together with other Parts. Other available settings include how stereo input signals are handled, as well the output

assignment of the audio Part. These parameters are set and stored for each Performance and Multi. Please note that

the Audio Input Part is not available in the Voice mode.

Parameters for the above Parts can be set with the following operations.

n Although the Insertion Effects of this synthesizer can be applied to the A/D Input Part, they cannot be applied to the mLAN Input Part.

Effect Block

This block applies effects to the output of the tone generator block, processing and enhancing the sound using

sophisticated DSP (digital signal processing) technology.

Effect structure

The effect processing of this synthesizer features the System Effects, Insertion Effects, Master Effect, Part EQ (Equalizer),

and Master EQ (Equalizer).

■ System Effects (Reverb, Chorus)

System Effects are applied to the overall sound, whether it be a Voice, an entire Performance, and an entire Multi.

With System effects, the sound of each Part is sent to the effect according to the effect Send Level for each Part. The

processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output—after being

mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect sound and

the original sound of the Parts.

Reverb

The Reverb effects add a warm ambience to the sound, simulating the complex reﬂections of actual performance spaces,

such as a concert hall or a small club. A total of 20 different Reverb types are available.

Chorus

The Chorus effects use various types of modulation processing, including ﬂanger and phaser, to enhance the sound in a

variety of ways. A total of 49 types are available, including reverb and delay effects.

■ Insertion Effects A, B

Insertion effects can be applied individually to each part. Insertion effects are mainly used to directly process a single part.

The depth of the effect is adjusted by setting the dry/wet balance. Since an Insertion effect can only be applied to one

particular part, it should be used for sounds you want to drastically change or for sounds that use an effect unintended for

other sounds. You can also set the balance so that only the effect sound is heard, by setting Wet to 100%.

This synthesizer features eight sets of Insertion effects (one set has A and B units). They can be applied to all parts of the

Performance, and applied to eight parts (maximum) of the Multi.

A total of 117 different Chorus types are available.

n In the Voice mode, only one set of the Insertion effects is available.

n Among the AUDIO IN Parts, Insertion effects cannot be applied to the mLAN Parts.

A/D input Part

This part (one stereo part) is input from the external audio equipment connected to the A/D INPUT jack.

mLAN Input Parts (when the optional

mLAN16E has been installed)

These four stereo parts are input from external mLAN-compatible audio equipment connected to the

mLAN jack via a single IEEE1394 cable.

In the Performance mode

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN

In the Multi mode

[MULTI/SEQ PLAY] (select Multi mod) → Multi selection → [EDIT] → [COMMON] → [F5] AUDIO IN

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■ Plug-in Insertion Effects

This is a special effect system, only available when an effect-type Plug-in Board is installed (page 101). Plug-in Board effects

are not available in the Voice mode.

■ Master Effect

This block applies effects to the ﬁnal stereo output signal of the entire sound. A total of 8 different Master Effect types are

available.

■ Equalizer (EQ)

Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room,

or to change the tonal character of the sound. The sound is divided into several frequency bands, and adjustments are

made to the sound by raising or lowering the level of each band.

By adjusting the sound according to the genre—classical music being more reﬁned, pop music more crisp, and rock music

more dynamic—you can draw out the special characteristics of the music and make your performance more enjoyable.

Three separate EQ sections are available on the instrument: Element EQ, Part EQ, and Master EQ.

● Element EQ

The Element EQ is applied to each element of the Normal Voice and each key of the Drum Voice. You can specify which

shape is used among the two shapes described below and set the related parameters.

Bypassing the Effects (Effect Off)

When only turning the [EFFECT BYPASS] button to on, you can bypass the speciﬁc effect(s).

From the following display, you can select the effect(s) to be bypassed using the [EFFECT BYPASS] button.

[UTILITY] → [F1] GENERAL → {SF3] EF BYPS

Controlling the Master effect by using the Control sliders

When pressing the [ARP FX] button and the [EQ] button simultaneously (both lamps light), you can control the Control sliders to adjust

the Master effect related parameters speciﬁed in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display of the Utility mode.

[VOICE] → Voice selection → [EDIT] → Element selection/Key selection → [F6] EQ

Peaking type

This type of EQ shape lets you attenuate/boost the signal at

the speciﬁed Frequency setting.

Shelving type

This type of EQ shape lets you attenuate/boost the signal at

frequencies above or below the speciﬁed Frequency

setting.

n In addition to the individual gain controls, there is also an overall

level parameter that attenuates/boosts the entire frequency range.

–

Gain

Frequency

–

Gain

Low Gain High Gain

Low Freq High Freq

Frequency

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● Part EQ

This 3-band EQ is applied to each part of the Performance/Multi, The high band and low band are the shelving type. The

middle band is the peaking type.

n The part EQ is not available in the Voice mode.

● Master EQ

Master EQ is applied to the ﬁnal (post-effect), overall sound of the instrument. In this EQ, all bands can be set to peaking, or

the lowest and highest bands can be set to shelving (as shown below).

[PERFORM] → Performance selection → [EDIT] → Part selection → [F3] EQ

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection → [F3] EQ

[VOICE] → Voice selection → [UTILITY] → [F3] VOICE → [SF1] MEQ

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF1] MEQ

EQ for which all bands are set to peaking type EQ for which LOW and HIGH are set to shelving type

–

LOW HIGHMID

Gain

3 bands

Q (frequency bandwidth)

Frequency

LOW HIGHHIGHMIDMIDLOWMID

–

Gain

3 bands

Q (frequency bandwidth)

Frequency

LOW HIGHHIGHMIDMIDLOWMID

–

Gain

5 bands

Q (frequency bandwidth)

Frequency

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Effect connection in each mode

● In the Voice mode

The Effect parameters in the Voice mode are set for each Voice and the settings are stored as a User Voice. Note that the

Master Effect and Master EQ parameters are set for all the Voices in the Utility mode. Once the Master Effect and EQ settings

have been made, they can be stored as System settings by pressing the [STORE] button.

n The Plug-in Insertion effect (when the Effect Plug-in board has been installed) is not available in the Voice mode.

AAA

BBB

Ins A to B

Settings

Ins B to A Para

[VOICE] → Voice selection → [EDIT] → [COMMON] →

[F6] EFFECT → [SF1] CONNECT

Tone Generator block

Element 1-4 Effect Output

EL: OUT 1-4

Element or Key

Element EQ

Determines which Insertion

effect (A or B) is used to

process each individual

Element (Key). The “thru”

setting lets you bypass the

Insertion effects for the

speciﬁc Element.

Settings: insA, insB, thru

Insertion effects

Ins A Ctgry, Ins B Ctgry

(Insertion effect Category),

Ins A Type, Ins B Type

(Insertion effect Type)

Determines the effect type for

Insertion A or B.

Ins EF Connect

(Insertion Effect Connect)

Determines the effect routing for

Insertion effects A and B. The

setting changes are shown on

the diagram in the display, giving

you a clear picture of how the

signal is routed.

System effects (Reverb effect and Chorus effect)

Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type)

Reverb Typ (Reverv Effect Type)

Determines the effect type for Chorus.

Chorus Send, Reverb Send

Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is

sent to Chorus/Reverb effect.

Settings: 0 - 127

Chorus Return, Reverb Return

Chorus Pan, Reverb Pan

Determines the Return level and pan position setting for the Chorus/Reverb effect.

Settings: 0 - 127, L63 (far left) - C (center) - R63 (far right)

Chorus to Reverb

Determines the Send level of the signal sent from the Chorus Effect to the Reverb

Effect.

Reverb Send

Chorus Send

Master effect

[VOICE] → [UTILITY] → [F3]

VOICE → [SF2] MEF (for all

Voices)

[VOICE] → [UTILITY] → [F3]

VOICE → [SF1] MEQ (for all

Voices)

[VOICE] → Voice selection

→ [EDIT] → [COMMON] →

[F1] GENERAL → [SF3]

MEQ OFS

Reverb Return

Chorus Return

Master EQ

Output

n The parallel connection is not available for Plug-in voices.

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● In the Performance mode

The Effect parameters in the Performance mode are set for each Performance.

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F6] EFFECT → [SF1] CONNECT

Tone Generator

block

Part 1

Insertion Effect

(VCE INS)

Plug-in Insertion Effect

(PLG-EF)

System effects (Reverb effect and Chorus effect)

Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type)

Reverb Typ (Reverv Effect Type)

Determines the effect type for Chorus.

Chorus Send, Reverb Send

Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is

sent to Chorus/Reverb effect.

Settings: 0 - 127

Chorus Return, Reverb Return

Chorus Pan, Reverb Pan

Determines the Return level and pan position setting for the Chorus/Reverb effect.

Settings: 0 - 127, L63 (far left) - C (center) - R63 (far right)

Chorus to Reverb

Determines the Send level of the signal sent from the Chorus Effect to the Reverb

Effect.

Reverb Return

Chorus Return

Master effect

Master EQ

[PERFORM] → Performance selection → [EDIT] →

[COMMON] → [F2] OUT/MEF → [SF3] MEF

Part 1

Part EQ *3

When the PLG100-VH

has been installed

Audio Input part

The Insertion connection type depends

on the setting of the Voice assigned to

the selected Part.

*1 Select the part to which the Insertion effect is applied. The

Insertion effect depends on the setting of the Voice assigned to the

selected part.

[PERFORM] → Performance selection → [EDIT] → [COMMON] →

[F6] EFFECT → [SF2] INS SW

n Among all of the audio input Parts, the Insertion effect can

be applied only to the A/D Input Part.

*2 Select the part to which the Plug-in Insertion effect is applied from

Parts 1-4, Plug-in Parts 1-3, and the audio input Part (Plug EF Part

parameter).

Settings: Part 01 - Part 04, Part AD, Part P2 - Part P3, off”

*3 [PERFORM] → Performance selection → [EDIT] →

Part selection → [F3] EQ

*4 [PERFORM] → Performance selection → [EDIT] → [COMMON]

→ [F2] OUT/MEF → [SF1] OUT

*5 [PERFORM] → Performance selection → [EDIT] → [COMMON]

→ [F2] OUT/MEF → [SF2] MEQ

[PERFORM] → Performance selection → [EDIT] → [COMMON]

→ [F1] GENERAL → [SF3] MEQ OFS

Output

Reverb Send

Chorus Send

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123

Owner’s Manual

● In the Multi mode

The Effect parameters in the Multi mode are set for each Multi.

n The Insertion effect, Plug-in Insertion effect, and the System effect cannot be applied to Parts 17-32 (using the Multi-part Plug-in board PLG100-XG).

n The Part EQ cannot be applied to Parts of the Plug-in Board.

n The System effects (Reverb, Chorus), the Master EQ, and the Master effect are not applied to the sound output through the ASSIGNABLE OUTPUT

jacks or the mLAN connector of the mLAN16E board. (Only the Part EQ and the Insertion effect are applied.)

[MULTI/SEQ PLAY] (select Multi mode) → Multi

selection → [EDIT] → [COMMON] → [F6] EFFECT →

[SF1] CONNECT

Tone Generator block

Part 1-16

Part 1 Insertion

Effect

(VCE INS)

Plug-in Insertion Effect

(PLG-EF)

System effects (Reverb effect and Chorus effect)

Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type)

Reverb Typ (Reverv Effect Type)

Determines the effect type for Chorus.

Chorus Send, Reverb Send

Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is

sent to Chorus/Reverb effect. These Parameters can be set in the Multi Play mode (*4)

Settings: Settings: 0 - 127

Chorus Return, Reverb Return

Chorus Pan, Reverb Pan

Determines the Return level and pan position setting for the Chorus/Reverb effect.

Settings: 0 - 127, L63 (far left) - C(center) - R63 (far right)

Chorus to Reverb

Determines the Send level of the signal sent from the Chorus Effect to the Reverb

Effect.

[MULTI/SEQ PLAY] (select Multi

mode) → Multi selection →

[EDIT] → [COMMON] → [F2]

MEQ/MEF → [SF2] MEF

Plug-in Part 1-3

(When the Single part

Plug-in board has

been installed)

When the PLG100-VH

has been installed

Audio Input part

Tone Generator block

Part 17-32

(When the Multi-part Plug-in Board

PLG100-XG has been installed)

Part 1

Part EQ *3

Reverb Send

Chorus Send

Reverb Return

Chorus Return

Master effect

Master EQ

Output

*1 Select the part to which the Insertion effect is applied from Parts 1-16,

Plug-in Parts 1-3, and the audio input Part. The Insertion effect

depends on the setting of the Voice assigned to the selected part.

n Among all of the audio input Parts, the Insertion effect can be

applied only to the A/D Input Part.

*2 Select the part to which the Plug-in Insertion effect is applied from

Parts 1-16, Plug-in Parts 1-3, and the audio input Part (Plug EF Part

parameter).

Settings: Part 01 - Part 16, Part AD, Part P2 - Part P3, off

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT]

→ [COMMON] → [F6] EFFECT → [SF2] INS SW

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[EDIT] → Part selection → [F3] EQ

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[F4] EF SEND

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[EDIT] → [COMMON] → [F2] MEQ/MEF → [SF2] MEQ

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Internal Structure (System Overview)

124

Owner’s Manual

Arpeggio

This function lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note

or notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving

you a wide variety of inspiring musical phrases and ideas — both in composing and performing.

n A single Arpeggio type can be played back at the same time even in the Performance, Multi mode, enabling you to play multiple tone generator’s parts

simultaneously.

Arpeggio type categories

The Arpeggio types are divided into 18 categories as listed below.

Arpeggio playback types

The S90 ES features a total of 1787 Arpeggio types divided into 18 categories, each with its own playback type designed for

use with particular types of Voices, as described below.

● Arpeggios for Normal Voices

Arpeggio types (belonging to the categories except for the DrPC and Cntr) created for use of Normal Voices have the

following two playback types.

n The two playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference.

n Since these types are programmed for Normal Voices, using them with Drum Voices may not give musically appropriate results.

LCD Category Name Description

Seq Synth Sequence Various arpeggio phrases suited for synth voices.

ChSq Synth Chord Sequence Various rhythmic chord phrases or synth voices.

HySq Synth Hybrid Sequence Various arpeggio types programmed so that bass phrases are played with the lower keys and chords or

melodies are played with the midrange and higher keys. These arpeggio types ar e useful for split voice

combinations. In addition, there are also Hybrid Velocity (“HybVel...”) types that feature different phrases for

different velocity ranges, letting you change the arpeggio phrase depending on how str ongly you play the

keyboard.

APKb Acoustic Piano & Keyboard Various arpeggio types suited for piano and other keyboar d voices, such as electric piano and clav.

Orgn Organ Various arpeggio types suited for organ voices.

GtPl Guitar & Plucked Various arpeggio types suited for guitar and harp voices.

GtKM Guitar - Keyboard Mega Voice Various arpeggio types suited for guitar Keyboard Mega voices (see note below).

Bass Bass Various arpeggio types suited for bass or synth bass voices.

BaKM Bass - Keyboard Mega Voice Various arpeggio types suited for bass Keyboard Mega voices (see note below).

Strn Strings Various arpeggio types suited for strings and pizzicato voices.

Bras Brass Various arpeggio types suited for brass voices.

RdPp Reed & Pipe Various arpeggio types suited for saxophone and ﬂ ute voices.

Lead Synth Lead Various arpeggio types suited for synth lead voices.

PdMe Synth Pad & Musical FX Various arpeggio types suited for synth pad voices and special musical ef fects voices, including percussive

sounds.

CPrc Chromatic Percussion Various arpeggio types suited for chromatic percussion voices.

DrPc Drum & Percussion Various arpeggio types suited for drum and percussion voices (drum kits).

Comb Combination Various arpeggio types suited for Performances. These are combination arpeggios, with separate phrases

suitable for drum voices, bass voices, and chord/melody instruments.

Cntr Control Various arpeggio types programmed primarily with Control Change and Pitch Bend data. These arpeggio

types change the tone or pitch of the sound, rather than play speciﬁ c notes. In fact, some types contain no

note data at all. When using a type of this categor y, set the KeyMode parameter to “direct” in each mode.

Playback only of the played notes

The Arpeggio is played back using only the played note and its octave notes.

Playback of a programmed sequence

according to the played chord

These Arpeggio types have the several sequences each of which is suited for a certain chord type. Even if you

press only one note, the Arpeggio is played back using the programmed sequence — meaning that notes other

than the ones you play may be sounded. Adding notes to those already held changes the sequence

accordingly — in other words, the arpeggio plays back according to the chord you play.

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Internal Structure (System Overview)

125

Owner’s Manual

● Arpeggios for Drum/Percussion Voices — Category: DrPc

These arpeggio types are programmed speciﬁcally for use with Drum Voices, giving you instant access to various rhythm

patterns. Three different playback types are available.

n The three playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the

difference.

n Since these types are programmed for Drum Voices, using them with Normal Voices may not give musically appropriate results.

● Arpeggios for Performances — Category: Comb

The Arpeggio types belonging to the category “Comb” are programmed so that different arpeggios are triggered — an

arpeggio for a Normal Voice and an arpeggio for a Drum Voice — depending on the played note. These types are useful in

the Performance mode in which multiple voices (Drum Voice and Normal Voice) are combined in a layer since these types

enable you trigger the arpeggio for the Normal Voice and the Drum Voice at the same time.

● Arpeggios containing mainly non-note events — Category: Cntr

These arpeggio types are programmed primarily with Control Change and Pitch Bend data. They are used to change the

tone or pitch of the sound, rather than play speciﬁc notes. In fact, some types contain no note data at all. When using a type

of this category, set the KeyMode parameter to “direct” with the following operations.

Arpeggio related parameters

The Arpeggio related parameters can be set from the following displays, depending on the selected mode.

● Voice mode

n MIDI output parameters for Arpeggio playback are set for each Voice in the Voice mode. In the other modes, however, they can be set for each

Performance, and Multi.

● Performance mode

● Multi mode

n You can turn Arpeggio playback on for several Parts simultaneously, if the Parts have the same receive channel.

Playback of a drum pattern

Pressing any note(s) will trigger the same rhythm pattern.

Playback of a drum pattern, plus

additional played notes

(assigned drum instruments)

Pressing any note will trigger the same rhythm pattern. Adding notes to the one already held produces

additional sounds (assigned drum instruments) for the drum pattern,

Playback only of the played notes

(assigned drum instruments)

Playing a note or notes will trigger a rhythm pattern using only the notes played (assigned drum instruments).

Keep in mind that even if you play the same notes, the triggered rhythm pattern differs depending on the order

of the notes played. This gives you access to different rhythm patterns using the same instruments simply by

changing the order in which you play the notes.

Voice mode

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode

Performance mode

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode

Multi mode

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE →

KeyMode

Arpeggio type parameters called up when selecting a Voice

[VOICE] → Voice selection → [F6] ARP Page 128

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP Page 129

Assigning Arpeggio types to the [SF1] - [SF5] buttons for each

Voice

[VOICE] → Voice selection → [F1] PLAY Page 127

MIDI output parameters for Arpeggio playback for all the Voices [VOICE] → [UTILITY] → [F3] VOICE → [SF3] ARP CH Page 165

Arpeggio type parameters called up when selecting a Performance

(including MIDI output parameters for Arpeggio playback)

[PERFORM] → Performance selection → [F6] ARP Page 149

[PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3]

ARP

Page 151

Assigning Arpeggio types to the [SF1] - [SF5] buttons for each

Performance

[PERFORM] → Performance selection → [F6] ARP Page 149

Arpeggio type parameters called up when selecting a Multi

(including MIDI output parameters for Arpeggio playback)

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] →

[COMMON] → [F3] ARP

Page 158

Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Multi

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F1] PLAY

→ [F5] ARP

Page 157

Arpeggio playback on or off for each Part

(Only one Part can be turned on)

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] →

Part selection → [F1] VOICE → [SF2]MODE

Page 159

Basic Structure

Maintaining data

126

Owner’s Manual

Maintaining data

As you use the S90 ES, you’ll create many different kinds of data, including Voices, Performances, and Multis. This section

describes how to maintain the various data.

■ Store

This is a process of transferring or saving the created data of this synthesizer to a dedicated location (User Memory) in the

internal memory. Each type of data can be stored with the following operations.

* Please note that pressing the [STORE] button in the Utility mode immediately starts the Store operation for the System settings.

Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause

the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data.

■ Save

This is a process of transferring or saving the created data of this synthesizer to a USB storage device. This process can be

done in the File mode. The Save operation can be done via various methods, such as saving all data as a single ﬁle or

saving a speciﬁed type of data (e.g., only Voices) as a single ﬁle. For details, refer to page 168.

The saved data as ﬁles can be recalled by loading them in the File mode.

■ Bulk Dump

This function lets you save the data in the S90 ES by transmitting it as Bulk data (system exclusive message) to an external

MIDI instrument or sequence software on a computer.

● Sending the editing current program as Bulk Dump data

From each display, you can send the data of the program currently being edited on the S90 ES panel as Bulk Dump data.

● Sending other data as Bulk Dump data

The data of Voice, Performance, Multi, Master, and System settings can be transmitted to an external MIDI instrument or

computer upon reception of a bulk request message. For details about the bulk request message and bulk dump format,

see the separate Data List.

n User Arpeggio data and some of the System settings are not handled as Bulk data.

● Using the Voice Editor and Multi Part Editor

Voice and Plug-in Voice data can be transmitted to a computer for editing with the Voice Editor software (page 79). The

edited Voice on the instrument itself data can then be transmitted back to the instrument in banks as bulk data. Similarly,

Voice data created in the Voice Edit mode can be sent to the computer in banks as bulk data.

Multi data can also be transmitted to a computer for editing, using the Multi Part Editor software (page 79). The edited Multi

data can then be transmitted back to the instrument as bulk data. Multi data created in the Multi Edit mode on the instrument

itself can also be sent to the computer in banks as bulk data.

Voice

[VOICE] → Voice selection → [STORE] Page 50

Performance

[PERFORM] → Performance selection → [STORE] Page 56

Multi

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [STORE] Page 76

Master

[Master] → Master selection → [STORE] Page 91

System settings

[UTILITY] → [STORE]* Page 163

[FILE] → [F2] SAVE

Voice

[VOICE] → Voice selection → [JOB] → [F4] BULK

Performance

[PERFORM] → Performance selection → [JOB] → [F4] BULK

Multi

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [JOB] → [F4] BULK

Master

[MASTER] → Master selection → [JOB] → [F4] BULK

CAUTION

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Play mode

127

Owner’s Manual

Reference

Voice mode

The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive

editing operations, use the Voice Edit mode. With few exceptions, you can store all parameter settings to internal memory as User Voices.

n In the Voice Play mode and Voice Edit mode, you can set the parameters for each Voice. The parameters for all the Voices such as Master EQ and

Master Effect can be set from the [UTILITY] → [F3] VOICE display in the Utility mode.

n The parameters that have the same name in the Voice Play mode and in the Voice Edit mode have the same functions and settings.

n When a Plug-in voice is selected, certain parameters are not available for editing, even if they’re described here.

Voice Play mode

[VOICE] → Voice selection

[F1] PLAY

TCH (Transmit Channel) Indicates the Keyboard MIDI transmit channel.

You can change the Keyboard MIDI transmit channel by pressing the [TRACK SELECT] button so that its

indicator lights and pressing any of the NUMBER [1] - [16] buttons. The Keyboard MIDI transmit channel can

be changed also with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh.

OCT (Octave) Indicates the Keyboard Octave setting.

This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave.

ASA (ASSIGN A),

ASB (ASSIGN B)

Indicates the functions assigned to the respective Control sliders (printed “ASSIGN A” and “ASSIGN B”) when

the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned with the

following operation: [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN.

n TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Voice. Because of this, these are not stored as an

individual Voice in the Voice Store mode (page 46).

AS1 (ASSIGN 1),

AS2 (ASSIGN 2)

Indicates the functions assigned to the respective Control sliders (printed “ASSIGN 1” and “ASSIGN 2”) when

the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned by setting

the Voice Edit common parameters with the following operation: [VOICE] → [EDIT] → [COMMON] → [F4] CTL

SET.

[SF1] ARP1 (Arpeggio 1) -

[SF5] ARP5 (Arpeggio 5)

You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard

performance. Refer to page 39 in the Quick Guide section.

[F2] BANK

This display is available only when a Plug-in Board has been installed and a Voice of the Plug-in Board is selected.

From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in Voice or a “Board” Voice. Board

Voices are unprocessed, unaltered Voices of the Plug-in board—the “raw material” for Plug-in Voices. Plug-in Voices are edited Board Voices—Voices that

have been specially programmed and processed for optimum use with this synthesizer. For more details, see page 101.

Settings: The following selections are available, for example, when a Plug-in Voice using the Plug-in board installed to slot 1 is selected: PLG1USR (User Plug-in Voice), PLGPRE1

(Preset Plug-in Voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board Voice. These values differ depending on the installed Plug-in board.)

[F3] EFFECT

Pressing the [F3] EFFECT button in the Voice Play mode calls up the same EFFECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] → [F6]

EFFECT). From this display, you can set the effect related parameters for the current Voice. See page 133.

[F4] PORTA (Portamento)

From this display you can select monophonic or polyphonic playback and set the Portamento parameters.

Portamento is used to create a smooth transition in pitch from the ﬁrst note played on the keyboard to the next.

Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple

simultaneous notes).

Settings: mono, poly

n When pressing the second note while holding the ﬁrst note with the PortaSw set to on and the Mono/Poly set to on, the

second note sound starts succeeding the transition of the ﬁrst note, or the second note starts not from the EG (AEG/

PEG/FEG) start point but from the EG (AEG/PEG/FEG) point the ﬁrst note reaches. This realizes the legato performance.

This legato degree can be set with the following operation: [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF4]

PORTA → LegatoSlope (page 129).

PortaSw (Portamento Switch) Determines whether Portamento is applied to the current Voice or not.

Settings: off, on

PortaTime (Portamento Time) Determines the pitch transition time. Higher values result in longer transition times.

Settings: 0 ~ 127

PortaMode (Portamento Mode) Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is

set to “mono” or “poly.”

Settings: ﬁngered, fulltime

ﬁngered ........... Portamento is only applied when you play legato (playing the next note before releasing the previous one).

fulltime ............. Portamento is always applied.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Common Edit

128

Owner’s Manual

There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following

section shows how to edit the different types of voices and explains the parameters available. Note that available parameters to be edited

differ depending on the Voice types (Normal Voice, Drum Voice, Plug-in Voice).

Normal Voice Edit

When a Normal Voice is selected, the Voice Edit parameters are divided into Common Edit (parameters common to all four Elements), and

Element Edit (parameters of individual Elements).

These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.

[F5] EG (Envelope Generator)

This display contains the basic EG settings, both volume and ﬁlter, for the voice, as well as the ﬁlter’s cutoff frequency and resonance settings. The settings

made here are applied as offsets to the AEG and FEG settings in the Voice Edit mode.

The full names of the available parameters are shown in the chart below, as they appear in the display.

Settings: -64 ~ 0 ~ +63 (except --- above)

[F6] ARP (Arpeggio)

This display contains the basic settings for Arpeggio playback, including Type and Tempo. About the [SF1] - [SF5] buttons, see the explanation of the [F1]

PLAY display.

Bank,

Ctgr (Category),

Type

These three parameters determine the Arpeggio Type. The three-letter preﬁx number before the Type name

indicates the number within the selected Category.

Settings: Refer to the separate Data List.

Tempo Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync) is set

to “MIDI,” “MIDI” is displayed here and cannot be set.

Settings: 1 ~ 300

VelLimit (Velocity Limit) Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays

when you play notes at velocities within in this range.

Settings: 1 ~ 127

n Keys played outside the set limit sound normally without any Arpeggio.

Switch Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the

[ARPEGGIO] button.

Settings: off, on

Hold Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles

automatically, even if you release your ﬁngers from the keys, and it continues to cycle until the next key is

pressed.

Settings: sync-off (see below), off, on

sync-off ............When set to “sync-off,” the Arpeggio playback continues to run silently, even when you release the keys. Pressing

any key turns the Arpeggio playback on again. In other words, you can use the key to “un-mute” or “mute” (not

start or stop) the Arpeggio playback by, respectively, holding it down or releasing it.

Voice Edit mode

[VOICE] → Voice selection → [EDIT]

Common Edit

[VOICE] → Normal Voice selection → [EDIT] → [COMMON]

[F1] GENERAL

[SF1] NAME

From this display you can assign the category (sub and main) of the selected voice, and create a name for the

voice. The voice name can contain up to 10 characters. For detailed instructions on naming a voice, see “Basic

Operation” on page 27.

[SF2] PLY MODE (Play mode)

From this display you can make various settings for the tone generator of this synthesizer, and assign different

Micro Tuning settings.

Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically multiple

simultaneous notes).

Settings: mono, poly

KeyAsgnMode

(Key Assign Mode)

When this is set to “single,” double playback of the same note is prevented. This is useful when two or more

instances of the same note are received nearly simultaneously, or without a corresponding note off message.

To allow playback of each instance of the same note, set this to “multi.”

Settings: single, multi

M. TuningNo.

(Micro Tuning Number)

Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however

additional tuning systems are available for a variety of tuning applications and effects.

Settings: See the Micro Tuning List on page 147.

M. TuningRoot

(Micro Tuning Root)

Determines the root note of the Micro Tuning set above.

Settings: C ~ B

ATK DCY SUS REL DEPTH CUTOFF RESO

AEG

Attack time Decay time

Sustain level

Release time

--- --- ---

FEG --- Depth Cutoff frequency Resonance

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Common Edit

129

Owner’s Manual

[SF3] MEQ OFS

(Master EQ Offset)

From this display you can adjust the master (global) EQ settings for the entire Voice. The settings made here

are applied as offsets to the EQ settings (with the exception of “MID”) from the Utility mode, with the following

operation: [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ. You can use the Control sliders to edit these

parameters when the [EQ] button is turned on.

Settings: -64 ~ 0 ~ +63

[SF4] PORTA (Portamento)

This display allows you to set the Portamento related parameters. Portamento is used to create a smooth

transition in pitch from the ﬁrst note played on the keyboard to the next.

Switch Determines whether Portamento is applied to your keyboard performance using the current Voice or not.

Settings: off, on

Time Determines the pitch transition time. Higher values result in a longer pitch change time, when Time Mode

below is set to “Time.”

Settings: 0 ~ 127

Mode Determines how the Portamento is applied to your keyboard performance.

Settings: ﬁngered, fulltime

ﬁngered ........... Portamento is only applied when you play legato (playing the next note before releasing the previous one).

fulltime ............. Portamento is always applied.

TimeMode This determines how the pitch changes in time.

Settings: rate1, time1, rate2, time2

rate1 ................ Pitch changes at the speciﬁed rate.

time1................ Pitch changes in the speciﬁed time.

rate2 ................ Pitch changes at the speciﬁed rate within a octave.

time2................ Pitch changes in the speciﬁed time within a octave.

LegatoSlope Determines the speed of the attack of legato notes, when Switch above is set to on and Mono/Poly is set to

mono. (Legato notes “overlap” each other, the next being played before the previous is released.) The higher

the value, the slower the attack rate.

Settings: 0 ~ 7

[SF5] OTHER

From this display you can set the control functions for the Control sliders, and determine the up/down range for

the Pitch Bend wheel.

CSAssign

(Control slider Assign)

Determines the function for the assignable Control sliders (1-4). Pressing the Control function button on the

panel sets the desired function row, which is automatically stored to memory with the currently selected voice.

Settings: pan, tone, assign, MEQofs, MEF, arpFx, vol

PB Upper

(Pitch Bend range Upper),

PB Lower

(Pitch Bend range Lower)

Sets the amount (in semitones) by which the pitch of the note is varied when you move the Pitch bend wheel

up/down. For example, a Lower setting of -12 would result in the pitch being lowered up to a maximum of one

octave (12 semitones) when the Pitch Bend wheel is moved downwards. Similarly, setting the Upper parameter

to +12 would result in a maximum pitch rise of one octave when the wheel is moved upwards.

Settings: -48 ~ 24

AssignA, AssignB,

Assign1, Assign2

This parameter offsets the value of each Dest (Destination) parameter. Please note that certain Destinations of

Assign A/B change the absolute value.

[F2] OUTPUT

Volume Determines the output level of the Voice.

Settings: 0 ~ 127

Pan Determines the stereo pan position of the Voice. You can also adjust this parameter using the Control slider

when the [PAN/SEND] button is turned on.

Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

n When a stereo Voice is selected, this parameter setting may not be effective. Voices with Elements set to opposite Pan

settings (set in [F4] AMP → [SF1] LVL/PAN → Pan) — i.e., one at L63 and another at R63 — are considered stereo

Voices.

RevSend

Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb/

Chorus effect. You can also adjust these parameters using the Control sliders when the [PAN/SEND] button is

turned on.

Settings: 0 ~ 127

ChoSend

n See page 121 for the Effect connection in the Voice mode.

[F3] ARP (Arpeggio)

[SF1] TYPE

The basic Arpeggio parameters (e.g., type, tempo) are provided in this display.

Bank,

Ctgr (Category),

Type

These three parameters determine the Arpeggio Type. The three-letter preﬁx number before the Type name

indicates the number within the selected Category.

Settings: Refer to the separate Data List.

Tempo Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync) is set

to “MIDI,” “MIDI” is displayed here and Tempo cannot be set.

Settings: 1 ~ 300

ChgTiming (Change Timing) Determines the actual timing at which the Arpeggio type is switched when you select another type during

Arpeggio playback.

Settings: realtime, measure

realtime............ The Arpeggio type is switched immediately when you select another type.

measure........... The Arpeggio type is switched at the top of the next measure after you select another type.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Common Edit

130

Owner’s Manual

Switch Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the

[ARPEGGIO] button.

Settings: off, on

Hold Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles

automatically, even if you release your ﬁngers from the keys, and it continues to cycle until the next key is

pressed.

Settings: sync-off (see below), off, on

sync-off ............When set to “sync-off,” the Arpeggio playback continues to run silently, even when you release the keys. Pressing

any key turns the Arpeggio playback on again. In other words, you can use the key to “un-mute” or “mute” (not

start or stop) the Arpeggio playback by, respectively, holding it down or releasing it.

KeyMode Determines how the Arpeggio plays back when playing the keyboard.

Settings: sort, thru, direct, sortdirect, thrudirect

sort ...................When you play speciﬁc notes (for example, the notes of a chord), the same sequence plays, no matter what order

you play the notes.

thru...................When you play speciﬁc notes (for example, the notes of a chord), the resulting sequence differs depending on

the order of the notes.

direct................Note events of the Arpeggio sequence do not play; only the notes you play on the keyboard are heard. This

setting is for use with non-note Arpeggio data, such as Control Change or Pitch Bend. When the Arpeggio plays

back, these events are applied to the sound of your keyboard performance. Use this setting when the Arpeggio

types includes non-note data or when the Category type “Ctrl” is selected.

sortdirect..........The Arpeggio is played back according to the “sort” setting here, and the note pressed is also sounded.

thrudirect..........The Arpeggio is played back according to the “thru” setting here, and the note pressed is also sounded.

n Some Arpeggio types belonging to the “Cntr” Category may not have note events (page 170). When such an Arpeggio

type is selected and the KeyMode is set to “sort” or “thru,” no sound is produced even if you press the note on the

keyboard.

n With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence

data.

VelMode (Velocity Mode) This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength.

Settings: original, thru

original .............The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data.

thru...................The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the

playback volume of the Arpeggio increases.

[SF2] LIMIT

NoteLimit

Determines the lowest and highest notes in the Arpeggio’s note range. Notes played in this range trigger the

Arpeggio.

Settings: C -2 ~ G8

n You can also create a lower and an upper trigger range for the Arpeggio, with a note range “hole” in the middle, by

specifying the highest note ﬁrst. For example, setting a Note Limit of “C5 - C4” lets you trigger the Arpeggio by playing

notes in the two ranges of

C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio.

n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the

desired low and high keys.

n Please keep in mind that no sound is produced when the KeyMode is set to “sort” or “thru” and notes are played outside

the Note Limit setting here.

VelocityLimit Determines the lowest and highest velocity in the Arpeggio’s velocity range. This lets you control when the

Arpeggio sounds by your playing strength.

Settings: 1 ~ 127

n You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity “hole” in the middle,

by specifying the maximum value ﬁrst. For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio from

two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do

not play the Arpeggio.

[SF3] PLAY FX

These Play Effect parameters let you control the playback of the Arpeggio in useful and interesting ways. By

changing the timing and velocity of the notes, you can change the rhythmic “feel” of the Arpeggio.

UnitMultiply (Unit Multiply) Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled

(tempo is halved). On the other hand, if you set a value of 50%, the playback time will be halved (tempo is

doubled). Normal playback time is 100%.

Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%

Swing Delays notes on even-numbered beats (backbeats) to produce a swing feel.

Settings: -120 ~ +120

QuntValue (Quantize Value) Determines to what beats the note data in the Arpeggio sequence data will be aligned, or determines to what

beats in the Arpeggio sequence data the swing is applied.

Settings:

QuntStrength

(Quantize Strength)

The Strength value sets the “strength” by which note events are pulled toward the nearest quantize beats. A

setting of 100% produces exact timing set via the QuntValue parameter above. A setting of 0% results in no

quantization.

Settings: 0% ~ 100%

VelocityRate Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a

setting of 100% means the original values are used. Settings below 100% will reduce the velocity of the

Arpeggio notes, whereas settings above 100% will increase the velocities.

Settings: 0% ~ 200%

n The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will

automatically be limited to the minimum or maximum.

32nd note

16th note triplet

16th note

1/4 note8th note triplet

8th note

1/4 note triplet

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Common Edit

131

Owner’s Manual

GateTimeRate Determines how much the Gate Time (length) of the Arpeggio notes is offset from the original value. A setting of

100% means the original values are used. Settings below 100% will shorten the gate times of the Arpeggio

notes, whereas settings above 100% will lengthen them.

Settings: 0% ~ 200%

n The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically

be limited to the minimum.

[F4] CTL SET (Controller Set)

[SF1] SET1/2 - [SF3] SET5/6

Since up to six Controller Sets can be assigned to each Voice, three pages (Sets 1/2, Sets 3/4 and Sets 5/6) are

provided. For more information on Controller Sets, see page 60.

ElementSw Determines whether or not the selected controller affects each individual Element.

Settings: Elements 1 to 4 enabled (“1” to “4”) or disabled (“-”)

n This parameter is disabled when the Dest (Destination) described below is set to a parameter unrelated to the Voice

Elements.

Source Determines which panel controller is to be assigned and used for the selected Set. This controller then is used

to control the parameter set in Destination below.

Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (After Touch), FC1 (Foot Controller 1), FS (Footswitch),

RB (Ribbon Controller), BC (Breath Controller), AS1 (

Control slider

ASSIGN 1), AS2 (

Control slider

ASSIGN 2), FC2 (Foot

Controller2)

Keep in mind that unlike the other controllers, the ASSIGN A and B Control slider can each be assigned to one common

function for the entire system of this synthesizer, and not to different functions for each individual voice. Also refer to the

Utility mode (page 165).

Dest (Destination) Determines the parameter that is controlled by the Source controller (above).

Settings: For a complete list of the available parameters/controls, refer to the separate Data List booklet.

Depth Determines the degree to which the Source controller affects the Destination parameter. For negative values,

the controller operation is reversed; maximum controller settings produce minimum parameter changes.

Settings: -64 ~ 0 ~+63

[F5] LFO (Low Frequency Oscillator)

From these displays, you can make a variety of LFO related settings. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms

can be used to vary the pitch, ﬁlter or amplitude to create effects such as vibrato, wah and tremolo.

[SF1] WAVE

Wave Determines the LFO Wave.

Settings: tri, tri+, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user

Speed Determines the speed of the LFO Wave modulation. Higher values result in faster modulation speeds.

Settings: 0 ~ 63

TempoSync Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or Sequence Play mode.

Settings: off (not synchronized), on (synchronized)

TempoSpeed This parameter is available only when TempoSync above has been set to “on.” It allows you to make detailed

note value settings that determine how the LFO pulses in sync with the Arpeggio or sequencer.

Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth

notes), 4th (quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note

triplets), 2nd. (dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note

quintuplets; ﬁve quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7

(quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the

beat)

n The actual length of the note depends on the internal or external MIDI tempo setting.

KeyOnReset Determines whether or not the LFO is reset each time a note is pressed. The following three settings are

available.

Settings: off, each-on, 1st-on

off..................... The LFO cycles freely with no key synchronization. Pressing a key starts the LFO wave at whatever phase the

LFO happens to be at that point.

each-on ........... The LFO resets with each note you play and starts a waveform at the phase speciﬁed by the Phase parameter

(below).

1st-on .............. The LFO resets with every note you play and starts the waveform at the phase speciﬁed by the Phase parameter

(below). However, if you play a second note while the ﬁrst is being held, the LFO continues cycling according to

the same phase as triggered by the ﬁrst note. In other words, the LFO only resets if the ﬁrst note is released

before the second is played.

RandomSpeed Determines the degree to which the LFO speed changes at random. A setting of “0” results in the original

speed. Higher values result in a larger degree of speed change.

Settings: 0 ~ 127

Time

Key on

(second note)

Time

Key on

(first note)

Key on

(second note)

Time

Key on

(first note)

off

each-on

1st-on

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Common Edit

132

Owner’s Manual

[SF2] DELAY

Delay (Delay Time) Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time.

Settings: 0 ~ 127

FadeIn (Fade In Time) Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value

results in a slower fade-in.

Settings: 0 ~ 127

Hold (Hold Time) Determines the length of time during which the LFO is held at its maximum level. A higher value results in a

longer Hold time.

Settings: 0 ~ 127

FadeOut Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value

results in a slower fade-out.

Settings: 0 ~ 127

[SF3] PHASE

Phase Determines the value for the particular step selected in the Step parameter below.

Settings: 0, 90, 120, 180, 240, 270

Offset EL1 - EL4 (Phase Offset

Element1 - Element4)

Determines the offset values of the Phase parameter (above) for the respective Elements.

Settings: +0, +90, +120, +180, +240, +270

[SF4] BOX1 - 3

From this display you can select the destination parameter for the LFO (which aspect of the sound the LFO

controls), the Elements to be affected by the LFO, and the LFO Depth. Three pages (boxes) provided for

setting the destination let you assign multiple destinations.

ElemSw (Element Switch) Determines whether or not each Element is to be affected by the LFO. The Element number (1- 4) is shown

when the LFO is enabled; a dash (-) indicates the LFO is disabled for that Element.

Dest (Destination) Determines the parameters which are to be controlled (modulated) by the LFO Wave.

Settings: amd, pmd, fmd, reso (Resonance), pan, ELFOSpd (Element LFO Speed)

Depth Determines the LFO Wave Depth.

Settings: 0 ~ 127

DptRatio EL1 - EL4 (Depth Offset

Element1 - Element4)

Determines the offset values of the Depth parameter (above) for the respective Elements.

Settings: 0 ~ 127

FadeIn

Max

Time

Key on

FadeIn

Delay

Time

Key on

Max

Delay

Low FadeIn value

Faster fade-in

High FadeIn value

Slower fade-in

Hold

Time

Max

FadeOut

Hold

Max

Time

FadeOut

Time

Hold

Max

Low FadeOut value

Faster fade-out

High FadeOut value

Slower fade-out

Time

Phase

0° 90°

120° 240°

180° 270°

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Element Edit

133

Owner’s Manual

These parameters are for editing the individual Elements that make up a Normal Voice.

[SF5] USER

This menu is available only when the User LFO wave is selected. You can create a custom LFO wave

consisting of up to sixteen steps.

Template You can select a pre-programmed template for the LFO wave. The selected template’s wave graph appears on

the display and you can create the LFO wave by viewing it. Each time pressing the [SF1] random button,

different LFO wave is appears on the display randomly.

Settings:

all0................... Values of all the steps are set to 0.

all64................. Values of all the steps are set to 64.

all127............... Values of all the steps are set to 127.

saw up............. Creates a saw shaped upward wave.

saw down ........ Creates a saw shaped downward wave.

even step......... Values of all even steps are set to 0, and values of all odd steps are set to 127.

odd step .......... Values of all odd steps are set to 0, and values of all even steps are set to 127.

Slope Determines the slope or ramp characteristics of the LFO wave.

Settings: OFF (no slope), up, down, up&down

Value Determines the value for the particular step selected in the Step parameter below.

Settings: 0 ~ 127

Step Numerator: Selects the desired step.

Settings: 1-16

Denominator: Determines the maximum number of steps.

Settings: 2, 3, 4, 6, 8, 12, 16

[F6] EFFECT

n For details on the Effect connections in the Voice mode, see page 121. For details on the Effect Types, refer to the Effect Type list in the separate Data List booklet.

[SF1] CONNECT

This display gives you comprehensive control over the effects. For details on the parameters, see page 121.

[SF2] INS A (Insertion A)

These are for adjusting the various parameters of the Effect blocks.

The number of parameters and values available differs depending on the currently selected effect type. For

more information, see the Effect Type List in the separate Data List booklet.

Note that the menu of the corresponding Effect block disappears when the “thru” type is selected.

[SF3] INS B (Insertion A)

[SF4] REVERB

[SF5] CHORUS

Element Edit

[VOICE] → Normal Voice selection → [EDIT] → Element selection

[F1] OSC (Oscillator)

[SF1] WAVE

From this display you can select the desired waveform or sound used for the Element.

ElementSw (Element Switch) Determines whether the currently selected Element is on or off.

Settings: off (inactive), on (active)

Wave No. (Waveform Number),

WaveCtgry (Waveform Category)

Determines the Waveform for the selected Element. See the Waveform list in the separate Data List.

[SF2] OUTPUT

From this display you can set certain output parameters for the selected Element.

KeyOnDelay Determines the time (delay) between the moment you press a note on the keyboard and the point at which the

sound is played. You can set different delay times for each Element.

Settings: 0 ~ 127

DelayTempoSync Determines whether or not the KeyOnDelay is synchronized to the tempo of the Arpeggio or Sequence Play

mode.

Settings: off (not synchronized), on (synchronized)

DelayTempo Determines the timing of the KeyOnDelay when the DelayTempoSync is set to on.

Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth

notes), 4th (quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note

triplets), 2nd. (dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note

quintuplets; ﬁve quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7

(quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the

beat)

InsEffectOut

(Insertion Effect Output)

Determines which Insertion effect (1 or 2) is used to process each individual Element. The “thru” setting lets

you bypass the Insertion effects for the speciﬁc Element. (This parameter is the same as “EL: OUT” on the [F6]

EFFECT → [SF1] CONNECT display in Normal Common Edit. Making a setting here automatically changes the

setting of that parameter as well.)

Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Element Edit

134

Owner’s Manual

[SF3] LIMIT

NoteLimit Determines the lowest and highest notes of the keyboard range for each Element. The selected Element will

sound only when you play notes within this range.

Settings: C -2 ~ G8

n You can also create a lower and an upper range for the Element, with a note range “hole” in the middle, by specifying

the highest note ﬁrst. For example, setting a Note Limit of “C5 - C4” lets you play the Element from two separate ranges:

C -2 to C4 and C5 to G8. Notes played between C4 and C5 do not play the selected Element.

n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the

desired low and high keys.

VelocityLimit Determines the minimum and maximum values of the velocity range within which each Element will respond.

Each Element will only sound for notes played within its speciﬁed velocity range. For example, this lets you

have one Element sound when you play softly and have a different one sound when you play strongly.

Settings: 1 ~127

n You can also create separate low and high ranges for the Element, with a velocity “hole” in the middle, by specifying the

maximum value ﬁrst. For example, setting a Velocity Limit of 93 - 34 lets you play the Element from two separate velocity

ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the selected

Element.

VelCrossFade

(Velocity Cross Fade)

This determines how gradually the sound of an Element decreases in volume in proportion to the distance of

velocity changes outside the Velocity Limit setting (above). The practical application of this parameter is to

create natural-sounding velocity crossfades, in which different Elements change gradually depending on how

strongly or softly you play. The higher the value, the more gradual the level change.

Settings: 0 ~ 127

[F2] PITCH

[SF1] TUNE

From this display you can set various pitch-related parameters for the selected Element.

Coarse Determines the pitch of each Element in semitones.

Settings: -48 ~ 0 ~ +48

Fine Determines the ﬁne tuning for the pitch of each Element.

Settings: -64 ~ 0 ~ +63

FineScaling Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the pitch in ﬁne

tuning (set above) of the selected Element, regarding C3 as the basic pitch.

A positive setting will cause the pitch of lower notes to change lower and that of higher notes to change higher.

Negative values will have the opposite effect.

Settings: -64 ~ 0 ~+63

Random This lets you randomly vary the pitch of the Element for each note you play. This is effective in reproducing the

natural pitch variations in acoustic instruments. It is also useful for creating unusual random pitch changes. The

higher the value, the greater the pitch variation. A value of “0” results in no pitch change.

Settings: 0 ~127

[SF2] VEL SENS

(Velocity Sensitivity)

From this display you can determine how the Pitch EG responds to velocity.

EGTime,

Segment

Determines the velocity sensitivity of the PEG’s Time parameters. Select the Segment ﬁrst, then set its Time

parameter. Positive Time settings will play back the speciﬁed Segment faster in proportion to the played

velocity and negative values will play it back slower.

Settings: EGTime: -64 ~0 ~+63

Settings: Segment: atk, atk+dcy, dcy, atk+rls, all

atk (attack) .............................EG Time Value affects Attack time.

atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time.

dcy (decay)............................EG Time Value affects Decay time.

atk+rls (attack + release).......EG Time Value affects Attack/Release time.

all ..........................................EG Time Value affects all PEG Time parameters.

EGDepth,

Curve

Determines the velocity sensitivity of the PEG Level. Positive settings will cause the pitch change to rise the

harder you play the keyboard, and negative values will cause it to fall. The Curve parameter lets you select

from ﬁve different preset velocity curves (graphically indicated in the display), that determine how velocity

affects the Pitch EG Depth.

Settings: EGDepth: -64 ~ 0 ~ +63

Settings: Curve: 0 ~ 4

Pitch Determines the velocity sensitivity of the Pitch. Extreme values produce greater variation in PEG Depth. For

positive values, the harder you play the keys, the greater the change in PEG Depth. For negative values, the

softer you play the keys, the greater the change in PEG Depth.

Settings: -64 ~ 0 ~ +63

[SF3] PEG

(Pitch Envelope Generator)

From this display you can make all the time and level settings for the Pitch EG, which determine how the pitch

of the sound changes over time. These can be used to control the change in pitch from the moment a note is

pressed on the keyboard to the moment the sound stops.

The full names of the available parameters are shown in the chart below, as they appear in the display.

Settings: TIME: 0 ~ 127

LEVEL: -128 ~ 0 ~ +127

DEPTH: -64 ~ 0 ~ +63

n For details on the PEG, see page 112.

HOLD ATK DCY1 DCY2 REL DEPTH

TIME Hold time Attack time Decay1 time Decay2 time Release time

LEVEL Hold level Attack level Decay1 level Decay2 level Release level Depth

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Element Edit

135

Owner’s Manual

[SF4] KEY FLW (Key Follow)

From this display you can set the Key Follow effect—in other words, how the pitch of the Element and its Pitch

EG respond to the particular notes (or octave range) you play.

PitchSens (Pitch Sensitivity) Determines the sensitivity of the Key Follow effect (the pitch interval of adjacent notes).

At +100 (the normal setting), adjacent notes are pitched one semitone (100 cents) apart. At 0, all notes are the

same pitch. At +50, one octave is stretched out over twenty-four notes. For negative values, the settings are

reversed.

Settings: -200 ~ 0 ~ +200

n This parameter is useful for creating alternate tunings, or for use with sounds that do not need to be spaced in

semitones, such as pitched drum sounds in a Normal Voice.

FCenterKey

Determines the central note or pitch for the Key Follow effect on pitch. The note number set here is the same

pitch as normal regardless of the Pitch Sensitivity setting. Depending on the Pitch Sensitivity parameter above,

the further away from the Center Key the keys are played, the greater the degree of pitch change.

Settings: C -2 ~ G8

n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing

the desired key.

EGTimeSens

(EG Time Sensitivity)

Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the Pitch EG times

of the selected Element. The Center Key (next parameter) is used as the basic pitch for this parameter.

A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster.

Negative values will have the opposite effect.

Settings: -64 ~ 0 ~+63

FCenterKey

Determines the central note or pitch for the Key Follow effect on Pitch EG.

When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change

characteristics for other notes will vary in proportion to the EG Time settings.

Settings: C -2 ~ G8

n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing

the desired key.

[F3] FILTER

[SF1] TYPE

From this display you can make comprehensive settings for the Filter unit. The available parameters differ

depending on which Filter type is selected here.

Type Basically, there are four different Filter types: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band

Pass Filter) and a BEF (Band Elimination Filter). Each type has a different frequency response and produces a

different effect on the sound. This synthesizer also features special combination Filter types, for additional

sonic control.

Settings: Refer to page 148.

Gain Determines the Gain (the amount of boost applied to the signal sent to the Filter).

Settings: 0 ~ 255

Cutoff Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied.

Settings: 0 ~ 255

Resonance/Width

This parameter’s function varies according to the selected Filter Type. If the selected ﬁlter is an LPF, HPF, BPF

(excluding the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the

Width of the band. Resonance is used to set the amount of Resonance (harmonic emphasis) applied to the signal

at the cutoff frequency. This can be used in combination with the cutoff frequency parameter to add further

character to the sound. The Width parameter is used to adjust the width of the band of signal frequencies passed

by the ﬁlter with the BPFw.

Settings: 0 ~ 127

Distance Determines the distance between the Cutoff frequencies, for the Dual Filter types (which feature two identical

ﬁlters combined in parallel, and the LPF12 + BPF6 type).

Settings: 0 ~ 255

HPFCutoff Determines the central frequency for the Key Follow parameter (below) of the HPF. When a ﬁlter type “LPF12”

or “LPF6” is selected, this parameter is available.

Settings: 0 ~ 255

Center key

Higher

range

Lower

range

Large

Small

–

Amount of

pitch change

Positive value

Higher rangeLower range

Slower speed

Faster speed

+63

+30

-40

Negative value

When Pitch Sensitivity is set to 100

Pitch Sensitivity and Center Key

EG Time Sensitivity and Center Key

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Element Edit

136

Owner’s Manual

HPFKeyFlw (Key Follow) Determines the Key Follow setting for the HPF Cutoff frequency. This parameter varies the center frequency

according to the position of the notes played on the keyboard. A positive setting will raise the center frequency

for higher notes and lower it for lower notes. A negative setting will have the opposite effect. This parameter is

available only when the ﬁlter type “LPF12” or “LPF6” is selected.

Settings: -200 ~ 0 ~ +200

[SF2] VEL SENS

(Velocity Sensitivity)

From this display you can determine how the Filter and the FEG respond to velocity.

EGTime,

Segment

Determines the velocity sensitivity of the FEG’s Time parameters.

Select the Segment ﬁrst, then set its Time parameter. Positive Time settings will play back the speciﬁed

Segment faster in proportion to the played velocity and negative values will play it back slower.

Settings: EG Time: -64 ~0 ~+63

Settings: Segment: atk, atk+dcy, dcy, atk+rls, all

atk (attack) .............................EG Time Value affects Attack time.

atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time.

dcy (decay)............................EG Time Value affects Decay time.

atk+rls (attack + release).......EG Time Value affects Attack/Release time.

all ..........................................EG Time Value affects all FEG Time parameters.

EGDepth,

Curve

Determines the velocity sensitivity of the FEG Level.

For positive settings, the more strongly you play the keyboard, the more Filter changes the sound. Negative

settings do the opposite; the more softly you play, the more the sound changes. The Curve parameter lets you

select from ﬁve different preset velocity curves (graphically indicated in the display), that determine how

velocity affects the Filter EG.

Settings: EGDepth: -64 ~ 0 ~ +63

Settings: Curve: 0 ~ 4

Cutoff Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. For positive values, the

more strongly you play the keys, the greater the change in the Cutoff frequency. Negative values do the

opposite; the more softly you play, the greater the change in frequency.

Settings: -64 ~ 0 ~ +63

Resonance Determines the degree to which velocity affects the Resonance of the Filter EG. For positive values, the more

strongly you play the keys, the greater the Resonance change. Negative values do the opposite; the more

softly you play, the greater the change in Resonance.

Settings: -64 ~ 0 ~ +63

[SF3] FEG

(Filter Envelope Generator)

From this display you can make all the time and level settings for the Filter EG, which determine how the tonal

quality of the sound changes over time. These can be used to control the change in Cutoff Frequency from the

moment a note is pressed on the keyboard to the moment the sound stops.

The full names of the available parameters are shown in the chart below, as they appear in the display.

Settings: TIME: 0 ~ 127

LEVEL: -128 ~ 0 ~+127

DEPTH: -64 ~ 0 ~+63

n For details on the FEG, see page 113.

[SF4] KEY FLW (Key Follow)

From this display you can set the Key Follow effect for the Filter—in other words, how the tonal qualities of the

Element and its Filter EG respond to the particular notes (or octave range) you play.

CutoffSens (Cutoff Sensitivity) Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the Filter of the

selected Element. A Center Key setting (next parameter) of C3 is used as the basic setting by the Cutoff

parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A

negative setting will have the opposite effect.

Settings: -200 ~ 0 ~ +200

FCenterKey

This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For

other notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity

setting. Keep in mind that this is for display purposes only; the value cannot be changed.

Settings: C -2 ~ G8

EGTimeSens

(EG Time Sensitivity)

Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the Filter EG times

of the selected Element. The basic speed of change for the FEG is at the note speciﬁed in the Center Key (next

parameter). A positive setting will cause slower changes for lower notes and faster changes for higher notes.

A negative setting will have the opposite effect.

Settings: -64 ~ 0 ~ +63

FCenterKey

Determines the central note or pitch for the Key Follow effect on Filter EG. Depending on the EG Time

Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the

Filter EG deviates from the normal. When the Center Key note is played, the FEG behaves according to its

actual settings. The Filter change characteristics for other notes will vary in proportion to the EG Time settings.

Settings: C -2 ~ G8

n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing

the desired key.

HOLD ATK DCY1 DCY2 REL DEPTH

TIME Hold time Attack time Decay1 time Decay2 time Release time

LEVEL Hold level Attack level Decay1 level Decay2 level Release level Depth

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Element Edit

137

Owner’s Manual

[SF5] SCALE (Filter Scaling)

Filter Scaling controls the ﬁlter cutoff frequency according to the positions of the notes on the keyboard. You

can divide the entire keyboard by four break points, and assign different offset values of Cutoff Frequency to

them respectively. Refer to the setting example on page 147.

Settings: BREAK POINT 1 ~ 4: C-2 ~ G8

OFFSET 1 ~ 4: 128 ~ 0 ~ +127

n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing

the desired key.

[F4] AMP (Amplitude)

[SF1] LVL/PAN (Level/Pan)

This display not only lets you make basic Level and Pan settings for each individual Element, it also gives you

some detailed and unusual parameters for affecting Pan position.

Level Determines the output level for the selected Element.

Settings: 0 ~ 127

Pan Determines the stereo Pan position for the selected Element. This will also be used as the basic Pan position

for the Alternate, Random and Scale settings.

Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

AlternatePan Determines the amount by which the sound of the selected Element is panned alternately left and right for each

note you press. The Pan setting (above) is used as the basic Pan position.

Settings: L64 ~ 0 ~ R63

RandomPan Determines the amount by which the sound of the selected Element is panned randomly left and right for each

note you press. The Pan setting is used as the Center Pan position.

Settings: 0 ~ 127

ScalingPan Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the Pan position,

left and right, of the selected Element. At note C3, the main Pan setting (above) is used for the basic Pan

position.

Settings: -64 ~ 0 ~ +63

[SF2] VEL SENS

(Velocity Sensitivity)

From this display you can determine how the Amplitude (volume) EG responds to velocity.

EG Time,

Segment

Determines the velocity sensitivity of the AEG’s Time parameters.

Select the Segment ﬁrst, then set its Time parameter. Positive Time settings will play back the speciﬁed

Segment faster in proportion to the played velocity and negative values will play it back slower.

Settings: EG Time: -64 ~0 ~+63

Settings: Segment: atk, atk+dcy, dcy, atk+rls, all

atk (attack) ............................ EG Time Value affects Attack time.

atk+dcy (attack + decay)...... EG Time Value affects Attack/Decay1 time.

dcy (decay) ........................... EG Time Value affects Decay time.

atk+rls (attack + release) ...... EG Time Value affects Attack/Release time.

all .......................................... EG Time Value affects all AEG Time parameters.

Level,

Curve

Determines the velocity sensitivity of the Amplitude EG Level. For positive settings, the more strongly you play

the keyboard, the more the volume changes. Negative settings do the opposite; the more softly you play, the

more the volume changes. The Curve parameter lets you select from ﬁve different preset velocity curves

(graphically indicated in the display), that determine how velocity affects the Amplitude EG.

Settings: Level: 64 ~ 0 ~ +63

Curve: 0 ~ 4

Center key

Higher

range

Lower

range

Large

Small

–

Amount of cutoff

frequency change

Positive value

Higher rangeLower range

Slower speed

Faster speed

+63

+30

-40

Negative value

When Cutoff Sensitivity is set to 100

Cutoff Sensitivity and Center Key

EG Time Sensitivity and Center Key

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Normal Voice Edit Element Edit

138

Owner’s Manual

[SF3] AEG

(Amplitude Envelope Generator)

From this display you can make all the time and level settings for the Amplitude EG, which determine how the

volume of the sound changes over time. These can be used to control the change in volume from the moment

a note is pressed on the keyboard to the moment the sound stops.

The full names of the available parameters are shown in the chart below, as they appear in the display.

When the Half Damper switch is turned on, you can use the Half Damper function with an optional Foot

Controller FC3 connected to the FOOT SWITCH SUSTAIN jack.

Unlike a conventional damper pedal control which simply turns sustain on and off, the Half Damper function

lets you ﬁnely control the amount of sustain and natural decay—just as with a real acoustic piano—by using a

continuous pedal controller.

n Please note that the SusPedal parameter (below) must be set to "FC3 (Half On)."

[UTILITY] → [F4] CTL ASN → [SF3] FT SW → SusPedal → FC3 (Half On)

However, if you are controlling the Half Damper function by Control Change messages from an external MIDI device, it

is not necessary to change the SusPedal parameter.

Settings: TIME: 0 ~ 127

LVL/SW (Level/Switch): 0 ~ 127 or on/off

n For details on the AEG, see page 114.

[SF4] KEY FLW (Key Follow)

From this display you can set the Key Follow effect for Amplitude—in other words, how the volume of the

Element and its Amplitude EG respond to the particular notes (or octave range) you play.

LevelSens (Level Sensitivity) Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the volume of the

selected Element. A Center Key setting of C3 is used as the basic setting.

A positive setting will lower the output level for lower notes and raise it for higher notes. A negative setting will

have the opposite effect.

Settings: -200 ~ 0 ~+200

FCenterKey

This indicates that the central note for Level Sensitivity above is C3. At C3, the volume (level) remains

unchanged. For other notes played, the volume varies according to the particular note and the Level Sensitivity

setting. Keep in mind that this is for display purposes only; the value cannot be changed.

EGTimeSens

(EG Time Sensitivity)

Determines the degree to which the notes (speciﬁcally, their position or octave range) affect the Amplitude EG

times of the selected Element. The Center Key (next parameter) is used as the basic amplitude for this

parameter. A positive setting will cause the amplitude of lower notes to change slower and that of higher notes

to change faster. Negative values will have the opposite effect.

Settings: -64 ~ 0 ~ +63

FCenterKey

Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time

Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the

Amplitude EG deviates from the norm.

When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change

characteristics for other notes will vary in proportion to the EGTime settings.

Settings: C -2 ~ G8

n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing

the desired key.

[SF5] SCALE

(Amplitude Scaling)

Amplitude Scaling controls the output level (set in the [F4] AMP → [SF1] LVL /PAN display) according to the

positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign

different offset values of amplitude to them respectively. Refer to the setting example on page 147.

Settings: BREAK POINT 1 ~ 4: C-2 ~ G8

Settings: OFFSET 1 ~ 4: -128 ~ 0 ~ +127

n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing

the desired key.

INIT ATK DCY1 DCY2 REL SUS

TIME --- Attack time Decay1 time Decay2 time Release time Sustain time

LVL/SW Initial level Attack level Decay1 level Decay2 level ---

Half damper

switch

Center key

Higher

range

Lower

range

Large

Small

–

Amount of AEG

level change

Positive value

Higher rangeLower range

Slower speed

Faster speed

+63

+30

-40

Negative value

When Level Sensitivity is set to 100

Level Sensitivity and Center Key EG Time Sensitivity and Center Key

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Element Edit

139

Owner’s Manual

[F5] LFO (Low Frequency Oscillator)

This display gives you a comprehensive set of controls over the LFO for each individual Element. The LFO can be used to create vibrato, wah, tremolo and

other special effects, by applying it to the pitch, ﬁlter and amplitude parameters.

Wave Determines the LFO waveform used to vary the sound.

Settings: saw, tri, squ

Speed Determines the speed of the LFO waveform. The higher the value, the faster the speed.

Settings: 0 ~ 63

KeyOnReset Determines whether or not the LFO is reset each time a note is played.

Settings: off, on

KeyOnDelay Determines the delay time between the moment you play a note on the keyboard and the moment the LFO

comes into effect. A higher value results in a longer delay time.

Settings: 0 ~ 127

PMod

(Pitch Modulation Depth)

Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound.

The higher the value, the greater the amount of pitch modulation.

Settings: 0 ~ 127

FMod

(Filter Modulation Depth)

Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The

higher the value, the greater the amount of ﬁlter modulation.

Settings: 0 ~ 127

AMod

(Amplitude Modulation Depth)

Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the

sound. The higher the value, the greater the amount of amplitude modulation.

Settings: 0 ~ 127

FadeInTime Determines the amount of time for the LFO effect to fade in (after the KeyOnDelay time has elapsed).

A higher value results in a slower fade-in.

Settings: 0 ~ 127

[F6] EQ (Equalizer)

Type Determines the Equalizer Type. This synthesizer features a wide selection of various equalizer types, which can

be used not only to enhance the original sound, but even completely change the character of the sound. The

particular parameters and settings available depend on the speciﬁc Equalizer Type that is selected.

Settings: EQ L/H, P.EQ, boost6, boost12, boost18, thru

EQ L/H (Low/High) ................ This is a “shelving” equalizer, which combines separate high and low frequency bands.

P.EQ (Parametric EQ) ............ The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This

type features 32 different “Q” settings, which determine the frequency band width of the equalizer.

boost6 (boost 6dB)/boost12 (boost 12dB)/boost18 (boost 18dB)

These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively.

thru ........................................ If you select this, the equalizers are bypassed and the entire signal is unaffected.

saw (sawtooth wave)

squ (square wave)

tri (triangle wave)

Time

Key on

Time

Key on

Off

Low Freq

Low Gain

High Freq

High Gain

Frequency

Gain

Settings: 50.1Hz – 2.00kHz

Setttings: 503.8Hz – 10.1kHz

Settings: -32 – 0 – +32

–

Gain

Settings: -32 – 0 – +32

Freq

Settings: 139.7Hz – 12.9kHz

Q (Frequency characteristic)

Settings: 0 – 31

Frequency

Gain

When set to EQ L/H When set to P.EQ

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Drum Voice Edit Common Edit

140

Owner’s Manual

Drum Voice Edit

When a Drum Voice is selected, Voice Edit parameters are divided into Common Edit (parameters common to all keys, up to 73), and Key

Edit (parameters of individual keys).

These parameters are for making global (or common) edits to all keys of the selected Drum Voice.

These parameters are for editing the individual keys that make up a Drum Voice.

Common Edit

[VOICE] → Drum Voice selection → [EDIT] → [COMMON]

[F1] GENERAL

[SF1] NAME

Same as in Normal Voice Common Edit. See page 128.

[SF3] MEQ OFS (Master EQ Offset)

[SF5] OTHER

[F2] OUTPUT

Same as in Normal Voice Common Edit. See page 129. In addition, the following two parameters are also available.

InsRevSend

(Insertion Reverb Send)

Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Reverb

effect.

Settings: 0 ~ 127

InsChoSend

(Insertion Chorus Send)

Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Chorus

effect.

Settings: 0 ~ 127

n The parameters cannot be set indepently for each Drum key.

n For Normal Voices, the values are ﬁxed at 127 (maximum).

[F3] ARP (Arpeggio)

[SF1] TYPE

Same as in Normal Voice Common Edit. See page 129.

[SF2] LIMIT

[SF3] PLAY FX

[F4] CTL SET (Controller Set)

Same as in Normal Voice Common Edit. See page 131.

Please note that the Element Switch parameter is not available in Drum Voice Common edit.

[F6] EFFECT

Same as in Normal Voice Common Edit. See page 133.

The only difference here is that “KEY: OUT” appears in the [SF1] CONNECT display instead of “EL: OUT” (in Normal Common Effect).

Key Edit

[VOICE] → Drum Voice selection → [EDIT] → Key selection

[F1] OSC (Oscillator)

[SF1] WAVE

From this display you can select the desired wave or Normal voice used for the individual Drum key.

Type Determines whether a Wave or a Normal voice is to be used for the selected key. Also, use the Bank, Number

and Category parameters below to specify the desired Wave or Normal voice.

Settings: pre wav (Preset wave), voice

n When the Type is set to “voice” here, some parameters in the Drum Voice Edit mode cannot be edited.

ElementSw (Element Switch) This parameter is available when Type (above) is set to “pre wav.” This determines whether the currently

selected key is on or off, or in other words, whether the wave for the key is active or inactive.

Settings: on, off

Bank This parameter is available when Type (above) is set to “voice.” Any of the Normal voice banks can be

selected.

n Plug-in voices cannot be selected for Drum keys.

Number Determines the Wave/Voice number. The number differs depending on the selected Type. For details about

available Waves and Voices, refer to the separate Data List booklet.

Settings: When Type is set to “pre wav”: 001 ~ 1935

When Type is set to “voice”: 001 ~ 128

Category Determines the Category of the Wave/Normal Voice. If you switch to another Category, the ﬁrst Wave/Normal

Voice in that Category will be selected.

n For more information about the Categories, refer to the separate Data List booklet.

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Drum Voice Edit Key Edit

141

Owner’s Manual

[SF2] OUTPUT

From this display you can set certain output parameters for the selected Drum key.

InsEFOut

(Insertion Effect Output)

Determines which Insertion effect (A or B) is used to process each individual Drum key. The “thru” setting lets

you bypass the Insertion effects for the speciﬁc key.

Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)

RevSend (Reverb Send) Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. A setting of “0”

results in no Reverb processing of the Drum key sound. This is available only when Insertion Effect Output

(above) is set to “thru.”

Settings: 0 ~ 127

ChoSend (Chorus Send) Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. A setting of “0”

results in no Chorus processing of the Drum key sound. This is available only when Insertion Effect Output

(above) is set to “thru.”

Settings: 0 ~ 127

OutputSel (Output Select) Determines the speciﬁc output(s) for the individual Drum key signal. You can assign each individual Drum key

sound to be output from a speciﬁc hardware output jack on the rear panel. This is available only when Insertion

Effect Output (above) is set to “thru.”

Settings: See page 49.

[SF5] OTHER

From this display you can set various parameters related to how the individual notes of the Drum voice respond

to the keyboard and MIDI data.

AssignMode When this is set to “single,” double playback of the same note is prevented. This is useful when two or more

instances of the same note are received nearly simultaneously, or without a corresponding note off message.

To allow playback of each instance of the same note, set this to “multi.”

Settings: single, multi

RcvNoteOff (Receive Note Off) Determines whether or not the selected Drum key responds to MIDI Note Off messages.

Settings: off, on

n This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.”

AlternateGroup Set the Alternate Group to which the key is assigned. In a real drum kit, some drum sounds cannot physically

be played simultaneously, such as open and closed hi-hats.You can prevent keys from playing back

simultaneously by assigning them to the same Alternate Group. Up to 127 Alternate Groups can be deﬁned.

You can also select “off” here if you wish to allow the simultaneous playback of sounds.

Settings: off, 1 ~ 127

n This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.”

[F2] PITCH

[SF1] TUNE

From this display you can set various pitch-related parameters for the selected key.

Coarse Determines the pitch of each Drum Key Wave (or Normal Voice) in semitones.

Settings: -48 ~ +48

If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) relative to note

C3.

Fine Determines the ﬁne tuning for the pitch of each Drum Key Wave (or Normal Voice).

Settings: -64 ~ +63

[SF2] VEL SENS

(Velocity Sensitivity)

This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.”

Pitch Determines how the pitch of the selected Drum key responds to velocity. For positive values, the more strongly

you play the key, the higher the pitch becomes. For negative values, the more strongly you play the key, the

lower the pitch.

Settings: -64 ~ +63

[F3] FILTER

[SF1] CUTOFF

This synthesizer lets you apply a low pass ﬁlter and high pass ﬁlter to each individual Drum key — giving you

exceptionally detailed and comprehensive sonic control over the Drum voice.

Settings: This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display.

LPFCutoff Determines the Cutoff frequency of the Low Pass Filter.

Settings: 0 ~ 255

LPFReso Determines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency.

Settings: 0 ~ 127

HPFCutoff Determines the Cutoff frequency of the High Pass Filter.

Settings: 0 ~ 255

[SF2] VEL SENS

(Velocity Sensitivity)

This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.”

LPFCutoff Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. For positive settings, the more

strongly you play the keyboard, the higher the cutoff frequency becomes. For negative settings, the more

strongly you play, the lower the cutoff frequency.

Settings: -64 ~ 0 ~ +63

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Drum Voice Edit Key Edit

142

Owner’s Manual

[F4] AMP (Amplitude)

[SF1] LVL/PAN (Level/Pan)

This display not only lets you make basic Level and Pan settings for the sound of each individual Drum key, it

also gives you some detailed and unusual parameters for affecting Pan position.

Level Determines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments

among the various sounds of the Drum voice.

Settings: 0 ~ 127

Pan Determines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan

position for the Alternate and Random settings.

Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

AlternatePan Determines the amount by which the sound of the selected Drum key is panned alternately left and right for

each note you press. The Pan setting (above) is used as the basic Pan position.

Settings: L64 ~ 0 ~ R63

n This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display.

RandomPan Determines the amount by which the sound of the selected Drum key is panned randomly left and right for

each note you press. The Pan setting (above) is used as the Center Pan position.

Settings: 0 ~ 127

n This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display.

[SF2] VEL SENS

(Velocity Sensitivity)

Level Determines the velocity sensitivity of the Amplitude Envelope Generator’s output level. Positive settings will

cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to

fall.

Settings: -64 ~ 0 ~ +63

[SF3] AEG

(Amplitude Envelope Generator)

AttackTime

Settings: 0 ~ 127

Decay1Time

Settings: 0 ~ 127

Decay1Lvl (Level)

Settings: 0 ~ 127

Decay2Time

Settings: 0 ~ 126, hold

[F6] EQ (Equalizer)

Same as in Normal Voice Element Edit. See page 139.

n This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display.

Attack level Attack level

Key on

Attack

time

Decay1

time

Decay2

time

Attack

time

Decay1

time

Decay2

time

Decay1 level Decay1 level

Key on

Level

Time Time

Level

Decay2Time=0 - 126

Decay2Time=hold

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Plug-in Voice Edit Common Edit

143

Owner’s Manual

Plug-in Voice Edit

These parameters are basically the same as in Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for

editing.

n Depending on the particular Plug-in board you are using, some of the parameters described here may not be available. For details, refer to the relevant

owner’s manual of the Plug-in board.

n For details on the current lineup of available Plug-in boards, see page page 99.

Common Edit

[VOICE] → Plug-in Voice selection → [EDIT] → [COMMON]

[F1] GENERAL

[SF1] NAME

Same as in Normal Voice Common Edit. See page 128.

[SF2] PLY MODE (Play mode)

Same as in Normal Voice Common Edit. See page 128.

Please note that Micro Tuning is not available in Plug-in Voice Common Edit.

[SF3] MEQ OFS

(Master EQ Offset)

Same as in Normal Voice Common Edit. See page 129.

[SF4] PORTA (Portamento)

Same as in Normal Voice Common Edit. See page 129.

Please note that Portamento Mode, Time Mode and Legato Slope are not available in Plug-in Voice Common

Edit.

[SF5] OTHER

Same as in Normal Voice Common Edit. See page 129.

Unlike with Normal Voice Edit, the Upper and Lower ranges cannot be independently set here.

[F2] OUTPUT

Same as in Normal Voice Common Edit. See page 129.

[F3] ARP (Arpeggio)

[SF1] TYPE

Same as in Normal Voice Common Edit. See page 131.

[SF2] LIMIT

[SF3] PLAY FX

[F4] CTL SET (Controller Set)

[SF1] SET1/2

Same as in Normal Voice Common Edit. See page 131.

Please note that Element Switch is not available in Plug-in Voice Common Edit.

[SF2] MW (Modulation Wheel)

From this display you can set how the Plug-in Voice responds to the Modulation wheel, by changing the control

depth for the ﬁlter, pitch and amplitude (volume).

Filter Determines the depth of control of the Modulation Wheel over the ﬁlter cutoff frequency. Negative settings

result in reversed Modulation wheel operation (i.e., moving the wheel up results in less modulation).

Settings: -64 ~ 0 ~ +63

PMod (Pitch Modulation Depth) Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the

greater the depth of control.

Settings: 0 ~ 127

FMod (Filter Modulation Depth) Determines the depth of control the Modulation Wheel has over ﬁlter cutoff modulation. The higher the setting,

the greater the depth of control.

Settings: 0 ~ 127

AMod

(Amplitude Modulation Depth)

Determines the depth of control the Modulation Wheel has over amplitude modulation. The higher the setting,

the greater the depth of control.

Settings: 0 ~ 127

[SF3] AT (After Touch)

This synthesizer gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to

change the pitch and ﬁlter settings, and produce modulation effects (pitch, ﬁlter and amplitude) — simply by

pressing down hard on the keys.

Pitch Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to

two octaves.

Settings: -24 ~ 0 ~ +24

Filter Determines the depth of control of keyboard aftertouch over the ﬁlter cutoff frequency.

Settings: -64 ~ 0 ~ +63

PMod (Pitch Modulation Depth) Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the

greater the depth of control.

Settings: 0 ~ 127

FMod (Filter Modulation Depth) Determines the depth of control that keyboard aftertouch has over ﬁlter cutoff modulation. The higher the

setting, the greater the depth of control.

Settings: 0 ~ 127

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode Plug-in Voice Edit Element Edit

144

Owner’s Manual

AMod

(Amplitude Modulation Depth)

Determines the depth of control that keyboard aftertouch has over amplitude modulation. The higher the

setting, the greater the depth of control.

Settings: 0 ~ 127

[SF4] AC (Assignable Control)

From this display you can assign MIDI Control Change numbers (as Src) and determine the degree to which

the assigned controllers affect the ﬁlter and the modulation effects (pitch, ﬁlter and amplitude).

Src (Source) Determines the MIDI Control Change number used to control the ﬁlter, PMod, FMod, and AMod.

Settings: 0 ~ 95

Filter Determines the depth of control the Control Change numbers (set in the Src parameter above) have over the

ﬁlter cutoff frequency.

Settings: -64 ~ 0 ~ +63

PMod (Pitch Modulation Depth) Determines the depth of control the Control Change messages (set in the Src parameter above) have over

pitch modulation. The larger the setting, the greater the depth of control.

Settings: 0 ~ 127

FMod (Filter Modulation Depth) Determines the depth of control the Control Change messages (set in the Src parameter above) have over ﬁlter

cutoff modulation. The larger the setting, the greater the depth of control.

Settings: 0 ~ 127

AMod

(Amplitude Modulation Depth)

Determines the depth of control the Control Change messages (set in the Src parameter above) have over

amplitude modulation. The larger the setting, the greater the depth of control.

Settings: 0 ~ 127

[F6] EFFECT

Same as in Normal Voice Common Edit. See page 133.

Please note that the EL: OUT settings are not available in the [SF1] CONNECT display and the parallel setting (Insertion Connection) is not available in the

[SF1] CONNECT display.

Element Edit

[VOICE] → Plug-in Voice selection → [EDIT] → Element selection

[F1] OSC (Oscillator)

[SF1] WAVE

From this display you can select the desired Board Voice used for the Element of the Plug-in voice. Keep in

mind that a Plug-in voice only has one Element.

Bank Determines the Board Voice Bank.

Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.

Number Determines the Board Voice Number.

Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.

[SF5] OTHER

VelocityDepth Determines the velocity sensitivity of the Plug-in Voice. For higher values, the harder you play the keyboard, the

louder the Voice becomes.

Settings: 0 ~ 127

VelocityOffset This lets you specify an offset value for Velocity Depth (above). In other words, you can increase the relative

velocity (or level) of the Voice by a set amount—so that all the notes you play have the added velocity.

Settings: 0 ~ 127

NoteShift Determines the transpose setting for the Plug-in voice, or the amount (in semitones) by which the pitch is

raised or lowered. The pitch range is two octaves, up or down.

Settings: -24 ~ 0 ~ +24

[F2] PITCH

From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Plug-in Voice changes over time.

The full names of the available parameters are shown in the chart below, as they appear in the display.

[F3] FILTER

HPFCutoff (High Pass Filter

Cutoff frequency)

Determines the Cutoff frequency for the High Pass Filter.

Settings: -64 ~ 0 ~ +63

Initial level

Release level

Original pitch

Attack time

Release time

Key off

Time

Pitch

INIT ATK DCY1 DCY2 REL DEPTH

TIME

--- Attack time --- --- Release

time

LEVEL

Initial level --- --- --- Release

level

---

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Edit mode

145

Owner’s Manual

[F4] NATIVE

With a Plug-in board installed to this synthesizer, you can create a Plug-in Voice by editing both native parameters (those parameters exclusive to the

particular board) and unique parameters (related speciﬁcally to this synthesizer).

Pressing [F4] gives you access to the native parameters of the Plug-in board. The parameters will vary depending on the Plug-in Board. For details about

each parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board.

[F5] LFO (Low Frequency Oscillator)

From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects.

Speed Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings

decrease it.

Settings: -64 ~ 0 ~ +63

Delay Determines the delay time between the moment you press note on the keyboard and the moment the LFO

comes into effect. Positive settings lengthen the delay and negative settings shorten it.

Settings: -64 ~ 0 ~ +63

PMod (Pitch Modulation Depth) Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount

and negative settings decrease it.

Settings: -64 ~ 0 ~ +63

[F6] EQ (Equalizer)

From this display you can apply equalizer settings to the Plug-in Voice. This is a shelving equalizer

with two bands; one for high frequencies and the other for low frequencies.

n For details on the EQ, see page 119.

LowFreq (Low Frequency) Determines the shelving point for the low frequencies. The levels of signals below this frequency will be

boosted/attenuated by the amount set in the LowGain parameter.

Settings: 32Hz ~ 2.0kHz

LowGain (Low Gain) Determines the amount by which signals below the LowFreq frequency will be boosted/attenuated.

Settings: -64 ~ 0 ~ +63

HighFreq (High Frequency) Determines the shelving point for the high frequencies. The levels of signals above this frequency will be

boosted/attenuated by the amount set in the HighGain parameter.

Settings: 500Hz ~ 16.0kHz

HighGain (High Gain) Determines the amount by which signals above the HighFreq frequency will be boosted/attenuated.

Settings: -64 ~ 0 ~ +63

LowFreq

LowGain

HighFreq

HighGain

Freque

Gain

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Voice Job mode

146

Owner’s Manual

The Voice Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected

display, press the [ENTER] button to execute the Job.

This function lets you store your edited voice to User memory.

For details, refer to page 50 in the Quick Guide section.

Voice Job mode

[VOICE] → Voice selection → [JOB]

[F1] INIT (Initialize)

This function lets you reset (initialize) all Voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as

Common settings, settings for each Element/Drum key, and so on—very useful when creating a completely new voice from scratch.

Type of parameter to be initialized All: All data in the Common Edit and Element (Key) Edit modes

Common: Data in the Common Edit mode

EL (1-4): Data of the corresponding Element Edit parameters

If “without Wave” is checked, the waves assigned to the Elements (Keys) will not be initialized.

n In order to select “Common,” “EL,” or “without Wave,” the “ALL” box must be unchecked.

n If you turn the check mark on when a Drum Voice is selected, you can select a speciﬁc Drum Key.

[F2] RECALL (Edit Recall)

If you are editing a Voice and select a different Voice without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use

Edit Recall to restore the Voice with your latest edits intact.

[F3] COPY

From this display you can copy Common and Element/Drum Key parameter settings from any

Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some

parameter settings from another Voice.

Data type to be copied (Type)

Common: Data in the Common Edit mode

Element (1-4): Data of the corresponding Element Edit parameters

Key C0-C6: Data of the corresponding Key Edit parameters

Copy procedure

1. Select the Source Voice.

When “Current” is selected in the Source Voice, the Source Voice will be same as the

Destination Voice. If you wish to copy one Element to another Element in the same Voice,

select “Current.”

2. Select the Destination Voice (Current Voice).

If the Source Voice type (Normal/Drum/Plug-in) differs from that of the Voice you are currently

editing (destination), you will only be able to copy the Common parameters.

3. When “Element” or “Key” is selected in the Source Voice, select the Part/Key to be copied in

the Destination Voice.

4. Press the [ENTER] button.

[F4] BULK (Bulk Dump)

This function lets you send all your edited parameter settings for the currently selected Voice to a computer or another MIDI instrument for data archiving.

For details, see page 126.

n In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.

Voice Store mode

[VOICE] → Voice selection → [STORE]

Source Voice

Destination Voice (Current Voice)

Supplementary infomation

147

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Owner’s Manual

■ Supplementary information

Micro Tuning List

Setting example of Filter Scaling

The best way to understand Filter Scaling is by example. For the

settings shown in the example display below, the basic Cutoff

frequency value is 64, and the various Offset values at the

selected Break point settings change that basic value accordingly.

The speciﬁc changes to the Cutoff frequency are shown in the

diagram below. The Cutoff frequency changes in a linear fashion

between successive Break Points as shown.

Setting example of Amplitude Scaling

The best way to understand Amplitude Scaling is by example.

For the settings shown in the example display above, the basic

Amplitude (volume) value for the selected Element is 80, and the

various Offset values at the selected Break point settings change

that basic value accordingly. The speciﬁc changes to the

Amplitude are shown in the diagram below. The Amplitude

changes in a linear fashion between successive Break Points as

shown.

[VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo./M.TuningRoot (page 128)

M.TuningNo. Type M.TuningRoot Comments

00 Equal Temp (Equal temperament) -- The “compromise” tuning used for most of the last 200 years of Western music, and

found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and

music can be played in any key with identical pitch relationships. However, none of

the intervals are perfectly in tune.

01 PureMaj (Pure major) C ~ B This tuning is designed so that most of the intervals (especially the major third and

perfect ﬁfth) in the major scale are pure. This means that other intervals will be

correspondingly out of tune. You need to specify the key (C~B) you will be playing in.

02 PureMin (Pure minor) C ~ B The same as Pure Major, but designed for the minor scale.

03 Werckmeist (Werckmeister) C ~ B Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that

keyboard instruments could be played in any key. Each key has a unique character.

04 Kirnberger C ~ B Johann Philipp Kirnberger, an 18th century composer, created this tempered scale

to allow performances in any key.

05 Vallot&Yng (Vallotti & Young) C ~ B Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment

to the Pythagorean tuning, in which the ﬁrst six ﬁfths are lower by the same amount.

06 1/4 Shift (1/4 shifted) -- This is the normal equal tempered scale shifted up 50 cents.

07 1/4 tone -- Twenty-four equally spaced notes per octave. (Octaves are 24 notes apart.)

08 1/8 tone -- Forty-eight equally spaced notes per octave. (Octaves are 48 notes apart.)

09 Indian -- Designed for use Indian music (white keys only).

10 Arabic 1 C ~ B Designed for use Arabic music.

11 Arabic 2

12 Arabic 3

[VOICE] → [EDIT] → Element selection → [F3] FILTER → [SF5] SCALE

(page 137)



2C3A4

Cutoff Frequency

Break

Point 1

Break

Point 2

Break

Point 3

Break

Point 4

Note

[VOICE] → [EDIT] → Element selection → [F4] AMP → [SF5] SCALE

(page 138)

C1 C2 C3 C4

Amplitude

Break

Point 1

Break

Point 2

Break

Point 3

Break

Point 4

Note

Supplementary

148

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Owner’s Manual

Filter Type List

LPF24D (24dB/oct Digital Low Pass Filter)

A dynamic 24dB/oct low-pass ﬁlter with a

characteristic digital sound. Compared to the

LPF24A type (below), this ﬁlter can produce a

more pronounced resonance effect.

LPF24A (24dB/oct Analog Low Pass Filter)

A digital dynamic low-pass ﬁlter with

characteristics similar to a 4-pole analog synth

ﬁlter.

LPF18 (18dB/oct Low Pass Filter)

3-pole 18dB/oct low-pass ﬁlter.

LPF18s (18dB/oct Staggered Low Pass Filter)

3-pole 18dB/oct low-pass ﬁlter. This ﬁlter has a

smoother cutoff slope than the LPF18 type.

LPF12 (12dB/oct Low Pass Filter)

12dB/oct low-pass ﬁlter. This ﬁlter is designed to

be used in conjunction with a high-pass ﬁlter.

LPF6 (6dB/oct low-pass Filter)

1-pole 6dB/oct low-pass ﬁlter. No resonance. This

ﬁlter is designed to be used in conjunction with a

high-pass ﬁlter.

HPF24D (24dB/oct Digital High Pass Filter)

A dynamic 24dB/oct high-pass ﬁlter with a

characteristic digital sound. This ﬁlter can

produce a pronounced resonance effect.

HPF12 (12dB/oct High Pass Filter)

12dB/oct dynamic high-pass ﬁlter.

BPF12D (12dB/oct Digital Band Pass Filter)

BPFw (Wide Band Pass Filter)

A 12dB/oct BPF that combines HPF and LPF

ﬁlters to allow wider bandwidth settings.

BPF6 (6dB/oct Band Pass Filter)

BEF12 (12dB/oct Band Elimination Filter)

BEF6 (6dB/oct Band Elimination Filter)

Dual LPF (Dual Low Pass Filter)

Two 12dB/oct low-pass ﬁlters connected in

parallel.

Dual HPF (Dual High Pass Filter)

Two 12dB/oct high-pass ﬁlters connected in

parallel.

Dual BPF (Dual Band Pass Filter)

Two 6dB/oct band-pass ﬁlters connected in

parallel.

Dual BEF (Dual Band Elimination Filter)

Two 6dB/oct band-elimination ﬁlters connected in

serial.

LPF12 + BPF6 (12dB/oct Low Pass Filter + 6dB/

oct Band Pass Filter)

A combined low-pass and high-pass ﬁlter.

thru

The ﬁlters are bypassed and the entire signal is

unaffected.

[VOICE] → [EDIT] → Element selection → [F3] FILTER → [SF1] TYPE → Type (page 135)

Resonance

These frequencies are

“passed” by the ﬁlter.

Resonance

LPF18

LPF18s

Resonance

12db/oct

Resonance

Cutoff range

Range passed

Level

Frequency

Width can be

increased

Cutoff range

Range passed

Level

Frequency

6db/oct

Resonance

Cutoff range

Range passed

Level

Frequency

Cutoff range

Range passed

Level

Frequency

Range passed

Center frequency

Level

Frequency

Distance

The lower cutoff frequency is set

directly on the display.

Level

Frequency

Distance

The lower cutoff frequency is set

directly on the display.

Level

Frequency

Distance

The lower cutoff frequency is set

directly on the display.

eve

Frequency

Distance

The lower cutoff frequency is set

directly on the display.

Level

Frequency

Distance

The lower cutoff frequency is set

directly on the display.

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Play mode

149

Owner’s Manual

Performance mode

The Performance Play mode lets you perform a variety of general editing operations on the selected Performance. For more detailed and

comprehensive editing operations, use the Performance Edit mode.

n The parameters that have the same name in the Performance Play mode and in the Performance Edit mode have the same functions and settings.

Performance Play mode

[PERFORM] → Performance selection

[F1] PLAY

TCH (Transmit Channel) Same as in Voice Play mode.

These parameters are available both in the Voice mode and the Performance mode regardless of the selected

Voice or Performance.

OCT (Octave)

ASA (ASSIGN A),

ASB (ASSIGN B)

n TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Performance. Because of this, these are not stored

as an individual Performance in the Performance Store mode (page 156).

AS1 (ASSIGN 1),

AS2 (ASSIGN 2)

Indicates the values obtained by controlling the respective Control sliders (printed “ASSIGN 1” and “ASSIGN

2”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to

these sliders depend on the setting of the Voice assigned to each Part of the Performance.

[SF1] ARP1 (Arpeggio 1) -

[SF5] ARP5 (Arpeggio 5)

You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard

performance. Refer to page 39 in the Quick Guide section.

[F2] VOICE

From this display you can select a Voice for each Part and determine the note range it can be played from.

[SF1] ADD INT

(Add Internal Voice)

Press this button to assign an internal Voice to the selected Part.

[SF2] ADD PLG

(Add Plug-in Voice)

Press this button to assign a Plug-in Voice to the selected Part.

[SF3] DELETE

Pressing this button deletes the Voice assignment for the selected Part, leaving the Part blank.

[SF4] LIMIT L (Note Limit Low)

This sets the lowest note of the range over which the Voice of the selected Part sounds. Simultaneously hold

down this button and press the desired key on the keyboard to set the note.

[SF5] LIMIT H (Note Limit High)

This sets the highest note of the range over which the Voice of the selected Part sounds. Simultaneously hold

down this button and press the desired key on the keyboard to set the note.

[F3] EFFECT

Pressing the [F3] EFFECT button in the Performance Play mode calls up the same EFFECT display in the Performance Edit mode ([PERFORM] → [EDIT] →

[COMMON] → [F6] EFFECT). From this display, you can set the effect related parameters for the current Performance. See page 122.

[F4] PORTA (Portamento)

From this display you can set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the ﬁrst note played on the keyboard

to the next.

PortaSw (Portamento Switch) Determines whether Portamento is on or off for all Parts. (This is a global switch and overrides the individual

Part settings in Part Switch below.)

Settings: off, on

PortaTime (Portamento Time) Determines the pitch transition time. This parameter offsets the same parameter in Part Edit (page 152). Higher

values result in longer transition times.

Settings: -64 ~ 0 ~ +63

PartSwitch Determines whether Portamento is on or off for each individual Part. This is available only when the PortaSw

(above) is set to on.

[F5] EG (Envelope Generator)

This display contains the basic EG settings, both volume and ﬁlter, for the Performance, as well as the ﬁlter’s cutoff frequency and resonance settings. The

settings made here are applied as offsets to the AEG and FEG settings in the Performance Edit mode (pages 154, 155).

The parameters are same as in Voice Play mode. See page 128.

[F6] ARP (Arpeggio)

This display contains the basic settings for Arpeggio playback, including Type and Tempo. Note that the Performance mode lets you independently enable

or disable Arpeggio playback for each Part.

The parameters are same as in the Voice Play mode (page 128) except for the following one.

PartSw Determines whether Arpeggio is on or off for the selected Part. The Parts for which boxes are checkmarked are

enabled for Arpeggio play.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Edit mode Common Edit

150

Owner’s Manual

Voice Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Parts).

Performance Edit mode

[PERFORM] → Performance selection → [EDIT]

Common Edit

[PERFORM] → Performance selection → [EDIT] → [COMMON]

[F1] GENERAL

[SF1] NAME

From this display you can assign the category (sub and main) of the selected Performance, and create a name

for the Performance. The Performance name can contain up to 10 characters. For detailed instructions on

naming a Performance, see “Basic Operation” on page 128.

[SF3] MEQ OFS

(Master EQ Offset)

Determines the offset values of the Master EQ in the [F2] OUT/MEF → [SF2] MEQ display. The level of each of

the four bands (with the exception of “MID”) can be adjusted. When the [EQ] button is turned on, you can also

adjust these settings directly from the Control sliders.

[SF4] PORTA (Portamento)

This display allows you to set the Portamento related parameters.

The parameters are the same as in the Performance Play mode. See page 129.

[SF5] OTHER

From this display you can set the control functions for the Control sliders and related parameters.

With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the Voice Edit

mode (page 129).

[F2] OUT/MEF (Output/Master Effect)

[SF1] OUT (Output)

Volume Determines the output level of the selected Performance. You can adjust the overall volume, keeping the

balance between all Parts.

Settings: 0 ~ 127

Pan Determines the stereo pan position of the selected Performance. This parameter offsets the same parameter in

the Part Edit setting. When the [PAN/SEND] button is turned on, you can also adjust this parameter using the

Control slider.

Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

n A setting of “C” (center) maintains the individual Pan settings of each Part.

RevSend (Reverb send) Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb

effect. When the [PAN/SEND] button is turned on, you can also adjust this parameter using the Control slider.

Settings: 0 ~ 127

ChoSend (Chorus send) Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus

effect. When the [PAN/SEND] button is turned on, you can also adjust this parameter using the Control slider.

Settings: 0 ~127

n For details on Effect connections in the Performance mode, see page 122.

[SF2] MEQ (Master EQ)

From this display you can apply ﬁve-band equalization to all Parts of the selected Performance. You can raise

or lower the signal level at the Frequency of each band (LOW, LOWMID, MID, HIGHMID, HIGH).

SHAPE Determines whether the equalizer type used is Shelving or Peaking. The Peaking type attenuates/boosts the

signal at the speciﬁed Frequency setting, whereas the Shelving type attenuates/boosts the signal at

frequencies above or below the speciﬁed Frequency setting. This parameter is available only for the LOW and

HIGH frequency bands.

Settings: shelv (Shelving type), peak (Peaking type)

FREQ (Frequency) Determines the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting.

Settings: LOW: Shelving 32Hz ~ 2.0kHz, Peaking 63Hz ~ 2.0kHz

LOWMID, MID, HIGHMID: 100Hz ~ 10.0kHz

HIGH: 500Hz ~ 16.0kHz

GAIN Determines the level gain for the Frequency (set above), or the amount the selected frequency band is

attenuated or boosted.

Settings: -12dB ~ 0dB ~ +12dB

Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics.

Settings: 0.1 ~ 12.0

n For details on the EQ, see page 119.

[SF3] MEF (Master Effect)

From this display you can set the Master Effect related parameters.

Switch Determines whether Master Effect is applied or not to the selected Performance.

Settings: off, on

Type Determines the Master effect type.

Settings: Refer to the Effect Types list in the separate Data List booklet.

n The available parameters except for the above two differ depending on the currently selected effect type. For more information, refer to the separate Data List

booklet.

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Edit mode Common Edit

151

Owner’s Manual

[F3] ARP (Arpeggio)

From this display you can set the Arpeggio related parameters.

[SF1] TYPE

Same as in Normal Voice Common Edit. See page 129.

[SF2] LIMIT

[SF3] PLAY FX (Play Effect)

[SF4] OUT CH (Output Channel)

From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have

the Arpeggio sound from an external tone generator or synthesizer.

OutputSwitch When this is set to on, Arpeggio playback data is output via MIDI.

Settings: on, off

TransmitCh Determines the MIDI transmit channel for Arpeggio playback data. When set to “KbdCh,” the Arpeggio

playback data is output via the MIDI Keyboard Transmit Channel ([UTILITY] → [F5] MIDI → KBDTransCh).

Settings: 1 ~ 16, KbdCh (Keyboard Channel)

[F4] CTL ASN (Controller Assign)

You can assign Control Change numbers to the controllers listed below, letting you use the hardware controllers on the keyboard to alter the sound of

external MIDI devices, via the appropriate MIDI messages. When the S90 ES receives Control Change data corresponding to the settings here, the internal

tone generator responds as if the instrument’s controllers were used.

BC (Breath Controller) Determines the Control Change number generated when you apply breath pressure to the Breath Controller

connected to the BREATH connector.

RB (Ribbon Controller) The S90 ES does not have a Ribbon Controller. However, the S90 ES responds as if a Ribbon Controller was

used when receiving Control Change messages over the Control Change number determined in this

parameter.

AS1 (Assign 1),

AS2 (Assign 2)

Determines the Control Change number generated when you control the Control slider 3 and the Control slider

4 with both the [PAN/SEND] and [TONE] lamp turned on.

FC1 (Foot Controller 1),

FC2 (Foot Controller 2)

Determines the Control Change number generated when you use the Foot Controller connected to the FOOT

CONTROLLER jack.

n Keep in mind that the functions of these controllers set here are not changed for the internal tone generator. The controller assignments for the S90 ES itself depend

on the settings of the Voices assigned to each Part.

[F5] AUDIO IN

The audio signal input from the A/D INPUT jack, and mLAN connector (when the optional mLAN16E has been installed to this synthesizer), can be handled

as Audio Input Parts. You can apply various parameters such as Effect settings to these Parts, just as with the other Parts.

n For details about the Audio Input Parts, see page 118.

[SF1] OUTPUT

Volume Determines the output level of the Audio Input Part.

Settings: 0 ~ 127

Pan Determines the stereo pan position of the Audio Input Part.

Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

RevSend Determines the Send level of the Audio Input Part signal sent to the Reverb effect.

Settings: 0 ~ 127

ChoSend Determines the Send level of the Audio Input Part signal sent to the Chorus effect.

Settings: 0 ~ 127

DryLevel Determines the level of the Audio Input Part which has not been processed with the System Effects (Reverb,

Chorus).

Settings: 0 ~ 127

n For details about Effect connection in the Performance mode, see page 122.

Mono/Stereo Determines the signal conﬁguration for the Audio Input Part, or how the signal or signals are routed (stereo or

mono).

Settings: stereo, L mono, R mono, L+R mono

stereo............... Both the L and R channels of the audio input are used.

L (left) mono .... Only the L channel of the audio input is used.

R (right) mono . Only the R channel of the audio input is used.

L+R mono........ The L and R channels of the audio input are mixed and processed in mono.

OutputSel (Output Select) Determines the output jack assignment for the Audio Input Part.

Settings: See page 63.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Edit mode Part Edit

152

Owner’s Manual

These parameters are for editing the individual Parts that make up a Performance.

To switch between the display for Parts 1 - 4 to which the internal Voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which

the Plug-in Voices are assigned, press the [F6] button.

n When a Plug-in Voice is assigned to a Part of the selected Performance, some parameters may not be available depending on the installed Plug-in

board.

[SF2] INS TYPE (Insertion Type)

This display is available only when the AD (A/D Part) is set to on from the [F6] EFFECT → [SF2] INS SW display.

The type and connection of the Insertion Effect applied to the A/D Part can be set from this display.

InsEF Connect

(Insertion Effect Connection)

Same as in the CONNECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] → [F6] EFFECT →

[SF1] CONNECT). Please note that the InsEF Connect cannot be set to “parallel” here.

n When selecting the effect types in this display, [SF3] INS A and [SF4] INS B are displayed and you can set the effect

parameters.

InsA Ctgry (Insertion A Category)

InsA Type (Insertion A Type)

InsB Ctgry (Insertion B Category)

InsB Type (Insertion B Type)

n Insertion effects can be applied only to the A/D Part, among the Audio Input Parts.

[F6] EFFECT

This menu gives you comprehensive control over the effects. For details about the Effect connections in the Performance mode, see page 122.

[SF1] CONNECT (Connection)

For details on the parameters, see page 122.

[SF2] INS SW (Insertion Switch)

The Insertion Effects can be applied to up to eight Parts. This display lets you set to which Parts the Insertion

Effects are applied.

[SF3] PLG-EF (Plug-in Effect)

This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-

VH has been installed to this synthesizer. For details on each parameter, refer to the Owner’s Manual included

with the PLG100-VH.

[SF4] REVERB

The number of parameters and values available differs depending on the currently selected effect type. For

more information, see the Effect Type List in the separate Data List booklet.

[SF5] CHORUS

Part Edit

[PERFORM] → Performance selection → [EDIT] → Part selection

[F1] VOICE

[SF1] VOICE

PartSw (Part Switch) Determines whether each Part is on or off. Since a Performance can consist of up to four Parts, you can select

four Parts from Parts 1 - 4 and the Plug-in Parts 1 - 3.

Settings: on, off

Bank Determines the Voice Bank (page 30) for each Part.

For details about the Plug-in Voice Bank, refer to the Owner’s Manual included with your Plug-in Board.

Number Determines the Voice Program number for each Part.

For details about the Plug-in Voice Program number, refer to the Owner’s Manual included with your Plug-in

Board.

[SF2] MODE

Mono/Poly Determines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic

(multiple notes).

Settings: mono, poly

n This parameter is not available for the Part to which a Drum Voice is assigned.

ArpSwitch (Arpeggio Switch) Determines whether Arpeggio is on or off for the currently selected Part.

Settings: on, off

[SF3] LIMIT

NoteLimitH (Note Limit High) Determines the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for

notes played within its speciﬁed range.

Settings: C -2~G8

n If you specify the highest note ﬁrst and the lowest note second, for example “C5 to C4,” then the note range covered will

be “C-2 to C4” and “C5 to G8.”

n You can set the note by pressing the keyboard while holding the [INFORMATION] button.

NoteLimitL (Note Limit Low)

VelLimitH (Velocity Limit High) Determines the minimum and maximum values of the velocity range within which each Part will respond. Each

Part will only sound for notes played within its speciﬁed velocity range.

Settings: 1~127

n If you specify the maximum value ﬁrst and the minimum value second, for example “93 to 34,” then the velocity range

covered will be “1 to 34” and “93 to 127.”

VelLimitL (Velocity Limit Low)

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Edit mode Part Edit

153

Owner’s Manual

[SF4] PORTA (Portamento)

Determines the Portamento parameters for each Part. Portamento is used to create a smooth transition in pitch

from the ﬁrst note played on the keyboard to the next.

Switch Determines whether Portamento is on or off.

Settings: off, on

Time Determines the pitch transition time. Higher values mean longer transition times.

Settings: 0 ~127

Mode Determines the Portamento mode.

Settings: ﬁngr (ﬁngered), full (full time)

ﬁngr (ﬁngered)..........Portamento is only applied when you play legato (playing the next note before releasing the previous one).

full (full time) .............Portamento is always applied.

n The Mode setting is not available for the Plug-in Part.

n These Portamento parameters above are not available for the Part to which the Drum Voice is assigned.

[SF5] OTHER

PB (Pitch Bend) Upper,

PB (Pitch Bend) Lower

Determines the amount and direction of Pitch Bend range. Details are same as that in the Common Edit

parameters in Normal Voice mode (page 129).

Settings: -48 ~0 ~+24

PB (Pitch Bend) Range This parameter is available for Plug-in Parts 1 - 3. This determines the pitch change range (in semitones) of the

Pitch Bend wheel. Unlike the Pitch Bend setting for Parts 1 - 4 to which the internal Normal Voices are assigned

described above, the Upper and Lower ranges of the Drum Voice Parts and Plug-in Parts cannot be set

independently.

Settings: -24 ~ 0 ~ +24

VelSensDpt

(Velocity Sensitivity Depth)

Determines the degree to which the resulting volume

of the tone generator responds to your playing

strength.

The higher the value, the more the volume changes

in response to your playing strength (as shown at

right).

Settings: 0 ~ 127

VelSensOfst

(Velocity Sensitivity Offset)

Determines the amount by which played velocities are adjusted for the actual resulting velocity effect. This lets

you raise or lower all velocities by the same amount — allowing you to automatically compensate for playing

too strongly or too softly.

Settings: 0 ~ 127

[F2] OUTPUT

[SF1] VOL/PAN (Volume/Pan)

Volume Determines the volume for each Part, giving you detailed control over the level balance among the Parts.

Settings: 0~127

Pan Determines the stereo pan position for each Part.

Settings: L63 (far left) ~ C (center) ~ R63 (far right)

VoiceELPan (Voice Element Pan) Determines whether the individual pan settings for each Voice (made via [VOICE] → [EDIT] → Element

selection → [F4] AMP → [SF1] LVL/PAN → Pan) are applied or not. When this is set to “off,” the basic pan

position for the selected Part is set to center.

Settings: on, off

n This parameter is not available for the Plug-in Parts.

[SF2] EF SEND (Effect Send)

From this display you can set the Send Level and Dry Level sent to the System Effects for each Part. For details

about the Effect connection in the Performance mode, see page 122.

RevSend (Reverb Send) Determines the send level for the Reverb effect of the selected Part, giving you detailed control over the

Reverb balance among the Parts.

Settings: 0~127

ChoSend (Chorus Send) Determines the send level for the Chorus effect of the selected Part, giving you detailed control over the

Chorus balance among the Parts.

Settings: 0~127

127

0 127

Depth = 127

Depth = 32

Depth = 64

Depth = 0

When Offset (below) is set to 64:

Actual resulting

velocity (affecting the

tone generator)

Velocity with which you play a note

127

0 12764

12764

127

When Depth (above) = 64 and Offset = 32 When Depth (above) = 64 and Offset = 64

When Depth (above) = 64 and Offset = 96

Actual resulting

velocity (affecting

the tone generator)

Velocity with which you play a note

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Edit mode Part Edit

154

Owner’s Manual

Dry Level Determines the level of the unprocessed (dry) sound of the selected Part, letting you control the overall effect

balance among the Parts.

Settings: 0~127

[SF3] SELECT (Output Select)

From this display you can assign individual Parts to sound from independent output connectors (jacks).

OutputSel (Output Select) Determines the speciﬁc output(s) for the individual Part. You can assign each individual Part’s Voice to be

output from a speciﬁc hardware output jack on the rear panel.

Settings: See page 63.

InsEF (Insertion Effect) Determines whether the Insertion effects are applied to the output signal from the rear panel or not.

Settings: on, off

[F3] EQ (Equalizer)

From this display you can adjust the EQ settings for each Part. Note that two different display types listed below are provided and you can switch between

them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with.

• Display showing four Parts

• Display showing all parameters for one Part

Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to

scroll the display in order to see and set the other parameters.

For details about the Effect connection including the EQ in the Performance mode, see page 122.

n This display is not available for the Plug-in Part.

LowFreq (Low Frequency) Determines the center frequency of the low EQ band that is attenuated/boosted.

Settings: 50.1 ~ 2.00K

LowGain (Low Gain) Determines the amount of boost or attenuation applied to the low EQ band.

Settings: -32 ~ +32

MidFreq (Middle Frequency) Determines the center frequency of the middle EQ band that is attenuated/boosted.

Settings: 139.7 ~ 10.1K

MidGain (Middle Gain) Determines the amount of boost or attenuation applied to the middle EQ band.

Settings: -32 ~ +32

MidReso (Middle Resonance) Determines the resonance applied to the center frequency of the middle EQ band.

Settings: 0 ~ 31

HighFreq (High Frequency) Determines the center frequency of the high EQ band that is attenuated/boosted.

Settings: 503.8 ~ 14.0K

HighGain (High Gain) Determines the amount of boost or attenuation applied to the high EQ band.

Settings: -32 ~ +32

[F4] TONE

You can set parameters related to the pitch and tone for each Part. Keep in mind that the settings made here are applied as offsets to the Voice Edit settings.

[SF1] TUNE

NoteShift Determines the pitch (key transpose) setting for each Part in semitones.

Settings: -24 ~ +24

Detune Determines the ﬁne tuning for each Part.

Settings: -12.8Hz ~+12.7Hz

[SF2] FILTER

Keep in mind that the settings made here are applied as offsets to the ﬁlter settings in the Element Edit

parameters of each Part’s Voice.

Cutoff Determines the cutoff frequency for each Part. This parameter is available for the LPF when the ﬁlter used by

the Part is a combination type of LPF and HPF.

Settings: -64 ~ 0 ~ +63

Resonance Determines the amount of ﬁlter resonance or emphasis of the Cutoff Frequency for each Part.

Settings: -64 ~ 0 ~ +63

FEGDepth Determines the Filter Envelope Generator depth (amount of cutoff frequency) for each Part.

Settings: -64 ~ 0 ~ +63

n The FEG Depth setting is not available for the Plug-in Parts.

n For details about Filter, see page 113.

[SF3] FEG

(Filter Envelope Generator)

From this display you can set the FEG (Filter Envelope Generator) parameters for each Part.

Keep in mind that the settings made here are applied as offsets to the ﬁlter settings in the Element Edit

parameters of each Part’s Voice.

Attack (Attack Time) Determines each parameter of the FEG for each Part.

For details about FEG, see page 113.

Settings: -64 ~ 0 ~ +63

n These parameters are not available for the Drum Voice Parts and PLG Parts.

Decay (Decay Time)

Sustain (Sustain Level)

Release (Release Level)

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Edit mode Part Edit

155

Owner’s Manual

[SF4] AEG

(Amplitude Envelope Generator)

From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part.

Attack (Attack Time) Determines each parameter of the AEG for each Part.

For details about AEG, see page 114.

Settings: -64 ~ 0 ~ +63

n The Sustain and Release parameters are not available for the Drum Voice Parts. The Sustain parameter is not available

for the Plug-in Parts.

Decay (Decay Time)

Sustain (Sustain Level)

Release (Release Level)

[F5] RCV SW (Receive Switch)

From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the

relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.

Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features

the same settings in a different format; use the type you feel most comfortable with.

• Display showing four Parts

• Display showing all parameters for one Part

Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to

scroll the display in order to see and set the other parameters.

Settings: See below. Parameters marked with an asterisk (*) are not available for the Plug-in Part.

CtrlChange (Control Change) Indicates all the Control Change messages.

PB (Pitch Bend) MIDI messages generated by using the Pitch Bend Wheel.

MW (Modulation Wheel) MIDI messages generated by using the Modulation Wheel.

RB (Ribbon Controller)* MIDI messages generated by using the Ribbon Controller.

ChAT (Channel After Touch) MIDI messages generated by pressing and holding the note on the keyboard.

FC1 (Foot Controller 1)* MIDI messages generated by using the optional Foot Controller connected to the rear panel.

FC2 (Foot Controller 2)*

Sus (Sustain) MIDI messages generated by using the optional Footswitch connected to the SUSTAIN jack on the rear panel.

FS (Footswitch)* MIDI messages generated by using the optional Footswitch connected to the ASSIGNABLE jack on the rear

panel.

AS1 (Assign1)*, AS2 (Assign2)* MIDI messages generated by using the ASSIGN1 and ASSIGN2 Control sliders with both the [PAN/SEND] and

[TONE] lamps turned on.

BC (Breath Controller)* MIDI messages generated by using the optional Breath Controller connected to the BREATH jack on the rear

panel.

Exp (Expression) MIDI messages generated by using the optional Foot Controller connected to the rear panel.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Performance Job mode

156

Owner’s Manual

The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the

selected display, press the [ENTER] button to execute the Job.

n Among the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4,

and 5 indicate the mLAN Input Parts.

This function lets you store your edited Performance to User memory. For details, refer to page 56 in the Quick Guide section.

Performance Job mode

[PERFORM] → Performance selection → [JOB]

[F1] INIT (Initialize)

This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such

as Common settings, settings for each Part, and so on — very useful when creating a completely new Performance from scratch.

Type of parameter to be initialized All: All data in the Performance

Common: Data in the Common Edit mode

Part 1-4: Data of the Part Edit parameters of the corresponding internal Part

PLG 1-3: Data of the Part Edit parameters of the corresponding Plug-in Part

Audio 1-5: Data of the Part Edit parameters of the corresponding Audio Part

n In order to select “Common,” “Part,” or “Audio,” the “ALL” box must be unchecked.

[F2] RECALL (Edit Recall)

If you are editing a Performance and select a different Performance without storing your edited one, all the edits you’ve made will be erased. If this happens,

you can use Edit Recall to restore the Performance with your latest edits intact.

[F2] RECALL (Edit Recall)

If you are editing a Performance and select a different Performance without storing your edited one, all the edits you’ve made will be erased. If this happens,

you can use Edit Recall to restore the Performance with your latest edits intact.

[F3] COPY

ou can copy Part parameter settings from any Performance to a particular Part of the

Performance you are editing. This is useful if you are creating a Performance and wish to use

some parameter settings from another Performance.

Data type to be copied (Type)

Part 1-4: Data of the Part Edit parameters of the corresponding internal Part

Part P1-P3: Data of the Part Edit parameters of the corresponding Plug-in Part

Part A1-A5: Data of the Part Edit parameters of the corresponding Audio Part

Copy procedure

1. Select the Source Performance

When “Current” is selected in the Source Performance, the Source Performance will be same

as Destination Performance. If you wish to copy one Part to another Part in same Performance,

select “Current.”

2. Select the type of Source Performance (data that you want to copy).

3. Select which Parts will be replaced by the copied Part in the Destination Performance

parameter.

If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice

assigned to the Source Part will be copied.

4. Press the [ENTER] button.

[F4] BULK (Bulk Dump)

This function lets you send all your edited parameter settings for the currently selected Performance to a computer or another MIDI instrument for data

archiving. For details, see page 126.

In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.

Performance Store mode

[PERFORM] → Performance selection → [STORE]

Source Performance

Destination Performance (currently selected Performance)

Multi Play mode

157

Owner’s Manual

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Multi mode

Multi Play mode

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection

[F1] PLAY

Track Indicates the selected Part number.

The notes you play in Multi Mode will be transmitted on the same MIDI channel as the corresponding Track

number.

You can change the Track number by pressing the [TRACK SELECT] button (the indicator lights), then press

any of the Number [1] - [16] buttons.

n Selecting one of the PLG Parts 1-3 displays Track 1-3. Selecting one of the Multi-part Plug-in Parts 17-32 displays Track

1-16, e.g. the PLG Part 1-3, displays Track 1-3. When selecting Multi-part Plug-in Part 17-32, displays Track 1-16.

OCT (Octave) Same as in the Performance Play mode (page 149).

ASA (Assign A), ASB (Assign B)

AS1 (Assign 1), AS2 (Assign 2)

[SF1] ARP1 (Arpeggio 1) - [SF5]

ARP5 (Arpeggio 5)

[F2] VOL/PAN

PAN Determines the stereo pan position for each part.

Settings: Settings: L63 - L01, C, R01 - R63

VOLUME Determines the volume for each part, giving you detailed control over the level balance among the parts.

Settings: 0 - 127

[F3] VOICE

Determines the Voices for assigning to each Part. Select the Part then determine the Voice bank and Voice number via the same procedure as in the Voice

mode (page 24 ).

n The Category Search function cannot be used to select the Voices of the Multi Part Plug-in Parts 17-32 (when the PLG 100-XG has been installed).

n You can also change the VOICE NUM (Voice Number) or BANK MSB/LSB (Bank select MSB/LSB) directly using the Data dial.

[F4] EF SEND (Effect Send)

Determines the Send Level/Dry Level to the System Effects for each Part.

REV SEND (Reverb Send)

Determines the Send Level for the Reverb/Chorus Effect of the selected Part, giving you detailed control over

the Reverb/Chorus balance among the parts.

Settings: 0 - 127

CHO SEND (Chorus Send)

DRY LVL (Dry Level)

Determines the Dry Level (unprocessed level) of the selected Part, giving you detailed control over the balance

between the original, unprocessed sound of the Parts and the Reverb/Chorus sound.

Settings: 0 - 127

[F5] ARP (Arpeggio)

You can select the Arpeggio display only from the [F1] Play display. The parameters are same as in the Performance Play mode.

n Only Normal Voices can be edited.

[F5] VCE ED (Multi Voice Edit) (when a display other than [F1] PLAY is shown)

You can select the VCE ED display from any display other than the [F1] play display. Press the [F5] VCE ED button in the Multi mode to call up the Multi

Voice Edit mode (page 161). Press the [EXIT] button to return to the original display.

n Only Normal Voices can be edited.

[F6] F/ J(when the [F1] PLAY display is shown)

Pressing the [F1] button plays back the MIDI song assigned to the last selected Chain Step number in the Sequence Play mode.

[F6] 17-32/PLG1-3/1-16 (when a display other than [F1] PLAY is shown)

You can switch among the displays for three types of Parts by pressing this button. Numbers 1-16 are Parts of the internal tone generator, 17-32 are Multipart

Plug-in Parts of the optionally installed PLG100-XG, and PLG 1-3 are Plug-in Parts of the optionally installed Single Part Plug-in Board.

n Please note that the Multi-part Plug-in Part (17 - 32) settings apply not to one individual Multi but to all Multis.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Multi Edit mode Common Edit

158

Owner’s Manual

Multi Edit mode

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[EDIT]

Common Edit

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON]

These parameters are for making global (or common) edits to all Parts of the selected Multi.

n Common Edit operations cannot be performed on Multi Plug-in Parts 17 - 32.

[F1] GENERAL

[SF1] NAME

Determines the name of the currently edited Multi. For detailed instructions on naming, see page 27.

[SF3] MEQ OFS

(Master EQ Offset)

Adjusts the master (global) EQ settings for the entire Multi. The settings made here are applied as offsets to

the EQ settings (with the exception of “MID”) from the [F2] MEQ/MEF display below.

Settings: -64 - +63

[SF5] OTHER

Determines the Control slider settings.

These parameters are the same as in the Voice mode. However, you cannot set the Pitch Bend range in the

Multi mode.

[F2] MEQ/MEF (Master EQ/Master effect)

[SF1] MEQ (Master EQ)

These parameters are the same as in the Performance Edit mode (page 150).

[SF2] MEF (Master Effect)

[F3] ARP (Arpeggio)

[SF1] TYPE

These parameters are the same as in the Performance Edit mode (page 151).

[SF2] LIMIT

[SF3] PLAY FX (Play Effect)

[SF4] OUT CH (Output Channel)

[F4] CTL ASN (Control Assign)

These parameters are the same as in the Performance Edit mode (page 151).

[F5] AUDIO IN

[SF1] OUTPUT

These parameters are the same as in the Performance Edit mode (page 151).

[SF2] INS SW

[F6] EFFECT

For details about the effect connections in the Multi mode, see page 123.

[SF1] CONNECT

These parameters are the same as in the Performance Edit mode (page 152).

[SF2] INS SW

(Insertion Effect Switch)

[SF3] PLG-EF (Plug-in Effect)

[SF4] REVERB

[SF5] CHORUS

Multi Edit mode Part Edit

159

Owner’s Manual

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Part Edit

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection

These parameters are for editing the individual Parts that make up a Multi.

Press the [F6] button to switch among the various Part displays:

• Display for Parts 1 - 16 to which the internal Voices are assigned.

• Display for Multi-part Plug-in Parts (17 - 32) to which the PLG100-XG voices are assigned.

• Display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the single part Plug-in board are assigned.

n Please note that the Multi-part Plug-in Part (17 - 32) settings apply not to one individual Multi but to all Multis.

n When one of the Multi-part Plug-in Parts (17 - 32) is selected, some parameters cannot be edited.

[F1] VOICE

[SF1] VOICE

Determines the Voice to be assigned to each Part. Select the Part then determine the Voice bank and Voice

number via the same procedure as in the Voice mode (page 73).

n To select the desired Part, move the cursor using the [<][>] buttons or see page 72.

n The Category Search function cannot be used to select the Voices of the Multi Part Plug-in Parts 17-32 (when the PLG

100-XG has been installed).

n You can also change the VOICE NUM (Voice Number) or BANK MSB/LSB (Bank select MSB/LSB) directly using the

Data dial.

[SF1] MODE

Mono/Poly Determine whether the Voice is played back monophonically (single notes only) or polyphonically (multiple

simultaneous notes).

Settings: mono, poly

n This parameter is not available for the Part to which a Drum Voice is assigned.

ArpSwitch (Arpeggio Switch) Determines whether Arpeggio is on or off for the currently selected Part.

Settings: off, on

n Arpeggio Switch is applied to only one Part at the same time. It cannot be applied to multiple Parts simultaneously.

However, only Parts having the same receive channel can be applied simultaneously.

n The “ArpeggioSW” parameter is not available for Multi-part Plug-in Parts 17 - 32.

ReceiveCh (Receive Channel) Determines the MIDI receive channel for the selected Part. Since MIDI data may be coming from many

channels at once, you should set this to match the particular channel over which the desired controlling data is

being sent.

Settings: 01 - 16, off

[SF3] LIMIT

The parameters are the same as in the Performance Edit mode (page 152).

[SF4] PORTA (Portamento)

[SF5] OTHER

[F2] OUTPUT

[SF1] VOL/PAN

The parameters are the same as in the Performance Edit mode (page 153).

[SF2] EF SEND

[SF3] SELECT

[F3] EQ (Equalizer)

The parameters are the same as in the Performance Edit mode (page 154).

[F4] TONE

The parameters are the same as in the Performance Edit mode (page 154).

[F5] RCV SW (Receive Switch)

From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages.

When the relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.

Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button.

Each display type features the same settings in a different format; use the type you feel most comfortable with.

• Display showing four Parts

This display type shows the Receive Switch status for four Parts at a time. Set the desired Part on or off, for the corresponding MIDI data type. To view and

edit another set of four Parts, press the appropriate Number button, [1] to [16]. Keep in mind that since all the available parameters cannot be

simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.

• Display showing all parameters for one Part

This display type shows all of the Receive Switch settings for a single selected Part. Set the desired MIDI data type on or off for the selected Part. To select

other Parts, use the Number [1] - [16] buttons (making sure that the [TRACK SELECT] button is on).

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Multi Job mode

160

Owner’s Manual

This function lets you store your edited Multi program to User memory. For details, refer to page 76 in the Quick Guide section.

Multi Job mode

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[JOB]

The Multi Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected

display, press the [ENTER] button to execute the Job.

n Among the Audio Parts shown in the Multi Job display, Audio Part 1 indicates the A/D Input Part. When the optional mLAN16E has been installed, Audio Parts 2 - 5 are mLAN

Input Parts.

[F1] INIT (Initialize)

This function lets you reset (initialize) all Multi parameters to their default settings. It also allows you to selectively initialize certain parameters, such as

Common settings, settings for each Part, and so on — very useful when creating a completely new Multi program from scratch.

Type of parameter to be

initialized

GM ...................Initializes the Voice(s) of Part(s) selected below, just as if they were reset by a GM System On message.

All .....................All data in the Common Edit and Part Edit modes

Common ..........Data in the Common Edit mode

Part 1-16 ..........Data of the Part Edit parameters of the corresponding internal Part

PLG 1-3............Data of the Part Edit parameters of the corresponding Plug-in Part

Audio 1-5 .........Data of the Part Edit parameters of the corresponding Audio Part

n In order to select “Common,” “Part,” “PLG,” or “Audio,” the “All” box must be unchecked.

[F2] RECALL (Edit Recall)

If you are editing a Multi program and select a different program without storing your edited one, all the edits you’ve made will be erased. If this happens, you

can use Edit Recall to restore the Multi program with your latest edits intact.

[F3] COPY

You can copy Part parameter settings from any Multi to a particular Part of the Multi you are editing. This is useful if you are creating a Multi and wish to use

some parameter settings from another Multi.

Data type to be copied

Part 1-4 ............Data in each Part edit of the internal Parts

Part P1-P3 ........Data in each Part edit of the Plug-in Parts

Part A1-A5........Data in each Part edit of the Audio Parts

The procedure is same as Performance mode. See page 156.

[F4] BULK (Bulk Dump)

This function lets you send all your edited parameter settings for the currently selected Multi program to a computer or another MIDI instrument for data

archiving.

n In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number. For details, see page 126.

[F5] PF COPY (Performance Copy)

This convenient operation lets you copy certain settings of the four Parts in a performance to the Multi program currently being edited.

This would come in handy when a certain performance has settings that you want to use in your Multi program. Use this Job to simply copy the settings you

need.

The MIDI receive channel settings are set to match the basic channel settings (page 165). When the basic channel is set to “omni,” the receive channel here

is set to 1. To select a group of parameters for copying, checkmark the appropriate box in the display.

n All Parts of the Performance are copied at once. Please note that a speciﬁc Part or Parts cannot be copied.

Multi Store mode

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[STORE]

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Multi Voice Edit mode Common Edit

161

Owner’s Manual

Multi Voice mode

n You can selsct the Multi Voice mode from any display other than the [F1] play display.

From Multi Voice Edit, you can edit the detailed settings of the Normal Voice assigned to each Part.

These are the same as in the Voice Common Edit mode (page 128) and the Voice Element Edit mode (page 133).

Please note that there are certain parameters that cannot be edited in the Multi Voice Edit mode.

These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.

These are the same as in the Voice Common Edit mode (page 128). Please note that there are certain parameters that cannot be edited in

the Multi Voice Edit.

These parameters are for editing the individual Elements that make up a Normal Voice.

These are the same as in the Voice Element Edit mode (page 133). Please note that there are certain parameters that cannot be edited in

the Multi Voice Edit mode.

If you are editing a Multi Voice and select a different Multi Voice, Multi program, Multi without storing your edited one, all the edits you’ve

made will be erased. Edits are also erased if the current part to which the edited Multi Voice is assigned receives a program change from an

external MIDI instrument.

If this happens, you can use Edit Recall to restore the Multi Voice with your latest edits intact by pressing the [ENTER] button.

Since a Recall Buffer for the Multi Voice is prepared for each Part of the current Multi, you can specify the Part to which the Multi Voice to be

recalled is assigned before executing the Edit Recall.

This function lets you store your edited Multi Voice to User memory. For details, refer to page 50 in the Quick Guide section.

Multi Voice Edit mode

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[F3] VOICE → Normal Voice selection → [F5] VCE ED

Common Edit

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F3] VOICE →

Normal Voice selection → [F5] VCE ED → [COMMON]

Element Edit

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F3] VOICE →

Normal Voice selection

→ [F5] VCE ED → Element selection

Multi Voice Job mode

(Edit Recall)

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[F3] VOICE → Normal Voice selection → [F5] VCE ED →

[JOB]

Multi Voice Store mode

[MULTI/SEQ PLAY] (select Multi mode) → Multi selection →

[F3] VOICE → Normal Voice selection → [F5] VCE ED →

[STORE]

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Sequence Play mode

162

Owner’s Manual

Sequence Play mode

[MULTI/SEQ PLAY] (select Sequence Play mode)

[F1] CHAIN

Determines how the SMF ﬁles are played back. You can assign the desired SMF ﬁles and Multi settings to the desired Chain Step numbers (the playback

order). For details, see page 96.

[SF4] GET

Determines the desired slot number, partition, and directory (folder).

[SF5] DEMO

Plays the demo songs for S90 ES. For details, see page 29.

[F2] OUTPUT

These settings apply to each Chain Step number and let you specify the port number and whether or not MIDI messages are output to the internal/external

tone generator.

n The OUTPUT settings selected at the last Chain Step are applied to the Multi mode.

n You can change the settings of all channels simultaneously by changing the parameter while holding the [SF1] ALL button.

Also, you can change the settings of channels 1 - 8 or channels 9 - 16 simultaneously by changing the parameter while holding the [SF2] 1-8 button or [SF3] 9-16 button.

PORT Determines the MIDI transmission port for the corresponding track. Playback data of tracks set to off is output

without a Port designation via MIDI.

When using the internal tone generator block, the Port setting here is available for the tracks assigned to the

Plug-in Parts 1-3 (when a single Plug-in Board has been installed) and Multi Plug-in Parts 17-32 (when the

PLG100-XG has been installed). Tracks using the internal tone generator parts of this synthesizer are

automatically ﬁxed to Port 1.

Settings: off, 1-3

n Port data can be output only through the USB terminal. No Port data is transmitted through the MIDI OUT terminal, even

if the corresponding track is set to a speciﬁc Port number.

INT SW (Internal Switch) Determines whether or not the MIDI messages of each channel are sent to the internal tone generator.

Settings: on, off

EXT SW (External Switch) Determines whether the MIDI messages of each channel are sent to the external device.

Settings: on, off

[F4] TEMPO

Determines the SMF ﬁle playback tempo. Simultaneously hold down the [F4] TEMPO button and use the Data dial or [INC/YES]/[DEC/NO] buttons to change

the value.

[F5] MEAS

Moves the current measure number. Simultaneously hold down the [F5] MEAS button and use the Data dial or [INC/YES]/[DEC/NO] buttons to change the

value.

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Utility mode

163

Owner’s Manual

Utility mode

The Utility mode features a variety of important settings related to overall operation of the S90 ES. These settings can also be stored —

simply press the [STORE] button from any mode (with the exception of the Utility Job mode), and store the data to internal memory as

system settings.

In this mode, you can set parameters that apply to the entire system of the S90 ES.

This mode is actually a sub-mode of the Voice/Performance/Multi/Sequence Play mode. Press the [UTILITY] button in each mode to enter

the Utility mode and press the [EXIT] button after making settings to go back to the previous mode.

Utility mode

[UTILITY]

[F1] GENERAL

[SF1] TG (Tone Generator)

From this display you can make overall settings for the internal tone generator. Settings here do not affect MIDI

messages transmitted to the external MIDI instrument.

Volume Determines the overall volume of the instrument.

Settings: 0~127

NoteShift Determines the amount (in semitones) by which the pitch of all notes is shifted.

Settings: -24~0~+24

Tune Determines the ﬁne tuning (in 0.1 cent steps) of the internal tone generator’s overall sound.

Settings: -102.4~+102.3

BCCurve

(Breath Controller Curve)

These four curves determine how the sound of the internal tone generator responds to use of a Breath

Controller. The setting here affects the Destination parameters when the Source is set to “BC,” both of which

can be set in the CTL SET displays ([VOICE] → [EDIT] → [COMMON] → [F4] CTL SET).

The graph shown in the display indicates the controller response curve. (The horizontal line represents the

received breath control values, while the vertical line represents the actual response of the internal tone

generator.)

Settings: thru, soft, hard, wide

[SF2] KBD (Keyboard)

From this display you can set the keyboard-related parameters. The settings here affect the MIDI messages

generated by playing the keyboard.

Octave Determines the amount in octaves by which the range of the keyboard is shifted up or down.

Settings: -3~0~+3

Transpose Determines the amount in semitones by which the range of the keyboard is shifted up or down.

Settings: -11~ 0 ~+11

n If you transpose beyond the note range limits (C-2 and G8), notes in the adjacent octaves will be used. For example, a

transposed note of F9 will be changed to F8.

VelCurve (Velocity Curve) These ﬁve curves determine how the actual velocity will be generated and transmitted according to the velocity

(strength) with which you play notes on the keyboard.

The graph shown in the display indicates the velocity response curve. (The horizontal line represents the

received velocity values (strength of your playing), while the vertical line represents the actual velocity values

transmitted to the internal/external tone generators.)

Settings: norm, soft, hard, wide, ﬁxed

norm (normal)....... This linear “curve” produces one-to-one correspondence between the strength of your keyboard playing

(velocity) and the actual sound change.

soft........................ This curve provides increased response, especially for lower velocities. In other words, playing softly results in

higher response than the “norm” curve.

hard ...................... This curve provides increased response, especially for higher velocities. In other words, playing hard results in

higher response than the “norm” curve.

wide...................... This setting provides opposite response curves for lower and higher velocities. It widens the apparent

dynamic range of the controller, producing less sound change in the softer range and more change in the

higher range.

ﬁxed...................... This setting produces the same amount of sound change (set in Fixed Velocity below), no matter what your

playing strength.

FixedVelocity This parameter is only available if you select the “ﬁxed” Velocity Curve above. The velocity of the note you play

is ﬁxed at the value set here.

Settings: 1 ~ 127

[SF3] EF BYPS (Effect Bypass)

From this display you can select the speciﬁc effect(s) to be bypassed when the [EFFECT BYPASS] button is

turned on.

Insertion

FInternal When this is set to on and the [EFFECT BYPASS] button is turned on, the internal Insertion Effect is bypassed.

FPLG-EF (Plug-in Effect) When this is set to on and the [EFFECT BYPASS] button is turned on, the Insertion Effect or Variation Effect of

the Plug-in Boards is bypassed.

n This parameter does not affect certain Plug-in Boards.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Utility mode

164

Owner’s Manual

System

FReverb When this is set to on and the [EFFECT BYPASS] button is turned on, the Reverb effect is bypassed.

FChorus When this is set to on and the [EFFECT BYPASS] button is turned on, the Chorus effect is bypassed.

Master When this is set to on and the [EFFECT BYPASS] button is turned on, the Master effect is bypassed.

n For details about the Effects, see page 118.

[SF4] OTHER

AutoLoad Determines whether the Auto Load function is on or off. When this is on, the instrument will automatically load

the speciﬁed ﬁles (from USB storage device) to User memory — whenever the power is turned on. For details

about the Auto Load function, see page 106.

Settings: on, off

PowerOnMode This determines the default power-on mode (and memory bank) — letting you select which condition is

automatically called up when you turn the power on.

Settings: performance, voice (USR1), voice (PRE1), GM, last, master

performance ....Performance Play mode (User Performance 001)

voice (USR1)....Voice Play mode (User Voice “USR1: 001”)

voice (PRE1) ....Voice Play mode (Preset Voice “PRE 1: 001”)

GM ...................Voice Play mode (GM Voices “GM: 001”)

last ...................The mode and program number registered the last time by the procedure on page 167.

master ..............Master Play mode (User Master 001)

mult ..................Multi Play mode (User Multi 001)

CtrlReset (Controller Reset) Determines the status of the controllers (Modulation Wheel, Aftertouch, Foot Controller, Breath Controller,

Knobs, etc.) when switching between voices. When this is set to “hold,” the controllers are kept at the current

setting. When this is set to “reset,” the controllers are reset to the default states (below).

Settings: reset, hold

If you select “reset,” the controllers will be reset to the following states/positions:

Pitch Bend .................... Center

Modulation Wheel ......... Minimum

Aftertouch .................... Minimum

Foot Controller ............. Maximum

Breath Controller .......... Maximum

Foot Switch .................. Off

Expression ................... Maximum

Foot Volume ................. Maximum

Sustain ......................... Off

[F2] I/O (Input/Output)

[SF1] INPUT

From this display you can set parameters related to audio input.

Mic/Line When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line.

Settings: mic, line

mic ...................Intended for low output equipment, such as a microphone, electric guitar or bass.

line ...................Intended for high output equipment, such as a keyboard, synthesizer, or CD player.

[SF2] OUTPUT

From this display you can set parameters related to audio output.

L&RGain Set the output gain of each jack.

Settings: 0dB, +6dB

n The Assign Gain 1&2 - 13&14 parameters are only available when the mLAN16E is installed.

Assign Gain L&R, 1&2, 3&4, 5&6,

7&8, 9&10, 11&12, 13&14

mLAN MonitorSw When this is set to on, the audio signal of the instrument output via an IEEE1394 cable to a computer will be

output also via the main OUTPUT L/MONO and R jacks. When this is set to on, the audio signal sent from a

computer to the instrument will be output via the main OUTPUT L/MONO and R jacks directly, bypassing the

Effect block.

Settings: on, off

[F3] VOICE

[VOICE] → [UTILITY] → [F3]

These special voice-related settings are available only when entering the Utility mode from the Voice mode, letting you set parameters related to all the

Voices.

[SF1] MEQ (Master EQ)

From this display you can apply ﬁve-band equalization to all Voices, raising or lowering the level of each

frequency band (LOW, LOWMID, MID, HIGHMID, HIGH).

The parameters are the same as in the Performance Common Edit. See page 150.

Settings: For details about EQ, see page 119.

[SF2] MEF (Master Effect)

From this display you can set the Master Effect related parameters applied to all the Voices.

The parameters are the same as in the Performance Common Edit. See page 150.

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Utility mode

165

Owner’s Manual

[SF3] ARP CH

(Arpeggio Channel)

From this display you can set parameters related to output of the Arpeggio MIDI data in the Voice mode.

OutputSwitch This enables or disables MIDI data output for the Arpeggio function. When this is set to “on,” Arpeggio data is

sent via MIDI — allowing you to send the Arpeggio data to an external sequencer or play back the Arpeggios

on connected MIDI tone generators.

Settings: on (enable), off (disable)

TransmitCh (Transmit channel) Determines the MIDI channel through which Arpeggio playback data will be sent (when Output Switch above is

on).

Settings: 1 ~ 16

[SF4] CTL ASN

(Controller Assign)

Sets the parameters related to the controllers in the Voice mode.

Details on each parameter are the same as in Performance Common Edit. See page 150.

[F4] CTL ASN (Controller Assign)

[SF1] ARP (Arpeggio)

Switch Determines the Control Change Number that controls on/off status of Arpeggio playback.

Settings: 00~95

Hold Determines the Control Change Number that controls on/off status of Arpeggio Hold (page 128).

Settings: 00~95

[SF2] ASSIGN

You can assign speciﬁc functions to the Control slider 1 and 2 (ASSIGN A and B) when the [PAN/SEND] and

[TONE] lamps are on.

ASA (Assign A)

Dest (Destination)

Two parameters are available here. The ﬁrst (ASA) determines the Control Change number generated by the

ASSIGN A slider. The second, Destination (Dest), determines what parameter or aspect of the sound is

affected by the slider. Keep in mind that if the same MIDI Control Change messages as set here are received

from an external device, the internal tone generator also responds to those messages.

Settings: Refer to the separate Data List booklet.

ASB (Assign B)

Dest (Destination)

Two parameters are available here. The ﬁrst (ASB) determines the Control Change number generated by the

ASSIGN B slider. The second, Destination (Dest), determines what parameter or aspect of the sound is

affected by the slider. Keep in mind that if the same MIDI Control Change messages as set here are received

from an external device, the internal tone generator also responds to those messages.

Settings: Refer to the separate Data List booklet.

[SF3] FT SW (Footswitch)

FSAssign (Footswitch Assign) From this display you can determine the Control Change number generated by using the Footswitch

connected to the ASSIGNABLE jack. Keep in mind that if the same MIDI Control Change messages set here

are received from an external device, the internal tone generator also responds to those messages as if the

Footswitch of the instrument was used.

Settings: 000~100 (000, 032: off, 096: Arpeggio Switch, 097: Arpeggio Hold, 098: playback start/stop in the Sequence Play

mode, 099/100: Program Change INC/DEC 101: Octave Rest)

SusPedal

(Sustain Pedal Select)

Selects the Foot Controller type connected to the FOOTSWITCH SUSTAIN jack.

Using the FC 3

When using the half damper function, set this parameter to “FC3 (Half On)” and turn the half damper switch on

(Voice Element Edit mode → [F4] AMP → [SF3] AEG display). If you are not using the half damper function, set

this parameter to “FC3 (Half Off).”

Using the FC4 or FC5

Set this parameter to “FC4/5.” You cannot use the half damper function with the FC4 or FC5.

n You can also control the half damper function by using Control Change messages from an external device. In this case,

you do not need to set the Sustain Pedal Select parameter.

Settings: FC3 (Half On), FC3 (Half Off), FC4/5

[SF4] REMOTE

Two different computer software control modes can be selected here, as well as the respective MIDI port

settings for control. When you’ve made the desired settings, press the [ENTER] button to actually call up the

preset control templates for the software. For details, refer to the Quick Guide on page 78.

[SF5] MEF (Master Effect)

From this display you can set the parameters related to the Master Effect Control slider operations. (Press both

the [ARP FX] and [EQ] buttons so that their lamps light.)

Slider1 ~ Slider4 Assigns a parameter of the Master Effect to each slider. Available parameters differ depending on the selected

Master Effect type.

[F5] MIDI

[SF1] CH (Channel)

From this display you can make basic MIDI settings.

BasicRcvCh

(Basic Receive Channel)

Determines the MIDI receive channel when this synthesizer is set to single-timbre tone generator mode (Voice/

Performance modes).

Settings: 1~16, omni (all channels), off

n In the multi-timbral tone generator mode (Multi mode), each Part receives MIDI data according to its assigned MIDI

receive channel ([MULTI/SEQ PLAY] → multi selection→ [EDIT] → Part selection → [F1] VOICE → [SF2] MODE →

ReceiveCh).

n However, when changing the Multi program from the external device, make sure that the MIDI channel used for

transmitting the bank select and program change settings is the same as the Basic Receive Channel.

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Utility mode

166

Owner’s Manual

KBDTransCh

(Keyboard Transmit Channel)

Determines the MIDI channel over which the instrument sends MIDI data (to an external sequencer, tone

generator, or other device). This parameter is available in the single-timbre tone generator mode (Voice/

Performance modes).

Settings: 1~16, off

n In the multi-timbral tone generator mode (Multi/Sequence Play modes), MIDI data generated by playing the keyboard

(and its controllers) is sent to the internal tone generator and external devices via the MIDI output channel, which

corresponds to the selected Part number. The Port setting also depends on the setting of the last Chain Step selected in

the Sequence Play mode (page 98).

Also keep in mind that if one of the Multi-part Plug-in Parts 17 –32 is selected, MIDI data is sent via MIDI channels 1 - 16.

Similarly, if one of the PLG Parts 1-3 is selected, MIDI data is sent via MIDI channels 1 - 3.

n When changing the Multi program using the S90 ES panel buttons, the bank select and program change messages are

transmitted via the Keyboard Transmit Channel set here.

DeviceNo. (Device Number) Determines the device number used by this synthesizer in receiving or transmitting data. This number must

match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter

changes or other system exclusive messages.

Settings: 1~16, all, off

[SF2] SWITCH

BankSel (Bank Select) This switch enables or disables Bank Select messages, both in transmission and reception. When this is set to

“on,” this synthesizer responds to incoming Bank Select messages, and it also transmits appropriate Bank

Select messages (when using the panel).

Settings: off, on

PgmChange (Program Change) This switch enables or disables Program Change messages, both in transmission and reception. When this is

set to “on,” this synthesizer responds to incoming Program Change messages, and it also transmits

appropriate Program Change messages (when using the panel).

Settings: off, on

CtrlChange

(Control Change mode)

Determines how this synthesizer receives and recognizes the AEG Sustain MIDI message. When set to mode1,

it is received as a Parameter Change. When set to mode2, it is received as a Control Change message.

Settings: mode1, mode2

LocalCtrl (Local Control On/Off) This determines whether or not the tone generator of the instrument responds to your keyboard playing.

Normally, this should be set to “on” — since you’ll want to hear the sound of the S90 ES as you play it. However,

for external sequencer applications, you may need to set this to “off” to avoid getting “double” notes, in which

the tone generator of the instrument is played twice — once by the keyboard and once again by the keyboard

data routed through the sequencer.

Even if this is set to “off,” the data will be transmitted via MIDI. Also, the internal tone generator block will

respond to messages received via MIDI.

Settings: off, on

RcvBulk (Receive Bulk) Determines whether or not Bulk Dump data can be received.

Settings: protect (not received), on (received)

[SF3] SYNC (Synchronization)

From this display you can set various parameters related to MIDI clock and synchronization.

MIDI Sync Determines whether Arpeggio playback and sequence playback in the Sequence Play mode will be

synchronized to the instrument’s internal clock or an external MIDI clock.

Settings: internal, MIDI

internal ..............................Synchronization to internal clock. Use this setting when this synthesizer is to be used alone or as the

master clock source for other equipment.

MIDI ..................................Synchronization to a MIDI clock received from an external MIDI instrument via MIDI.

ClockOut Determines whether MIDI clock (F8) messages will be transmitted via MIDI.

Settings: on (transmitted), off

SeqCtrl (Sequencer Control) Determines whether Sequencer Control signals—start, continue, stop, and song position pointer— will be

received and/or transmitted via MIDI.

Settings: off, in, out, in/out

off .....................Not transmitted/recognized.

in ......................Recognized but not transmitted.

out ....................Transmitted but not recognized.

in/out ...............Transmitted/recognized.

[SF4] OTHER

MIDI IN/OUT Determines which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT,

USB, or mLAN (when the optional mLAN16E has been installed).

Settings: MIDI, USB, mLAN

n Three types of terminals above cannot be used at the same time. Only one of them can be used to transmit/receive MIDI

data.

ThruPort (Through Port) Many computer sequencers are capable of transmitting data over several MIDI ports, effectively breaking the

16-channel barrier. When using the USB terminal or mLAN terminal (when the optional mLAN16E has been

installed) for MIDI transmission/reception, you can have this synthesizer respond to MIDI data over one port,

while relaying the data for another port number (you can set here) to a separate tone generator (connected to

the MIDI OUT terminal). In this way, 16 channels of data can be played on this synthesizer and another 16 can

be played on the connected MIDI device.

Settings: 1~8

n When the mLAN16E has been installed and the MIDI IN/OUT is set to mLAN, ports 5-8 are not available even if you set

them here.

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Utility Job mode

167

Owner’s Manual

In this Mode, you can restore this synthesizer’s User memory to the factory default settings (Factory Set). For details, see page 21.

n Since the settings of the Plug-in Boards in the Utility mode are stored not to internal User memory but to the memory on the respective boards

themselves, the data cannot be restored with this Job.

■ Supplementary

Setting the default display when turning the power on

1 Enter the desired mode and the program number you wish to call up ﬁrst when turning the power on.

2 Press the [ENTER] button while holding the [STORE] button to register the mode and program number set in step 1.

3 Set the PowerOnMode parameter to “last” in the [UTILITY] → [F1] GENERAL → [SF4] OTHER display.

4 Press the [STORE] button to store the Utility setting made in step 3 above.

5 Turn the power off and turn the power on again to call up the mode/program number set in step 2 to the display.

[F6] PLUG

[SF1] STATUS

Plug1: - Plug3: Indicates the name of the Plug-in Board which has been installed to this synthesizer.

PolyExpand This parameter is accessible only when you have two or three identical Plug-in boards installed. The “off”

setting enables two or three boards to work separately (you can select them for two or three different Parts).

When this is set to “on,” the two boards effectively function together as one board (used in a single part) —

giving you double the amount of polyphonic notes you can play at one time.

Settings: on, off

[SF2] MIDI

From this display you can set various MIDI-related parameters for the Plug-in board.

DEVNO. (Device Number) Determines the MIDI Device Number of the Plug-in Board. This number must match the Device Number of the

external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive

messages.

Settings: 1~16, all, off

PORTNO. (Port number) Determines the MIDI Port number over which the Plug-in board receives MIDI data in the multi-timbral tone

generator mode (Multi/Sequence Play). One port can be set for a Multi-part Plug-in board and two ports can be

set for a Single part Plug-in board.

Settings: off, 1~3

n The Port number for the Effect Plug-in board (VH) is ﬁxed to 1.

n For information on the Plug-in board and the internal tone generator block, see page 116.

GM/XG Determines whether “GM on” and “XG on” messages are recognized (on) or not (off). This parameter is

available only when a Multi-part Plug-in board has been installed to slot 3.

Settings: on, off

[SF3] NATIVE1

From this display you can set the Native System parameters of the Plug-in board installed to slots 1 - 3. For

details on the parameters, refer to the owner’s manual of your particular Plug-in board.

[SF4] NATIVE2

[SF5] NATIVE3

Utility Job mode

[UTILITY] → [JOB]

[UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode (page 164)

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

File mode

168

Owner’s Manual

File mode

The File mode provides tools for transferring data between the instrument and USB storage device.

n For details about USB storage devices, see page 20.

n For details about the relationship between the data created on this synthesizer and the ﬁles for saving, see page 171.

n For information on how to select a ﬁle/folder and how to create a new folder, see page 170.

File mode

[FILE]

[F1] CONFIG

[SF1] CURRENT

From this display you can set the parameters about the currently recognized USB storage device.

USB Device Select the partition in the device. You can transfer ﬁles between the partition in the slot selected below and the

S90 ES.

FSlot If using a USB storage device compatible with multiple media, select the slot number. The desired partition can

be selected in the right box.

Status Indicates the status of the storage device recognized by this synthesizer.

FFree Indicates the amount of unused (free) memory on the current device.

FTotal Indicates the amount of total memory on the current device.

[SF2] FORMAT

Before you can use a new USB storage device with this synthesizer, you will need to format it. Use this

operation to format the USB storage device and assign a Volume Label to it. For instructions formatting, see

page 170.

Slot Selects a slot to be accessed when the connected USB storage device supports multiple media.

Settings: CARD, USB.

Type Speciﬁes the partition to be formatted.

Settings: all, partition1 ~ 4

Volume Label Names the Volume Label. For instructions on naming, refer to page 27 in the Basic Operation section.

[F2] SAVE

This operation lets you save ﬁles to a USB storage device.

For instructions on saving ﬁles of the various data types, refer to the

following pages: page 51 (Voices), page 57 (Performances), page

76(Multis).

TYPE Among the various types of data created on this synthesizer, you can save all of them or only a speciﬁc type of

data to a single ﬁle. This parameter determines which speciﬁc type of data will be saved to a single ﬁle.

Settings:Refer to “Supplementary information” on page 171.

[SF1] EXEC

Executes saving of the ﬁle into the selected folder.

n The [ENTER] button on the panel is used to call up the contents of the selected folder.

[SF2] SETNAME

Copies the ﬁle/folder name selected in the File/Folder selection box into the File name column.

[F6] NEW

Creates a new folder in the current folder.

[F3] LOAD

This operation lets you load ﬁles from a USB device to this

synthesizer.

TYPE Among the various types of data saved in a single ﬁle on a USB storage device, you can load all of them or

only a speciﬁc type of data to this synthesizer. This parameter determines which speciﬁc type of data will be

loaded from a single ﬁle.

Settings: Refer to “Supplementary information” on page 171.

[SF1] EXEC

Executes loading of the ﬁle.

n The [ENTER] button on the panel is used to call up the contents of the selected folder.

File name

File/Folder selection box

Indicates the current folder (directory).

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

File mode

169

Owner’s Manual

[F4] RENAME

From this display you can rename ﬁles or folders in the selected USB

storage device, using up to eight alphabetic and numeric characters.

Files are named according to the MS-DOS naming convention. If the

ﬁle name contains spaces and other characters unrecognized in MS-

DOS, these characters will automatically be replaced by “_”

(underscore) characters when saving.

[SF1] EXEC

Executes renaming of the ﬁle.

n The [ENTER] button on the panel is used to call up the contents of the selected folder.

[SF2] SETNAME

Copies the ﬁle/folder name selected in the File/Folder selection box into the File name column.

[F6] NEW

Creates a new folder within the current folder.

[F5] DELETE

From this display you can delete ﬁles/folders from the selected USB

storage device. Select the desired ﬁle or folder as shown below, then

press the [SF1] EXEC button.

n When you wish to delete a folder, delete all the ﬁles and folders contained

in the folder beforehand.

Please keep in mind that only folders that contain no ﬁles or other nested

folders can be deleted.

Select the desired ﬁle type.

File/Folder selection box

Select the ﬁle/folder to be

renamed.

File name

Rename the selected ﬁle/folder here.

Select the desired ﬁle type.

File/Folder selection box

Select the ﬁle or folder to

be deleted.

Supplementary information

170

Owner’s Manual

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

■ Supplementary information

File ( )/Folder ( ) selection

The instructions and illustrations below show you how to select

ﬁles and folders on the USB storage devices within the File mode.

Formatting a USB storage device

Before you can use a new USB storage device with this

synthesizer, you will need to format it. Follow the instructions

below.

If data is already saved to the USB storage device, be careful not to

format it. If you format the USB storage device, all previously recorded

data will be deleted.

1 Connect a USB storage device to the USB TO DEVICE

connector.

If necessary, insert the proper media into the slot of the USB

storage device.

2 Press the [FILE] mode to enter the File mode.

3 Press the [F1] CONFIG button, then the [SF2] FORMAT

button to call up the Format display.

4 Select the slot and partition to be formatted.

Specify the slot number at the right top of the display as

necessary and select the partition to be formatted at the Type

value location in the second line of the display.

5 Set the Volume Label.

Move the cursor to the “Volume Label” and input a Volume

Label.

For instructions on naming, refer to page 53 in the Basic

Operation section.

6 Press the [ENTER] button. (The display prompts you

for conﬁrmation.)

Press the [DEC/NO] button to cancel the Format operation.

7 Press the [INC/YES] button to execute the Format.

After formatting has been completed, a “Completed” message

appears and operation returns to the original display.

While formatting is in process, make sure to follow these

precautions:

• Never remove or eject the media from the USB storage device.

• Never unplug or disconnect any of the devices.

• Never turn off the power of the S90 ES or the relevant devices.

n By executing the Format operation in the File mode, the USB

storage device will be formatted to MS-DOS or Windows format.

The formatted USB storage device may not be compatible with

other devices such as a Macintosh computer or a digital camera.

Move the cursor to the desired ﬁle or folder by using the [INC/YES] and

[DEC/NO] buttons or the data dial.

To return to the next

highest level, press

the [EXIT] button.

To call up the contents of a

desired folder, highlight the

folder and press the [ENTER]

button.

Move the cursor to the desired ﬁle or folder by using the [INC/YES]

and [DEC/NO] buttons or the data dial.

CAUTION

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

File mode

171

Owner’s Manual

File types that can be handled by the S90 ES

File types that can be saved from the instrument to the USB storage device [FILE] → [F2] SAVE → TYPE

n A “All” ﬁle does not include the “Plugin All Bulk 1-3” data.

File types that can be loaded from USB storage device to the instrument [FILE] → [F3] LOAD → TYPE

n The “All” and “All Voice” ﬁles using the S90, MOTIF ES, or MOTIF can be loaded to the S90 ES (*.W4A, *.W7A, *.W2A, *.W4V, *.W7V, *.W2V).

However, the Voices may not produce the exact same sound as those on the original instrument, since the contents of the preset Waveforms and the Effect structure are different

between the two instrument series.

TYPE File extension Description

All *.S7A All data in this synthesizer’s internal User Memory is treated as a single ﬁle, and can be saved.

All Voice *.S7V All the User Voice data in this synthesizer’s internal User Memory is treated as a single ﬁle, and can be

saved.

Chain *.S7C The Chain data in the Sequence Play mode can be saved.

Plugin All Bulk 1-3 *.W2B All the data of a Plug-in board (Board Voice data created by using the editor software that comes with the

Plug-in Board and the Board related settings in the Utility mode) is treated as a single ﬁle, and can be

saved. The numbers 1, 2, and 3 correspond to the Plug-in slots.

Voice Editor *.S7E All the User Voice data stored to User Banks is handled as a single ﬁle and saved. The saved ﬁle can be

loaded to the Voice Editor software (page 77) on your computer.

TYPE File extension Description

All *.S7A Files of the “All” type can be loaded and restored to the instrument.

When the box at the left of “without System” is checkmarked, only the Utility mode settings will not be

loaded.

All Voice *.S7V

(*.W7V, *.W4V, *.W2V)

Files of the “All Voice” type can be loaded and restored to the instrument.

Voice *.S7A, *.S7V

(*.W7A, *.W4A, *.W2A,

*.W7V, *.W4V, *.W2V)

A speciﬁed voice in a ﬁle that is saved as “All” or “All Voice” type can be individually selected and loaded to

the instrument. Please note that the ﬁle icons of “All” and “All Voice” are changed to (as virtual

folders) when this ﬁle type is selected (Quick Guide on page 52).

Performance *.S7A A speciﬁed performance in a ﬁle that is saved as an “All” type can be individually selected and loaded to

the instrument. Please note that the ﬁle icon of “All” is changed to (as a virtual folder) when this ﬁle

type is selected (Quick Guide on page 58).

Chain *.S7C Files of the “Chain” type can be loaded and restored to the instrument.

Plugin All Bulk 1-3 *.W2B A ﬁle that is saved as “Plugin All Bulk 1, 2, 3” type can be loaded and restored to the Plug-in board installed

to the instrument. Please note that the same Plug-in Boards should be installed to the same slots as when

the ﬁle was saved.

Voice Editor *.S7E Voice data edited with the Voice Editor software (page 77) on your computer can be loaded to the

instrument.

User Arp *.W7G Files of the “Usr ARP” type saved using the Yamaha MOTIF ES can be loaded and restored to the

instrument.

Master Play mode

172

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Owner’s Manual

Master mode

The Master Play mode lets you perform a variety of general editing operations on the selected Master. For more detailed and

comprehensive editing operations, use the Master Edit mode. Edited parameters with the exception of some parameters are stored to

internal memory as a User Master.

Master Play mode

[MASTER] → Master selection

[F1] PLAY

OCT (Octave) Indicates Keyboard Octave setting.

This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave.

ASA (ASSIGN A),

ASB (ASSIGN B)

Indicates the functions assigned to the respective Control sliders (printed “ASSIGN A” and “ASSIGN B”) when

the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned from the

[UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display.

n OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings are not independently assignable for each Master. Because of this, these are not stored as an

individual Master in the Master Store mode (page 175).

AS1 (ASSIGN 1),

AS2 (ASSIGN 2)

Indicates the values obtained by controlling the respective Control sliders (printed “ASSIGN 1” and “ASSIGN

2”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to

these sliders depend on the setting of the Voice selected as a Master program.

[SF1] ARP1 (Arpeggio 1) -

[SF5] ARP5 (Arpeggio 5)

You can call up the Arpeggio types by pressing these buttons to which the Arpeggio types are assigned.

The Arpeggio type assigned to each button depends on the program (Voice, Performance, Multi) selected as a

Master.

[F2] MEMORY

From this display you can set basic parameters for the Master, including the mode that is called up with the Master and the program number.

Mode Determines the mode that is called up when the Master number is selected.

Settings: Voice, Performance, Multi/SeqPlay.

Memory Determines the Program number that is called up when the Master is selected.

Settings:

When the Mode is set to Voice: Select a Voice back and number. Refer to the instructions page 30.

When the Mode is set to Performance: Select a Performance number. Refer to the instructions on page 34.

When the Mode is set to Multi: Select a Multi number. Refer to the instructions on page 71.

ZoneSwitch Determines whether the Zone function is used (on) or not (off). See page 93 for details about the Zone function.

n When the Mode is set to “Voice” or “Performance” and the Zone Switch is turned on, only Zone 1 can be used in the

default setting (playing Zones 2-4 will produce no sound). You can use these Zones by setting various parameters in the

Master Edit mode.

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Master Edit mode Common Edit

173

Owner’s Manual

The Master Edit is divided into Common Edit, for setting parameters common to all four Zones, and Zone Edit, for setting parameters of

individual Zones.

When Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode, only the Common Edit is available.

These parameters are for making global (or common) edits to all four Zones of the selected Master.

These parameters are for editing the individual Zones that make up a Master. Zone Edit is available only when the Zone Switch is turned on

in the [F2] MEMORY display in the Master Play mode.

Master Edit mode

[MASTER] → Master selection → [EDIT]

Common Edit

[MASTER] → Master selection → [EDIT] → [COMMON]

[F1] NAME

From this display you can create a name for the Master. For instructions on naming, refer to page 27 in the Basic Operation section.

[F2] OTHER

Slider

From this display you can set which row of slider functions will be lit and selected.

Settings:

pan ...........................Selecting the Master lights the [PAN/SEND] lamp, for control over the Pan/Send row.

tone ..........................Selecting the Master lights the [TONE] lamp, for control over the Tone row.

assign.......................Selecting the Master lights the [PAN/SEND] and [TONE] lamps, for control over the Assign row.

MEQofs or partEQ ....Selecting the Master lights the [EQ] lamp, for control over the EQ row. When the Mode is set to Voice,

MEQofs is available. When the Mode is set to Performance or Multi, partEQ is available.

MEF ..........................Selecting the Master lights the [ARP FX] and [EQ] lamps, for control over the Master Effects row.

arpFx ........................Selecting the Master lights the [ARP FX] lamp, for control over the Arpeggio FX row.

vol.............................Selecting the Master lights the [VOLUME] lamp, for control over the Volume row.

zone..........................Selecting the Master lights no lamp and automatically calls up the slider functions speciﬁcally set for each

respective Zone (page 91). This is available only when the Zone Switch is set to on in the [F2] MEMORY

display in the Master Play mode.

Zone Edit

[MASTER] → Master selection → [EDIT] → Zone selection

[F1] TRANS (Transmit)

From this display you can set how each Zone transmits MIDI messages when you play the keyboard.

TransCh (Transmit Channel) Determines the MIDI Transmit Channel for each Zone.

Settings: 1 ~ 16

TGSwitch

(Tone Generator Switch)

Determines whether or not MIDI data for each Zone is transmitted to the internal tone generator.

Settings: on, off

MIDISwitch Determines whether or not MIDI data for each Zone is transmitted to an external MIDI device.

Settings: on, off

[F2] NOTE

From this display you can set the pitch- and keyboard-related parameters for each Zone — allowing you to set up Zone splits and determine the pitch range

for each Zone.

Octave Determines the amount in octaves by which the range of the Zone is shifted up or down.

Settings: -3 ~ 0 (Default) ~ +3

Transpose Determines the amount in semitones by which the range of the Zone is shifted up or down.

Settings: -11 ~ 0 (Default) ~ +11

NoteLimitH, L (High, Low) Determines the lowest and highest notes of the range for each Zone. The selected Zone will sound only when

you play notes within this range.

Settings: C -2 ~ G8

n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the

desired low and high keys.

Master Edit mode Zone Edit

174

Voice mode

Performance

mode

Multi mode Utility mode File mode Master mode

Multi Voice

mode

Sequence Play

mode

Reference

Owner’s Manual

[F3] TX SW (Transmit Switch)

From this display you can set how the playing of each individual Zone affects transmission of various MIDI messages, such as Control Change and Program

Change messages. When the relevant parameter is set to “on,” playing the selected Zone will transmit the corresponding MIDI messages.

Note that two different display types are provided (see below). Each display type features the same settings in a different format; use the type you feel most

comfortable with.

• Display showing four Zones

• Display showing all parameters for one Zone

Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Zone display, you will need to use the cursor controls to

scroll the display in order to see and set the other parameters.

Settings:

Bank (TG) Determines whether or not to transmit Bank Select MSB/LSB messages to the internal tone generator.

PC (TG) Determines whether or not to transmit Program Change messages to the internal tone generator.

Bank (MIDI) Determines whether or not to transmit Bank Select MSB/LSB messages to the external tone generator via MIDI.

PC (MIDI) Determines whether or not to transmit Program Change messages to the external tone generator via MIDI.

PB (Pitch Bend) Determines whether or not to transmit Pitch Bend messages to the internal and external tone generator.

MW (Modulation Wheel) Determines whether or not to transmit MIDI messages generated by using the Modulation Wheel to the internal

and external tone generator.

ChAT (Channel Aftertouch) Determines whether or not to transmit Channel Aftertouch messages generated by pressing the keys to the

internal and external tone generator.

BC (Breath Controller) Determines whether or not to transmit MIDI messages generated by using the Breath controller connected to

the BREATH connector to the internal and external tone generator.

Slider Determines whether or not to transmit MIDI messages generated by using the sliders to the internal and

external tone generator.

FC1 (Foot Controller1)

FC2 (Foot Controller2)

Determines whether or not to transmit MIDI messages generated by pressing the optional Foot Controller to the

internal and external tone generator.

Vol (Volume) Determines whether or not to transmit Volume messages to the internal and external tone generator.

Pan Determines whether or not to transmit Pan messages to the internal and external tone generator.

Sus (Sustain) Determines whether or not to transmit Sustain messages generated by pressing the Footswitch connected to

the SUSTAIN jack to the internal and external tone generator.

FS (Footswitch) Determines whether or not to transmit MIDI messages generated by pressing the Footswitch connected to the

ASSIGNABLE jack to the internal and external tone generator.

[F4] PRESET

From this display you can make the Voice-related settings for each Zone, in the selected Master

program number. In this way, selecting a different Master automatically calls up a completely

different set of Voices and Voice-related settings for the four Zones.

n Using the [F6] SEND button, you can select whether the settings in PRESET display are immediately

applied or not.

If the [F6] SEND button is turned on ( ), each MIDI messages will be output from the S90 ES

as soon as you changed each parameter in this display.

If the [F6] SEND button is turned off ( ), each MIDI messages will be output from the S90 ES

after you store the edited Master and then select the Master again.

However, the parameters set to off in the [F1] TRANS or [F3]TX SW display cannot be output.

BankMSB,

BankLSB,

PgmChange (Program Change)

Determines the Voice assignment for each Zone in the selected Master.

Settings: Refer to the Voice List in the separate Data List booklet.

Volume Determines the output level of the Voice in each Zone.

Settings: 0 ~ 127

Pan Determines the stereo pan position of the Voice in each Zone.

Settings: L64 (Left) ~ C (Center) ~ R63 (Right)

[F5] CS (Control slider)

From this display you can determine which Control Change numbers are used for the sliders for each Zone. These settings are available only when the slider

parameter (in the [F2] OTHER display in Common Edit) is set to “zone.”

Settings: off, 1~95

Voice mode

Performance

mode

Multi modeUtility modeFile modeMaster mode

Multi Voice

mode

Sequence Play

mode

Reference

Master Job mode

175

Owner’s Manual

The Master Job mode contains two convenient operations (called “Jobs”) — one letting you initialize (reset) the Master data, and the other

letting you transmit your edited Master data to an external MIDI device or computer.

After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.

This function lets you store your edited Master to User memory. For details, refer to page 126 in the Quick Guide section.

Master Job mode

[MASTER] → [JOB]

[F1] INIT (Initialize)

This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as

Common settings, settings for each Zone, and so on — very useful when creating a completely new Master from scratch.

Parameter Types (for Initializing): All, Common, Zone

[F4] BULK (Bulk Dump)

This function lets you send all your edited parameter settings for the currently selected Master to a computer or another MIDI device for data archiving. For

details, see page 126.

n In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo.

Master Store mode

[MASTER] → Master selection → [STORE]

ALL All settings for the selected Master are initialized.

Common Common parameter settings for the selected Master are initialized.

Zone You can initialize the Zone setting to one of the following three types.

Split

Splits the keyboard range using Zone 1 and Zone 2. “UpperCh” determines the MIDI transmit channel of the upper range of the keyboard, “LowerCh”

determines the MIDI transmit channel of the lower range of the keyboard, and “SplitPoint” determines the note (C2 ~ G8) number which separates the

upper range and lower range of the keyboard.

4Zone Initializes all four Zones.

Layer Lets you layer two parts using Zone 1 and Zone 2. “UpperCh” and “LowerCh” determine the MIDI transmit channels of the two Zones respectively.

Information Displays

176

Owner’s Manual

Appendix

Information Displays

The convenient Information displays let you see at-a-glance some of the more important settings relevant to each mode.

Select the desired mode, then press the [INFORMATION] button to call up the Information display for that mode.

Voice mode

Bank

Indicates the MSB/LSB (page 180) of currently selected

Voice bank.

EL 1234

Indicates the currently selected Voice, on/off status of four

Elements and mono/poly (page 128) status.

Porta (Portamento)

Indicates the Portamento switch on/off status of the

currently selected Voice.

PB (Pitch Bend)

Indicates the Upper/Lower setting of the Pitch Bend range.

InsA (Insertion A), InsB (Insertion B)

Rev (Reverb), Cho (Chorus)

Indicates the currently selected effect type for each effect

block (page 121).

Performance mode

Bank

Indicates the MSB/LSB (page 180) of currently selected

Performance bank.

1 (Plug-in board 1), 2 (Plug-in board 2),

3 (Plug-in board 3)

Indicates the installation status of the respective Plug-in

board. The Plug-in board name is displayed at the right of

the corresponding slot number. When PolyExpand (page

167) is set to on in the Utility mode, “P” is indicated at the

left of the slot number.

Ins (Insertion), InsPLG (Plug-in Insertion)

Indicates the part number to which the Insertion effect is

applied and the part number to which the Plug-in Insertion

effect is applied (when the PLG100-VH is installed).

Rev (Reverb), Cho (Chorus)

Indicates the currently selected effect type for each effect

block (page 122).

Multi mode

PlugInfo/Port (Plug-in board installation status)

Indicates the Plug-in board name and its MIDI port number

(page 167) at the right of the slot number. When

PolyExpand (page 167) is set to on in the Utility mode,

“P” is indicated at the left of the slot number.

Ins (Insertion), InsPLG (Plug-in Insertion)

Indicates the part number to which the Insertion effect is

applied and the part number to which the Plug-in Insertion

effect is applied (when the PLG100-VH is installed).

Sequence Play mode

Play Dir (Play Directory)

Indicates the slot number and volume label of USB storage

device’s directory used in the Sequence Play mode, and

indicates the path to the directory.

Current Dir (Current Directory)

Indicates the currently selected directory.

Information Displays

177

Owner’s Manual

Appendix

Utility mode

PlugInfo/Port (Plug-in board installation status)

Indicates the Plug-in board name and its MIDI port number

(page 167) at the right of the slot number. When

PolyExpand (page 167) is set to on in the Utility mode,

“P” is indicated at the left of the slot number.

MIDI IN/OUT

Indicates which physical output terminal(s) will be used for

transmitting/receiving MIDI data.

However, the following display will be shown in the [F1]

GENERAL

→ [SF4] OTHER display.

AutoLoad Dir (Auto Load Directory)

Indicates the slot number and volume label of USB storage

device’s directory used in the Auto Load function, and

indicates the path to the directory.

File mode

USB Free

Indicates the amount of currently available (unused)

memory of the connected USB storage device.

Slot, Volume Label

Indicates the slot number and volume label of USB storage

device’s directory used in the File mode.

Current Dir (Current Directory)

Indicates the currently selected directory.

Master mode

Mode

Indicates the mode and program number memorized to the

currently selected Master.

ZoneSwitch

Indicates the on/off status of the Zone switch.

ZoneTCH (Zone Transmit Channel)

Indicates the MIDI transmit channel of each zone (when

the Zone Switch is set to on).

Remote Control mode

See page 83 for details.

Appendix

Display Messages

178

Owner’s Manual

Display Messages

LCD Indication Description

Are you sure? [YES]/[NO] Conﬁrms whether you want to execute a speciﬁed operation or not.

Arpeggio type stored. The current Arpeggio type has been stored to one of the [SF1] - [SF5] buttons.

Bad USB device. The USB storage device is unusable. Format the device and try again.

Bulk protected. Bulk data was received when RcvBulk was set to “protect.” (See page 166.)

Can’t make folder. No more directories can be created below the current level.

Completed. The speciﬁed load, save, format, or other job has been completed.

Device number is off. Bulk data cannot be transmitted/received because the device number is set to “off.”

Device number mismatch. Bulk data cannot be transmitted/received because the device numbers don’t match

Effect plug-in is not in slot 1. The Effect Plug-in board does not work because it has not been installed to slot 1.

Executing... A format operation or job is being executed. Please wait.

File already exists. A ﬁle having the same name as the one you are about to save already exists.

File not found. Can’t ﬁnd the speciﬁed type of ﬁle.

Folder is too deep. Directories below this level cannot be accessed.

Folder not empty. You have attempted to delete a folder that contains data.

Illegal USB device. USB storage device has been incorrectly formatted.

Illegal ﬁle. The ﬁle speciﬁed for loading is unusable by the S90 ES or cannot be loaded in the current mode.

Illegal ﬁle name. The speciﬁed ﬁle name is unacceptable.

Incompatible USB device A USB device which cannot be used with the S90 ES has been connected to the USB TO DEVICE connector.

MIDI buffer full. Failed to process the MIDI data because too much data was received at once.

MIDI checksum error. Error occurred when receiving bulk data.

MIDI data error. Error occurred when receiving MIDI data.

Multi plug-in is not in slot 3. The Multi-Part Plug-in board does not work because it has not been installed to slot 3.

No response from USB device. There is no response from the USB device connected to the USB TO DEVICE terminal.

Not empty folder. You have attempted to delete a folder that contains data.

Now checking plug-in board. The S90 ES is checking the Plug-in board installation status during power-on.

Now loading... (xxxx) Indicates that a ﬁle is being loaded.

Now saving... (xxxx) Indicates that a ﬁle is being saved.

Now scanning autoloaded ﬁles. Scanning for the ﬁles speciﬁed for Auto Load.

Now working... Executing the memory arrangement after canceling the Load/Save operation by pressing the [EXIT] button.

Overwrite? [YES]/[NO] A save operation will overwrite data on the USB storage device, and this message conﬁrms whether it is OK to

continue or not. Press [INC/YES] or [DEC/NO] as required.

Please keep power on. The data is being written to internal memory. Never attempt to turn off the power while data is being written to

internal memory. Turning the power off while this message is shown results in loss of all user data and may

cause the system to freeze. This may also result in the S90 ES being unable to properly start up the next time the

power is turned on.

Please stop sequencer. The operation you’ve attempted to execute cannot be done during sequencer playback.

PLG100 not supported. The Plug-in All Bulk Save function does not apply to the PLG100 series boards.

Plug-in1 communication error. The Plug-in board that has been installed to slot 1 does not work.

Plug-in1 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from slot 1)

has been selected.

Plug-in2 communication error. The Plug-in board that has been installed to slot 2 does not work.

Plug-in2 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from slot 2)

has been selected.

Plug-in3 communication error. The Plug-in board that has been installed to slot 3 does not work.

Plug-in3 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from slot 3)

has been selected.

Power on mode stored. The setting of the program number automatically selected when turning the power on has been stored.

Read only ﬁle. You have attempted to delete, rename, or overwrite a read-only ﬁle.

Receiving MIDI bulk. The S90 ES is receiving MIDI bulk data.

System memory crashed. Writing data to internal Memory has failed

This performance uses user voices. The performance you have loaded includes User voice data. Check whether the voice you saved exists at the

appropriate User voice bank.

Too many favorites. You’ve attempted to assign more than 257 voices to the Favorite category.

Transmitting MIDI bulk. The S90 ES is transmitting MIDI bulk data.

Unknown ﬁle format. File format is not recognized.

Appendix

Display Messages

179

Owner’s Manual

USB connection terminated. Press

[ENTER].

A break in the connection with the USB storage device has occurred because of an abnormal electric current.

Disconnect the USB storage device from the USB TO DEVICE connector, then press the [ENTER] button.

USB device connecting. Currently recognizing the USB storage device connected to the USB TO DEVICE terminal.

USB device full. The USB storage device is full and no more data can be saved. Use a new USB storage device, or make space

by erasing unwanted data from the USB storage device.

USB device not ready. A USB storage device is not properly inserted in or connected to the S90 ES.

USB device read/write error. An error occurred while reading or writing to/from a USB storage device.

USB device unformatted. The disk is not formatted, or the format is unusable by the S90 ES.

USB device write protected. The USB storage device is write protected, or you have attempted to write to a read-only medium such as CD-

ROM.

USB power consumption exceeded. The power consumption of the USB storage device connected to the USB TO DEVICE connector exceeds the

regulated value.

USB transmission error. An error has occured when communicating with the USB storage device.

Utility stored. The settings in the Utility mode have been stored.

LCD Indication Description

Appendix

About MIDI

180

Owner’s Manual

About MIDI

“MIDI” is an acronym for “Musical Instrument Digital Interface,” and is a worldwide standard designed to allow performance,

voice, and other data to be transferred between musical instruments. Data communication is assured even between musical

instruments and equipment from different manufacturers.

This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data. It can

also be controlled by incoming MIDI messages which automatically determine the tone generator mode, select MIDI

channels, voices and effects, change parameter values, and of course play the voices speciﬁed for the various Parts.

Many MIDI messages listed in the About MIDI section and the MIDI Data Format (in the separate Data List) lists are

expressed in decimal numbers, binary numbers and hexadecimal numbers.

Hexadecimal values have “H (hexadecimal)” at the beginning of the data line or at the end of the values. Also, “n” indicates

any integer number.

MIDI Channels

MIDI data is transferred over 16 channels numbered from 1

through 16. Using these channels, 1 - 16, the performance

data for sixteen different instrument parts can be

simultaneously sent over one MIDI cable.

MIDI channels can be thought of as being like television

channels. Each TV station broadcasts on a separate

channel. Your home TV set receives many different

programs simultaneously from several TV stations and you

select the appropriate channel to watch the desired

program.

MIDI operates on the same basic principle. The transmitting

instrument sends MIDI data on a speciﬁc MIDI channel (MIDI

Transmit Channel) via a single MIDI cable to the receiving

instrument.

If the receiving instrument’s MIDI channel (MIDI Receive Channel)

matches the Transmit Channel, the receiving instrument will sound

according to the data sent by the transmitting instrument. For

information on how to set the MIDI transmit channel and the MIDI

receive channel, see page 65.

MIDI channel and MIDI port

MIDI data is assigned to one of sixteen channels. However,

we can overcome the sixteen-channel limit by using

separate MIDI “ports,” each supporting sixteen channels.

For details, see page 67.

MIDI Messages Transmitted/

Recognized by this synthesizer

MIDI messages can be divided into two groups: Channel

messages and System messages. Below is an explanation

of the various types of MIDI messages which this

synthesizer can recognize/transmit.

n Some of the following explanations are described in a general

sense, and not necessarily as how they relate to the S90 ES.

For details about the behavior of S90 ES when receiving each MIDI

message, refer to the “MIDI Data Format” and the “MIDI

Implementation Chart” in the separate Data List.

Channel Messages

Channel messages contain data related to the

performance on the keyboard for the speciﬁc channel.

■ Note On/Off

Messages which are generated when the keyboard is

played.

Note On: Generated when a key is pressed.

Note Off: Generated when a key is released.

Each message includes a speciﬁc note number which

corresponds to the key which is pressed, plus a velocity

value based on how hard the key is struck.

Reception note range = C-2 (0) - G8 (127), C3 = 60

Velocity range = 1 - 127 (Only the Note On velocity is

received)

■ Control Change

Control Change messages let you select a Voice bank,

control volume, panning, modulation, portamento time,

brightness and various other controller parameters,

through speciﬁc Control Change numbers which

correspond to each of the various parameters.

Bank Select MSB (Control Change #000)

Bank Select LSB (Control Change #032)

Messages which select variation Voice bank numbers by

combining and sending the MSB and LSB from an external

device. The functions of MSB and LSB messages differ

depending on the tone generator mode. MSB numbers

select Voice type (Normal Voice or Drum Voice), and LSB

numbers select Voice banks. A new bank selection will not

become effective until the next Program Change message

is received.

For more information about Banks and Programs, see

“Voice List” in the separate Data List.

Weather Report

News

MIDI Transmit channel 2 MIDI Receive channel 2

MIDI

cable

About MIDI

181

Owner’s Manual

Appendix

Modulation Wheel (Control Change #001)

The MIDI data produced when a modulation wheel is

operated. Setting the value to 127 produces maximum

vibrato and 0 results in vibrato off.

Portamento Time (Control Change #005)

Messages which control the duration of portamento, or a

continuous pitch glide between successively played notes.

Setting the value to 127 produces maximum portamento

time and 0 results in minimum portamento time. When the

parameter Portamento Switch (Control Change #065) is set

to on, the value set here can adjust the speed of pitch

change.

Data Entry MSB (Control Change #006)

Data Entry LSB (Control Change #038)

Messages which set the value for the parameter speciﬁed

by RPN MSB/LSB (page 182) and NRPN MSB/LSB (page

182). The value is represented by two control change data

numbers — the MSB and the LSB.

Main Volume (Control Change #007)

Sets the volume for each individual part. Setting the value

to 127 produces maximum volume and 0 results in volume

off.

Pan (Control Change #010)

Messages which control the stereo panning position of

each Part (for stereo output). Setting the value to 127

positions the sound to the far right and 0 positions the

sound to the far left.

Expression (Control Change #011)

Messages which control intonation expression of each Part

during performance. Setting the value to 127 produces

maximum volume and 0 results in volume off.

Hold1 (Control Change #064)

Messages which control sustain on/off. Notes playing when

the pedal is pressed will be sustained. Setting the value

between 64 - 127 turns the sustain on, between 0 - 63 turns

the sustain off. While sustain is on, notes currently playing

will be sustained, even if Note Off messages are received.

n The Half Damper function lets you ﬁnely control the length of

sustain over a range of 1 - 127, according to the depth at which

you press a continuous foot pedal.

Portamento (Control Change #065)

Messages which control portamento on/off. Setting the

value between 64 –127 turns the portamento on, and

between 0 - 63 turns the portamento off.

If portamento is turned on and the Mono/Poly parameter is

set to “mono,” expressive legato play is possible. In other

words, when you play one note before releasing the next,

the pitch will glide smoothly from note to note, and the

envelopes (PEG, FEG and AEG) will stay in effect from note

to note — mimicking the natural behavior of acoustic

instruments. The speed of the pitch glide is determined by

the portamento time (Control Change #005).

Sostenuto Pedal (Control Change #066)

Messages which control sostenuto on/off. Setting the value

between 64 –127 turns the sostenuto on, between 0 - 63

turns the sostenuto off.

Holding speciﬁc notes and then pressing and holding the

sostenuto pedal will sustain those notes as you play

subsequent notes, until the pedal is released.

Harmonic Content (Control Change #071)

Messages which adjust the ﬁlter resonance set for each

Part. The value set here is an offset value which will be

added to or subtracted from the voice data.

Release Time (Control Change #072)

Messages which adjust the AEG release time set for each

Part. The value set here is an offset value which will be

added to or subtracted from the voice data.

Attack Time (Control Change #073)

Messages which adjust the AEG attack time set for each

Part. The value set here is an offset value which will be

added to or subtracted from the voice data.

Brightness (Control Change #074)

Messages which adjust the ﬁlter cutoff frequency set for

each Part. The value set here is an offset value which will

be added to or subtracted from the voice data.

Decay Time (Control Change #075)

Messages which adjust the AEG decay time set for each

Part. The value set here is an offset value which will be

added to or subtracted from the voice data.

Effect Send Level 1 (Reverb Depth)

(Control Change #091)

Speciﬁes the reverb effect send level.

Effect3 Send Level 3 (Chorus Depth)

(Control Change #093)

Messages which adjust the send level for the Chorus

effect.

Data Increment (Control Change #096)

Data Decrement (Control Change #097)

Messages which increase or decrease the MSB value of

pitch bend sensitivity, ﬁne tune, or coarse tune in steps of

1. You will need to assign one of those parameters using

the RPN in the external device in advance.

About MIDI

182

Owner’s Manual

Appendix

NRPN (Non Registered Parameter Number) LSB

(Control Change #098) (only for Plug-in Board)

NRPN (Non Registered Parameter Number) MSB

(Control Change #099) (only for Plug-in Board)

Messages which adjust a voice’s vibrato, ﬁlter, EG, drum

setup or other parameter settings.

First send the NRPN MSB and NRPN LSB to specify the

parameter which is to be controlled. Then use Data Entry

(page 181) to set the value of the speciﬁed parameter.

Note that once the NRPN has been set for a channel,

subsequent data entry will be recognized as the same

NRPN’s value change. Therefore after you use the RPN,

you should set a Null (7FH, 7FH) value to avoid

unexpected results. For details, refer to the owner’s manual

of the relevant Plug-in Board.

RPN (Registered Parameter Number) LSB

(Control Change #100)

RPN (Registered Parameter Number) MSB

(Control Change #101)

Messages which offset, or add or subtract values from a

Part’s pitch bend sensitivity, tuning, or other parameter

settings.

First send the RPN MSB and RPN LSB to specify the

parameter which is to be controlled. Then use Data

Increment/Decrement above to set the value of the

speciﬁed parameter.

Note that once the RPN has been set for a channel,

subsequent data entry will be recognized as the same

RPN’s value change. Therefore after you use the RPN, you

should set a Null (7FH, 7FH) value to avoid unexpected

results. The following RPN numbers can be received.

■ Channel Mode Messages

All Sound Off (Control Change #120)

Clears all sounds currently sounding on the speciﬁed

channel.

However, the status of channel messages such as Note On

and Hold On is maintained.

Reset All Controllers (Control Change #121)

Resets all controllers to their initial values.

All Notes Off (Control Change #123)

Clears all notes currently on for the speciﬁed channel.

However, if Hold1 or Sostenuto is on, notes will continue

sounding until these are turned off.

Mono (Control Change #126)

Performs the same operation as when an All Sound Off

message is received. If the 3rdbyte parameter (the

parameter that determines the mono number) is 0 - 16 the

parts corresponding to those channels are set to mono.

Poly (Control Change #127)

Performs the same operation as when an All Sound Off

message is received, and sets the parts corresponding to

those channels are set to poly.

RPN MSB RPN LSB Parameter Name

00H 00H Pitch Bend Sensitivity

00H 01H Fine Tune

00H 02H Coarse Tune

7FH 7FH Null

2nd BYTE 3rd BYTE MESSAGE

120 0 All Sound Off

121 0 Reset All Controller

123 0 All Notes Off

126 0 –16 Mono

127 0 Poly

Controller Initial Value

Pitch Bend 0 (center)

Aftertouch 0 (min)

Modulation 0 (min)

Expression 127 (max)

Breath Controller 127 (max)

Foot Controller 127 (max)

Assign A 0 (center)

Assign B 0 (center)

Assign 1 0 (center)

Assign 2 0 (center)

Sustain Switch 0 (off)

Sostenuto Switch 0 (off)

RPN Number not speciﬁed; internal data

will not change

About MIDI

183

Owner’s Manual

Appendix

■ Program Change

Messages that determine which voice to select for each

Part. With a combination of Bank Select, you can select not

only basic voice numbers, but also variation voice bank

numbers.

For a list of the Voices, see the separate Data List.

n Keep in mind that the programs of the S90 ES are numbered

starting with 1. This means that when you use MIDI program

change numbers 0 - 127, you will have to subtract 1 from the S90

ES program to determine the correct MIDI program change

number. (For example, to call up program number 128 on the S90

ES you will have to specify MIDI program change number 127.)

■ Pitch Bend

Pitch Bend messages are continuous controller messages

that allow the pitch of designated notes to be raised or

lowered by a speciﬁed amount over a speciﬁed duration.

■ Channel Aftertouch

Messages which let you control the sounds by the pressure

you apply to the keys after the initial striking of the keys,

over the entire channel.

■ Polyphonic Aftertouch

Messages which let you control the sounds by the pressure

you apply to the keys after the initial striking of the keys, for

each individual key. This synthesizer does not transmit this

data from the keyboard.

System Messages

System messages are the data related to the overall

system of the device.

■ System Exclusive Message

System Exclusive messages control various functions of

this synthesizer, including master volume and master

tuning, tone generator mode, effect type and various other

parameters.

General MIDI (GM) System On

When a “General MIDI system on” message is received,

the instrument will receive MIDI messages which are

compatible with GM System Level 1. When the instrument

receives the GM System On, each receive channel of Parts

1-16 (in a Multi) will be assigned to “1- 16."

F0 7E 7F 09 01 F7 (Hexadecimal)

n Make sure that the interval between this message and the ﬁrst note

data of the song is at least a quarter note or greater in length.

MIDI Master Volume

When received, the Volume MSB will be effective for the

System Parameter.

* mm (MSB) = appropriate volume value, ll (LSB) = ignored

F0 7F 7F 04 01 ll mm F7 (Hexadecimal)

Mode Change

When received, the mode of the S90 ES will be switched.

* n = Device Number (page 166)

* m = 0, 1, or 3 (0: Voice mode, 1: Performance mode, 2: not

available, 3: Multi mode, 4: Master)

F0 43 1n 7F 01 0A 00 01 0m F7 (Hexadecimal)

■ System Realtime Messages

These messages control the sequencer.

Active Sensing (FEH)

Once FEH (Active Sensing) has been received, if no MIDI

data is subsequently received for longer than an interval of

approximately 300 msec, the S90 ES will perform the same

function as when All Notes Off and Reset All Controllers

messages are received, and will then return to a status in

which FEH is not monitored.

Timing Clock (F8H)

This message is transmitted with a ﬁxed interval to

synchronize connected MIDI instruments. You can select

whether the S90 ES uses the internal Timing Clock, or

external Timing Clock messages received via MIDI IN by

setting the MIDI Sync parameter: [UTILITY]

→ MIDI

display

→ “MIDI Sync.”

Start (FAH)

This message lets the MIDI sequence data start playing

back from the beginning. This message will be transmitted

when pressing the [F6]F(Play) button at the top of the

MIDI song ﬁle.

Continue (FBH)

This message lets the MIDI sequence data start playing

back from the current song position. This message will be

transmitted when pressing the [F6]F(Play) button at the

middle of the MIDI song ﬁle.

Stop (FCH)

This message causes MIDI sequence data (song) to stop

playing back. This message will be transmitted when

pressing the [F6]J(Stop) button while playing back the

MIDI song ﬁle.

n You can select whether this synthesizer will transmit Timing Clock,

Start, Continue, and Stop messages by setting the SeqCtrl

parameter: [UTILITY] → [F5] MIDI → [SF3] SYNC → SeqCtrl.

Installing Optional Hardware

184

Owner’s Manual

Appendix

Installing Optional Hardware

Available devices

Locations to which the optional

units are installed

Installation Precautions

Before installing the optional hardware, make sure you

have a Phillips screwdriver and ample space to work.

Protective cushions or supports for the instrument may also

be needed.

• Before beginning installation, switch off the power to the

instrument and connected peripherals, and unplug them from

the power outlet. Then remove all cables connecting the

instrument to other devices. (Leaving the power cord connected

while working can result in electric shock. Leaving other cables

connected can interfere with work.) Installation or removal of any

devices should be started ONLY after the instrument (and the

optional hardware) returns to normal room temperature.

• Be careful not to drop any screws inside the instrument during

installation (this can be prevented by keeping the optional units

and cover away from the instrument while attaching). If this does

happen, be sure to remove the screw(s) from inside the unit

before turning the power on. Loose screws inside the instrument

can cause improper operation or serious damage. If you are

unable to retrieve a dropped screw, consult your Yamaha dealer

for advice.

• Install the optional units carefully as described in the procedure

below. Improper installation can cause shorts which may result

in irreparable damage and pose a ﬁre hazard.

• Do not disassemble, modify, or apply excessive force to board

areas and connectors on optional units. Bending or tampering

with boards and connectors may lead to electric shock, ﬁre, or

equipment failures.

• Before handling the optional units, you should brieﬂy touch the

metal surface to which the optional unit cover is attached (or

other such metallic area/be careful of any sharp edges) with your

bare hand so as to drain off any static charge from your body.

Note that even a slight amount of electrostatic discharge may

cause damage to these components.

• It is recommended that you wear gloves to protect your hands

from metallic projections on optional units and other

components. Touching leads or connectors with bare hands may

cause ﬁnger cuts, and may also result in poor electrical contact

or electrostatic damage.

• Handle the optional units with care. Dropping or subjecting them

to any kind of shock may cause damage or result in a

malfunction.

• Be careful of static electricity. Static electricity discharge can

damage the IC chips on the Plug-in board. Before you handle the

optional Plug-in board, to reduce the possibility of static

electricity, touch the metal parts other than the painted area or a

ground wire on the devices that are grounded.

• Do not touch the exposed metal parts in the circuit board.

Touching these parts may result in a faulty contact.

• When moving a cable, be careful not to let it catch on the circuit

Plug-in board. Forcing the cable in anyway may cut the cable,

cause damage, or result in a malfunction.

• Be careful not to misplace any of the screws since all of them are

used.

• Do not use any screws other than what are installed on the

instrument.

Plug-in Boards

mLAN16E

Up to three boards can be

installed.

Plug-in Board cover

mLAN16E cover

WARNING

CAUTION

Installing Optional Hardware

185

Owner’s Manual

Appendix

How to Install the Optional

Plug-in Board

A variety of optional Plug-in boards sold separately let you

expand the voice library of your instrument. The S90 ES

provides three slots behind the rear panel for the Plug-in

Boards, allowing you to install up to three board to the

instrument. For details about the Plug-in Boards which can

be used with the S90 ES, see page 99.

n The Vocal Harmony Plug-in board (PLG100-VH) can be installed

only to slot 1.

n The Multi part Plug-in Board (PLG100-XG) can be installed only to

slot 3.

n The Single Part Plug-in boards can be installed to any of the three

slots.

1 Turn the S90 ES’s power off, and disconnect the AC

power cord. Also, make sure to disconnect the S90

ES from any other external devices.

2 Remove the large screw from the expansion bay

cover on the rear panel using a Phillips screwdriver.

Keep the removed screw in a safe place. Be careful not to

misplace any of the screws since all of them are used.

3 Remove the ribbon cables that are to be connected

to the Plug-in board from the inside of the S90 ES.

The slots are assigned to the color-coded cables as

follows: Slot 1 — orange, Slot 2 — yellow, Slot 3 — green.

4 Insert the board along the guide rails about two-

thirds of the way inside the S90 ES, with the

connector side face up and toward you.

5 Insert the Plug-in board the rest of the way into the

expansion bay.

n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed

only to slot 1. It cannot be installed to slot 2 or 3.

n The Multi part Plug-in Board (PLG100-VH) can be installed only to

slot 3. It cannot be installed to slot 1 or 2.

Plug-in SLOT

GREEN

YELLOW

ORANGE

Plug-in SLOT

GREEN

YELLOW

ORANGE

Plug-in SLOT

GREEN

YELLOW

ORANGE

Slot

Slot 2

Slot 1

Yellow

Green

Orange

Cable for

Slot 3

(Green)

Cable for

Slot 2

(Yellow)

Cable for

Slot 1

(Orange)

Plug-in SLOT

GREEN

YELLOW

ORANGE

Slot 1

Slot 2

Slot 3

Securely insert the board into the appropriate slot,

taking care that the board isn’t jammed between

slots.

Plug-in SLOT

GREEN

YELLOW

ORANGE

Installing Optional Hardware

186

Owner’s Manual

Appendix

6 Connect the cable to the Plug-in Board.

Make sure to connect the proper cable, matching the color

of the cable to the slot used.

7 Carefully put the cable back into the S90 ES, making

sure that no part of the cable sticks out of the

instrument.

8 Replace the cover with the screw you removed in

step 2 above.

9 Check that the installed Plug-in board is functioning

properly.

After connecting the AC power cord to the S90 ES, turn on

the power. The main display then appears and the

corresponding slot indicator at the right top of the front

panel lights. This indicates that the board has been

successfully installed. If the cable is not connected

properly or ﬁrmly, the indicator will not light.

Installing the mLAN16E

The mLAN expansion board (mLAN16E) sold separately

can be installed to this instrument.

1 Turn the S90 ES’s power off, and disconnect the AC

power cord. Also, make sure to disconnect the S90

ES from any other external devices.

2 Turn over the S90 ES so you can have direct access

to the underside.

To protect the wheels and sliders, place the keyboard so

the four corners are supported by something that provides

sufﬁciently high and ﬁrm support, such as magazines or

cushions.

Since this instrument is very heavy, this procedure should not be done

alone, but by two or three people.

3 Remove the top cover on the rear of the instrument

(as shown below).

With the rear panel facing you, remove the screws of the

top cover, then remove the cover from the instrument.

Keep the removed screws in a safe place. They will be used

when attaching the cover to the S90 ES again after installing the mLAN16E.

Also make sure to keep the cover in a safe place. Do not leave the cover

inside the instrument.

Plug-in SLOT

GREEN

YELLOW

ORANGE

Plug-in connector

Notch

Connector from S90 ES Plug-in board

Press the connectors together

until the two notches lock into

the sockets.

Plug-in SLOT

GREEN

YELLOW

ORANGE

PRE 4

GUITAR/

PLUCKED

STRINGS

PLG 1

SLOT

SLOT 2

SLOT 3

BRASS

PLG 2

REED/PIPE

PLG 3

BASS

CATEGORY

Slot indicator

In this example, a Plug-in board has been installed to slot 1.

View of the keyboard from the bottom

Place supports at all four corners, taking

care not to touch the wheels and sliders.

CAUTION

Installing Optional Hardware

187

Owner’s Manual

Appendix

4 Remove the second cover (shown below).

Hold the cover with your hand and remove the two screws.

Keep the removed screws in a safe place. They will be used

when installing the mLAN16E to the S90 ES. Also make sure to keep the

cover in a safe place. Do not leave the cover inside the instrument.

5 Remove the mLAN16E from its package.

6 Attach the sticker label to the front of the mLAN16E.

Remove the protective transparent ﬁlm from the label, then

apply it to the panel of the mLAN16E.

7 Fasten the mLAN16E to the S90 ES.

Insert the mLAN16E into the opening of the instrument with

the panel facing out. While holding the panel with your

hand, fasten the panel to the instrument with the screws

you removed in step #4 above.

8 Insert the connector on the other end of the ﬂat

ribbon cable to the circuit board of the S90 ES.

9 Re-install the cover you removed in step #3, in

reverse order.

Attach the sticker to the

panel upside down.

Place the mLAN16E here.

Cable connector

Fasten the screw with the

front panel of the mLAN16E

inside the instrument.

Fasten the screw with the

front panel of the mLAN16E

outside the instrument.

Insert this tab

inside the S90 ES.

Appendix

Specifications

188

Owner’s Manual

Speciﬁcations

* Speciﬁcations and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or

modify products or speciﬁcations at any time without prior notice. Since speciﬁcations, equipment or options may not be the same in

every locale, please check with your Yamaha dealer.

Keyboard

88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch)

Tone Generator

block

Tone Generator AWM2 (complying with the Modular Synthesis Plug-in System)

Maximum polyphony 128 notes + the polyphony of the Plug-in Board (if installed)

Multi Timbral Capacity 16 Internal Parts + 3 Plug-in Boards + Audio Input Part(s) (A/D, mLAN*)

* 4 stereo parts

Wave 228MB (when converted to 16-bit linear format), 1,935 waveforms

Voice Preset: 512 normal voices + 64 drum kits

GM: 128 normal voices + 1 drum kits

User: 128 x 2 (Bank 1: Original, Bank 2: copied from Preset bank)

Normal Voice + 32 drum kits

Plug-in Voice Preset for the PLG150-AN/DX/PF/DR/PC: 64

Preset for the PLG-150VL: 192

User: 64 for each Plug-in slot

Performance User: 128 (up to 4 Parts)

Multi User: 64

Filter 18 types

Effects Reverb x 20 types, Chorus x 49 types, Insertion (A, B) x 117 types x 8 blocks, Master

Effect x 8 types, Master Equalizer (5 bands), Part EQ (3 bands, stereo), Plug-in

Insertion (available when the PLG100-VH has been installed to slot 1)

Expendability 3 Slots for Modular Synthesis Plug-in Boards

Sequencer

Section

Sequence Play SMF Format 0 (playback only)

BPM (Tempo) 1 - 300

Number of Chain Steps 100

Arpeggio Preset x 1,787 types

User x 256 types (when loading the User Arpeggio data of MOTIF ES).

* MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set.

Other

Master User: 128

* 4 Zones (Master keyboard settings), Assignable Slider settings, Program Change Table

Sequence Software

compatible with the

Remote Control function

For Windows

: Cubase SX 3, SQ01 V2, SONAR 4, S90 ES/MOTIF ES/MOTIF-RACK

ES/MOTIF-RACK Multi Part Editors.

For Macintosh

: Cubase SX 3, Logic Pro 7, Digital Performer 4.52, S90 ES/MOTIF ES/

MOTIF-RACK ES/MOTIF-RACK Multi Part Editors

* Functions to be controlled by the S90 ES differ depending on the software you use.

Controllers Pitch Bend wheel, Modulation wheel, Assignable Control sliders (4), Data dial

Display 240 x 64 dot graphic backlit LCD

Jack and Terminals OUTPUT L/MONO, R (standard phone jack), ASSIGNABLE OUTPUT L, R (standard

phone jack), A/D INPUT L, R (standard phone jack), PHONES (standard stereo phone

jack), FOOT CONTROLLER 1, 2, FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE),

BREATH, MIDI IN/OUT/THRU, USB (TO HOST, TO DEVICE), AC INLET

Power Consumption 33W

Dimensions, Weight 1,472 (W) x 385 (D) x 163 (H) mm, 22.5 kg

Accessories AC Power cord, Owner’s Manual (this book), Data List, sticker label for optional

mLAN16E.

Appendix

Troubleshooting

189

Owner’s Manual

Troubleshooting

If you hear no sound or a strange sound, ﬁrst check the items described below and take appropriate action. You may be

able to solve the problem by resetting the instrument to the factory settings (

page 21). (Make sure to back up any important

data to an external device ﬁrst.)

If the problem persists, consult your Yamaha dealer.

■ No sound comes from the speakers.

•Are all four Control sliders set to appropriate levels (other than zero or minimum)? (page 16)

• Has the Local Control switch been set to off?

If this is set to off, the internal tone generator will not sound.

• Have you turned on the power of the S90 ES and all connected external equipment?

• Have you made all the appropriate level settings—including the Master Volume on the S90 ES and the volume settings on

any connected external equipment?

• Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)?

•Are you using an external MIDI controller and are the MIDI volume and/or MIDI expression settings too low?

• Is the S90 ES properly connected to related external equipment (e.g., ampliﬁer or speaker) via audio cables?

•Are the effect and ﬁlter settings appropriate?

If you are using the ﬁlter, try changing the cutoff setting. Some cutoff settings may mute the sound entirely.

•Are the volume or level settings too low?

•Are the element switch, note limit, velocity limit parameters set appropriately?

• When the Performance/Multi produces no sound, has a Voice been assigned to each Part?

• When the Performance/Multi produces no sound, is the output setting of each Part set appropriately?

[UTILITY] → [F5] MIDI → [SF2] SWITCH → Local Ctrl (page 69)

[VOICE] → [EDIT] → [COMMON] → [F6] EFFECT (page 133)

[PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT (page 152)

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT (page 158)

[VOICE] → [EDIT] → Element/Key selection → [F3] FILTER (page 135)

[PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 154)

[MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 159)

[UTILITY] → [F1] GENERAL → [SF1] TG → Volume (page 163)

[VOICE] → [EDIT] → [COMMON] → [F2] OUTPUT → Volume (page 129)

[VOICE] → [EDIT] → Element/Key selection → [F4] AMP → [SF1] LVL/PAN → Level (page 137)

[PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → Volume (page 150)

[PERFORM] → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume (page 153)

[MULTI/SEQ PLAY] (selecting Multi mode) → [F2] VOL/PAN → Volume (page 157)

[MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume (page 159)

[VOICE] → [EDIT] → Element/Key selection → [F1] OSC → [SF1] WAVE → Element Sw (page 133)

[VOICE] → [EDIT] → Element/Key selection → [F1] OSC → [SF3] LIMIT (page 134)

[PERFORM] → [F2] VOICE (page 149)

[PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF1] VOICE → Part Sw (page 152)

[PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF3] LIMIT (page 152)

[PERFORM] → [F2] VOICE (page 149)

[MULTI] (selecting Multi mode) → [F3] VOICE (page 157)

[PERFORM] → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel (page 154)

[MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel (page 159)

Appendix

Troubleshooting

190

Owner’s Manual

• When the Multi produces no sound, are the output port/channel of each track in the external sequencer and the receive

port/channel of each Part in the Multi set appropriately?

n Keep in mind that the Output ([F2] OUTPUT) setting of the Chain Step last selected in the Sequence play mode is effective.

• When the Multi produces no sound, are the Chain Step settings in the Sequencer Play mode set appropriately?

n Keep in mind that the Output ([F2] OUTPUT) setting of the Chain Step last selected in the Sequence play mode is effective.

■ Playback continues without stopping.

• When the [ARPEGGIO] button is turned on, press it so that its lamp is turned off. (page 17)

■ Distorted sound.

•Are the effect settings appropriate? (Some effect types or settings can cause distortion.)

•Are the ﬁlter settings appropriate? (Excessively high ﬁlter resonance settings can cause distortion.)

• Is the volume set so high that clipping is occurring?

■ Sound is choppy and intermittent.

•Are you exceeding the maximum polyphony of the S90 ES ? (page 188)

■ Only one note sounds at a time.

• Is the Mono/Poly parameter set to “mono”?

If you wish to play chords, set this parameter to “poly.”

■ Pitch or intervals are wrong.

• Is the Master Tune parameter set at a value other than “0”?

• Is the Note Shift parameter set at a value other than “0”?

• When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter?

[MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → Receive Ch (page 159)

[MUTLI/SEQ PLAY] (selecting Sequence Play mode) → Chain Step selection → [F2] OUTPUT → PORT (page 162)

[MUTLI/SEQ PLAY] (selecting Sequence Play mode) → Chain Step selection → [F2] OUTPUT (page 162)

[VOICE] → [EDIT] → [COMMON] → [F6] EFFECT (page 133)

[PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT (page 152)

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT (page 158)

[VOICE] → [EDIT] → Element/Key selection → [F3] FILTER (page 135)

[PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 154)

[MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 159)

[UTILITY] → [F1] GENERAL → [SF1] TG → Volume (page 163)

[VOICE] → [EDIT] → [COMMON] → [F2] OUTPUT → Volume (page 129)

[PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT → Volume (page 150)

[MUTLI/SEQ PLAY] (selecting Multi mode) → [F2] VOL/PAN → Volume (page 157)

[VOICE] → [F4] PORTA → Mono/Poly(page 127)

[PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → Mono/Poly (page 152)

[MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → Mono/Poly (page 159)

[UTILITY] → [F1] GENERAL → [SF1] TG → Tune (page 163)

[UTILITY] → [F1] GENERAL → [SF1] TG → NoteShift (page 163)

[VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.Tuning No (page 128)

Appendix

Troubleshooting

191

Owner’s Manual

• When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth set too high?

• When the Performance/Multi produces a wrong pitch, is the Note Shift or Detune parameter of each Part set to a value

other than “0”?

■ No effects are applied.

• Is the [EFFECT BYPASS] button turned off? (page 17)

•Are the Control sliders (for REVERB and CHORUS) set to appropriate levels (other than zero or minimum)? (page 42)

• Have any or all of the Elements’ Effect Output parameters been set to “thru” in the effect setting display?

• Have any or all of the effect types been set to “thru” or “off”? (pages 121, 122, 123)

When this occurs in the Performance mode/Multi mode, check whether the Insertion Switch (INS SW) parameters are set

properly or not.

■ The Edit Indicator appears, even when parameters are not being edited.

• Keep in mind that simply moving a Slider changes the parameter, automatically displaying the Edit indicator. (page 25)

■ Cannot start the Arpeggio.

• Check whether the [ARPEGGIO] button is turned on or off. (page 17)

• Have you selected a User Arpeggio type (with no User data)?

To use the User Arpeggios, the User Arpeggio data created in the MOTIF ES must be loaded to the S90 ES. .. (page 39)

•Are the Arpeggio related parameters such as Note Limit and Velocity Limit set appropriately?

When this occurs in the Performance mode/Multi mode, check whether the Arpeggio Switch parameter for each Part is

set properly or not.

■ Cannot stop the Arpeggio.

• When Arpeggio playback does not stop even if you release the key, set the Arpeggio Hold parameter to “off.”

■ Microphone does not work properly.

• Check whether the S90 ES is in the Voice mode or not.

In the Voice mode, the A/D part which handles the microphone sound cannot be recognized.

• Check whether the Gain Knob on the rear panel is set to minimum position or not. (page 19)

[VOICE] → [EDIT] → Element/Key selection → [F5] LFO → P Mod (page 139)

[PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE (page 154)

[MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE (page 159)

[VOICE] → [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT → EL: OUT 1-4 (page 133)

[PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT → [SF2] INS SW (page 152)

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT → [SF2] INS SW (page 158)

[VOICE] → [EDIT] → [COMMON] → [F3] ARP → [SF2] LIMIT (page 130)

[PERFORM] → [EDIT] → [COMMON] → [F3] ARP → [SF2] LIMIT (page 151)

[MULTI/SEQ PLAY] (selecting Multi mode)→ [EDIT] → [COMMON] → [F3] ARP → [SF2] LIMIT (page 158)

[PERFORM] → [EDIT]] → Part selection → [F1] VOICE → [SF2] MODE → ArpSwitch (page 152)

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ArpSwitch (page 159)

[VOICE] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → Hold (page 130)

[PERFORM] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → Hold (page 151)

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → Hold (page 158)

[UTILITY] → [F2] I/O → [SF1] INPUT → Mic/Line (page 164)

Appendix

Troubleshooting

192

Owner’s Manual

■ A Plug-in Voice cannot be selected even when a Plug-in Board has been installed.

• Check whether the SLOT lamp (from SLOT1 - 3) corresponding to the selected PLG button ([PLG1] - [PLG3]) is turned on

or off.

• When selecting a User bank, are any Voices stored into the User bank?

In the default settings, User banks for Plug-in Voice contain no Voices. You must the select the Preset bank or create a

User Voice.

• Check whether the PLG which corresponds to the PLG100-XG slot is selected or not.

The Voice on the PLG100-XG cannot be selected in the Voice mode or Performance mode.

• Check whether the PLG which corresponds to the PLG100-VH slot is selected or not.

The PLG100-VH contains no Voices for selection, since it is an Effect Plug-in Board.

■ The Plug-in Board does not work.

Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? (page 18)

• Has the PLG100-VH been installed to slot 2 or 3?

The PLG100-VH can be installed only to slot 1.

• Has the PLG100-XG been installed to slot 1 or 2?

The PLG100-XG can be installed only to slot 3.

■ Data communication between the computer and the S90 ES does not work properly.

• Check whether the Port setting on the computer is appropriate or not.

• Is the cable setting (MIDI, USB, mLAN) in the Utility mode appropriate?

■ The S90 ES does not sound properly even when playing back the song data on the computer or the

MIDI instrument connected to the S90 ES.

• Make sure to set the S90 ES to the Multi mode. To play back the multiple channels simultaneously, select multi mode.

(page 70)

■ MIDI bulk data transmission/reception does not work properly.

• Is Bulk data receive protection enabled?

Turn the Receive Bulk parameter to “on.”

• When receiving recorded data with the internal Bulk Dump function, the device number must be set to the same value as

that used when transmitting/recording.

• When transmission does not work properly, is the device number of the MIDI instrument connected to the S90 ES set to

match the DeviceNo. parameter?

• When using the Voice Editor/Multi Part Editor, have you set a sufﬁcient Dump Interval?

The Dump Interval in the Editor Setup dialog must be set to 20ms or greater. For details refer to the PDF manual included

with the Editor.

■ Data cannot be saved in the USB storage device

• Is the connected USB storage device write protected? (Write-protect should be set to off for saving data.)

• Is the connected USB storage device properly formatted?

■ Cannot enter the Edit mode

• Is the Category Search function turned on?

After exiting from the Category Search function, press the [EDIT] button.

• Is the S90 ES in the File mode?

After exiting from the File mode, press the [EDIT] button.

[VOICE] → [F2] BANK (page 127)

[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT(page 166)

[UTILITY] → [F5] MIDI → [SF2] SWITCH → RcvBulk (page 166)

[UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo (page 166)

[FILE] → [F1] CONFIG → [SF2] FORMAT (page 168)

Appendix

Application Index

193

Owner’s Manual

Application Index

■ Playing songs

• Playing the Demo Songs ............................................................................................................................................ page 29

• Playing the MIDI song ﬁle (Sequence Play mode)..................................................................................................... page 96

• Listening the Arpeggio ............................................................................................................................................... page 39

■ Playing the keyboard

• Selecting and playing a Voice.................................................................................................................................... page 30

• Selecting and playing a Voice of a Plug-in Board...................................................................................................... page 99

• Selecting and playing a Performance........................................................................................................................ page 34

• Playing two or three voices simultaneously (Performance mode) ............................................................................. page 36

• Playing different sounds on both S90 ES and connected MIDI devices from the S90 ES keyboard (Master mode) page 91

■ Selecting programs

• Selecting a Voice........................................................................................................................................................ page 30

• Selecting a Performance............................................................................................................................................ page 34

• Selecting the sounds you want, based on their instrument type (Category Search function)................................... page 32

• Selecting a Multi. ........................................................................................................................................................ page 70

• Selecting a Master...................................................................................................................................................... page 90

• Selecting an Arpeggio type........................................................................................................................................ page 40

■ Changing the waveform

• Changing the waveform of the Voice

[VOICE] → [EDIT] → Element/Key selection → [F1] OSC → [SF1] WAVE..................................................................................... page 133

■ Using effects

•Effect structure and signal ﬂow ................................................................................................................................ page 118

• Applying effects

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F6] EFFECT ......................................................................................... page 113

[PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT .......................................................................................................... page 152

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT ...................................................................... page 158

•Turning effects off ([EFFECT BYPASS] button)......................................................................................................... page 119

■ Using the equalizer (EQ)

• Equalizers in the S90 ES .......................................................................................................................................... page 119

• Setting the equalizer for each Element/Part

[VOICE] → [EDIT] → Element/Key selection → [F6] EQ ......................................................................................................... page 139

[PERFORM] → [EDIT] → Part selection → [F3] EQ .............................................................................................................. page 154

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F3] EQ ......................................................................... page 154

• Setting the equalizer for an entire program

[VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ ............................................................................................................... page 164

[PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ ...................................................................................... page 150

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF1] MEQ ................................................. page 158

■ Using the ﬁlter

• Filter types for S90 ES .............................................................................................................................................. page 148

• Selecting a Filter

[VOICE] → [EDIT] → Element/Key selection → [F3] FILTER → [SF1] TYPE ................................................................................. page 135

■ Using the controllers

• Controllers on the S90 ES........................................................................................................................................... page 41

• External controllers that can be connected to the S90 ES......................................................................................... page 59

• Changing the function of controller (Controller Set)................................................................................................... page 60

• Changing the Control number assigned to the controller .......................................................................................... page 62

• Setting the Pitch Bend Range

[VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF5] OTHER → PB Upper/PB Lower ......................................................... page 129

[PERFORM]] → [EDIT] → Part selection → [F1] VOICE → [SF5] OTHER → PB Upper/PB Lower ...................................................... page 153

Appendix

Application Index

194

Owner’s Manual

• Using a Foot Pedal as a sustain pedal ...................................................................................................................... page 60

• Switching between programs by a Foot Switch

[UTILITY] → [F4] CTL ASN → [SF3] FT SW → FS Assign ..................................................................................................... page 165

• Switching Arpeggiator on and off by a Foot Switch

[UTILITY] → [F4] CTL ASN → [SF3] FT SW ..................................................................................................................... page 165

• Using a Breath controller ........................................................................................................................................... page 59

• Setting the Breath Curve, which determines how the strength of your breath (when using a Breath Controller)

affects the sound.

[UTILITY] → [F1] GENERAL → [SF1] TG → BCCurve .................................................................................................pages 101, 163

• Keeping the effect of a controller the same, even when changing Voices

[UTILITY] → [F1] GENERAL → [SF4] OTHER → CtrlRest = hold .............................................................................................pages 164

■ Sounding only the speciﬁed Part or Voice

• Muting each Element/Part temporarily. ...........................................................................................................pages 104, 105

•Turning each Element/Part off.

[VOICE] → [EDIT] → Element selection → [F1] OSC → [SF1] WAVE → ElementSw ...................................................................... page 133

[PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF1] VOICE → PartSw ........................................................................ page 152

•Turning off or muting playback of a Multi Part, by setting the receive channel to off

[MULTI/SEQ PLAY] (selecting MUlti mode) → slider ............................................................................................................ page 157

■ Adjusting the volume or output level

• Adjusting the Master Volume output ([MASTER VOLUME] slider) ............................................................................ page 16

• Adjusting the entire volume of the S90 ES’s internal tone generator block

[UTILITY] → [F1] GENERAL → [SF1] TG → Volume ............................................................................................................ page 163

• Adjusting the output gain of each Output connector

[UTILITY] → [F2] I/O → [SF2] OUTPUT ............................................................................................................................ page 164

• Adjusting the volume balance of the Elements with the Control sliders .................................................................... page 43

• Adjusting the volume for an entire Voice, Performance, or Multi

[VOICE] → [EDIT] → [COMMON] → [F2] OUPUT → Volume .................................................................................................. page 129

[PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT → Volume ......................................................................... page 150

[MULTI/SEQ PLAY] (selecting Multi mode) → [F2] VOL/PAN → Volume ...................................................................................... page 157

• Adjusting the input volume from a microphone or an external audio device

[PERFORM] → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → Volume .................................................................... page 151

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → Volume .............................. page 158

■ Inputting audio from a microphone, instrument or other audio device

• About the organization of audio input parts............................................................................................................. page 118

• Connecting a microphone or other audio equipment to the A/D INPUT jacks .......................................................... page 38

• Setting parameters related to audio input.

[PERFORM] → [EDIT] → [COMMON] → [F5] AUDIO IN ........................................................................................................ page 151

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F5] AUDIO IN .................................................................... page 158

• Applying a vocal harmony effect to the microphone sound by using the PLG100-VH Plug-in Board ................... page 103

■ Using Plug-in Boards

• How to Install the Optional Plug-in Board ................................................................................................................ page 184

• Checking the status of the installed Plug-in Boards

[UTILITY] → [F6] PLUG → [SF1] STATUS ......................................................................................................................... page 167

• Checking the receive Ports of the installed Plug-in Boards

[UTILITY] → [F6] PLUG → [SF2] MIDI .............................................................................................................................. page 167

• Selecting and playing a Voice of a Single Part Plug-in Board (PLG150-AN, PLG-150-PF, PLG150-DX,

PLG150-VL, etc.)...................................................................................................................................................... page 100

• Playing an XG song by using the Multi-part Plug-in Board PLG100-XG ................................................................. page 102

• Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG100-VH .................... page 103

Appendix

Application Index

195

Owner’s Manual

■ Creating data

•Creating your original Voices ..................................................................................................................................... page 44

•Creating your original Performances ................................................................................................................. pages 36, 53

•Creating your original Multis....................................................................................................................................... page 72

•Creating your original Masters ................................................................................................................................... page 90

• Editing the Normal Voice in the Multi mode (Multi Voice Edit) ................................................................................... page 73

• Loading the Arpeggio data created in the S90 ES .................................................................................................. page 172

■ Storing/saving the created data

• Saving your original Voices ........................................................................................................................................ page 50

• Saving your original Performances ............................................................................................................................ page 56

• Saving your original Multis ......................................................................................................................................... page 76

• Saving your original Masters .................................................................................................................................... page 126

■ Recovering lost data

• Comparing the program before editing with the just-edited one (Compare function) ............................................... page 26

• Recalling an edited, but not-stored Performance (when another Performance has been selected)

(Recall function) ......................................................................................................................................................... page 26

■ Maintaining data

• Factory Reset (factory programmed settings) ........................................................................................................... page 21

• Formatting USB storage media................................................................................................................................ page 168

• Initializing a program

Each mode → [JOB] → [F1] INT ............................................................................................................ pages 146, 156, 160, 175

■ Pitch related settings (Tune, Note Shift, etc.)

Entire

• Adjusting the Octave Setting

[UTILITY] → [F1] GENERAL → [SF2] KBD → Octave ............................................................................................................ page 163

• Shifting the note up or down on the keyboard

[UTILITY] → [F1] GENERAL → [SF2] KBD → ..................................................................................................................... page 163

• Shifting the note up or down in the tone generator block

[UTILITY] → [F1] GENERAL → [SF1] TG → NoteShift .......................................................................................................... page 163

•Tuning the overall sound of the S90 ES to match other instruments (Master Tuning)

[UTILITY] → [F1] GENERAL → [SF1] TG → Tune ................................................................................................................ page 163

Voice mode

• Setting the Micro Tuning (tuning system, or temperament) used for the Voice.

[VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo. ........................................ page 128

• Shifting the note up or down of each Element

[VOICE] → [EDIT] → Element selection → [F2] PITCH → [SF1] TUNE → Coarse .......................................................................... page 134

• Determining the ﬁne tuning for the pitch of each Element.

[VOICE] → [EDIT] → Element selection → [F2] PITCH → [SF1] TUNE → Fine ............................................................................. page 134

• Setting the all notes to the same pitch

[VOICE] → [EDIT] → Element selection → [F2] PITCH → [SF4] KEY FLW → PitchSens = 0 ............................................................. page 135

Performance mode

• Shifting the note up or down of each Part

[PERFORM] → [EDIT] → [F4] TONE → [SF1] TUNE → NoteShift ............................................................................................. page 154

• Determining the ﬁne tuning for the pitch of each Part.

[PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ........................................................................... page 154

Appendix

Application Index

196

Owner’s Manual

Multi/Sequence Play mode

• Shifting the note up or down for each Part

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → NoteShift ................................... page 154

• Determining the ﬁne tuning for the pitch of each Part.

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ...................................... page 154

Master mode

• Shifting the keyboard octave up or down for each zone of the edited Master.

[MASTER] → Master selection → [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Octave ..................... page 173

• Adjusting the keyboard pitch for each zone of the edited Master.

[MASTER] → Master selection → [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Tr anspose ................. page 173

■ Connecting to a computer/external MIDI instrument

• Determining which connector (among the MIDI, USB TO HOST, mLAN) is used as a MIDI input/output connector.

[UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT ....................................................................................................... page 166

• Using the sounds of the S90 ES for song playback from a MIDI sequencer ............................................................ page 70

• Setting whether or not Bulk Dump data can be received

[UTILITY] → [F5] MIDI → [SF2] SWITCH → RevBulk = on/protect ............................................................................................ page 166

• Sounding only the external MIDI tone generator and turning the internal tone generator off when playing the keyboard

(turning the Local Control setting off).

[UTILITY] → [F5] MIDI → [SF2] SWITCH → LocalCtrl = off .................................................................................................... page 166

• Synchronizing with an external MIDI instrument/computer

Using the S90 ES as a MIDI master

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = internal, ClockOut = on, SeqCtrl = out .......................................................... page 166

Using the S90 ES as a MIDI slave

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI, ClockOut = off, SeqCtrl = in ................................................................ page 166

• Synchronizing the LFO wave speed of the Voice with an external MIDI instrument/computer.

[UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI .................................................................................................... page 166

[VOICE] → Normal Voice selection → [EDIT] → [COMMON] → [F5] LFO → [SF1] WAVE → TempoSync = on ...................................... page 131

• Specifying the MIDI transmit port/channel.

Determining the MIDI transmit channel from the keyboard (by using [TRACK SELECT] button and Number [1] - [16]

buttons).

................................................................................................................................................................. page 105

• Selecting the transmit port from the keyboard in the Voice mode or Performance mode.

In the Voice mode and Performance mode, the transmit port is ﬁxed to 1.

• Selecting the transmit ports from the keyboard in the Multi mode.

In the Multi mode, the transmit port depends on the last Chain Step settings selected in the Sequence Play mode

.................................................................................................................................................................................. page 98

• Determining the MIDI channel for Arpeggio playback data.

[UTILITY] → [F3] VOICE → [SF3] ARP CH → Tr ansmitCh ...................................................................................................... page 165

• Specifying the MIDI receive port/channel.

Setting the MIDI receive channel in the Voice mode/Performance mode.

[UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh .............................................................................................................. page 165

Setting the MIDI Receive Channel for each Part.

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh ............................... page 152

• Checking the receive Ports.

When selecting a Voice or Part of internal tone generator, the transmit port is ﬁxed to 1.

When selecting a Plug-in Voice or Plug-in Part, the transmit port depends on the settings in the following display.

[UTILITY] → [F6] PLUG → [SF2] MIDI .............................................................................................................................. page 167

Appendix

Application Index

197

Owner’s Manual

■ Setting parameters for Program Change transmission/recognition

• Enabling or disabling the sending of Bank Select and Program Change messages, when selecting a Voice or

Performance.

[UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange ........................................................................................... page 166

• Enabling or disabling selection of S90 ES Voices/Performances/Multis from an external MIDI device.

[UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange ........................................................................................... page 166

[MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F5] RCV SW → PgmChange .............................................. page 159

• Setting whether each Part playback sounds the internal tone generator or an external tone generator in the Sequence

Play mode.

[MULTI/SEQ PLAY] (selecting Sequence Play mode) → Chain Step selection → [F2] OUTPUT → INT SW (Internal Switch), EXT SW (External Switch)

................................................................................................................................................................................ page 162

• Setting whether each Multi’s Part playback sounds the internal tone generator or an external tone generator.

In the Multi mode, the transmit port depends on the last Chain Step settings selected in the Sequence Play mode.

■ Other Tips

• Loading the speciﬁed ﬁle on the USB storage device automatically when the power is turned on........................ page 106

• Setting the default display when turning the power on.

[UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode .............................................................................................. page 164

• Selecting the output jack for each Drum key or Part. ................................................................................................ page 63

Index

198

Owner’s Manual

Appendix

Index

Numerics

1/4 Shift (1/4 shifted) .......................................... 147

1/4 tone .................................................................. 147

1/8 tone .................................................................. 147

[1] - [16] buttons .................................................... 17

A/D INPUT jacks .................................................... 19

Active Sensing ..................................................... 183

AEG (Amplitude Envelope Generator) ........... 114

Aftertouch ................................................................ 62

[A] - [H] buttons ..................................................... 17

All Notes Off ......................................................... 182

All Sound Off ........................................................ 182

AlternateGroup .................................................... 141

AlternatePan ................................................. 137, 142

AMod (Amplitude Modulation Depth)

.................................................................. 139, 143, 144

AMP ........................................................................ 114

APKb (Arpeggio type category) ...................... 124

Application Index ................................................ 193

Arabic 1 ................................................................. 147

Arabic 2 ................................................................. 147

Arabic 3 ................................................................. 147

[ARP FX] button ..................................................... 42

Arpeggio ............................................................... 124

[Arpeggio] button .................................................. 39

Arpeggio type categorie ................................... 124

ArpeggioSW (Arpeggio Switch) ...................... 159

ArpSwitch (Arpeggio Switch) ........................... 152

AS1 (ASSIGN 1) .................................. 127, 149, 172

AS1 (Assign 1) ..................................... 151, 155, 157

AS2 (ASSIGN 2) .................................. 127, 149, 172

AS2 (Assign 2) ............................................. 151, 157

AS2 (Assign2) ...................................................... 155

ASA (ASSIGN A) .................................. 127, 149, 172

ASA (Assign A) .................................................... 157

ASA (Assign A) Dest (Destination) ................. 165

ASB (ASSIGN B) .................................. 127, 149, 172

ASB (Assign B) .................................................... 157

ASB (Assign B) Dest (Destination) ................. 165

ASSIGN A, ASSIGN B .......................................... 61

Assign Gain 1&2, 3&4, 5&6, 7&8, 9&10, 11&12,

13&14

..................................................................... 164

Assign Gain L&R ................................................. 164

Assign1/2 .............................................................. 129

AssignA/B ............................................................. 129

ASSIGNABLE OUT L and R jacks .................... 19

ATK ......................................................................... 144

Attack (Attack Time) ................................... 154, 155

Attack Time ................................................... 142, 181

Audio Equipment ................................................... 63

Audio Input ............................................................. 64

Audio Input Part (AUDIO IN) ............................ 118

Audio Output .......................................................... 63

AutoLoad ............................................................... 164

AWM2 (Advanced Wave Memory 2) .............. 109

BaKM (Arpeggio type category) ..................... 124

Band Elimination Filter ........................................ 113

Band Pass Filter ................................................... 113

Bank .................................................. 30, 140, 144, 152

Bank (MIDI) ........................................................... 174

Bank Select LSB ............................................ 71, 180

Bank Select MSB ...........................................71, 180

Bank (TG) .............................................................. 174

Bank Type ..................................................... 128, 129

BankLSB ................................................................ 174

BankMSB ...............................................................174

BankSel (Bank Select) ........................................ 166

BasicRcvCh (Basic Receive Channel) ........... 165

Bass (Arpeggio type category) .......................124

BC (Breath Controller) ........................ 151, 155, 174

BCCurve (Breath Controller Curve) ................ 163

BEF12 (12dB/oct Band Elimination Filter) ..... 148

BEF6 (6dB/oct Band Elimination Filter) .......... 148

Board Voice .......................................................... 101

BPF12D (12dB/oct Digital Band Pass Filter) 148

BPF6 (6dB/oct Band Pass Filter) .....................148

BPFw (Wide Band Pass Filter) ......................... 148

Bras (Arpeggio type category) ........................ 124

Breath Controller .................................................... 59

BREATH Controller jack ....................................... 19

Brightness ............................................................. 181

Bulk Dump ............................................................. 126

Category ................................................................ 140

Category Search ........................................ 32, 35, 73

[CATEGORY SEARCH] button ............... 32, 35, 73

CenterKey ............................................. 135, 136, 138

Channel Aftertouch ............................................. 183

Channel Message ............................................... 180

Channel Mode Messages ................................. 182

ChAT (Channel After Touch) ............................ 155

ChAT (Channel After touch) ............................. 174

ChgTiming (Change Timing) ............................ 129

CHO SEND (Chorus Send) ............................... 157

Chorus .................................................... 118, 121, 164

Chorus Ctg ............................................................ 121

Chorus Pan ........................................................... 121

Chorus Return ...................................................... 121

Chorus Send ......................................................... 121

Chorus to Reverb ................................................121

Chorus Typ (Chorus Effect Category, Chorus Ef-

fect Type)

..............................................................121

ChoSend (Chorus Send) ........... 129, 141, 150, 153

ChSq (Arpeggio type category) ...................... 124

ClockOut ................................................................ 166

Cntr (Arpeggio type category) ......................... 124

Coarse ............................................................ 134, 141

Comb (Arpeggio type category) ..................... 124

Common Edit ..............................................45, 47, 53

[COMPARE] button ............................................... 26

Computer ........................................................... 67, 70

Conrol sliders .........................................................94

Continue ................................................................ 183

contrast ....................................................................10

Control Change ....................................................180

Control Change numbers ....................................62

Control slider (Multi) ..............................................75

Control slider (Performance) ...............................55

Control slider (Voice) ............................................46

Control sliders ........................................................42

Controller .................................................................59

Controller block ....................................................108

Controller Set ..........................................................60

Copy procedure ...................................................146

CPrc (Arpeggio type category) ........................124

CSAssign (Control slider Assign) ....................129

Ctgr (Category) Type ..................................128, 129

CtrlChange (Control Change) ..........................155

CtrlChange (Control Change mode) ...............166

CtrlReset (Controller Reset) ..............................164

Cursor buttons ........................................................17

Curve ......................................................134, 136, 137

Cutoff ......................................................135, 136, 154

Cutoff Frequency .................................................113

CutoffSens (Cutoff Sensitivity) ..........................136

Data Decrement ...................................................181

Data dial ...................................................................17

Data Entry LSB .....................................................181

Data Entry MSB ....................................................181

Data Increment .....................................................181

Data type to be copied ......................................160

Data type to be copied (Type) .........................146

DCY1 .......................................................................144

DCY2 .......................................................................144

[DEC/NO] button ....................................................17

Decay (Decay Time) ...................................154, 155

Decay Time ...........................................................181

Decay1Lvl (Level) ................................................142

Decay1Time ..........................................................142

Decay2Time ..........................................................142

Delay .......................................................................145

Delay (Delay Time) ..............................................132

DelayTempo ..........................................................133

DelayTempoSync ................................................133

Demo Songs ...........................................................29

DEPTH ....................................................................144

Depth ..............................................................131, 132

Dest (Destination) ........................................131, 132

Detune ....................................................................154

DeviceNo. (Device Number) .............................166

DEVNO. (Device Number) .................................167

Distance .................................................................135

DptRatio EL1 - EL4

(Depth Offset Element1 - Element4)

...............132

driver .........................................................................70

DrPc (Arpeggio type category) ........................124

Drum Voice ......................................................30, 111

Drum Voice Edit .....................................................47

Dry Level ................................................................154

DRY LVL (Dry Level) ...........................................157

Dual BEF (Dual Band Elimination Filter) .........148

Index

199

Owner’s Manual

Appendix

Dual BPF (Dual Band Pass Filter) ....................148

Dual HPF (Dual High Pass Filter) .....................148

Dual LPF (Dual Low Pass Filter) ......................148

“E” Indicator ............................................................25

Echo ..........................................................................69

Edit Recall ...............................................................26

Effect Block ...........................................................118

[EFFECT BYPASS] button ...........................17, 119

Effect connection .................................................121

Effect Plug-in Board ..............................................99

Effect Send Level .................................................181

Effect structure .....................................................118

EG Time .................................................................137

EGDepth ........................................................134, 136

EGTime ...........................................................134, 136

EGTimeSens (EG Time Sensitivity) .135, 136, 138

EL:OUT 1-4 (Element 1-4 Effect Output) .......121

Element ....................................................................44

Element Edit ............................................................45

Element EQ ...........................................................119

ElementSw (Element Switch) ............131, 133, 140

[ENTER] button ......................................................17

[EQ] button ..............................................................42

Equal Temp (Equal temperament) ..................147

Equalizer (EQ) ......................................................119

Exp (Expression) ..................................................155

Expression .............................................................181

EXT SW (External Switch) ..................................162

[F1] – [F6] buttons .................................................23

Factory Set ..............................................................21

FadeIn (Fade In Time) ........................................132

FadeInTime ...........................................................139

FadeOut .................................................................132

Favorite Category ..................................................33

FC1 (Foot Controller 1) ...............................155, 174

FC2 (Foot Controller 2) .......................151, 155, 174

FC3, FC4, FC5 ........................................................59

FEG (Filter Envelope Generator) ......................113

FEGDepth ..............................................................154

[FILE] button ...........................................................12

File mode .........................................................12, 168

Filter ........................................................113, 143, 144

Filter Type List ......................................................148

Fine ..................................................................134, 141

FineScaling ............................................................134

FixedVelocity .........................................................163

FMod (Filter Modulation Depth) .......139, 143, 144

Foot Controller ........................................................60

FOOT CONTROLLER 1 and 2 jacks .................19

FOOT SWITCH jacks ............................................19

Footswitch (assignable) .......................................59

Footswitch (sustain) ..............................................59

Free .........................................................................168

FREQ (Frequency) ..............................................150

FS (Footswitch) .............................................155, 174

FSAssign (Footswitch Assign) ..........................165

GAIN .......................................................................150

Gain .........................................................................135

GAIN knob ...............................................................38

GateTimeRate .......................................................131

[GM] button .............................................................30

GM Voice ...............................................................112

GM/XG ....................................................................167

GtKM (Arpeggio type category) .......................124

GtPl (Arpeggio type category) .........................124

hardware controllers .............................................78

Harmonic Content ................................................181

High Pass Filter ....................................................113

HighFreq (High Frequency) ......................145, 154

HighGain (High Gain) .................................145, 154

Hold .........................................................128, 130, 165

Hold (Hold Time) ..................................................132

Hold1 .......................................................................181

HPF12 (12dB/oct High Pass Filter) ..................148

HPF24D (24dB/oct Digital High Pass Filter) ..148

HPFCutoff .......................................................135, 141

HPFCutoff (High Pass Filter Cutoff frequency) ...

...................................................................................144

HPFKeyFlw (Key Follow) ....................................136

HySq (Arpeggio type category) .......................124

IEEE 1394 ................................................................88

[INC/YES] button ....................................................17

Indian ......................................................................147

Information .............................................................176

[INFORMATION] button ...............................17, 176

INIT ..........................................................................144

Ins A/B Ctgry (Insertion effect Category) .......121

Ins A/B Type (Insertion effect Type) ...............121

Ins EF Connect (Insertion Effect Connect) ....121

InsA Ctgry (Insertion A Category) ...................152

InsA Type (Insertion A Type) ............................152

InsB Ctgry (Insertion B Category) ...................152

InsB Type (Insertion B Type) ............................152

InsChoSend (Insertion Chorus Send) .............140

InsEF (Insertion Effect) .......................................154

InsEffectOut (Insertion Effect Output) .............133

InsEFOut (Insertion Effect Output) ...................141

Insertion ..................................................................163

Insertion Effects ....................................................118

INT SW (Internal Switch) ....................................162

Internal ....................................................................163

Internal Structure ..................................................108

KBDTransCh (Keyboard Transmit Channel) .166

Key Edit ....................................................................47

KeyAsgnMode (Key Assign Mode) .................128

Keyboard .................................................................16

Keyboard Mega Voice ........................................110

KeyMode ................................................................130

KeyOnDelay ..................................................133, 139

KeyOnReset ..................................................131, 139

Kirnberger ..............................................................147

L&RGain ................................................................ 164

Layer ......................................................................... 36

Lead (Arpeggio type category) ....................... 124

LegatoSlope ......................................................... 129

lemSw (Element Switch) .................................... 132

LEVEL ..................................................................... 144

Level ............................................................... 137, 142

LevelSens (Level Sensitivity) ............................ 138

LFO (Low Frequency Oscillator) ..................... 114

Local Control .......................................................... 69

LocalCtrl (Local Control On/Off) ...................... 166

Low Pass Filter ..................................................... 113

LowFreq (Low Frequency) ........................ 145, 154

LowGain (Low Gain) ................................... 145, 154

LPF12 + BPF6 (12dB/oct Low Pass Filter + 6dB/

oct Band Pass Filter)

.......................................... 148

LPF12 (12dB/oct Low Pass Filter) ................... 148

LPF18 (18dB/oct Low Pass Filter) ................... 148

LPF18s (18dB/oct Staggered Low Pass Filter) ..

.................................................................................. 148

LPF24A (24dB/oct Analog Low Pass Filter) .148

LPF24D (24dB/oct Digital Low Pass Filter) ... 148

LPF6 (6dB/oct low-pass Filter) ......................... 148

LPFCutoff ............................................................... 141

LPFReso ................................................................ 141

M. TuningNo. (Micro Tuning Number) ........... 128

M. TuningRoot (Micro Tuning Root) ............... 128

Main Volume ......................................................... 181

Master ................................................................ 67, 90

[MASTER] button ................................................... 12

Master Edit mode ................................................ 173

Master Effect ................................................ 119, 121

Master EQ ..................................................... 120, 121

Master Job mode ................................................ 175

master keyboard ................................................... 90

[MASTER] mode .................................................... 90

Master mode .................................................. 12, 172

Master Play mode ............................................... 172

[MASTER VOLUME] slider .................................. 16

Maximum Polyphony .......................................... 115

Mega Voice ........................................................... 110

Memory .................................................................. 172

memory structure ................................................ 111

Mic/Line ................................................................. 164

Micro Tuning List ................................................. 147

microphone ............................................................. 38

MidFreq (Middle Frequency) ........................... 154

MidGain (Middle Gain) ...................................... 154

MIDI ........................................................................ 180

MIDI Channel ................................................. 65, 180

MIDI IN/OUT ......................................................... 166

MIDI IN/OUT/THRU connectors ........................ 19

MIDI Master Volume ........................................... 183

MIDI port .......................................................... 67, 180

MIDI Sync .............................................................. 166

MIDI through ........................................................... 69

MIDISwitch ............................................................ 173

Mixer ......................................................................... 63

mLAN ....................................................................... 88

mLAN MonitorSw ................................................. 164

mLAN16E ........................................................ 88, 184

Mode ...................................................... 129, 153, 172

Index

200

Owner’s Manual

Appendix

Mode A .................................................................... 79

Mode B .................................................................... 79

MODE buttons ....................................................... 22

Mode Change ...................................................... 183

Modes ...................................................................... 12

Modulation Wheel ......................................... 41, 181

Mono ...................................................................... 182

Mono/Poly ..................................... 127, 128, 152, 159

Multi .................................................................. 70, 109

Multi Edit mode ...................................................... 74

Multi Job mode .................................................... 160

Multi mode ...................................................... 12, 157

Multi Part Editor ..................................................... 77

Multi Play mode ................................................... 157

Multi Voice Edit mode ........................................ 161

Multi Voice Job mode (Edit Recall) ................ 161

Multi Voice mode ................................................. 161

Multi Voice Store mode ...................................... 161

[MULTI/SEQ PLAY] button .................................. 12

Multi-Part Plug-in Board ...................................... 99

multi-timbral tone generator ............................. 115

[MUTE] button .............................................. 104, 105

MW (Modulation Wheel) ............................ 155, 174

Naming .................................................................... 27

Normal ................................................................... 111

Normal Voices ........................................................ 30

Note On/Off ........................................................... 180

NoteLimit ....................................................... 130, 134

NoteLimitH (Note Limit High) ........................... 152

NoteLimitH, L (High, Low) ................................. 173

NoteLimitL (Note Limit Low) ............................. 152

NoteShift ................................................ 144, 154, 163

NRPN (Non Registered Parameter Number) LSB

.................................................................................. 182

NRPN (Non Registered Parameter Number) MSB

.................................................................................. 182

InsRevSend (Insertion Reverb Send) ............. 140

Number .................................................. 140, 144, 152

OCT (Octave) ............................... 127, 149, 157, 172

Octave ........................................................... 163, 173

Offset EL1 - EL4

(Phase Offset Element1 - Element4)

.............. 132

Optional Hardware .............................................. 184

Orgn (Arpeggio type category) ....................... 124

OSR ........................................................................ 112

OUTPUT L/MONO & R jacks .............................. 19

OutputSel (Output Select) ................................. 154

OutputSwitch ................................................ 151, 165

PAN ......................................................................... 157

Pan .......................... 129, 137, 142, 150, 153, 174, 181

[PAN/SEND] button .............................................. 42

Part Edit ................................................................... 53

Part EQ ................................................................... 120

Part structure ........................................................ 116

PartSw .................................................................... 149

PartSw (Part Switch) ........................................... 152

PartSwitch ............................................................. 149

PB (Pitch Bend) ...........................................155, 174

PB (Pitch Bend) Lower ....................................... 153

PB (Pitch Bend) Range ...................................... 153

PB (Pitch Bend) Upper ...................................... 153

PB Upper/Lower

(Pitch Bend range Upper/Lower)

.................... 129

PC (MIDI) ...............................................................174

PC (TG) .................................................................. 174

PdMe (Arpeggio type category) ...................... 124

Peaking type ......................................................... 119

PEG (Pitch Envelope Generator) .....................112

[PERFORM] button ................................................ 12

Performance ................................................... 34, 109

Performance Edit ...................................................53

Performance Job mode ..................................... 156

Performance mode ....................................... 12, 149

Performance Play mode .............................. 34, 149

PgmChange (Program Change) .............. 166, 174

Phase ...................................................................... 132

PHONES jack .........................................................19

Pitch ................................................ 112, 134, 141, 143

Pitch Bend ............................................................. 183

Pitch Bend Wheel .................................................. 41

PitchSens (Pitch Sensitivity) ............................. 135

PLG - EF ................................................................ 103

PLG100-VH ............................................................. 99

PLG100-XG ............................................................. 99

PLG150 .................................................................... 99

PLG150-AN ............................................................. 99

PLG150-DR ............................................................. 99

PLG150-DX ............................................................. 99

PLG150-PC ............................................................. 99

PLG150-VL .............................................................. 99

[PLG1] - [PLG3] buttons ...................................... 30

PLG-EF ................................................................... 122

PLG-EF (Plug-in Effect) ...................................... 163

Plug1: – Plug3: ..................................................... 167

Plug-in Board ........................................................ 184

Plug-in Insertion Effect ....................................... 119

Plug-in Voice ......................................................... 101

PMod (Pitch Modulation Depth) 139, 143, 144, 145

Poly ......................................................................... 182

PolyExpand ........................................................... 167

Polyphonic Aftertouch ........................................ 183

PORT ...................................................................... 162

Portamento ............................................................ 181

Portamento Time .................................................. 181

PortaMode (Portamento Mode) .......................127

PortaSw (Portamento Switch) ................... 127, 149

PortaTime (Portamento Time) ................... 127, 149

PORTNO. (Port number) .................................... 167

POWER switch ......................................................... 8

PowerOnMode ..................................................... 164

[PRE1] - [PRE4] buttons ...................................... 30

Program Change ........................................... 71, 183

PureMaj (Pure major) .......................................... 147

PureMin (Pure minor) .......................................... 147

Q (Frequency Characteristic) ........................... 150

QuntStrength (Quantize Strength) ................... 130

QuntValue (Quantize Value) ............................. 130

Random ..................................................................134

RandomPan ..................................................137, 142

RandomSpeed .....................................................131

RB (Ribbon Controller) ...............................151, 155

RcvBulk (Receive Bulk) ......................................166

RcvNoteOff (Receive Note Off) ........................141

RdPp (Arpeggio type category) .......................124

ReceiveCh (Receive Channel) .........................159

REL ..........................................................................144

Release (Release Level) ............................154, 155

Release Time ........................................................181

Remote Control ......................................................78

[REMOTE] button ...................................................17

Reset All Controllers ............................................182

Resonance ............................................113, 136, 154

Resonance/Width ................................................135

REV SEND (Reverb Send) .................................157

Reverb ....................................................118, 121, 164

Reverb Pan ............................................................121

Reverb Return ......................................................121

Reverb Send .........................................................121

Reverb Typ (Reverv Effect Type) ....................121

RevSend (Reverb Send) ............129, 141, 150, 153

Ribbon Controller ...................................................62

RPN (Registered Parameter Number) LSB ...182

RPN (Registered Parameter Number) MSB ..182

Save ........................................................................126

ScalingPan ............................................................137

Segment .................................................134, 136, 137

Seq (Arpeggio type category) ..........................124

SeqCtrl (Sequencer Control) ............................166

Sequence Play mode ...................................12, 162

sequencer ...............................................................70

[SF1] ARP1 (Arpeggio 1) - [SF5] ARP5 (Arpeggio 5)

...................................................................................157

[SF1] - [SF5] buttons .............................................23

SHAPE ....................................................................150

Shelving type ........................................................119

Single Part Plug-in Board ....................................99

Single timbre tone generator ............................115

Slave .........................................................................67

Slider ...............................................................173, 174

Slider1 ~ Slider4 ..................................................165

Slope .......................................................................133

Slot ...........................................................................168

software synthesizer .............................................77

[SOLO] button ......................................................104

Sostenuto Pedal ...................................................181

Source ....................................................................131

Specifications .......................................................188

Speed .....................................................131, 139, 145

Split .....................................................................37, 95

Src (Source) ..........................................................144

Start .........................................................................183

Status ......................................................................168

Step .........................................................................133

Stop .........................................................................183

[STORE] button ....................................................126

Strn (Arpeggio type category) ..........................124

Supplementary information ...............................170

Sus (Sustain) .................................................155, 174

SusPedal Select (Sustain Pedal Select) .........165

Index

201

Owner’s Manual

Appendix

Sustain (Sustain Level) ...............................154, 155

Switch .............................128, 129, 130, 150, 153, 165

System ....................................................................164

System effect ........................................................121

System Effects ......................................................118

System Messages ...............................................183

System Overview .................................................108

System Realtime Messages ..............................183

TCH (Transmit Channel) ............................127, 149

Template ................................................................133

Tempo ............................................................128, 129

TempoSpeed ........................................................131

TempoSync ...........................................................131

TGSwitch (Tone Generator Switch) .................173

thru ..........................................................................148

ThruPort (Through Port) ...............................68, 166

TIME ........................................................................144

Time ................................................................129, 153

TimeMode ..............................................................129

Timing Clock .........................................................183

[TONE] button ........................................................42

Tone Generator block .........................................109

Total ........................................................................168

Total Recall ..............................................................77

Track .......................................................................157

[TRACK SELECT] button ...................................105

TransCh (Transmit Channel) .............................173

TransmitCh ............................................................151

TransmitCh (Transmit Channel) .......................165

Transpose ..............................................105, 163, 173

Troubleshooting ...................................................189

Tune ........................................................................163

TYPE .......................................................................168

Type ........................................135, 139, 140, 150, 168

Type of parameter to be initialized ..........156, 160

USB Device ...........................................................168

USB storage devices ............................................ 20

USB TO DEVICE connector ................................20

USB TO HOST connector ....................................20

[USER1] - [USER2] buttons ................................30

[UTILITY] button .....................................................12

Utility Job mode ...................................................167

Utility mode .....................................................12, 163

Vallot&Yng (Vallotti & Young) ...........................147

Value .......................................................................133

VCE - INS ...............................................................122

VelCrossFade (Velocity Cross Fade) ..............134

VelCurve (Velocity Curve) .................................163

VelLimit (Velocity Limit) ......................................128

VelLimitH (Velocity Limit High) .........................152

VelLimitL (Velocity Limit Low) ...........................152

VelMode (Velocity Mode) ..................................130

VelocityDepth .......................................................144

VelocityLimit ..................................................130, 134

VelocityOffset ........................................................144

VelocityRate ..........................................................130

VelSensDpt (Velocity Sensitivity Depth) ........153

VelSensOfst (Velocity Sensitivity Offset) ........153

Voice .................................................................30, 109

[VOICE] button .......................................................12

Voice Edit .................................................................44

Voice Edit mode ...................................................128

Voice Editor .............................................................77

Voice mode .....................................................12, 127

Voice Play mode ..................................................127

VoiceELPan (Voice Element Pan) ....................153

Vol (Volume) ..........................................................174

VOLUME .................................................................157

Volume ................................... 129, 150, 153, 163, 174

Volume Label ........................................................168

Wave ...............................................................131, 139

Wave No. (Waveform Number) ........................133

WaveCtgry (Waveform Category) ....................133

Werckmeist (Werckmeister) ..............................147

Zones ........................................................................93

ZoneSwitch ............................................................172

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions

contained in this manual, meets FCC requirements. Modiﬁcations

not expressly approved by Yamaha may void your authority,

granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories

and/or another product use only high quality shielded cables.

Cable/s supplied with this product MUST be used. Follow all

installation instructions. Failure to follow instructions could void your

FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply 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 regulations 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:

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

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 satisfactory results,

please contact the local retailer authorized to distribute this type of

product. If you can not locate the appropriate retailer, please

contact Yamaha Corporation 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.

FCC INFORMATION (U.S.A.)

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

WARNING: THIS APPARATUS MUST BE EARTHED

IMPORTANT. The wires in this mains lead are coloured in accor-

dance with the following code:

GREEN-AND-YELLOW : EARTH

BLUE : NEUTRAL

BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus may

not correspond with the coloured markings identifying the terminals

in your plug proceed as follows:

The wire which is coloured GREEN-and-YELLOW must be connected

to the terminal in the plug which is marked by the letter E or by the

safety earth symbol or colored GREEN or GREEN-and-YELLOW.

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 termi-

nal which is marked with the letter L or coloured RED.

• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (3 wires)

COMPLIANCE INFORMATION STATEMENT

(DECLARATION OF CONFORMITY PROCEDURE)

Responsible Party : Yamaha Corporation of America

Address : 6600 Orangethorpe Ave., Buena Park,

Calif. 90620

Telephone : 714-522-9011

Type of Equipment : Music Synthesizer

Model Name : S90 ES

This device complies with Part 15 of the FCC Rules.

Operation is subject to the following conditions:

1) this device may not cause harmful interference, and

2) this device must accept any interference received

including interference that may cause undesired

operation.

See user manual instructions if interference to radio

reception is suspected.

* This applies only to products distributed by

YAMAHA CORPORATION OF AMERICA.

(FCC DoC)

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 México S.A. de C.V.

Calz. Javier Rojo Gómez #1149,

Col. Guadalupe del Moral

C.P. 09300, México, D.F., México

Tel: 55-5804-0600

BRAZIL

Yamaha Musical do Brasil Ltda.

Av. Reboucas 2636-Pinheiros CEP: 05402-400

Sao Paulo-SP. 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

CZECH REPUBLIC/SLOVAKIA/

HUNGARY/SLOVENIA

Yamaha Music Central Europe GmbH,

Branch Austria, CEE Department

Schleiergasse 20, A-1100 Wien, Austria

Tel: 01-602039025

POLAND

Yamaha Music Central Europe GmbH

Sp.z. o.o. Oddzial w Polsce

ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland

Tel: 022-868-07-57

THE NETHERLANDS/

BELGIUM/LUXEMBOURG

Yamaha Music Central Europe GmbH,

Branch Benelux

Clarissenhof 5-b, 4133 AB Vianen, The Netherlands

Tel: 0347-358 040

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 6A

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

THE PEOPLE’S REPUBLIC OF CHINA

Yamaha Music & Electronics (China) Co.,Ltd.

25/F., United Plaza, 1468 Nanjing Road (West),

Jingan, Shanghai, China

Tel: 021-6247-2211

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

Subroto 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.

#03-11 A-Z Building

140 Paya Lebor Road, Singapore 409015

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.

891/1 Siam Motors Building, 15-16 ﬂoor

Rama 1 road, Wangmai, Pathumwan

Bangkok 10330, Thailand

Tel: 02-215-2626

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

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: +81-53-460-2445

SY37

OWNER’S MANUAL

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

Yamaha Web Site (English only)

http://www.yamahasynth.com/

Yamaha Manual Library

http://www.yamaha.co.jp/manual/

U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation

WE71930 505MWCP25.2-01A0

Printed in Japan

Transcripción de documentos

OWNER’S MANUAL Yamaha Web Site (English only) http://www.yamahasynth.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2005 Yamaha Corporation This document is printed on chlorine free (ECF) paper with soy ink. WE71930 505MWCP25.2-01A0 Printed in Japan EN SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. Battery Notice: This product MAY contain a small non-rechargable 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 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN 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 the defective parts. However, you do have the option of having the servicer dispose of these parts for you. Disposal Notice: Should this product become damaged beyond 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. repair, or for some reason its useful life is considered 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 knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. NAME PLATE LOCATION: The graphic below indicates 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. The lightning flash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock. Model IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it 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 performance 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 information 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 without notice or obligation to update existing units. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: 92-469- ➀ (rear) Serial No. Purchase Date 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 connection to the main supply. 2. 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. 3. Main Power Supply Verification: Yamaha products are manufactured 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 location, please refer to the graphic found in the Special Message Section of this manual. 4. DANGER-Grounding Instructions: This product must be grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type! 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 installations are not provided, it must be assumed that unobstructed ventilation is required. 8. This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples 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 supplied or; a cart,rack, or stand that is recommended by the manufacturer. 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 activity. 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 qualified 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 does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged. 13. This product, either alone or in combination with an amplifier 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. 14. 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. 7. Temperature considerations: Electronic products should be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided. PLEASE KEEP THIS MANUAL 92-469-3 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: Power supply/Power cord Water warning • Only use the voltage specified as correct 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. • Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. • Never insert or remove an electric plug with wet hands. • 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. • Be sure to connect to an appropriate outlet with a protective grounding connection. Improper grounding can result in electrical shock. Fire warning • Do not put burning items, such as candles, on the unit. A burning item may fall over and cause a fire. If you notice any abnormality • 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. Do not open • This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following: Power supply/Power cord • Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 8.) • 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. • When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. • Do not place the instrument in an unstable position where it might accidentally fall over. • Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms. • Before moving the instrument, remove all connected cables. • 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. Location • When setting up the instrument, make sure that the AC outlet you are using is easily accessible. If some trouble or malfunction occurs, immediately turn off the power switch and disconnect the plug from the outlet. • 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. • Do not expose the instrument to excessive dust or vibrations, 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. (2)-10 1/2 Connections Saving data • 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. Maintenance • When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Handling caution Saving and backing up your data • The edited settings are lost when you turn off the power to the instrument without saving. Make sure to save important data to internal (User) memory (see page 126). • Saved data may be lost due to malfunction or incorrect operation. Save important data to a USB storage device. • Never attempt to turn off the power while data is being written to internal memory (while an “Executing...” or “Please keep power on” message is shown). Turning the power off in this state results in loss of all user data and and may cause the system to freeze. This means that this synthesizer may not be able to start up properly, even when turning the power on next time. • Do not insert a finger or hand in any gaps on the instrument. Backing up the USB storage device • Never insert or drop paper, metallic, or other objects into the gaps on the 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. • To protect against loss through media damage, we recommend that you save your important data onto two USB storage devices. • Do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard. • Do not rest your weight on, or place heavy objects on the instrument, and 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 can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. Yamaha cannot be held 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. (2)-10 2/2 Introduction Introduction Congratulations and thank you for your purchase of the Yamaha S90 ES Music Production Synthesizer! You now own one of the best-sounding, most versatile, and most powerful music production instruments on the planet. We strove to put virtually all our synthesizer technology and music making know-how into one instrument—and we succeeded. The new S90 ES not only gives you the latest and greatest sounds and rhythms (as well as the ability to create your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these dynamic sounds/rhythms—in real time, as you perform! Take time to look through this manual carefully. It's packed with important information on how to get the most from this amazing instrument. Dive in now and enjoy! Accessories The following items have been included with your S90ES. Check to see that you have everything listed here. ❏ Power cord ❏ Owner’s Manual (this document) ❏ Data List ❏ Sticker label for optional mLAN16E expansion board The illustrations and LCD screens as shown in this owner’s manual are for instructional purposes only, and may appear somewhat 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, style files, MIDI files, WAVE data, musical scores and sound recordings. Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws. Any violation of copyright has legal consequences. DON’T MAKE, DISTRIBUTE OR USE ILLEGAL COPIES. This device is capable of using various types/formats of music data, and it optimizes the data in advance to the proper format for use with the device. As a result, the data may not be played back precisely as the creators or composers originally intended. Copying of the commercially available musical data including but not limited to MIDI data and/or audio data is strictly prohibited except for your personal use. • Windows is the registered trademarks of Microsoft® Corporation. • Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. • The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies. 6 Owner’s Manual Table of Contents Table of Contents Introduction .............................................................6 Accessories .............................................................6 Setting up and Playing ...........................................8 Power supply connections........................................... 8 Playing the keyboard ................................................. 10 Modes ........................................................................ 12 Basic instructions....................................................... 13 Main Features ............................................................ 14 Using the Owner’s Manual......................................... 15 The Controls & Connectors 16 Front Panel ................................................................. 16 Rear Panel.................................................................. 18 Using USB storage devices....................................... 20 Basic Operation 21 Restoring the Factory-programmed S90 ES .............. 21 Functions of the MODE buttons ................................. 22 Functions and Sub-Functions .................................... 23 Selecting a Program .................................................. 23 About the editing functions ........................................ 25 Confirmation Message ............................................... 26 Information Display .................................................... 27 Note (Key) settings .................................................... 27 Naming....................................................................... 27 Quick Guide Basic Structure 108 Internal Structure (System Overview)....................... 108 Maintaining data....................................................... 126 Reference 127 Voice mode .............................................................. 127 Performance mode................................................... 149 Multi mode................................................................ 157 Multi Voice mode...................................................... 161 Sequence Play mode ............................................... 162 Utility mode .............................................................. 163 File mode.................................................................. 168 Master mode ............................................................ 172 Appendix 176 Information Displays................................................. 176 Display Messages.................................................... 178 About MIDI ............................................................... 180 Installing Optional Hardware.................................... 184 Specifications........................................................... 188 Troubleshooting ....................................................... 189 Application Index ..................................................... 193 Index ........................................................................ 198 29 Playing the Demo Songs ......................................29 Playing the S90 ES................................................30 Voice Play mode ........................................................ 30 Performance Play mode............................................. 34 Using the Arpeggio feature........................................ 39 Using the Controllers on the S90 ES.......................... 41 Editing a Program .................................................44 Editing a Voice ........................................................... 44 Editing a Performance ............................................... 53 Using the Controllers—Advanced Course .........59 Controllers supported by the S90 ES......................... 59 Connecting the Computer and MIDI devices......63 Connections ............................................................... 63 Creating a Song with the Multi mode......................... 70 Using the S90 ES with computer software................. 77 Using mLAN............................................................... 88 Creating Your Original Program Set (Master mode)........................................................90 Playing back MIDI files (Sequence Play mode)..........................................96 Using the Plug-in Boards .....................................99 Tips.......................................................................104 Owner’s Manual 7 Power supply connections Setting up and Playing Power supply connections Power supply connections 1. Make sure that the instrument’s POWER switch on the rear panel is at the OFF position. POWER OFF 2. Connect the supplied power cord to the AC INLET on the instrument’s rear panel. 3. Connect the other end of the power cord to an AC outlet. Make sure your S90 ES meets the voltage requirement for the country or region in which it is being used. Power Switch AC INLET Power cord (included) WARNING Make sure your S90 ES is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard! WARNING Use only the AC power cord supplied with the S90 ES. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard! WARNING The type of AC power cord provided with the S90 ES may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with the S90 ES. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the grounding conductor. 8 Owner’s Manual Power supply connections Connecting the speakers or pair of headphones Since the S90 ES has no built-in speakers, you will need to monitor the sound of the instrument by using external equipment. Connect a set of headphones, powered speakers, or other playback equipment as required. Powered speaker (Right) Powered speaker (Left) Headphones OUTPUT R OUTPUT L/MONO PHONES S90 ES Turning the power on Make sure the volume settings of the S90 ES and external devices are turned down to the minimum. MASTER VOLUME Turn the power on by pressing the [POWER] switch on the S90 ES rear panel, then turn the power on the amplifiers. Connecting MIDI devices or a Mixer Make sure that all volume settings are turned down all the way to the minimum. Then turn on the every device in your setup in the order of MIDI masters (controllers), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). When powering down the setup, first turn down the volume of each audio device, then switch off each device in the reverse order (first audio devices, then MIDI). 1 2 3 POWER ON!! MUSIC PRODUCTION SYNTHESIZER MIDI master S90 ES Audio equipment (first mixer, then amplifier) Owner’s Manual 9 Playing the keyboard Adjusting the sound and the display contrast Adjust the volume levels of the S90 ES and the connected amplifier/speaker system. If the display is not easily visible, use the Contrast control to adjust for optimum visibility. Adjust the volume with the MASTER VOLUME slider. Adjust the display contrast with the Contrast control. SF1 F1 MASTER VOLUME Contrast control Now that you’ve set up the S90 ES properly, you’re ready to begin playing it. n When you are ready to turn off the S90 ES, make sure to switch off the power of the external device (or lower its volume) before switching off the S90 ES. Playing the keyboard Playing the sounds Try playing some of the realistic and dynamic S90 ES sounds from the keyboard now. When you turn the power on following the directions in “Power supply connections” (page 8), the display below appears. n In the default settings, the Master mode is selected. For details about the modes, refer to the section “Modes” on page 12. Indicates that the Master mode is selected. Indicates the type of selected program. Indicates the name and number of selected program. In this condition you can play the keyboard and hear the sounds of the selected program. When the instrument is turned on, the “Wide River” program—featuring a natural, mellow piano sound with a rhythmic arpeggio and ambient synth—is automatically called up. Notice the indication “Performance:USER1:001(A01)” at the top right of the display. This indicates that Performance 001 in User bank 1 is currently selected. A “Performance” is one of the types of programs of the S90 ES. As described below, the instrument also features other types: Voices and Multis. n 10 For details about Banks, see page 30. Please note that Performances and Multis have only User Banks (no other banks are available). Owner’s Manual Playing the keyboard Selecting and playing the sounds The S90 ES provides three different types of programs for playing the sounds: Voices, Performances, and Multis. The basic difference among these programs is in their use—for playing the keyboard, or for creating music with multiple parts. For playing the keyboard For creating music of multiple parts Voice: Performance: Multi: This program contains a basic instrument sound, such as a piano, guitar, bass guitar, drum kit, etc. This program allows you to combine several Voices together—either in a richly textured layer, or separately (as in different sections of the keyboard) for playing several different parts simultaneously. This program allows you to play multiple tracks from an external sequencer, using many different Voices simultaneously. You can choose from 128 different Voices, Performances, and Multis in the Master mode. To change the desired Master number, use the [INC/ YES] button, [DEC/NO] button, or the Data dial. Increases number Decreases number DEC/NO Decreases number INC / YES Increases number Change the Master number, and then try playing the various Voices or Performance types. When a Voice is assigned to the selected Master number, “Voice” will appear at the top of the display. When a Performance is assigned, “Performance” will appear in the display. n Although a Multi can be used for playing the keyboard, it is primarily intended for creating, recording and playback of multi-part music. For details about using this function, see page 70. As you play the various Voices and Performances, notice the differences between them—especially how some Performances sound exceptionally rich and more complex than Voices. Here, we’ve introduced the operations in the Master mode that is called up first when turning the power on. The S90 ES has other modes of operation as well. In the next section, we’ll explain about the modes of the S90 ES and how they are used. Owner’s Manual 11 Modes Modes There are several operation modes in the S90 ES, and they can be selected by using the six mode buttons. The use of the individual modes depends on your particular musical application. For playing the keyboard conventionally, the Voice or Performance mode should be used. If you’re creating music, particularly multipart arrangements, use the Multi mode and Sequence Play mode. To make global settings for the instrument and back up your important data, use the Utility and File modes. A special Master mode is also included for instantly calling up desired modes and related settings together in one button press, without having to first select a mode. VOICE 1 MULTI/ SEQ PLAY 2 Playing the keyboard FILE 3 UTILITY 5 6 EDIT JOB STORE COMPARE 3 EFFECT BYPASS ARPEGGIO using a Voice using multiple Voices Creating original program sets Voice mode [VOICE] button Performance mode [PERFORM] button Master mode [MASTER] button The S90 ES has a wealth of high-quality, dynamic sounds—also referred to as “Voices.” You can play these Voices—one Voice at a time—from the keyboard in the Voice mode. The S90 ES also lets you create your own original Voices. In the Performance mode, you can play several Voices together in a layer, or play different Voices from separate ranges of the keyboard. Each of these combinations of Voices is called a “Performance.” This mode lets you create richly textured, layered sounds or play two different parts simultaneously—for example, piano and bass guitar—and is particularly useful when performing solo. The Master mode can be used in two ways: 5 6 4 Recording via an external sequencer • Storing your favorite programs This lets you register settings that you often use in the Voice, Performance, or Multi mode, and instantly recall the mode and custom settings together in a single button press, without having to first select a mode. • Playing as a master keyboard This lets you divide the keyboard into four separate sections—just as if you were playing four different MIDI keyboards. Backing up data Setting the system parameters Multi mode [MULTI/SEQ PLAY] button File mode [FILE] button Utility mode [UTILITY] button The Multi mode lets you use the S90 ES as a multi-timbral tone generator for sequencer song playback. By assigning a different Voice to each track in a song file on your external sequencer, you can play back complex multipart ensemble recordings. The File mode lets you save your S90 ES data to the USB storage device, and allows you to load the USB device data to the S90 ES. You can store your data to the S90 ES; however, for best safe-keeping, Yamaha recommends that you back up your important data to a USB storage devise. The Utility mode lets you set parameters that apply to the entire system of the S90 ES. These parameter settings are applied to all Voices, Performances, and Multis. 4 Playing back MIDI files * The settings for each Voice, Performance, or Multi can be determined in the respective Voice mode, Performance mode, or Multi mode. SMF (Standard MIDI File) format only Sequence Play mode [MULTI/SEQ PLAY] button In the Sequence Play mode, you can play back song data created on an external sequencer, using the S90 ES as a multi-part tone generator. Multiple SMF files can be played in order, and files saved to a USB storage device can be played back directly without having to load the data to the S90 ES. n 12 2 MASTER 4 REMOTE 1 Playing the keyboard PERFORM Pressing the [MULTI/SEQ PLAY] button toggles between the Multi mode and Sequence Play mode. Owner’s Manual Basic instructions Basic instructions Voices—the basic building blocks of the S90 ES Voices—created in the Voice mode—are the basic sonic building blocks for the other modes of the S90 ES. The Performance and Multi programs are made up of different Voices, used together for specific performance or song recording applications. The S90 ES features an exceptionally wide variety of preset Voices for playing in virtually any musical style. Try searching through the Voices to find your favorites. Once you’ve explored them and feel comfortable with them, try branching out creatively and use the editing features to make your own original Voices. Selecting a preset Voice Page 30 Creating a new Voice Page 44 Combine several Voices to create a Performance or Multi To play several different Voices together simultaneously, select a Performance. To use the S90 ES as a multi-timbral tone generator with your sequencer, select a Multi. The S90 ES contains a full set of specially programmed 128 Performances and 64 Multis. With the help of the Multis, the S90 ES can be used to play back MIDI song files from a connected USB device. Selecting a preset Performance Page 34 Creating a new Performance Page 36, 53 Creating music using a Multi and your computer Page 70 Playing back a MIDI file Page 96 Master mode—Create a master keyboard setup or instantly call up your desired programs The Master mode lets you register your favorite Voices, Performances, and Multis together into easy-toselect Master programs. No matter what mode is used—Voice, Performance or Multi—you can have it instantly and automatically selected when you call up the appropriate Master. The Master mode can also be used to divide the keyboard into four sections—each with its own Voice— just as if you were playing four different MIDI keyboards. Making Master mode settings Page 90 Convenient remote control of your computer software The panel of the S90 ES also serves as a convenient control surface for your computer music system. Use the buttons and sliders to control the audio mixer and sequencer transport functions in your MIDI/audio software. This highly intuitive approach gives you hands-on control over your virtual studio—a level of control that a keyboard and mouse can’t match. These features are available for any computer sequence software and Multi Part Editor software (Page 77) compatible with the Remote Control function. Remote-controlling the software Page 77 Global settings and data backup While the Voice, Performance, and Multi modes provide controls for using and editing the programs of the S90 ES, the Utility mode is the place where you make overall settings for the instrument—for example, adjusting the transpose and fine tuning controls, or switching between MIDI and USB operation. You can also archive your important S90 ES data to a USB storage device for safe-keeping. Making global system settings Page 163 Backing up important data Page 126 This concludes our short guide to the basic operations and functions of the S90 ES. Enjoy the dynamic, authentic sounds of the instrument as you continue to play it and create music on it. Make sure to follow the references above and go on to explore some of the other exciting and powerful features of the S90 ES. Owner’s Manual 13 Main Features Main Features ● Naturally responsive 88-Key Balanced Hammer Effect keyboard (with aftertouch), drawing on our extensive experience and expertise in piano-making. ● Wide range of dynamic and authentic voices. Use the Category Search function to quickly call up the sounds you want, based on their instrument type. ● Half Damper function that lets you finely control the decay of the sound—and expressively recreate the complex charactistics of acoustic instruments, especially piano and stringed instruments. ● Includes the newly developed Damper Resonance—an Insertion effect that reproduces the rich harmonics and unique sound characteristics of an actual grand piano when using the damper pedal. ● Stretch tuning used on many Voices—the same kind of tuning as used on an actual acoustic piano. ● Arpeggio feature, which automatically plays a variety of sequenced phrases in response to the keys you play. This function lets you easily call up various melody and rhythm patterns—over 1,700 types—providing instant inspiration for song creation and performance. ● Versatile Multi mode lets you set up the S90 ES for playing multiple instrument parts from your sequencer software, giving you all the sounds you need to realize complete, professional-sounding songs. Moreover, the corresponding Multi Library lets you have the proper instruments for the selected type of music called up instantly and automatically. ● Extensive effect processing, with Reverb (20 types), Chorus (49 types), eight separate Insertion blocks (each having two blocks and a total 117 types), Master Effect (8 types), and a digital equalizer (3-band Part EQ and 5band Master EQ). ● Comprehensive real-time control with four Control Sliders—letting you adjust filter, levels, effects, EG, and more, while you play. ● Master mode—for using the S90 ES as a master keyboard controller (with independent Zones), and for easily reconfiguring the instrument between Voice/Performance play and Multi play in live applications. ● Remote Control—for operating your favorite sequencer software from the S90 ES. ● Three Modular Synthesis Plug-in System slots, which let you upgrade the S90 ES with a completely new synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more instrument parts. Plus, special Plug-in voices have already been programmed and stored to the S90 ES, ready to be played as soon as you install the proper board. ● A full rear panel of input/output connections provides maximum interfacing flexibility. These include Assignable Outputs, A/D Inputs, MIDI, and two USB. Moreover, an optional mLAN16E board can be installed. ● Two USB connectors—USB TO HOST for connecting to computer, and USB TO DEVICE for connecting to storage devices, such as a hard disk drive or flash disk. ● Compatibility with Yamaha's powerful Voice Editor and Multi Part Editor software—featuring comprehensive, intutive editing of all parameters from your computer. 14 Owner’s Manual Using the Owner’s Manual Using the Owner’s Manual Setting up and Playing .........................................................................................................................................Page 8 This section gives you all you need to know about getting started in playing and using your S90 ES—from setting up and turning on the power to performing basic operations. The Controls & Connectors ...............................................................................................................................Page 16 Use this section to find out about all of the buttons and controls of the S90 ES. Basic Operation ..................................................................................................................................................Page 21 This section introduces you to the basic operation conventions of this instrument, such as editing values and changing settings. Quick Guide .........................................................................................................................................................Page 29 In this tutorial section, you will take a guided tour through the various functions of this instrument, and get some hands-on experience in playing using it. Basic Structure .................................................................................................................................................Page 108 This section provides a detailed overview of all of the main functions and features of this instrument, and shows how they fit together. Reference...........................................................................................................................................................Page 127 The S90 ES encyclopedia. This section explains all parameters, settings functions, features, modes and operations in full detail. Appendix............................................................................................................................................................Page 176 Information on installing options, specifications, error messages, and more. Troubleshooting ................................................................................................................................................Page 189 If the S90 ES does not function as expected or you have some problem with the sound or operation, refer to this section before calling your Yamaha dealer or service center. Most common problems and their solutions are covered here in a very simple and easy-to-understand way. Data List (separate booklet) This contains various important lists such as the Voice List, Effect List, and MIDI Implementation Chart. Various pages and menus appear on the LCD display of this instrument depending the selected mode or function. Throughout this manual, arrows are used in the instructions, indicating in shorthand the process of calling up certain displays and functions. The example instructions below indicate to 1) press the [VOICE] button, 2) select a Normal Voice, 3) press the [EDIT] button, 4) select an Element, 5) press the [F1] OSC button, and 6) press the [SF2] OUTPUT button. [VOICE] → Normal Voice selection → [EDIT] → Element selection → [F1] OSC → [SF2] OUTPUT n When a confirmation message (page 26) or Control Function window (page 42) is shown in the display, press the [EXIT] button to exit from that condition, then execute the instructions as in the above example. Likewise, press the [REMOTE] button to exit from the Remote Control mode, then execute the instructions as in the above example when the S90 ES is in the Remote Control mode. Owner’s Manual 15 The Controls & Connectors Front Panel 9 6 PAN/SEND PAN REVERB CHORUS TEMPO ASSIGN ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 TONE CUTOFF RESONANCE ATTACK RELEASE ARP FX SWING GATETIME VELOCITY UNITMULTIPLY MEF MEF 1 MEF 2 MEF 3 MEF 4 EQ LOW LOW MID HIGH MID HIGH VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 ) $ @ # * ™ ¶ MODE VOICE PERFORM USER 1 USER 2 DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4 GM FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS C D E MASTER MULTI/ SEQ PLAY SF2 SF1 SF3 SF4 SF5 FILE UTILITY JOB STORE F2 F1 F3 F4 F5 A B SYN LEAD SYN PAD/ CHOIR 1 2 DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION 4 PLG 3 BRASS REED/PIPE SLOT 3 STRINGS CATEGORY SEARCH F G H SE MUSICAL FX COMBI 3 4 5 6 7 8 12 13 14 15 16 TRACK SELECT EXIT F6 ENTER REMOTE ELEMENT/PERF. PART/ZONE COMMON EFFECT BYPASS 9 ARPEGGIO 11 10 EXECUTE ZONE 3 PLG 2 INFORMATION COMPARE ZONE 2 SLOT 2 PLG 1 INC/ YES EDIT ZONE 1 SLOT 1 VOLUME DEC/NO MASTER VOLUME ∞ PROGRAM MUTE SOLO ZONE 4 5 7 ! 8 PAN/SEND PAN ASSIGN ASSIGN A ASSIGN B TONE CUTOFF RESONANCE ATTACK RELEASE ARP FX SWING GATETIME VELOCITY UNITMULTIPLY MEF EQ MEF 1 REVERB MEF 2 CHORUS ASSIGN 1 MEF 3 ^ % & ( º¡ MODE TEMPO MEF 4 LOW LOW MID HIGH MID HIGH VOLUME 2 VOLUME 3 VOLUME 4 ¢ USER 1 USER 2 DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4 GM PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SE MUSICAL FX COMBI SLOT 1 VOICE PERFORM MASTER PLG 1 SLOT 2 MULTI/ SEQ PLAY DEC/NO INC/ YES EXIT ENTER FILE UTILITY JOB STORE SYN LEAD EDIT SF2 SF1 SF3 SF4 SF5 F2 F3 F4 F5 F6 REMOTE 1 SYN PAD/ CHOIR 2 DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION 3 4 5 6 7 8 12 13 14 15 16 ZONE 3 TRACK SELECT ELEMENT/PERF. PART/ZONE COMMON EFFECT BYPASS ARPEGGIO 9 10 11 EXECUTE ZONE 2 CATEGORY SEARCH INFORMATION COMPARE ZONE 1 SLOT 3 VOLUME F1 MASTER VOLUME § PROGRAM ASSIGN 2 VOLUME 1 £ MUTE SOLO ZONE 4 A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B5 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7 23 n 1 When setting the following parameter to “0,” each key corresponds to the note name shown in the illustrations. [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave. Refer to this illustration when setting parameters having note name values, such as Note Limit. 1 Keyboard 5 Control sliders 1 - 4 The keyboard is equipped with a touch response feature (both initial touch and aftertouch). With initial touch, the instrument senses how strongly or softly you play the keys, and uses that playing strength to affect the sound in various ways, depending on the selected voice. With aftertouch, the instrument senses how much pressure you apply to the keys while playing, and uses that pressure to affect the sound in various ways, depending on the selected voice. Moreover, any of a variety of functions can be assigned to aftertouch for each voice (page 62). 2 Pitch bend wheel Page 41 Controls the pitch bend effect. You can also assign other functions to this controller. 3 Modulation wheel Page 41 Controls the modulation effect. You can also assign other functions to this controller. 4 [MASTER VOLUME] slider Adjusts the master volume. Move the slider upwards to raise the output level from the OUTPUT L/R jacks and the PHONES jack. 16 Owner’s Manual Page 42 These four highly versatile sliders let you adjust various aspects or parameters of the current Voice. Use the Control function buttons above to change the parameter set for the Control sliders. n If all of the Control sliders are set to the minimum, you may not hear any sound from the instrument, even when playing the keyboard. If this is the case, raise all the sliders to a suitable level. n The [MASTER VOLUME] slider adjusts the output level from this instrument. On the other hand, the volume adjustment by Control slider adjusts the MIDI volume value for the corresponding Element or Part. 6 Control function buttons Page 43 Use the Control function buttons to change the parameter set for the Control sliders. 7 LCD Contrast control Page 10 Use this control to set the LCD display for optimum legibility. 8 [F1] - [F6] (Function) buttons Page 23 These buttons located directly below the LCD display call up the corresponding functions indicated in the display. In the display hierarchy, these functions [F] rank just below the modes. Front Panel These buttons located directly below the LCD display call up the corresponding sub functions indicated in the display. In the display hierarchy, these sub functions [SF] rank just below the functions [F]. These buttons can be also used to store/recall the Arpeggio type in each Play mode. (page 39) & [ENTER] button Use this button to execute a Job or a Store operation. Also use this button to actually enter a number when selecting a Memory or Bank for Voice or Performance. In the File mode, use this button to go to the next lowest level in the selected directory. n ) LCD Display The large backlit LCD displays the parameters and values related to the currently selected operation or mode. ! [INFORMATION] button Page 27 For calling up a special “help” feature that shows information about the currently selected mode. You can go back to the previous display by pressing this button again or pressing any other button. Depending on the selected display, this button may be used to call up a window for inputting characters (page 27), or for selecting keys (page 53). @ Data dial # [INC/YES] button Page 25 For increasing the value of the currently selected parameter. Also use it to actually execute a Job or a Store operation. $ [DEC/NO] button Page 25 For decreasing the value of the currently selected parameter. Also use it to cancel a Job or a Store operation. n You can also use the [INC/YES] and [DEC/NO] buttons to quickly move through parameter values in 10-unit jumps, especially those with large ranges. Simply hold down one of the buttons (of the direction you want to jump), and simultaneously press the other. For example, to jump in the positive direction, hold down the [INC/YES] button and press [DEC/NO]. % Cursor buttons Page 25 The cursor buttons move the “cursor” around the LCD display screen, highlighting and selecting the various parameters. ^ [EXIT] button Page 22 The menus and displays of this synthesizer are organized according to a hierarchical structure. Press this button to exit from the current display and return to the previous level in the hierarchy. In the File mode, the [EXIT] and [ENTER] buttons may be used to move folders in the USB storage device. * MODE buttons Page 22 These buttons select the operating modes (e.g., Voice mode). ( [REMOTE] button Page 78 The Remote mode lets you control sequencer software on your computer from the panel controls of the instrument. Turn the [REMOTE] button on to enter the Remote mode. n Page 25 For editing the currently selected parameter. To increase the value, turn the dial right (clockwise); to decrease the value, turn the dial left (counter-clockwise). If a parameter with a wide value range is selected, you can change the value in broader strokes by quickly turning the dial. The Controls & Connectors 9 [SF1] - [SF6] (Sub Function) buttons Page 23 When setting the MIDI IN/OUT parameter to “MIDI” ([UTILITY] → [F5] MIDI → [SF4] OTHER) or setting both of Mode A and Mode B to “off” ([UTILITY] → [F4] CTL ASN → [SF4] REMOTE), you cannot enter the Remote mode even by pressing the [REMOTE] button. Set these parameters to appropriate values (page 78) then enter the Remote mode. º [EFFECT BYPASS] button Page 119 The extensive effect section of the instrument provides Insertion effects (eight sets, with two effect units per set), System effects (Reverb and Chorus), and Master effects. The [EFFECT BYPASS] button enables you to turn the corresponding effect blocks on or off with a single touch. From the following display, you can select the specific effect(s) to be bypassed when the [EFFECT BYPASS] button. [UTILITY] → [F1] GENERAL → [SF3] EF BYPS display n If you install an optional Effect Plug-in Board (PLG100-VH), Plug-in Insertion effects can also be used (page 103). ¡ [ARPEGGIO] button Page 39 Press this button to enable or disable playback of the Arpeggio for each Voice, Performance, Multi. If the Arpeggio Switch of the selected part is set to off in the Performance/Multi mode, however, pressing this button has no effect. ™ Bank buttons Pages 30, 32 Each button selects a Voice Bank. When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category (printed below each button). £ Group [A] - [H] buttons Pages 31, 32 Each button selects a Voice or Performance Group. When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category (printed below each button). ¢ Number [1] - [16] buttons Use of these buttons differs depending on the on/off status of the [TRACK SELECT] and [MUTE] buttons. Owner’s Manual 17 Rear Panel The Controls & Connectors ∞ [CATEGORY SEARCH] button ¶ SLOT 1 - 3 lamps Page 32 When this button is turned on, the lower row of Bank buttons (labeled A.PIANO—REED/PIPE below the buttons) and the Group buttons can be used to select the Voice/Performance category. § [TRACK SELECT] button [MUTE] button Page 99 These three lamps show the installation status of the Plug-in Boards. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light. Page 104 Page 105 n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. The buttons enable you to switch the function of Number [1] - [16] buttons. For details, see the “¢ Number [1] [16] buttons.” ■ Functions of the Number [1] - [16] buttons When [TRACK SELECT] button is on Keyboard transmit channel setting Voice Play mode When both [TRACK SELECT] and [MUTE] buttons are off When [MUTE] button is on — Voice selection, according to Groups A-H Voice Edit mode Element selection (1 - 4) and Element Mute setting (9 - 12) Performance Play mode Keyboard transmit channel setting — Performance Edit mode Performance part selection (1 - 4) Master Play mode Keyboard transmit channel setting (when Part Mute setting (when registering a memorizing the Voice mode or Performance or a Multi) Performance mode to the current Master) or Multi Part selection (when memorizing the Multi mode to the current Master) Master Edit mode Zone selection (1 - 4) Multi Play mode Part selection Part Mute setting Sequence Play mode Keyboard transmit channel setting Part Mute setting — Multi Voice Edit mode Element selection (1 - 4) and Element Mute setting (9 - 12) — Performance Part Mute setting (1 - 4) Performance or Voice selection (if cursor is located at Voice name), according to Groups A - H Master selection, according to Groups A-H — — Multi or Voice selection (if cursor is located at Voice name), according to Groups A - D Multi Edit mode Rear Panel 1 3 4 5 USB TO DEVICE Plug-in SLOT 6 7 FOOT SWITCH MIDI TO HOST R 2 9 1 POWER Switch 2 AC INLET (AC Power Cord Socket) L OUTPUT R L/MONO PHONES A/D INPUT R 1 Page 8 Be sure the plug the AC power cord into this socket before plugging the power cord into an AC outlet. Use only the AC power cord supplied with the S90 ES. 3 Plug-in Board Slots 1 - 3 (Plug-in Boards cover) Page 184 Installing an optional Plug-in Board to the S90 ES lets you greatly expand the sonic palette of the instrument. Up to three boards can be installed to the S90 ES’s rear panel. GAIN L ) ! @ # 4 USB connectors Use this to switch the synthesizer on or off. Owner’s Manual 2 GREEN YELLOW ORANGE ASSIGNABLE OUTPUT 18 $ FOOT CONTROLLER BREATH ASSIGNABLE SUSTAIN FOOT PEDAL IN OUT THRU 8 Page 67 This instrument is equipped with two types of USB connectors on the rear panel—USB TO HOST and USB TO DEVICE. The USB TO HOST connector is used to connect this instrument to the computer via the USB cable. The USB connection between the instrument and the computer can only be used for transfer of MIDI data. Unlike MIDI, USB can handle multiple ports via a single cable. The USB connection can only be used for transfer of MIDI data. No audio data can be transferred via USB. The USB TO DEVICE connector is used to connect this instrument to a USB storage device (hard disk drive, CD-ROM drive, MO drive, flash disk, etc.) via the USB cable. This lets you save the data created on this Rear Panel For details about USB, see page 20 . ! PHONES jack USB 7 FOOT SWITCH jacks Page 59 For connection of optional FC3, FC4 or FC5 Footswitches. When connected to the SUSTAIN jack, the Footswitch controls sustain. When connected to ASSIGNABLE, it can control one of various different assignable functions. $ mLAN expansion board (mLAN16E) cover Pages 88, 184 The mLAN expansion board (mLAN16E) sold separately can be installed to this instrument. With the mLAN16E board, you can conveniently and easily hook up your S90 ES to other mLAN compatible instruments or devices. ■ When the optional mLAN16E has been installed: 1 The SUSTAIN jack can be used with the FC3, FC4, or FC5. The ASSIGNABLE jack can be used with the FC4 or FC5. 8 FOOT CONTROLLER 1 and 2 jacks Page 59 An optional foot controller (FC7, etc.) can be connected here. Each jack lets you continuously control one of various different assignable functions — such as volume, tone, pitch, or other aspects of the sound. 9 ASSIGNABLE OUT L and R jacks Page 63 Line level audio signals are output from this instrument via these phone jacks (1/4" mono phone plug). These outputs are independent of the main output (at the L/MONO and R jacks below), and can be freely assigned to any of the Drum Voice keys or the Parts. This lets you route specific Voices or sounds for processing with a favorite outboard effect unit. The parts which can be assigned to these jacks are as follows: • Drum Voice key to which the drum/percussion instrument is assigned • Any Part of a Performance* • Any Part of a Multi* mLAN EXPANSION BOARD mLAN16E n Page 38 For adjusting the input gain of the audio at the A/D INPUT jacks (above). Depending on the connected device (microphone, CD player, etc.), you may need to adjust this for optimum level. MADE IN JAPAN Connect an optional breath controller BC3 here. You can use the Breath Controller to change the output level or tone of the sounds according to the strength of your breath. # GAIN knob IEEE1394 Page 59 Page 38 External audio signals can be input via these phone jacks (1/4" mono phone plug). Various devices such as microphone, guitar, bass, CD player, synthesizer can be connected to these jacks and their audio input signal can be sounded as the AUDIO IN part of the Performance or Multi. For stereo signals (such as from audio equipment), use both jacks. For mono signals (such as from a microphone or guitar), use only the L jack. ACTIVE MIDI THRU is simply for redirecting any received MIDI data (via MIDI IN) to connected devices, allowing convenient chaining of additional MIDI instruments. @ A/D INPUT jacks 1 Page 65 MIDI IN receives MIDI messages from an external MIDI device. Use this connector to control the synthesizer from an external MIDI device. MIDI OUT is for transmitting all control, performance and playback data from the S90 ES to another MIDI device, such as an external sequencer. You can also play the external tone generator by using the S90 ES and control the external MIDI device. 6 BREATH Controller jack Page 9 For connection to a pair of stereo headphones. USB is an abbreviation for Universal Serial Bus. It is a serial interface for connecting a computer with peripheral devices, and enables much faster data transfer compared to conventional serial port connections. 5 MIDI IN/OUT/THRU connectors Pages 9, 63 Line level audio signals are output via these phone jacks. For monophonic output, use just the L/MONO jack. 2 n ) OUTPUT L/MONO & R jacks The Controls & Connectors instrument to the external USB storage device and load the data from the external USB storage device to the instrument. Save and Load operations are executed in the File mode. (Pages 50, 56, 76) n The illustration above shows the panel of the mLAN16E expansion board with the included sticker label affixed. Make sure to attach this label to the mLAN16E (page 187). 1 mLAN (IEEE1394) connectors 1, 2 For connecting mLAN devices or IEEE1394-compatible devices via IEEE1394 standard (6-pin) cables. mLAN “mLAN” is a digital network designed for musical applications. It uses and extends the industry standard IEEE 1394 high performance serial bus. * The name “mLAN” and its logo (above) are trademarks. * Including the Audio Input Part Owner’s Manual 19 Using USB storage devices The Controls & Connectors Using USB storage devices When using USB storage devices, make sure to connect them to the USB TO DEVICE connector, and follow the important precautions below. ■ Compatible USB devices Connect only a USB storage device (such as hard disk, CDROM, flash disk and other drives) to the USB TO DEVICE connector. Other devices such as a computer keyboard or mouse cannot be used. Both bus-powered (powered by the host device) or self powered (battery or external power supply) types can be used. The S90 ES does not necessarily support all commercially available USB storage devices. Yamaha cannot guarantee operation of USB storage devices that you purchase. Before purchasing USB storage devices, please consult your Yamaha dealer, or an authorized Yamaha distributor (see list at end of the Owner’s Manual) for advice, or see the following website: USB connector types There are two different types of USB connectors, and the rear panel of the instrument features both. Take care not to confuse the two. USB TO HOST connector http://www.yamahasynth.com/ This type is used to connect the instrument to a computer, and allows you to transfer MIDI data between the devices. The USB connection between the instrument and the computer can only be used for transfer of MIDI data. Unlike MIDI, USB can handle multiple ports via a single cable. USB cables have different connectors on each end: the A type and the B type. Connect the A type to your computer and the B type to the USB TO HOST connector. n USB TO DEVICE connector Although CD-R/W drives can be used to load data to the instrument, they cannot be used for saving data. However, you can transfer data to a computer and save data to a CD using the CD-R/W drive on the computer. ■ Formatting USB storage media When a USB storage device is connected or media is inserted, a “USB device unformatted.” message may appear in the LCD display, indicating that the device or media must be formatted for use. Execute the Format operation in the File mode (Page 168). Precautions when using the USB TO DEVICE connector Never turn the USB device’s power on/off and never plug/unplug the USB cable when the connected USB storage device is the self powered type. Doing so may result in the operation of the synthesizer “freezing” or hanging up. While the instrument is accessing data (such as in the Save, Load and Delete operations in the File mode), do NOT unplug the USB cable, do NOT remove the media from the device, and do NOT turn the power off to either device. Doing so may corrupt the data on either or both devices. This type is used to connect the instrument to a USB storage device, and allows you to save data you’ve created to the connected device, as well as load data from the connected device. This lets you save the data created on this instrument to the external USB storage device and load the data from the external USB storage device to the instrument. Save and Load operations are executed in the File mode (page 168). USB cables have different connectors on each end: the A type and the B type. Connect the A type to the USB TO DEVICE connector and the B type to the USB storage device. MIDI data transfer Connecting to a computer Saving/Loading data in the File mode (page 168) B type USB TO HOST connector A type USB TO DEVICE connector Connecting to a USB storage device (hard disk, CD-ROM, flash disk and other drives) ■ To protect your data (Write-protect): To prevent important data from being inadvertently erased, apply the write-protect provided with each storage device or media. If you are saving data to the USB storage device, make sure to remove the write-protect. 20 Owner’s Manual S90 ES n The computer cannot access the USB storage device connected to the S90 ES’s USB TO DEVICE connector, even if connecting as shown above. Only from the File mode on the instrument itself can you access the data on the USB storage device connected to the USB TO DEVICE connector. n Though the S90 ES supports the USB 1.1 standard, you can connect and use a USB 2.0 storage device with the S90 ES. However, note that the transfer speed complies to USB 1.1. Basic Operation In this section you’ll learn about the fundamental operations of the S90 ES—the use of the panel controls and how to execute basic functions such as selecting programs, naming programs/files, and using the keyboard to directly enter certain values. This section starts off with the Factory Set operation, which allows you to restore the instrument to its original condition—in case you’ve inadvertently changed any important settings. Restoring the Factory-programmed S90 ES The S90 ES has a Factory Set function for restoring your S90 ES’s memory to the factory default settings. This lets you restore the synthesizer’s default User Voices, Performances and Multis, as well as its System and other settings. CAUTION Keep in mind that once you edit any settings, the corresponding factory defaults will be overwritten and lost. Make sure you are not overwriting any important data. You should back up any important data to the USB device beforehand (page 126). 1. Press the [UTILITY] button to enter the Utility mode (the indicator lights). 2. Press the [JOB] button to enter the Utility Job mode. VOICE MULTI/ SEQ PLAY EDIT PERFORM MASTER VOICE FILE UTILITY MULTI/ SEQ PLAY JOB STORE COMPARE REMOTE EDIT PERFORM MASTER FILE UTILITY JOB STORE COMPARE EFFECT BYPASS ARPEGGIO REMOTE EFFECT BYPASS ARPEGGIO 3. Press the [ENTER] button. (The display prompts you for confirmation.) To return to the original display, press the [DEC/NO] button. To execute the Factory Set, press the [INC/YES] button. 4. After the Factory Set has been completed, a “Completed” message appears and operation returns to the original display. CAUTION For Factory Set operations that take longer to process, you will see the message “Executing…” or “Please Keep Power On!” during processing. Do not switch the power off while this message is on the display. Turning the power off in this state results in loss of all user data and may cause the system to freeze. This means that this synthesizer may not be able to start up properly, even when turning the power on next time. n All settings in the Utility mode that are related to the Plug-in boards are stored only to the memory on those respective boards, and not to the memory of this synthesizer. Because of this, the Factory Set operation cannot be used to restore settings for those devices. Owner’s Manual 21 Functions of the MODE buttons Functions of the MODE buttons VOICE Basic Operation Enters the mode corresponding to each button. For details about each mode, see page 12. Enters each Edit mode when pressing the [EDIT] button in the Voice, Performance, Multi, or Master mode. You can edit each program in the Edit MULTI/ SEQ PLAY EDIT PERFORM MASTER FILE UTILITY JOB STORE COMPARE REMOTE EFFECT BYPASS ARPEGGIO Enters each Store mode when pressing the [STORE] button in the Voice, Performance, Multi, or Master mode, letting you store the edited program for the relevant mode. In the Utility mode, pressing the [STORE] button directly executes the Store operation. Enters each Job mode when pressing the [JOB] button in the Voice, Performance, Multi, Master, or Utility mode. You can initialize and copy data in the Job mode. Controls the computer software by using the buttons and controllers on S90 ES (Page 77). Turns the effects and Arpeggio functions on or off (Pages 39, 119). Mode table The functions of each mode and how to enter mode are as follows: Mode Voice mode Performance mode Multi mode Master mode Function How to enter the mode Play mode Playing a Voice Edit mode Editing/Creating a Voice [VOICE] [VOICE] → [EDIT] Job mode Initializing a Voice, etc. [VOICE] → [JOB] Store mode Storing a Voice to internal memory [VOICE] → [STORE] Play mode Playing a Performance [PERFORM] Edit mode Editing/Creating a Performance [PERFORM] → [EDIT] Job mode Initializing a Performance, etc. [PERFORM] → [JOB] Store mode Storing a Performance to internal memory [PERFORM] → [STORE] Play mode Playing a Multi [MULTI/SEQ PLAY] Edit mode Editing/Creating a Multi [MULTI/SEQ PLAY] → [EDIT] Job mode Initializing a Multi, etc. [MULTI/SEQ PLAY] → [JOB] Store mode Storing a Multi to internal memory [MULTI/SEQ PLAY] → [STORE] Play mode Playing a Master [MASTER] Edit mode Editing/Creating a Master [MASTER] → [EDIT] Job mode Initializing a Master, etc. [MASTER] → [JOB] Store mode Storing a Master to internal memory [MASTER] → [STORE] Sequence Play mode Play mode Playing back MIDI files [MULTI/SEQ PLAY] Job mode Utility mode Setting system related parameters [UTILITY] Job mode Restoring factory defaults [UTILITY] → [JOB] File mode Managing files and folders (directories) [FILE] File mode n Pressing the [MULTI/SEQ PLAY] button toggles between the Multi mode and Sequence Play mode. ■ How to leave the current display For most operations or displays, pressing the [EXIT] button will let you leave the current display and return you to the previous one. You can return back to each Play mode by pressing the [EXIT] button several times in the respective mode. DEC/NO INC/ YES EXIT ENTER EXECUTE 22 Owner’s Manual Functions and Sub-Functions Functions and Sub-Functions Basic Operation Each mode described above contains various displays, with various functions and parameters. To navigate your way through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown below). Using the Function buttons [F1] - [F6] These functions can be selected via the corresponding button ([F1] - [F6]). SF2 SF1 F2 F1 SF3 F3 SF4 F4 SF5 F5 INFORMATION F6 In this example, press the [F5] button to go to the LFO display. Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6] buttons. Keep in mind that the available functions differ depending on the selected mode. Using the Sub-Function buttons [SF1] - [SF5] These functions can be selected via the corresponding button ([SF1] - [SF5]). SF2 SF1 F1 F2 SF3 F3 SF4 F4 SF5 F5 INFORMATION In this example, press the [SF5] button to go to the OTHER display. F6 Depending on the currently selected mode, up to five functions (sub-functions) are available and can be called up with the [SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may not have any sub-functions for these buttons.) Selecting a Program In order to play the S90 ES you’ll need to call up one of its programs, i.e., a Voice, Performance, Multi, or Master. These programs can be selected in each Play mode via the same procedure. ■ Using the [INC/YES], [DEC/NO] buttons and the data dial The [INC/YES] and [DEC/NO] buttons let you step up or down through the program numbers in any of the Play modes (Voice, Performance, Multi, and Master). Rotating the data dial to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise) decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the programs more quickly. Decreases number Increases number DEC/NO Decreases number INC / YES Increases number Owner’s Manual 23 Selecting a Program ■ Using the Group, Number buttons As shown below, you can select a program number by pressing any of the Group [A] - [H] buttons and pressing any of the Number [1] - [16] buttons. USER 1 USER 2 Basic Operation SLOT 1 SLOT 2 SLOT 3 PLG 1 PLG 2 PLG 3 DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4 GM FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR 1 2 DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION 3 CATEGORY SEARCH SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE COMMON 9 10 11 SOLO n The convenient Category Search function (page 32) lets you easily locate and select the Voices or Performance you want by type. The Voice program numbers and the corresponding Group/Numbers are listed below. Program Number Number Program Number Group Number Program Number Group Number Program Number Group Number 001 A 1 033 C 1 065 E 1 097 G 1 002 A 2 034 C 2 066 E 2 098 G 2 003 A 3 035 C 3 067 E 3 099 G 3 004 A 4 036 C 4 068 E 4 100 G 4 005 A 5 037 C 5 069 E 5 101 G 5 006 A 6 038 C 6 070 E 6 102 G 6 007 A 7 039 C 7 071 E 7 103 G 7 008 A 8 040 C 8 072 E 8 104 G 8 009 A 9 041 C 9 073 E 9 105 G 9 010 A 10 042 C 10 074 E 10 106 G 10 011 A 11 043 C 11 075 E 11 107 G 11 012 A 12 044 C 12 076 E 12 108 G 12 013 A 13 045 C 13 077 E 13 109 G 13 014 A 14 046 C 14 078 E 14 110 G 14 015 A 15 047 C 15 079 E 15 111 G 15 016 A 16 048 C 16 080 E 16 112 G 16 017 B 1 049 D 1 081 F 1 113 H 1 018 B 2 050 D 2 082 F 2 114 H 2 019 B 3 051 D 3 083 F 3 115 H 3 020 B 4 052 D 4 084 F 4 116 H 4 021 B 5 053 D 5 085 F 5 117 H 5 022 B 6 054 D 6 086 F 6 118 H 6 023 B 7 055 D 7 087 F 7 119 H 7 024 B 8 056 D 8 088 F 8 120 H 8 025 B 9 057 D 9 089 F 9 121 H 9 026 B 10 058 D 10 090 F 10 122 H 10 027 B 11 059 D 11 091 F 11 123 H 11 028 B 12 060 D 12 092 F 12 124 H 12 029 B 13 061 D 13 093 F 13 125 H 13 030 B 14 062 D 14 094 F 14 126 H 14 031 B 15 063 D 15 095 F 15 127 H 15 032 B 16 064 D 16 096 F 16 128 H 16 n n 24 Group When selecting a Voice, it is necessary to press one of the Bank buttons before pressing the Group and Number buttons. The amount of numbers differ depending on the program. For example, while the selected number range of the Normal Voice, Performance, and Master is 001 - 128, the selected number range of the Multi is 001 - 064. Owner’s Manual About the editing functions About the editing functions In this section, we’ll explain the basic operations for editing the Voice, Performance, Multi settings. Basic Operation Moving the Cursor and Setting Parameters Changing (editing) parameter values Moving the cursor Use these four buttons to navigate the display, moving the cursor around the various selectable items and parameters in the screen. When selected, the relevant item is highlighted (the cursor appears as a dark block with inverse characters). You can change the value of the item (parameter) at which the cursor is located by using the data dial, [INC/YES] and [DEC/NO] buttons. DEC/NO INC/ YES EXIT ENTER Rotating the data dial to the right (clockwise) increases the value, while rotating it to the left (counter-clockwise) decreases it. For parameters with large value ranges, you can increase the value by 10 by simultaneously holding down the [INC/YES] button and pressing the [DEC/NO] button. To decrease by 10, do the opposite; simultaneously hold down the [DEC/NO] button and press the [INC/YES] button. EXECUTE Edit Indicator You can adjust or set various parameters by using the data dial, [INC/YES] button, [DEC/NO] button, and Control sliders in each mode. When changing the value of the parameter in the Voice, Performance, and Multi modes, the [E] (Edit Indicator) will appear on the top left corner of the LCD display. This indicates that the current program (Voice, Performance, or Multi) has been modified but not yet stored. If you wish to store your sound obtained by edit operation, be sure to store the current program to internal memory in the Store mode before selecting another program (pages 50, 56, 76). Edit Indicator If the Edit Indicator appears... EDIT JOB STORE COMPARE Owner’s Manual 25 Confirmation Message Compare Function Basic Operation This convenient function lets you switch between the edited sound and its original, unedited condition—allowing you to listen to the difference between the two and better hear how your edits affect the sound. For example, when editing a Voice in the Voice Edit mode, the “E” Edit indicator is shown. Pressing the [EDIT] button in this condition reverts to the original unedited sound (the button lamp flashes and the “C” Compare indicator is shown). Press the [EDIT] button again to return to the edited sound (page 104). Edit Indicator (newly edited sound) EDIT JOB STORE Changes to the Compare Indicator (original sound) EDIT JOB STORE COMPARE COMPARE Edit Recall Function If you are editing a program and select a different program without storing your edited one, all the edits you’ve made will be erased. However, the edited program is maintained in a backup memory location for the Edit Recall function. To restore the lost data with your latest edits intact, use the Edit Recall function in the Job mode (page 104). Job mode Voice How to call up the Edit Recall display [VOICE] → [JOB] → [F2] RECALL Performance [PERFORM] → [JOB] → [F2] RECALL Multi [MULTI/SEQ PLAY] → [JOB] → [F2] RECALL Confirmation Message When you execute certain operations, such as those in the Job, Store, and File modes, a confirmation message appears. This lets you actually execute the operation or cancel it if desired. If a confirmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the operation or press the [DEC/NO] button to cancel it. 26 Owner’s Manual Information Display Information Display Basic Operation This convenient function lets you call up relevant details about the selected mode—simply by pressing the [INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on. INFORMATION For details, see page 176. Note (Key) settings Several parameters let you set a key range for a function—for example, in setting up a keyboard split—by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below). INFORMATION When Note Limit is selected, the [KBD] mark appears, indicating that you can use the keyboard to set the value. Simultaneously hold down the [INFORMATION] button and press the appropriate key. n About the note name assigned to each key, see page 16. Naming You can freely name data you’ve created, such as voices and files saved to the USB storage device. The chart below lists the types of data that can be named along with the operations for calling up the respective naming displays. Data types that can be named How to call up the naming display Page Voice [VOICE] → [EDIT] → [F1] GENERAL → [SF1] NAME 128 [MULTI/SEQ PLAY] → [F3] VOICE → Normal Voice Selection → [F5] VCE ED 161 Performance [PERFORM] → [EDIT] → [F1] GENERAL → [SF1] NAME 150 Multi [MULTI/SEQ PLAY] → [EDIT] → [F1] GENERAL → [SF1] NAME 158 Master [MASTER] → [EDIT] → [F1] NAME 173 Volume Label of the USB storage device [FILE] → [F1] CONFIG → [SF3] FORMAT 168 File/Folder saved to the USB storage device [FILE] → [F2] SAVE or [F4] RENAME 168 First, call up the name input display according to the above table, then, move the cursor by using the Cursor button to the desired location and input a character. See below for details. n Since the name of the program is part of the data, make sure that you properly save the program after naming it. Owner’s Manual 27 Naming ■ Basic naming operation As shown below, you can set the name by repeating the two operations—moving the cursor to the desired location by using the Cursor button and selecting a character by using the data dial, [INC/YES] button, and [DEC/NO] button. Moving the cursor to the desired location on the name Selecting a character at the cursor location Basic Operation DEC/NO INC/ YES EXIT ENTER DEC/NO INC / YES EXECUTE ■ Using the character list If you find it difficult to select the desired characters with the above method, you may want to use the following method — selecting the characters from a list. INFORMATION When the cursor is located at the Name, this [LIST] icon appears and you can call up the Character List display by holding the [INFORMATION] button. Release the [INFORMATION] button to return back to the original display. Perform the operations below while holding the [INFORMATION] button. Move the cursor to the desired location. DEC/NO Select a character for the cursor location on the name. INC/ YES INFORMATION INFORMATION EXIT ENTER DEC/NO EXECUTE 28 Owner’s Manual INC / YES Playing the Demo Songs Quick Guide Quick Guide Playing the Demo Songs Several demo songs are included with this synthesizer. In this section, you’ll learn how to play them back. n Make sure the synthesizer is ready for playback. Details are given in the section “Setting up and Playing” on page 8. VOICE MULTI/ SEQ PLAY DEC/NO SF3 SF4 SF5 MASTER FILE UTILITY JOB STORE INC/ YES EDIT SF2 SF1 PERFORM Playing the Demo Songs 1 INFORMATION COMPARE F1 F2 F3 F4 F5 F6 EXIT ENTER REMOTE EFFECT BYPASS ARPEGGIO EXECUTE 2 3,4 1 5 2 Press the [MULTI/SEQ PLAY] button to enter the Sequence Play mode. If the following display does not appear, press the [MULTI/SEQ PLAY] button again. 2 n 3 n Press the [SF5] DEMO button to call up the Demo songs. You can select the first song for playback by using the [▲][▼] buttons. Press the [F6]Fbutton to start playback of the Demo song. You can also specify the song tempo or the song position. The operation is the same as in the Sequence Play mode (page 96). 4 The [SF6]Jbutton lets you pause playback and then start again from the same point in the song. 5 To exit from the Demo display, stop playback, then press the [EXIT] button. Demo song playback continues indefinitely until stopped. Owner’s Manual 29 Voice Play mode Playing the S90 ES Voice Play mode The Voice Play mode is where you select and play the instrument sounds (voices) of this synthesizer. Selecting a Normal Voice Quick Guide Playing the S90 ES Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrumenttype sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. In this section, we’ll show you how to select a Normal Voice. You can select the desired Voice from various Voice Banks (Preset 1 - 4, User 1 - 2, GM preset, Plug-in 1 - 3) as shown below. Voice Bank GM Preset Bank Contains the voices allocated according to the GM standard. For details, see page 112. User Bank USER 1 USER 2 Contains the voices you’ve created in the Voice Edit mode. Preset Bank Contains the Voices built into this instrument. 1 PRE 1 PRE 2 PRE 3 PRE 4 GM A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS SLOT 1 SLOT 2 SLOT 3 PLG 1 PLG 2 PLG 3 BRASS REED/PIPE Plug-in Bank Available when Plug-in Boards have been installed. See page 99. STRINGS Press the [VOICE] button to enter the Voice Play mode. In this condition, playing the keyboard sounds the Voice indicated in the display. The parameters shown in the Voice Play mode are briefly explained below. VOICE PERFORM MASTER Indicates the Keyboard MIDI transmit channel. See page 105 for details. Indicates the Keyboard Octave setting. See page 105 for details. ARP1-ARP5 Indicates the functions assigned to the respective Control sliders. See page 47. Use the [SF1] - [SF5] buttons to call up the Arpeggio type assigned to each button (page 39). Indicates the currently selected voice. Bank and Voice Program number Category and Voice name USR1 : 001 (A01) Bank Number (selected via the buttons) (selected via the Number [1] - [16] buttons) Gt : Unplugged Category Voice name Group (selected via the Group [A] - [H] buttons) Voice Program number (corresponding to Groups A to H and Numbers 01 to 16) n 30 Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Voice name here) may differ slightly from those on your instrument. Owner’s Manual Voice Play mode 3 Select a Normal Voice Bank. Select one of the Banks from Preset 1 - 4, User 1 - 2, and GM. Voices in each Bank are divided into Groups [A] - [H]. Select a Group to display the Voices that belong to the selected Group. USER 2 PRE 1 PRE 2 PRE 3 PRE 4 GM A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS Group PLG 1 STRINGS PLG 2 PLG 3 BRASS REED/PIPE Voice A B SYN LEAD SYN PAD/ CHOIR C D E DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI Quick Guide USER 1 Select a Normal Voice Group. 4 Select a Normal Voice Number. Playing the S90 ES 2 Press one of the Number [1] - [16] buttons. 1 2 3 4 5 6 7 8 12 13 14 15 16 ELEMENT/PERF. PART/ZONE 9 About the User Banks 10 11 The User Banks contain various factory default Voices. User Bank 1 (USR1): This Bank contain original Voices for the User Bank. The same Voices are not included in the Preset Banks. User Bank 2 (USR2): This Bank contains recommended Voices copied from the Preset Banks. If a Voice in a User Bank (User Voice) is overwritten or replaced, that User Voice will be lost. When you save an edited Voice, be careful not to overwrite any important User Voices. 5 Play the keyboard. Owner’s Manual 31 Voice Play mode Selecting a Drum Voice Press the [VOICE] button to enter the Voice Play mode. 1 4 Select a Drum Voice Number. This is the same as in selecting a Normal Voice. 2 Select a Drum Voice Bank. Quick Guide While holding the [DRUM KITS] button, press one of the following buttons: [PRE 1] (Preset Drum), [USER 1] (User Drum), or [GM] (GM Drum). Playing the S90 ES 3 USER 1 USER 2 DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4 GM FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS Play the keyboard and check which instrument is assigned to each key. 5 n For details about the instrument assignments for each key, refer to the separate Data List. Using the [INC/YES], [DEC/NO] buttons and data dial In steps 3 and 4 above, you can select a Voice Number by using the [INC/YES], [DEC/NO] buttons and data dial. Select a Drum Voice Group. Decreases number This operation is basically the same as in selecting a Normal Voice. The numbers of Groups that you can select depends on the Bank you’ve selected in step 2. Increases number DEC/NO INC / YES Decreases number Increases number Using the Category Search function You’ll probably have a lot of fun and inspiration going through the Voices one-by-one, listening to each in order—but it will take you a long time to get through all of them, since the S90 ES has so many. This is where the Category Search function comes in handy. It’s a powerful and easy-to-use way to quickly find the Voices you want. Let’s try out the feature below, searching for a Voice in the Pipe Organ category. Turn the Category Search function on by pressing the [CATEGORY SEARCH] button. 1 n Press the [CATEGORY SEARCH] button again to turn this function off. PRE 1 PRE 2 PRE 3 PRE 4 GM PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SE MUSICAL FX COMBI DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH 2 Select the Organ Category. Press the [PRE 3] ORGAN button of the Bank buttons and Group buttons. The Voices in the Organ Category are displayed in a list. PRE 1 PRE 2 PRE 3 PRE 4 GM A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS A B C D E SYN LEAD SYN PAD/ CHOIR DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION PLG 1 PLG 2 PLG 3 STRINGS BRASS REED/PIPE F G H SE MUSICAL FX COMBI CATEGORY SEARCH Category names Category Sub Category 32 Owner’s Manual Voice List Voice Play mode Register the Voice selected in step 1 to the Favorite Category by pressing the [F5] SET/ CLR button, checkmarking the box next to the Voice name. Select the Sub Category of pipe organ. 2 The Sub Category names are shown at the bottom of the Category Search display. All Categories are divided into two or three Sub Categories for further ease in selection. Here, press the [F2] PIPE button. F1 SF2 F2 SF3 F3 SF2 SF1 n n 4 Quick Guide SF1 You can un-checkmark the selection by pressing the [F5] button again. An alternate way of selecting categories is to use the Cursor buttons to select and highlight the Category name in the display, then use the [INC/YES] and [DEC/NO] buttons or the data dial to select the Category. F1 F2 SF3 F3 SF4 F4 Pressing [F5] toggles between the two settings: Some Voices such as User Voices may not be registered to any Category. You can search for these Voices by setting the Category to “--------.” SF5 F5 INFORMATION Playing the S90 ES 3 F6 Checkmark on Checkmark off To remove all the marked Voices from the Favorite Category, simply press the [F6] CLR ALL button. Select the desired Voice from the Voice list of pipe organ. Step through the available Voices by using the data dial. You can also use the [INC/YES] and [DEC/NO] buttons, or use the Cursor [▲][▼] buttons. Press the [FAVORITES] button to see the Voices you’ve set to the Favorite Category in step 2. 3 You also can use the [F5] SET/CLR and [F6] CLR ALL buttons in this display to register/remove the voices to/from the Favorite Category. DRUM KITS DEC/NO INC/ YES EXIT ENTER FAVORITES EXECUTE 5 Press the [ENTER] button to actually select the Voice. n You can also use the [CATEGORY SEARCH] button and [EXIT] button to select the Voice. Favorite Category The S90 ES also lets you collect and store your favorite Voices to create your personal “Favorite” Category. By putting your most often-used Voices in the Favorite Category, you can select your favorite Voices quickly and easily. 4 Press the [FAVORITES] button again to return to the Category Search display. 5 Pressing the [CATEGORY SEARCH] button to exit from the Category Search display will store the Favorite Category settings to internal memory automatically. CAUTION The settings made in steps 2 - 3 will be lost if you turn the power off without executing step 5. step 5. 1 Select the Voice using the Category Search function. CAUTION Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data. Owner’s Manual 33 Performance Play mode Performance Play mode Each Performance can contain up to four different Parts. This lets you play, for example, Flute, Violin, and Timpani Voices in a layer across the keyboard, or split the keyboard according to the bass and melody parts, then play the two different instruments and sound like a duo—even though you’re playing by yourself. Selecting a Performance Quick Guide 128 Performances (1 bank) are provided in internal User memory. In the Performance Play mode, you can select and play individual User Performances. Since there is only one bank for Performances, you need not select a Performance Bank. 1 Press the [PERFORM] button to enter the Performance Play mode. Playing the S90 ES In this condition, playing the keyboard sounds the Performance indicated in the display. The parameters shown in the Performance Play mode are briefly explained below. VOICE PERFORM MASTER Indicates the Keyboard MIDI transmit channel. See page 105 for details. Indicates the Keyboard Octave setting. See page 105 for details. ARP1-ARP5 Indicates the functions assigned to the respective Control sliders. See page 42. Use the [SF1] - [SF5] buttons to call up the Arpeggio type assigned to each button (page 39). Indicates the currently selected Performance. Bank and Performance Program number USER : 001 (A01) Bank Number Category and Performance name Co : Wide River Category Performance name (selected via the Number [1] - [16] buttons) Group (selected via the Group [A] - [H] buttons) Performance Program number (corresponding to Groups A to H and Numbers 01 to 16) n 34 Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Performance name here) may differ slightly from those on your instrument. Owner’s Manual Performance Play mode 2 4 Select a Performance Group. Play the keyboard. Performances are divided into Groups [A] - [H]. Select a Group to display a list of the Performances. SYN LEAD SYN PAD/ CHOIR C D E DRUM/ SYN COMP CHROMATIC PERCUSSION PERCUSSION Group 3 F G H SE MUSICAL FX COMBI Using the [INC/YES], [DEC/NO] buttons and data dial Performance Rather than using the Bank/Number buttons described in steps 2 and 3 above, you can select a Performance by using the [INC/YES], [DEC/NO] buttons and data dial. Select a Performance Group. Decreases number Press one of the Number [1] - [16] buttons. 2 3 Increases number DEC/NO Decreases number 1 Quick Guide B 4 5 6 7 8 12 13 14 15 16 Playing the S90 ES A INC / YES Increases number ELEMENT/PERF. PART/ZONE 9 10 11 Using the Category Search function As in the Voice Play mode, you can use the Category Search and Favorite Category functions in the Performance Play mode. For details on how to use the function, see page 32. Owner’s Manual 35 Performance Play mode Creating a Performance by combining the Voices Performances can be made up of a maximum of four Parts, each of which can be assigned a different Voice. In this section, we’ll create a Performance by combining two Voices. Preparing to create the Performance (Initializing the Performance) Quick Guide 1 Select the desired Performance in the Performance Play mode. 2 Press the [JOB] button, and then the [F1] button. Playing the S90 ES The Initialize display is shown. Check the “ALL” check box to initialize all data of the Performance. For details about the Initialize function, refer to page 156. EDIT JOB Playing the several Voices together (Layer) 5 Press the [F2] VOICE buttom. This calls up a list indicating which Voice is assigned to each Part of the current Performance. Since the current Performance has been initialized, the only Voice in the Performance is “PRE1: Natural S,” set to Part 1. STORE COMPARE SF2 SF1 F1 SF2 SF1 SF3 SF4 SF5 F2 F3 F4 F5 F4 SF5 F5 INFORMATION F6 Assign the desired Voice to Part 2. F6 6-1 Move the cursor to the Voice Bank or Voice Number of the Part 2. Voice Bank 3 F3 SF4 INFORMATION 6 F1 F2 SF3 Voice Number Press the [ENTER] button. (The display prompts you for confirmation.) Press the [INC/YES] button to initialize the Performance. n n Please note that when you execute the Store operation by pressing the [STORE] button here, the Performance at the destination will be replaced with the Initialized Performance created in step 3 above. 6-2 For details about the Store operation, refer to page 56. n 4 Press the [PERFORM] button. The current Performance name will change to “Init Perf” in the display. n 36 When you initialize a Performance, the Voice at Preset Bank 1, Voice number 1 is assigned to Part 1 as the default. Owner’s Manual Press the [SF1] ADD INT button. This enables assignment of the selected internal Voice to Part 2. When assigning a Voice from Single-part Plug-in Board (page 99) to a Part, press the [SF2] ADD PLG button. Performance Play mode 6-3 Select the Voice you’ve assigned to Part 2 as you did in steps 2 - 4 in the section “Selecting a Normal Voice” or “Selecting a Drum Voice” (page 30). You can select the desired Bank and Number directly by using the [DEC/NO], [INC/YES] buttons and data dial. You can also use the Category Search function (page 32). Here, we’ll assign a flute Voice (PRE3: C Flute) to Part 2. Voice Bank 9 9-1 9-2 n Move the cursor to Part 2. Press a note on the keyboard while holding the [SF4] LIMIT L button down to set the lowest note of Part 2. Note that the dark bar (at “NOTE”) for Part 2 changes as the note range is changed. SF2 SF1 F1 F2 SF3 F3 SF4 F4 SF5 F5 INFORMATION F6 SF 4 Assigns an internal Voice to the selected Part. Part. 7 SF 5 Deletes the Voice assignment of the selected Part. Note Limit Low Assigns a Plug-in Voice to the selected Part. (Available when a Plug-in Board has been installed.) n Playing the S90 ES Quick Guide Voice Number Assign the Voice of Part 2 to the higher key range. Voices of the Multi part Plug-in Board PLG100-XG cannot be assigned to Performance Parts; they are specifically meant to be used in the Multi mode for playback of XG song data. 10 Note Limit High Play the keyboard. Use your left hand to play piano sounds and your right hand to play flute sounds. Play the keyboard. The Part 1 (piano Voice) and Part 2 (flute Voice) can be played in unison. Part 1: Piano Part 2: Flute Part 1: Piano Part 2: Flute Adjusting the Part levels and storing the Performance Next, we'll divide the keyboard into two sections for each Voice. Dividing the keyboard into separate sections— Split 8 8-1 8-2 n Assign the Voice of Part 1 to the lower key range. Move the cursor to Part 1. Press a note on the keyboard while holding down the [SF5] LIMIT H button to set the highest note for Part 1. Note that the dark bar (at “NOTE”) for Part 1 changes as the note range is changed. 11 Adjust the Volume settings of Parts 1 and 2 by using the Control sliders. For details, see page 42. 12 Store the settings as a User Performance in the Performance Store mode. For details about the Store operation, see page 56. n If you are editing a program and you select a different program without storing your edited one, all the edits you’ve made will be erased. In the section above, you learned how to assign two Voices to two different Parts. Use same procedure to assign Voices to Parts 3 and 4, and create a full orchestral sound or the sound of a 3- or 4-piece band—just by using a single S90 ES. You can also use the preset Performances as starting points in building your own custom Voice combinations. Owner’s Manual 37 Performance Play mode Using a microphone and other audio device sounds One of the enormous benefits of the Performance mode is that you can have the A/D input sound—such as your voice through a microphone, a guitar, bass, or CD player—assigned as one of the four Parts of a Performance. Various parameters such as volume, pan, and effect can be set to this Part and the sound is output together with other Parts. These parameters are set and stored in the Performance Store mode for each Performance. n Quick Guide 1 Playing the S90 ES 2 The Audio Input part is available also in the Multi mode, but is not available in the Voice mode. The procedure and explanations here apply to the Multi mode as well. Make sure to turn the power of the S90 ES off and set the GAIN knob on the rear panel to the minimum. Plug the external device to the A/D INPUT jack(s) on the rear panel. monaural 6 Set the Mic/Line parameter. When the output level of the connected equipment (such as a microphone, guitar, bass) is low, set this parameter to “mic.” When the output level of the connected equipment (such as a synthesizer keyboard, CD player) is high, set this parameter to “line.” stereo GAIN A /D INPUT R GAIN A / D INPUT L R L n n A standard dynamic microphone is recommended. (The S90 ES does not support phantom-powered condenser microphones.) 3 Turn on the power of the external device, and then turn on the power of the S90 ES. 7 n This setting is available for all modes. If you wish to store this setting, press the [STORE] button. Adjust the external device input level by using the GAIN knob on the rear panel while listening to the sound of the external device. If you are using the mLAN input Part, the GAIN knob has no effect on the input level. A / D INPUT 4 Press the [PERFORM] button to enter the Performance Play mode and select the desired Performance. 5 Press the [UTILITY] button to enter the Utility mode, press the [F2] I/O button, then press the [SF1] INPUT button. MULTI/ SEQ PLAY FILE R 8 UTILITY GAIN L Set the audio input related parameters as necessary from the AUDIO IN display ([PERFORM] → [EDIT] → [COMMON] → [F5] AUDIO IN). For details about each parameter, see page 151 in the Reference section. SF2 SF1 F1 F2 SF3 F3 SF4 F4 SF5 F5 INFORMATION F6 When the optional mLAN16E has been installed, call up the A/D display by pressing the [SF5] button. 9 38 Owner’s Manual Store the settings as a User Performance in the Performance Store mode (page 56). Using the Arpeggio feature Using the Arpeggio feature n For details about Arpeggio, see page 124. n Different Arpeggio types cannot be played back for each Part in the Performance or Multi mode. Press the [ARPEGGIO] button to turn Arpeggio on. Selecting some programs (Voices, Performances, Multis) automatically turns this lamp on. REMOTE 2 EFFECT BYPASS ARPEGGIO ■ Changing the Arpeggio type during your keyboard performance A different Arpeggio type is assigned to each of the [SF1] ARP1 - [SF5] ARP5 buttons for each preset Voice. When a musical note icon appears to the right of each Arpeggio number in the display (see below), the corresponding button is assigned an Arpeggio type. The selected Arpeggio type is highlighted. Try out various Arpeggio types by pressing the [SF1] - [SF5] buttons. Playing the S90 ES 1 Quick Guide The versatile Arpeggio feature allows you to automatically play various rhythms and phrases by simply pressing a key or playing a chord. The S90 ES contains a remarkably wide variety of Arpeggios—a total of 1,787—from conventional, popular phrases to the latest cutting-edge rhythm patterns. In addition, you can assign your favorite Arpeggios to the [SF1] - [SF5] buttons and switch between Arpeggio phrases instantly. This powerful function is an unending source of inspiration and will help you create various riffs, phrases and songs quickly and easily. Since the preset Voices and Performances already have their own Arpeggio types pre-assigned, all you need to do is select the desired Voice and turn on the Arpeggio function. Play a note or notes on the keyboard to trigger the Arpeggio playback. The particular rhythm pattern or phrase that plays depends on the actual notes or chords you play, as well as on the selected Arpeggio type. For details, see page 124 in the Basic Structure section. SF1 SF2 SF3 SF4 SF5 You can confirm the currently selected Arpeggio type in the [F6] ARP display. Arpeggio type currently selected. Bank Selects “pre” (Preset) or “usr” (User). To play Arpeggios of the “usr” bank, User Arpeggio data of the MOTIF ES must be loaded to the S90 ES. Ctgr For details, refer to page 124. Type Refer to the separate Data List booklet for details. n You can load User Arpeggio data from the MOTIF ES to the S90 ES, but you cannot create User Arpeggio data on the S90 ES itself. Owner’s Manual 39 Using the Arpeggio feature Register your favorite Arpeggio types to the [SF1] - [SF5] buttons You can change the default settings and assign any Arpeggio types you like to the [SF1] - [SF5] buttons. Quick Guide Playing the S90 ES 1 Select the desired Voice, Performance, or Multi, and then press the [ARPEGGIO] button to turn Arpeggio on. 2 Select the desired Arpeggio type in the [VOICE] → [F6] (or [F5]) ARP display. 3 While holding the [STORE] button, press one of the [SF1] - [SF5] buttons. The currently selected Arpeggio type is assigned to the pressed button. If you execute this operation with the [ARPEGGIO] lamp off, no Arpeggio type will be assigned to the pressed button. 4 5 ■ Controlling Arpeggio playback by using the Control sliders. These four Control sliders let you adjust the tempo and volume of Arpeggio playback. If you like the results and want to save them, you can store the changes as a User Voice, User Performance or User Multi. 1 Selecting some voices automatically turns this lamp on. PAN/SEND PAN REVERB CHORUS TEMPO ASSIGN ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 TONE CUTOFF RESONANCE ATTACK RELEASE ARP FX SWING GATETIME VELOCITY UNITMULTIPLY MEF MEF 1 MEF 2 MEF 3 MEF 4 EQ LOW LOW MID HIGH MID HIGH Repeat steps 2 - 3 as necessary. Store the changes as a User Voice, User Performance or User Multi (pages 50, 56, 76). 2 TIP Transmitting Arpeggio playback as MIDI data If you want to use the Arpeggios to trigger other MIDI tone generators or record the MIDI data of Arpeggios to a sequencer for further editing, you can have the Arpeggio playback data transmitted as MIDI data. This is done by setting the following switch parameters to “on”: • Voice Arpeggio: Voice mode → [UTILITY] → [F3] VOICE → [SF3] ARP CH → OutputSwitch • Performance/Multi Arpeggio Performance mode/Multi mode → Performance/Multi selection → [EDIT] → [COMMON] → [F3] ARP → [SF4]OUT CH → OutputSwitch 40 Press the [ARP FX] button to turn the lamp on. Owner’s Manual Move the sliders while the Arpeggio is playing. For details on the functions controlled by the sliders, see page 42. 3 If you’re satisfied with the results, you can store the changes as a User Voice, User Performance or User Multi (pages 50, 56, 76). Using the Controllers on the S90 ES Using the Controllers on the S90 ES This section shows you how to change the sounds by using the controllers on the S90 ES. When using the external controllers, see page 59. Pitch Bend Wheel Quick Guide Use the Pitch Bend wheel to bend notes up (roll the wheel away from you) or down (roll the wheel toward you) while playing the keyboard. The Pitch Bend wheel is self-centering and will automatically return to normal pitch when released. Try out the Pitch Bend wheel while pressing a note on the keyboard. Playing the S90 ES Pitch Up Pitch Down Pitch Bend Wheel When playing a Performance, the Pitch Bend Range depends on the setting of the Voice assigned to each Part (made in the Voice mode). n • The Pitch Bend Range setting for each Voice can be changed in the “OTHER” display ([VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF5] OTHER) and stored as a User Voice in the Voice Store mode. • The Pitch Bend Range setting also allows you to set the wheel to bend notes up or down in the opposite direction (i.e., the pitch goes down when you move the wheel up). n Functions other than Pitch Bend can be assigned to the Pitch Bend Wheel in the “CTL SET” display ([VOICE] → [EDIT] → [COMMON] → [F4] CTL SET). These assignment settings can be stored as a User Voice in the Voice Store mode. Even if a different function is assigned to this wheel, the Pitch Bend function is available and Pitch Bend messages are still generated when the wheel is used. Modulation Wheel Even though the Modulation wheel is conventionally used to apply vibrato to the sound, many of the preset Voices have other functions and effects assigned to the wheel. The more you move this wheel up, the greater the effect that is applied to the sound. Try out the Modulation wheel with various preset voices while playing the keyboard. Maximum Minimum Modulation Wheel When playing a Performance, the effect of the Modulation Wheel depends on the setting of the Voice assigned to each Part (made in the Voice mode). n To avoid accidentally applying effects to the current Voice, make sure the Modulation Wheel is set to minimum before you start playing. n Various functions can be assigned to the Modulation Wheel in the “CTL SET” display ([VOICE] → [EDIT] → [COMMON] → [F4] CTL SET). These assignment settings can be stored as a User Voice in the Voice Store mode. Owner’s Manual 41 Using the Controllers on the S90 ES Control sliders Changing the sounds The Control sliders are a powerful live performance feature, in that they let you change the brightness and tonal characteristics of the current Voice, Performance, or Multi in real time as you play. Moving a slider forward increases the effect while pulling the slider back decreases it. The sliders can be used for different function “sets.” You can select the particular function set assigned to the sliders by pressing the appropriate Control function button (as shown below). Function sets assigned to the Control slider Quick Guide Operation Functions controlled by each Control slider Lamp-on indication Control slider 1 Control slider 2 Control slider 3 Control slider 4 Playing the S90 ES When pressing the [PAN/SEND] button [PAN/SEND] button Pan (stereo position) Reverb Send Level Chorus Send Level Tempo of the Seqence Play mode/Arpeggio playback When pressing the [TONE] button [TONE] button Filter Cutoff Frequency (degree of brightness) Resonance (the level of the signal in the area of the cutoff frequency) Attack Time of the sound Release Time of the sound (decay time after the key is released)* When pressing the [ARP FX] button [ARP FX] button Amount of swing in the Arpeggio playback Gate time (length) of the Arpeggio playback Velocity of the Arpeggio playback Arpeggio playback time When pressing the [EQ] button [EQ] button Low band of the Master EQ in the Voice/ Performance mode, part EQ in the Multi/ Sequence Play mode Low-mid band of the Master EQ in the Voice/ Performance mode, part EQ in the Multi/ Sequence Play mode Hi-mid band of the Master EQ in the Voice/ Performance mode. (Not available in the Multi/Sequence Play mode.) High band of the Master EQ in the Voice/ Performance mode, part EQ in the Multi/ Sequence Play mode When pressing the [PAN/SEND] button and the [TONE] button simultaneously [PAN/SEND] button [TONE] button Function assigned from the [UTILITY] → [F4] CTLASN → [SF2] ASSIGN display (page 165) in the Utility mode When pressing the [TONE] button and the [ARP FX] button simultaneously** All the buttons are off Function assigned for each Master from the [MASTER] → [EDIT] → Zone selection → [F5] CS display (page 174) When pressing the [ARP FX] button and the [EQ] button simultaneously [ARP FX] button [EQ] button Function assigned to the Master Effect parameters from the [UTILITY] → [F4] CTL ASN → [SF5] MEF display. Function assigned for each Voice from the [VOICE] → [EDIT] → [COMMON] → [F4] CTLSET display (page 131) * For Drum Voices, this affects the decay time for all played notes, whether held or released. ** Available only when setting the Zone Switch to “on” in the Master mode (page 92) When pressing any of the Control function buttons, the lamp(s) of the buttons will light according to the above table and the status of the Control sliders (currently assigned functions and set values) is shown on the LCD display. The appearance of the slider in the display indicates the actual control status of the slider. When a slider graphic in the display is shown with a shadow, the corresponding control slider on the panel affects the sound as indicated. A slider graphic without a shadow indicates that the current Control slider position differs from the actual parameter value. In this case, moving the slider does not affect the sound until the slider position reaches the parameter’s current value (after which the slider graphic has a shadow). Adjusting these sliders affects the sound immediately. PAN/SEND PAN ASSIGN TONE REVERB CHORUS TEMPO ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 CUTOFF RESONANCE ATTACK RELEASE ARP FX SWING GATETIME VELOCITY UNITMULTIPLY MEF MEF 1 MEF 2 MEF 3 MEF 4 EQ LOW LOW MID HIGH MID HIGH Adjusting these sliders will not affect the sound until the current value is reached. 42 Owner’s Manual Using the Controllers on the S90 ES Changing the Volume You can use the Control sliders to adjust relative volume settings in real time, by pressing the [VOLUME] button. This lets you adjust independent volume settings of the Voice or Performance you play on the keyboard, or those of a Multi (page 70). REVERB CHORUS TEMPO ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 TONE CUTOFF RESONANCE ATTACK RELEASE ARP FX SWING GATETIME VELOCITY UNITMULTIPLY MEF MEF 1 MEF 2 MEF 3 MEF 4 EQ LOW LOW MID HIGH MID HIGH VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 MASTER VOLUME VOLUME Quick Guide PAN ASSIGN Playing the S90 ES PAN/SEND Function sets assigned to the Control sliders Mode Voice mode Control slider 2 Element 2 Volume* Control slider 3 Element 3 Volume* Control slider 4 When a Normal Voice is selected (page 30) Element 1 Volume* When a Drum Voice is selected (page 32) Volume of the entire Voice sound (moving any slider produces same volume) When tracks (Parts) 1 - 4 are selected Track 1 (Part 1) Volume Track 2 (Part 2) Volume Track 3 (Part 3) Volume Track 4 (Part 4) Volume When tracks (Parts) 5 - 8 are selected Track 5 (Part 5) Volume Track 6 (Part 6) Volume Track 7 (Part 7) Volume Track 8 (Part 8) Volume When tracks (Parts) 9 12 are selected Track 9 (Part 9) Volume Track 10 (Part 10) Volume Track 11 (Part 11) Volume Track 12 (Part 12) Volume When tracks (Parts) 13 16 are selected Track 13 (Part 13) Volume Track 14 (Part 14) Volume Track 15 (Part 15) Volume Track 16 (Part 16) Volume Performance mode Multi/Sequence Play mode Functions controlled by each Control Slider Control slider 1 Element 4 Volume* Controls Volume of the assigned Parts (see “Precautions” note below). * An Element is the fundamental tone generating unit of a Voice. For details, see page 44. n Precautions — Using Sliders in the Performance mode In the Performance mode, the Control sliders are assigned according to the specific Parts that are assigned in each Performance. Keep in mind that the Slider number may not correspond to the same numbered Part. For example, when using a Performance (as shown at right) in which two Parts (Part 1 and Part 4) are combined, the sliders are assigned as follows: • Slider 1 controls the volume of Part 1. • Slider 2 controls the volume of Part 4. • Sliders 3 and 4 are not used. n The [MASTER VOLUME] slider adjusts the overall output level of the instrument. The Control sliders, on the other hand, adjust the MIDI volume value for the corresponding element or part. Edit Indicator Moving the sliders directly changes the parameters of the Voice, Performance or Multi. When any of the parameters are changed, the [E] (Edit) Indicator appears in the top left of the display. This indicates that the current Voice, Performance, or Multi has been modified but not yet stored. For details about the Edit indicator, see page 25. Owner’s Manual 43 Editing a Voice Editing a Program Editing a Voice Each Voice can consist of up to four Elements. An Element is made up of a basic waveform—the basic sound of a musical instrument—plus the various synthesizer processing parameters used to enhance, alter or define the sound, such as pitch, filter, and amplitude controls. Quick Guide For example, a piano Voice can be actually made up of several different piano waveforms: one for high notes, one for low notes, and waveforms for when the keyboard is played softly. Combining different elements in a set for playing at same time, or programming them to switch depending on how strongly the keyboard is played helps to create a much more powerful and realistic piano sound. Editing a Program Creates each Element sound in the Element Edit mode. Element Piano wave for high notes Common Edit Piano Voice Element Determines the parameters for entire Voice in the Common Edit mode Piano wave for low notes Element Piano wave for when playing the keyboard is played soltly n A Drum Voice is made up of different “Keys”—or separate percussion/drum sounds that are assigned to individual notes on the keyboard. Normal Voice Edit 1 Press the [VOICE] button to enter the Voice mode, then select a Normal Voice to be edited (page 30). 2 Press the [EDIT] button to enter the Voice Edit mode. EDIT COMPARE 44 Owner’s Manual JOB STORE Editing a Voice 3 Call up the Common Edit display or Element Edit display. If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound—such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)—call up the Element Edit display. If you wish to edit more global parameters related to the overall Voice and how it’s processed—such as Arpeggio, Controller, and Effects—call up the Common Edit display. Press the [COMMON] button to call up the Common Edit display. DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED A B C D SYN LEAD SYN PAD/ CHOIR 1 2 In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button. SYN COMP CHROMATIC PERCUSSION 3 Calling up the Element Edit display Press the desired element number from the ELEMENT [1] - [4] buttons to call up the Element Edit display. Indicates the display for editing Element 1. Editing a Program Calling up the Common Edit display Quick Guide While in the Voice Edit mode, you can switch between the Common Edit display and the Element Edit display as shown below. 4 Indicates a Common Edit display. ELEMENT/PERF. PART/ZONE COMMON 9 10 11 12 To turn each Element on or off (to hear how each affects the overall sound), use buttons [9] - [12]. You can also isolate or solo an Element by holding down the [MUTE] button and pressing the desired number button ([9] - [12]). To cancel the solo, press the [MUTE] button again. 4 Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit the parameters in each display. The following briefly describes the main Voice parameters. ● Arpeggio related parameters Pages 124, 129 [COMMON] → [F3] ARP (Arpeggio) For each Voice, you can set the Arpeggio related parameters such as Arpeggio type and playback tempo. These settings can be edited in the Common Edit display. ● Basic parameters for creating a sound Pages 112, 133 Element selection → [F1] - [F6] If you wish to edit the basic sound-generating and soundshaping parameters for the Voice—such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)—use the Common Edit display. ● Effect related parameters Pages 118, 133 [COMMON] → [F6] EFFECT 5 Repeat steps 3 - 4 as desired. 6 Name the edited Normal Voice. Enter a name for the Voice from the NAME display ([COMMON] → [F1] GENERAL → [SF1] NAME). For detailed instructions on naming a voice, refer to Page 27. The Effects use DSP (Digital Signal Processing) to alter and enhance the sound of a Voice. Effects are applied in the final stages of editing, letting you change the sound of the created Voice as desired. The Common Edit display lets you edit the Effect related parameters. ● Controller related parameters Enter the desired Voice name Pages 41, 59, 131 [COMMON] → [F4] CTL SET (Controller Set) For each Voice, you can assign various functions to built-in controllers such as Pitch Bend Wheel, Modulation Wheel, Control sliders (ASSIGN1 and 2), Keyboard Aftertouch and optionally connected controllers such as Footswitch, Foot Controller, Breath Controller. These settings can be edited in the Common Edit display. 7 Store the settings as a User Voice. The edited Voice can be stored in the Voice Store mode. For details, see page 50. Owner’s Manual 45 Editing a Voice TIP Editing a Voice by using the Control sliders The four sliders at the top left of the instrument are not only for tweaking the sound while you perform—you can also use them to edit a Voice, either in the Voice Play mode or the Voice Edit mode. ● When the [PAN/SEND] indicator is turned on: Quick Guide PAN Determines the stereo pan position of the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F2] OUTPUT → Pan page 129 REVERB Determines the amount of Reverb effect that is applied to the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F2] OUTPUT → RevSend page 129 CHORUS Determines the amount of Chorus effect that is applied to the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F2] OUTPUT → ChoSend page 129 TEMPO Determines the tempo of the Arpeggio assigned to the currently selected Voice. [VOICE] → Voice selection → [F6] ARP → Tempo page 128 ● When the [TONE] indicator is turned on: Editing a Program CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance. [VOICE] → Voice selection → [F5] EG → CUTOF page 128 RESONANCE Boosts or attenuates the level at the area around the Filter cutoff frequency. [VOICE] → Voice selection → [F5] EG → RESO page 128 ATTACK Determines the attack time of the sound. For example, you can adjust a strings Voice so that the sound gradually swells in volume by setting a slow attack time—simply move the slider upwards. [VOICE] → Voice selection → [F5] EG → ATK (AEG) page 128 RELEASE Determines the release time of the sound. Moving the slider upwards sets a long release time and (depending on the selected Voice) lets the sound sustain after the key is released. To produce a sharp release, in which the sound abruptly cuts off, set a short release time. [VOICE] → Voice selection → [F5] EG → REL (AEG) page 128 n The settings above are applied as offsets to the AEG and FEG settings in the Voice Edit mode. ● When the [ARP FX] indicator is turned on: SWING Adjusts the swing feel of the Arpeggio playback. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → Swing page 130 GATE TIME Adjusts the Gate Time (length) of the Arpeggio notes. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → GateTimeRate page 131 VELOCITY Adjusts the velocity of the Arpeggio notes. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → VelocityRate page 130 UNIT MULTIPLY Adjusts the Arpeggio playback time based on tempo. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → UnitMultiply page 130 ● When the [EQ] indicator is turned on: LO Determines the amount of boost or attenuation applied to the low frequency band of the Master EQ. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW page 129 LO MID Determines the amount of boost or attenuation applied to the lowmidrange frequency band of the Master EQ. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW MID page 129 HI MID Determines the amount of boost or attenuation applied to the highmidrange frequency band of the Master EQ. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH MID page 129 HI Determines the amount of boost or attenuation applied to the high frequency band of the Master EQ. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH page 129 n The settings above are applied as offsets to the EQ settings in the [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ display. ● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously): ASSIGN A Adjusts parameters assigned to these sliders in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. page 165 Adjusts parameters assigned to these sliders in the [VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET display. page 131 ASSIGN B ASSIGN 1 ASSIGN 2 n In addition to above functions, Master Effect related parameters (set in the [UTILITY] → [F3] VOICE → [SF2] MEF display) can be assigned to these four sliders by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters assigned to the four sliders can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display. ● When the [VOLUME] indicator is turned on: EL 1 - 4 (Element 1 - 4) n 46 Adjusts the level balance among the Elements. When selection a Drum Voice, adjusts the entire level of Voice. Owner’s Manual [VOICE] → Voice selection → [EDIT] → Element selection → [F4] AMP → [SF1] LVL/PAN → Level page 137 Editing a Voice Drum Voice Edit 1 Press the [VOICE] button to enter the Voice mode, then select a Drum Voice to be edited (page 32). 2 Press the [EDIT] button to enter the Voice Edit mode. EDIT JOB STORE COMPARE Call up the Common Edit display or Key Edit display. Quick Guide 3 Editing a Program If you want to edit the sounds that make up a Drum Voice and the basic parameters that determine the sound—such as Oscillator, Pitch, Filter, Amplitude, and EG (Envelope Generator)—call up the Key Edit display. Next, press the desired note on the keyboard. To edit more global parameters related to the overall Drum Voice and how it’s processed—such as Arpeggio, Controller, and Effects—call up the Common Edit display. While in the Voice Edit mode, you can switch between the Common Edit display and the Key Edit display as shown below. Calling up the Common Edit display Press the [COMMON] button to call up the Common Edit display. In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button. DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED A B C D SYN LEAD SYN PAD/ CHOIR 1 2 Indicates a Common Edit display. SYN COMP CHROMATIC PERCUSSION 3 Calling up the Key Edit display Press the Number [1] button to call up the Key Edit display, then select the key to which the desired instrument is assigned. Indicates the display for editing the key C0. 4 ELEMENT/PERF. PART/ZONE COMMON 9 C0 10 11 12 C6 C1 Key Edit (1 - 73) Key 1 4 Key 5 Key 10 Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit the parameters in each display. The main parameters available are basically the same as in the Normal Voice Edit (page 44). What is called “Key Edit” in the Drum Voice corresponds to “Element Edit” in the Normal Voice. Please keep in mind that the LFO parameters are not available in the Drum Voice. 5 Key 18 Key 21 6 Key 73 Name the edited Drum Voice. Enter a name for the Voice from the NAME display ([COMMON] → [F1] GENERAL → [SF1] NAME). For detailed instructions on naming a voice, refer to page 27. Enter the desired Voice name. Repeat steps 3 - 4 as desired. 7 Store the settings as a User Drum Voice. The edited Voice can be stored in the Voice Store mode. For details, see page 50. Owner’s Manual 47 Editing a Voice TIP Assigning drum/percussion instruments to individual keys [VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF1] WAVE In the Drum Voice Edit mode, you can create your own original drum kits by assigning specific instrument sounds to individual keys — in any desired order — and edit detailed parameters for each key’s sound. 1 Call up the Key Edit display in the Voice Edit mode. 4 Move the cursor to “Number” and change the value by using the data dial, [INC/YES] button, and [DEC/NO] button. Then, press the same key set in step 3 again to confirm the selected instrument sound. Refer to step 3 on page 47. Quick Guide 2 Editing a Program 3 Select the desired Waveform to be assigned. Call up the [F1] OSC → [SF1] WAVE display. Press the key to which you want to assign a sound. The drum instrument currently assigned to the pressed key will sound. 5 6 Create your original drum kit by repeating steps 3 - 4. Store the created drum kit as a Drum Voice User memory. The edited Voice can be stored in the Voice Store mode. See page 50 for details. 48 Owner’s Manual Editing a Voice TIP Setting the drum key for independent open and closed hi-hat sounds [VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → AltnateGroup In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats. You can prevent drum instruments from playing back simultaneously by assigning them to the same Alternate Group. The preset Drum Voices have many such Alternate Group assignments to ensure the most authentic, natural sound. When creating a Voice from scratch, you can use this feature—either to ensure authentic sound, or to create special effects, where playing one sound cancels out a previous one. Call up the Key Edit display in the Voice Edit mode. 4 Refer to step 3 on page 47. 3 Call up the [F1] OSC → [SF5] OTHER display. Editing a Program 2 Press the key which corresponds to “Hi-Hat Close” and set it to the same Alternate Group (1) as in step 3. Quick Guide 1 Press the key which corresponds to “Hi-Hat Open” and set the Alternate Group to “1.” 5 Confirm whether the Alternate Group has been set properly. Immediately after pressing the “Hi-Hat Open” key, press the “Hi-Hat Close” key. Pressing the second key should cut off the sound of the first. Since the settings above are included in the Drum Voice data, store them as a Drum Voice in the Voice Store mode. TIP Determining how the Drum Voice responds when the key is released [VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF5] OTHER → RcvNoteOff You can determine whether or not the selected Drum key responds to MIDI Note Off messages. Setting the Receive Note Off parameter to “off” can be useful for cymbal sounds and other sustaining sounds. This lets you have the selected sounds sustain to the length of their natural decay—even if you release the note, or when a Note Off message is received. If this parameter is set to “on,” the sound will stop immediately when the note is released or a Note Off message is received. TIP Setting the Output jack for each key (drum/percussion instrument) [VOICE] → Drum Voice selection → [EDIT] → Key selection → [F1] OSC → [SF2] OUTPUT → OutputSel You can change the output jack on the rear panel for the individual Drum key signal. This function is useful when you wish to apply a connected external effect to a specific drum instrument. For details, see page 63. Owner’s Manual 49 Editing a Voice Storing/Saving the created Voice Two steps are necessary in order to store (save) your voice—storing the edited voice to internal memory and saving the stored voices to a USB storage device. Quick Guide Voice Edit Internal memory (Flash ROM) User Normal Voice 001 User Normal Voice 002 User Normal Voice 003 User Drum Voice 001 User Drum Voice 002 User Drum Voice 003 STORE User Drum Voice Bank User Normal Voice Bank 1 User Plug-in Voice 001 Plug-in Voice UserUser Plug-in Voice 002 001 User Plug-in Voice 001 Plug-in Voice UserUser Plug-in Voice 003 002 User Plug-in Voice 002 User Plug-in Voice 003 User Plug-in Voice 003 USB storage device User Plug-in Voice Bank 1 User Drum Voice 32 User Plug-in Voice 064 User Plug-in Voice 064 User Plug-in Voice 064 Editing a Program Storing edited Voices individually SAVE User Normal Voice 128 User Normal Voice 128 All the User Voice data in internal memory can be saved as a single file. When you turn off the power to the instrument, User Voices saved in the Voice Store mode are not erased. As such it is not necessary to save the data to USB storage device; however, you may want to save it for backup or organizational purposes, using the Save operation. Storing the edited Voice as a User Voice to internal memory [VOICE] → [STORE] 1 3 After editing the Voice, press the [STORE] button to enter the Voice Store mode. Make sure to execute the Store operation before selecting another Voice. 2 Select a User Bank. Select a Voice number. 50 The display prompts you for confirmation. Press the [DEC/NO] button to cancel the Store operation. DEC/NO INC/ YES EXIT ENTER Select the destination Voice memory. Select a User Bank (“USR1” or “USR2” when storing a Normal Voice, “UDR” when storing a Drum Voice, “P1-U”— “P3-U” when storing a Plug-in Voice) and the desired Voice number by using the data dial, [INC/YES] and [DEC/NO] button. n Press the [ENTER] button. When you execute the Store operation, the settings for the destination memory will be overwritten. Important data should always be backed up to a separate USB storage device. Owner’s Manual EXECUTE Editing a Voice To execute the Store operation, press the [INC/YES] button. 4 3 Set the Type parameter to “All Voice.” After the Voice has been stored, a “Completed” message appears and operation returns to the Voice Play display. EXIT ENTER EXECUTE The following three file types are available for saving Voice data. Here, select “All Voice.” All When this is selected, execute the Save operation to save all the created data including the User Voices as a single file (extension: S7A). AllVoice When this is selected, execute the Save operation to save all User Voices as a single file (extension: S7V). Voice Editor When this is selected, execute the Save operation to save all User Voices as a single file (extension: S7E) which can be exported to the Voice Editor software (page 77). CAUTION Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data. CAUTION If you select another Voice without storing, the currently edited Voice will be lost. Make sure to store the edited Voice before selecting another Voice. 4 Quick Guide INC/ YES Editing a Program DEC/NO Input a file name. Move the cursor to the file name field, then input the desired file name. For detailed instructions on naming a voice, refer to page 27. Saving the edited Voices to a USB storage device File name [FILE] → [F2] SAVE Connect the USB device and follow the instructions below. n 1 When a USB storage device is connected or media is inserted, an error message “USB device unformatted.” may appear in the LCD display, indicating that the device must be formatted for use in the File mode (page 168). Press the [FILE] button to enter the File mode. Then press the [F1] CONFIG button and [SF2] CURRENT button. If the device is divided into several partitions, select the specific partition for use. If the device has several media (e.g., discs) inserted, select a specific Slot number. 2 Press the [F2] SAVE button to call up the Save display. 5 If you have created a destination folder, select the folder. For information on how to select a folder, see the section “Supplementary information” on page 170. For information on how to create/delete a folder and change the folder name, see the section “File mode” on page 168. 6 Press the [SF1] EXEC button to actually save the file. If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/YES] button to execute the Save operation to overwrite the existing file, or press the [DEC/NO] button to cancel it. CAUTION While the data is being saved/loaded, make sure to follow these precautions: • Do not remove or eject the media from the USB storage device. • Do not unplug or disconnect the USB storage device. • Do not turn off the power of the instrument or the relevant devices. Owner’s Manual 51 Editing a Voice ■ Loading Voice data from a USB storage device When Type is set to “Voice”: [FILE] → [F3] LOAD In the previous section, we saved Voice data as an “All Voice” file to a USB storage device. Here, we’ll recall that Voice data and load it to the instrument with the Load operation. 1 When Type is set to “Voice,” you can specify and load a specific Voice from a file (with the extension S7V or S7A). Press the [FILE] button to enter the File mode. Then press the [F1] CONFIG button and [SF2] CURRENT button. Quick Guide Move the cursor to the file (extension: S7A) saved in the operation explained on the previous page. If the device is divided into several partitions, select the specific partition for use. If the device has several media (e.g., discs) inserted, select a specific Slot number. Editing a Program 2 Press the [F3] LOAD button to call up the Load display. 3 Select the file type to be loaded. ENTER EXECUTE Select a source Voice Bank from the selected file with the following operation. To select a User Normal Voice Bank, press one of the [USER1] and [USER2] buttons. To select a User Drum Voice Bank, simultaneously hold the [DRUM KITS] button and press the [USER1] button. To select a User Plug-in Voice Bank, press one of the [PLG1], [PLG2] and [PLG3] buttons. After selecting a source Voice Bank, all the Voices contained in the selected Bank are listed in the display. Move the cursor to the desired Voice to be loaded. The file saved in operation explained on the previous page has all the User Voices. If you wish to load all the User Voices, set Type to “All Voice.” If you wish to load only a specific voice, set Type to “Voice.” Select a destination Voice Number. 4 Select the file (“ Select a Voice or a Plug-in Voice by moving the cursor to the location of “USR1” in the above display and using the data dial. When loading Plug-in Voice data, note that the Plug-in Board for the source Voice Bank should match the one for the destination Voice Bank. When a source Voice Bank is created for the PLG150-AN, for example, you should select the Voice Bank for the PLG150- AN as the destination. ”) to be loaded. Move the cursor to the file (extension: S7V) saved in the operation explained on the previous page. If you set the Type parameter to “AllVoice” in step 3, go to step 5. If the desired file was saved in specific folder, enter the folder and select the file. For information on how to select a folder, see the section “Supplementary information” on page 170. If you set the Type parameter to “Voice” in step 3, execute the operations in the following box, then go to step 5. CAUTION Loading data to this instrument automatically erases and replaces any existing data in the User memory. 5 Press the [SF1] EXEC button to actually load the file. After the data has been loaded, a “Completed” message appears and operation returns to the original display. CAUTION While the data is being saved/loaded, make sure to follow these precautions: • Do not remove or eject the media from the USB storage device. • Do not unplug or disconnect the USB storage device. • Do not turn off the power of the instrument or the relevant devices. 52 Owner’s Manual Editing a Performance Editing a Performance The Performance Edit mode ([PERFORM] → [EDIT]) lets you create your own original Performances—containing up to four different Parts (Voices)—by editing the various parameters. The Voices can be selected from the internal tone generator or the installed Plug-in Boards. After assigning different Voices to separate ranges of the keyboard, edit the detailed parameters in the Performance Edit mode. Press the [PERFORM] button to enter the Performance mode, then select a Performance to be edited (page 34). 2 Press the [EDIT] button to enter the Performance Edit mode. 3 Call up the Common Edit display or Part Edit display. Editing a Program Quick Guide 1 Use the Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts. While in the Voice Edit mode, you can switch between the Common Edit display amd the Part Edit display as shown below. Calling up the Common Edit display Press the [COMMON] button to call up the Common Edit display. DRUM KITS PRE 1 PRE 2 PRE 3 PRE 4 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED A B C D SYN LEAD SYN PAD/ CHOIR 1 2 In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button. Calling up the Part Edit display Press the desired Part number from the PERF. PART [1] - [4] buttons to call up the Part Edit display. Indicates the display for editing Part 1. Indicates a Common Edit display. SYN COMP CHROMATIC PERCUSSION 3 4 ELEMENT/PERF. PART/ZONE COMMON 9 10 11 12 To switch between the Part 1 - 4 display and the Plug-in Part 1 - 3 display, press the [F6] button. F6 You can select the four Performance Parts from this group of seven. Part1 Edit Part2 Edit Part3 Edit Common Edit Parts to which Internal voices are assigned Part4 Edit Plug-in part 1 (PLG1) Edit Plug-in part 2 (PLG2) Edit Plug-in part 3 (PLG3) Edit Parts to which Plug-in Board voices are assigned Owner’s Manual 53 Editing a Performance 4 Select the menu you wish to edit by pressing the [F1] - [F6] buttons and [SF1] - [SF5] buttons, then edit the parameters in each display. The following briefly describes the main Performance parameters. ● Parameters for the Voice assigned to each Part ● Master EQ related parameters Pages 120, 150 [COMMON] → [F2] OUT/MEF → [SF3] MEQ (Master Equalizer) These parameters let you use the five-band Master EQ to process the overall sound of the Performance. Master EQ also features separate EQ shape parameters for the Low and High bands, as well as the Frequency, Gain and Q controls for each band. Page 152 ● Controller related parameters Quick Guide Part selection → [F1] VOICE Pages 41, 59, 151 Editing a Program The Voice assigned to each part and its note range can be set also in the Performance Play mode (page 152). In addition to the parameters available in the Performance Play mode, the Performance Edit mode also lets you set Portamento (pitch glide) and Arpeggio Switch (which determines whether the Arpeggio plays a specific Part or not). [COMMON] → [F4] CTL ASN (Controller Assign) For each Performance, you can assign the Control Change Number to built-in controllers such as Control sliders (ASSIGN1 and 2) and optionally connected controllers, such as Foot Controller and Breath Controller. n ● Basic parameters for creating the sound Page 154 Functions assigned to Controllers depend on the settings of each Part's Voice edited in the Voice Edit mode. ● Arpeggio related parameters Part selection → [F4] TONE Pages 124, 151 Edit the parameters for each Part’s Voice such as Pitch, Filter, and Amplitude. The parameters offset the same parameters in the Voice Element Edit mode. ● Parameters related to the Audio Input Part [COMMON] → [F3] ARP (Arpeggio) For each Performance, you can set the Arpeggio related parameters, such as Arpeggio type and playback tempo. These settings can be edited in the Common Edit display. Page 151 [COMMON] → [F5] AUDIO IN The audio signal input from the A/D INPUT jack (or the optional audio inputs) can be handled as an Audio Input part. Various parameters such as volume, pan, and effect can be set to this Part and the sound is output together with other Parts. The parameters related to the Audio Input Part can be edited in Common Edit for each Performance. ● Parameters related to the OUTPUT jacks for each Part 5 Repeat steps 3 - 4 as desired. 6 Name the edited Performance. Enter a name for the Voice from the NAME display ([COMMON] → [F1] GENERAL → [SF1] NAME). For detailed instructions on naming a voice, refer to page 27. Page 154 Enter the desired Performance name. Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel You can assign each individual Part’s Voice to be output from a specific hardware output jack on the rear panel. This function is useful when you want to output a specific Part to a separate speaker or process it with a favorite external effect. ● Effect related parameters Pages 118, 150, 152 [COMMON] → [F6] EFFECT [COMMON] → [F2] OUT/MEF → [SF3] MEF (Master Effect) The Effects use DSP (Digital Signal Processing) to alter and enhance the sound of a Performance. The Common Edit display lets you edit the Effect-related parameters. 54 Owner’s Manual 7 Store the settings as a User Performance. The edited Performance can be stored in the Performance Store mode. For details, see page 56. Editing a Performance TIP Editing a Performance by using the Control sliders The four sliders at the top left of the instrument are not only for tweaking the sound while you perform—you can also use them to edit a Performance, either in the Performance Play mode or the Performance Edit mode. PAN Determines the stereo pan position of the Performance. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT → Pan Page 150 REVERB Determines the amount of Reverb effect that is applied to the Performance. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT → RevSend Page 150 CHORUS Determines the amount of Chorus effect that is applied to the Performance. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT → ChoSend Page 150 TEMPO Determines the tempo of the Arpeggio assigned to the currently selected Performance. [PERFORM] → Performance selection → [F6] ARP → Tempo Page 149 Quick Guide ● When the [PAN/SEND] indicator is turned on: CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance. [PERFORM] → Performance selection → [F5] EG → CUTOF Page 149 RESONANCE Boosts or attenuates the level at the area around the Filter cutoff frequency. [PERFORM] → Performance selection → [F5] EG → RESO Page 149 ATTACK Determines the attack time of the sound. For example, you can adjust a strings Voice so that the sound gradually swells in volume by setting a slow attack time—simply move the slider upwards. [PERFORM] → Performance selection → [F5] EG → ATK (AEG) Page 149 RELEASE Determines the release time of the sound. Moving the slider upwards sets a long release time and (depending on the Voice assigned to the selected Performance) lets the sound sustain after the key is released. To produce a sharp release, in which the sound abruptly cuts off, set a short release time. [PERFORM] → Performance selection → [F5] EG → REL (AEG) Page 149 n Editing a Program ● When the [TONE] indicator is turned on: The settings above are applied as offsets to the AEG and FEG settings in the Performance Edit mode. ● When the [ARP FX] indicator is turned on: SWING Adjusts the swing feel of the Arpeggio playback. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → Swing Page 151 GATE TIME Adjusts the Gate Time (length) of the Arpeggio notes. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → GateTimeRate Page 151 VELOCITY Adjusts the velocity of the Arpeggio notes. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → VelocityRate Page 151 UNITMULTIPLY Adjusts the Arpeggio playback time based on tempo. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF3] PLAY FX → UnitMultiply Page 151 ● When the [EQ] indicator is turned on: LO Determines the amount of boost or attenuation applied to the low frequency band of the Master EQ. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW Page 150 LO MID Determines the amount of boost or attenuation applied to the lowmidrange frequency band of the Master EQ. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → LOW MID Page 150 HI MID Determines the amount of boost or attenuation applied to the highmidrange frequency band of the Master EQ. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH MID Page 150 HI Determines the amount of boost or attenuation applied to the high frequency band of the Master EQ. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS → HIGH Page 150 n The settings above are applied as offsets to the EQ settings in the [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ (Master EQ) display. ● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously): ASSIGN A Adjusts parameters assigned to these sliders in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 165 Depends on the settings of the Voice assigned to the selected Performance. Page 151 ASSIGN B ASSIGN 1 ASSIGN 2 n In addition to above functions, Master Effect related parameters (set in the [PERFORM] → Performance selection → [COMMON] → [F2] OUT/ MEF → [SF3] MEF display) can be assigned to these four sliders by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters are assigned to the four sliders can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display. ● When the [VOLUME] indicator is turned on: PART1 - 4 Adjusts the level balance among the Parts. [PERFORM] → Performance selection → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume Page 153 Owner’s Manual 55 Editing a Performance Storing/Saving the created Performance Two steps are necessary in order to store (save) your Performance—storing the edited Performance to internal memory and saving the stored Performances to a USB storage device. Internal memory STORE Performance Edit Quick Guide Storing edited Performances individually Performance 001 Performance 002 Performance 003 USB storage device SAVE All the User Performance data in internal memory can be saved as a single file. Performance 128 Editing a Program When you turn off the power to the instrument, User Performance saved in the Performance Store mode is not erased. As such it is not necessary to save the data to USB storage device; however, you may want to save it for backup or organizational purposes, using the Save operation. Storing the edited Performance as a User Performance to internal memory [PERFORM] → [STORE] 4 1 After editing the Performance, press the [STORE] button to enter the Performance Store mode. 2 Select the destination Performance memory. To execute the Store operation, press the [INC/YES] button. After the Performance has been stored, a “Completed” message appears and operation returns to the Performance Play display. DEC/NO INC/ YES EXIT ENTER Select a Performance number by using the data dial, [INC/ YES] and [DEC/NO] button. EXECUTE CAUTION When you execute the Store operation, the settings for the destination memory will be overwritten. Important data should always be backed up to a separate USB storage device. 3 Press the [ENTER] button. The display prompts you for confirmation. Press the [DEC/ NO] button to cancel the Store operation. DEC/NO CAUTION Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data. INC/ YES CAUTION If you select another Performance without storing, the currently edited Performance will be lost. Make sure to store the edited Performance before selecting another Performance. EXIT ENTER EXECUTE 56 Owner’s Manual Editing a Performance Saving the edited Performances to a USB storage device [FILE] → [F2] SAVE Editing a Program Quick Guide The basic operations are the same as in the Voice mode (page 51). However, keep in mind that you must set the Type parameter to “All.” When Type is set to “All,” executing the Save operation saves all the created data, including the Performances as well as the Voices assigned to them, as a single file (extension: S7A). Loading Performance data from the USB storage device [FILE] → [F3] LOAD These instructions describe how to recall the data saved as an “All” file type (extension: S7A) from the USB storage device, by using the Load operation. Press the [FILE] button to enter the File mode. Then press the [F1] CONFIG button and [SF2] CURRENT button. 1 If the device is divided into several partitions, select the specific partition for use. If the device has several media (e.g., discs) inserted, select a specific Slot number. 2 Press the [F3] LOAD button to call up the Load display. 3 Select the file type to be loaded. The “All” file contains all the Performances. If you wish to load all the Performances, set Type to “All.” In this case, all data that can be created on this instrument will be loaded in step 5 below. If you wish to load only a specific Performance, set Type to “Performance.” USB storage device Performance 001 Performance 002 Performance 003 Performance 128 File extension: S7A Loading a specific Performance when Type is set to “Performance.” Internal Memory Performance 001 Performance 002 Performance 003 All Performances are loaded when Type is set to “All.” Performance 128 CAUTION When Type (file type) is set to “All” and the Load operation is executed, all data that can be created on the instrument will be loaded. This means that any existing data in User memory will automatically be overwritten and lost. Make sure to save any important data to a USB storage device before performing the Load operations, especially when Type is set to “All.” n When Type (file type) is set to “Performance” and the Load operation is executed, the sound of the Performances may not be reproduced properly if the User Voices assigned to the Performances saved in the file have been changed by editing. Owner’s Manual 57 Editing a Performance 4 Select the file (“ ”) to be loaded. Move the cursor to the file (extension: S7A) saved in the operation explained in the previous instructions. If the desired file was saved in specific folder, enter the folder and select the file. For information on how to select a folder, see the section “Supplementary information” on page 170. If you have set the Type parameter to “All” in step 3, go on to step 5. If you have set the Type parameter to “Performance” in step 3, execute the operations in the following box, then go on to step 5. When Type is set to “Performance”: Quick Guide When Type is set to “Performance,” you can specify and load a specific Performance from a file (with the extension S7A). Editing a Program Move the cursor to the file (extension: S7A) saved in the operation explained on the previous page. ENTER EXECUTE All the Performances contained in the selected file are listed on the display. Move the cursor to the desired Performance. Select the desired Performance to be loaded. Select the destination Performance number. CAUTION Loading data to this instrument automatically erases and replaces any existing data in the User memory. 5 Press the [SF1] EXEC button to actually load the file. After the data has been loaded, a “Completed” message appears and operation returns to the original display. CAUTION While the data is being saved/loaded, make sure to follow these precautions: • Do not remove or eject the media from the USB storage device. • Do not unplug or disconnect the USB storage device. • Do not turn off the power of the instrument or the relevant devices. 58 Owner’s Manual Controllers supported by the S90 ES Using the Controllers—Advanced Course Controllers supported by the S90 ES You can control tone, volume, pitch and other parameters by using the controllers on the front panel, as well as by using external controllers connected to several controller jacks on the rear panel. Control sliders VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 FOOT SWITCH FOOT CONTROLLER BREATH ASSIGNABLE SUSTAIN FOOT PEDAL USB TO DEVICE Plug-in SLOT FOOT SWITCH MIDI TO HOST 2 1 FOOT CONTROLLER BREATH ASSIGNABLE SUSTAIN FOOT PEDAL IN OUT THRU Using the Controllers—Advanced Course Pitch Bend Wheel Modulation Wheel Quick Guide Controllers on the front panel 2 1 GREEN YELLOW ORANGE ASSIGNABLE OUTPUT R L OUTPUT R L/MONO PHONES A/D INPUT R GAIN L S90 ES rear panel Optional Controllers BC3 FC4/FC5 FC7 FC3/FC4/FC5 FC7 Controllers on the S90 ES ■ Pitch Bend wheel/Modulation wheel Controls pitch or vibrato. For details, see page 41. ■ Control sliders Controls various parameters. For details, see page 42. Controllers (optional) that can be connected to the rear panel of the S90 ES ■ Breath Controller You can connect an optional Breath Controller (BC3) to the BREATH jack on the rear panel, and use it to control various parameters on this instrument—particularly those controlled by a wind player’s breath, including dynamics, timbre, pitch and so on. The Breath Controller is ideally suited for realistic expression with wind instrument Voices. ■ Footswitch (assignable) An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack can be assigned to a range of parameters. It is suited for switch-type (on/off) controls, such as Portamento Switch, increment/ decrement of a Voice or Performance Number, start/stop of the Sequencer, and holding the Arpeggio on or off. ■ Footswitch (sustain) An optional FC3, FC4 or FC5 Footswitch connected to the SUSTAIN jack on the rear panel lets you control sustain. When you press the damper pedal, the notes you play have a longer sustain. The S90 ES also provides a special Half Damper function for finer control over sustain. Owner’s Manual 59 Controllers supported by the S90 ES When the Half Damper function is set to on (only FC3) By connecting an optional FC3 foot controller, you can use the Half Damper feature. The Half Damper feature reproduces the fine control of an acoustic piano's damper pedal to control the sustain over time: pressing the pedal fully down makes the sound last longer, while letting up on the pedal part of the way slightly mutes the sustained sound. Effective use of the Half Damper feature lets you play piano sounds more expressively and realistically. When the Half Damper function is set to off Quick Guide By pressing the footswitch (sustain) on/off, you can control whether the sound is cut off or continues playing, even when the keys are released. Keep in mind that some sounds may not be suitable for use in all situations with the Sustain footswitch. For example, for organ sounds that have no natural decay, the sound continues at the same level when holding down the Sustain footswitch. On the other hand, many sounds benefit from the use of Sustain, such as piano, which has a natural decay when a note is held. You can switch the Half Damper function on or off in the following parameters: Using the Controllers—Advanced Course [UTILITY] → [F4] CTL ASN → [SF3] FT SW → SusPedal (page 165) [VOICE] → Voice selection → [EDIT] → Element selection → [SF3] AEG → Half Damper switch parameter (page 138) n Keep in mind that two separate parameters must be set to on in order to use the Half Damper function. n The on/off setting of the half-damper feature automatically affects the AEG (Amplitude Envelope Generator) settings. For details, refer to page 114. n The default setting for the SusPedal parameter is “FC (Half On).” When using the FC4 or FC5, make sure to change this setting, depending on the particular footswitch you are using. ■ Foot Controller An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jack on the rear panel, can be assigned to control a variety of parameters on the instrument. By using a foot controller for parameter control in this way, both your hands are left free to play the keyboard (or to operate other controllers)—an exceptional convenience when playing live. Controlling a Voice with Controller Set [VOICE] → Voice selection → [EDIT] → [COMMON] → [F4] CTL SET (page 131) Each of the Preset Voices of S90 ES is programmed with appropriate Modulation Wheel and Control slider assignments, for adjusting the sound and effects in ways that best match the selected Voice. For example, you can apply the chorus effect by using the Modulation Wheel in a piano Voice and control the decay time parameter using the Control slider in a bass guitar Voice. The settings for all the controllers are referred to as a “Controller Set.” These Controller Set settings can be stored with the User Voice. 1 2 3 4 Switch the display for each Controller Set by using the [SF1] - [SF3] buttons 1 Element Switch Select whether the controller will affect each individual Element. Keep in mind that some destinations affect only the entire Voice (all Elements). In this case, the Element Switch parameter will be indicated by “----” and cannot be changed. This applies only to Normal Voices. 2 Source (controller) Determines the desired controller. For details about the abbreviations for each controller, see page 131. The number in brackets indicates the Control Change number generated when moving the controller. 3 Destination (function) Determines the function assigned to the Source (controller). For the details about the abbreviations and the parameter types, refer to the Control List in the separate Data List booklet. 60 Owner’s Manual Controllers supported by the S90 ES 4 Depth Determines the amount by which the parameter selected in Destination can be controlled. For negative values, the controller operation is reversed. The Controller Set edited in the Voice Edit mode is available when the corresponding Voice is selected in the Performance and Multi. n The functions assigned to the Controller by the Controller Set function are applied only to the internal tone generator block. For connected external MIDI instruments, use of the controllers generates separate MIDI Control Change numbers, as shown in the Source parameter. n Even if a different function is assigned to this wheel, the Pitch Bend function is available and Pitch Bend messages are still generated when the wheel is used. Using the Controllers—Advanced Course n Quick Guide TIP Assigning multiple functions to a controller You can have a single controller affect different aspects of the sound at the same time. For example, set the Source parameter of Control Set 1 to MW (Modulation wheel) and the Destination parameter to ELFO-PM (Element LFO Pitch Modulation Depth). Then set the Source parameter of Control Set 2 also to MW, but set the Destination parameter to ELM PAN (Element Pan). In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, and the Element is simultaneously panned from left to right. Controlling the overall system with ASSIGN A and B [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN (page 165 ) The ASSIGN A and B (Control slider 1 and 2) settings let you control the functions that affect all Voices, Performances, and Multis. You can store the ASSIGN A and B settings as the system settings by pressing the [STORE] button. n ASSIGN A and B are common to all Voices/Performances/Multis. Changing the setting of ASSIGN A and B may result in changes to the data of stored User Voices/Performances/Multis. 1 2 1 ASSIGN A, ASSIGN B Determines the Control Change numbers generated when controlling the ASSIGN A and B (Control sliders 1 and 2). Normally, there is no need to change these parameters. The general features used for the control numbers are indicated in the parentheses. 2 Destination (function) Determines the functions assigned to ASSIGN A and B. For the details about the abbreviations and the parameter types, refer to the Control List in the separate Data List booklet. Owner’s Manual 61 Controllers supported by the S90 ES Changing Control Change numbers The functions assigned to the controllers by the Controller Set and ASSIGN A/B functions are applied only to the internal tone generator block. For connected external MIDI instruments, use of the controllers generates MIDI Control Change messages, as assigned in the chart below. External MIDI instrument Quick Guide Transmitting the Control Change messages Tone generator block Using the Controllers—Advanced Course Controller Affecting the destination (Dest) Controller Generated MIDI message Aftertouch Channel Aftertouch (DnH) - Pitch Bend wheel Pitch Bend (EnH) - Modulation wheel Control Change (BnH, 01H) - Footswitch (connected to the SUSTAIN connector) Control Change (BnH, 40H) ASSIGN A, B Control Change (BnH) [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN Footswitch (connected to the ASSIGNABLE jack)* Control Change (BnH) [UTILITY] → [F4] CTL ASN → [SF3] FT SW Ribbon Controller* Control Change (BnH) [VOICE] → [UTILITY] → [F3] VOICE → [SF4] CTL ASN [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F4] CTL ASN [MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → [COMMON] → [F4] CTL ASN ASSIGN 1, 2 Foot Controller 1, 2 Breath Controller Display to set the Control Change number - * The S90 ES does not have a Ribbon Controller. However, keep in mind that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages as if the Ribbon Controller of the instrument was used. Conventional controllers, such as Modulation wheel, will affect connected MIDI instruments in their conventional way. For example, when the pan function is assigned to the Modulation wheel under Controller Set, using the Modulation wheel will apply the pan function to the internal tone generator, but will transmit the Modulation messages to the external MIDI instrument. Keep in mind also that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages as if the controller on the S90 ES itself was used. TIP Using the Controllers effectively You can also set up a controller such that it sends one kind of Control message to the internal tone generator of the S90 ES, yet another kind of message to the MIDI Out. For example, in a Controller Set you could assign Resonance to ASSIGN 1 (Control slider 3). Then, in the Utility mode, you could assign Control Change number 1 (modulation) to the same slider. Now, when you move Control slider 3, resonance will be applied to the sound of the internal tone generator block, while modulation messages will be transmitted to the external MIDI instrument. 62 Owner’s Manual Connections Connecting the Computer and MIDI devices Connections Connecting to External Audio Equipment Quick Guide Since the S90 ES has no built-in speakers, you'll need an external audio system or a set of stereo headphones to properly monitor it. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations. Audio Output Connecting the Computer and Midi devices ■ Connecting stereo powered speakers Hooking up a pair of powered speakers lets you hear accurate reproduction of the instrument's rich sounds with their own pan and effect settings. Connect the powered speakers to the OUTPUT L/MONO and R jacks on the rear panel. Powered speaker (Left) Powered speaker (Right) Headphones OUTPUT L/MONO OUTPUT R PHONES S90 ES n When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel. ■ Connecting to a Mixer There are extra audio outputs in addition to the main OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer for separately controlling and processing individual Drum Key sounds or Parts. Installing the mLAN16E expands the output capabilities with sixteen addition digital outputs, over a single FireWire (IEEE 1394) connector/cable. For details on how to set the Part/output jack assignments, refer to the chart below. Outputting separate notes (keys) of a Drum Voice This is done from the OutputSel parameter (as selected below) as Drum Voice data. [VOICE] → Drum Voice selection → [EDIT] → Drum Key selection → [F1] OSC → [SF2] OUTPUT → OutputSel (page 141) This setting is available for Parts for which the OutputSel parameter is set to “drum” in another mode (e.g., Performance or Multi). Outputting separate Parts of a Performance This is done from the OutputSel parameter (as selected below). [PERFORM] → Performance selection → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel (page 154) Assigning an audio input Part of a Performance to an output is done from the OutputSel parameter (as selected below). [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → OutputSel (page 151) Outputting separate Parts of a Multi This is done from the OutputSel parameter (as selected below). [MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel (page 159) Assigning an audio input Part of a Multi to an output is done from the OutputSel parameter (as selected below). [MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → [COMMON] →[F5] AUDIO IN → [SF1] OUTPUT → Outputsel (page 158) Owner’s Manual 63 Connections The following settings can be made from the parameter pages listed above. Quick Guide Display indication Output jacks Stereo/Mono Display indication Output jacks Stereo/Mono L&R OUTPUT L and R Stereo asL ASSIGNABLE OUTPUT L Mono asL&R ASSIGNABLE OUTPUT L and R Stereo asR ASSIGNABLE OUTPUT R Mono as1&2 mLAN16E Audio Output 1 and 2 Stereo (1:L, 2:R) * as1 mLAN16E Audio Output 1 Mono * as3&4 mLAN16E Audio Output 3 and 4 Stereo (3:L, 4:R) * as2 mLAN16E Audio Output 2 Mono * as5&6 mLAN16E Audio Output 5 and 6 Stereo (5:L, 6:R) * | | | | | | as7&8 mLAN16E Audio Output 7 and 8 Stereo (7:L, 8:R) * as7 mLAN16E Audio Output 7 Mono as9&10 mLAN16E Audio Output 9 and 10 Stereo (9:L, 10:R) * | | | | | | as11&12 mLAN16E Audio Output 11 and 12 Stereo (11:L, 12:R) * as13 mLAN16E Audio Output 13 Mono * as13&14 mLAN16E Audio Output 13 and 14 Stereo (13:L, 14:R) * as14 mLAN16E Audio Output 14 Mono * | | | | | | * | | * Available only when the optional mLAN16E board has been installed. ● Connection example when the optional mLAN16E board has been installed (analog and digital outputs) Connecting the Computer and Midi devices IEEE1394 cable OUTPUT L Headphones OUTPUT R OUTPUT L/MONO OUTPUT R PHONE jack ASSIGNABLE OUTPUT L ASSIGNABLE OUTPUT R Mixer Amplifier mLAN16E Speaker (Left) Speaker (Right) S90 ES n • Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. • The sound monitored through the headphones is identical to the sound of the OUTPUT L/MONO and R jacks. • Any Parts/Drum keys assigned to the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E will not be output through the OUTPUT L/ MONO and R jacks. • The System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E. (Only the Part EQ and the Insertion Effect are applied.) • The output from the ASSIGNABLE OUTPUT jacks or mLAN connectors on mLAN16E is not affected by the [MASTER VOLUME] slider. • In the Voice mode, Normal Voices cannot be output via the ASSIGNABLE OUTPUT jacks or mLAN connectors on the mLAN16E. Audio Input ■ Connecting a microphone or other audio equipment to the A/D INPUT jacks (analog input) Virtually any audio device—such as a microphone, guitar, bass, CD player, synthesizer, etc.—can be connected to these jacks and its audio input signal can be mixed with and sounded as the AUDIO IN part of the Performance or Multi. For details, see the “Using the microphone and audio device sounds” section on page 38. ■ Digital Input using the optional mLAN16E The optional mLAN16E allows you to connect this instrument to an mLAN device or computer, giving you high-speed audio and MIDI data transfer between devices with just one IEEE 1394 cable connection. mLAN device (Data Rate S400) IEEE1394 cable IEEE1394 cable mLAN16E Computer with an IEEE1394 interface S90 ES 64 Owner’s Manual Connections Connecting External MIDI Equipment Using a standard MIDI cable (optional), you can connect an external MIDI device, and control it from the S90 ES. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the S90 ES. This section introduces several different applications of MIDI. n When using the MIDI cable, make sure to set the following parameter to “MIDI.” [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT parameter ■ Controlling from an external MIDI keyboard MIDI IN Quick Guide Use an external keyboard to remotely select and play Voices of the S90 ES. MIDI OUT Connecting the Computer and Midi devices MUSIC PRODUCTION SYNTHESIZER S90 ES External MIDI keyboard or synthesizer, such as the MOTIF ES series MIDI Transmit Channel and Receive Channel Make sure to match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the S90 ES. For details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the owner's manual of the instrument. For details on setting the MIDI Receive Channel of the S90 ES, follow the instructions below. In the Voice mode/Performance mode (using the S90 ES as a single timbre tone generator) Confirm the MIDI Basic Receive Channel with the operation below. If necessary, change this parameter to the same number as the MIDI Transmit Channel of the external MIDI instrument. [UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh In the Multi mode/Sequence Play mode (using the S90 ES as a multi-timbral tone generator) Change the settings of the desired parts to match the MIDI Transmit Channel settings on the external MIDI instrument. Confirm and change the MIDI Receive Channel for each Part of the Multi with the operation below. [MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveChITY] → [F5] MIDI → [SF1] CH → BasicRcvCh Please note that all parts whose MIDI Receive Channel are the same as the MIDI Transmit Channel of the external MIDI instrument are sounded by your keyboard performance. Change the settings of the desired parts to match the MIDI Transmit Channel settings on the external MIDI instrument. n For details about the tone generator block of S90 ES, see page 115. ■ Controlling an external MIDI keyboard This connection lets you sound an external MIDI tone generator (synthesizer, tone generator module, etc.) by playing the S90 ES or playing back the MIDI song file. Use this connection when you wish to sound the another instrument along with the S90 ES. MIDI OUT S90 ES MIDI IN External MIDI keyboard or synthesizer, such as the S/SY/EX series Owner’s Manual 65 Connections TIP Splitting the sound between the S90 ES and an external tone generator by MIDI channel Using the connection example shown above, you can play both instruments and have them separately sound different parts. To use this feature, you must set the S90 ES's output channel and the external tone generator's receive channel to the same channel number. Follow the instructions below. ■ In the Voice mode/Performance mode Quick Guide You can check the MIDI Transmit Channel at the right corner of the [F1] PLAY display in the Voice Play mode/ Performance Play mode. If necessary, change the MIDI Transmit Channel by turning the [TRACK SELECT] button on and entering the desired value with the Number buttons. When you wish to mute the sound of the S90 ES and sound only the external tone generator, set Master Volume to “0,” or set Local Control to “off” with the following operation. [UTILITY] → [F5] MIDI → [SF2] SWITCH → LocalCtrl For details on how to set the MIDI Receive Channel of the external MIDI instrument, refer to the owner's manual of the instrument. Connecting the Computer and Midi devices ■ In the Multi mode/Sequence Play mode In the Multi mode and Sequence Play mode, the MIDI messages generated by playing the keyboard are transmitted on the same MIDI channel number as that of the currently selected Part. Alternately, you can set the output destination (Internal or external MIDI tone generator) for each Part from the following display in the Sequence Play mode (page 99). [MULTI/SEQ PLAY] (select Sequence Play mode) → [F2] OUTPUT → INT SW (Internal Switch), EXT SW (External Switch) Please note that all parts whose MIDI Receive Channel are the same as the MIDI Transmit Channel of the external MIDI instrument are sounded by your keyboard performance. Change the settings of the desired parts to match the MIDI Transmit Channel settings on the external MIDI instrument. n You can also split the sound between the S90 ES and external tone generators by using the Zone settings. n For details about the tone generator block of S90 ES, see page 115. ■ Controlling another MIDI device via MIDI THRU MIDI THRU simply re-transmits the MIDI messages received via MIDI IN. In the example below, the MIDI messages generated by playing an external keyboard are transmitted to an external tone generator via the MIDI THRU connector on the S90 ES. The MIDI data of your performance on the S90 ES are transmitted to an external device via the MIDI OUT connector on the S90 ES. MIDI OUT MIDI OUT MIDI IN MIDI THRU MIDI IN MIDI IN MUSIC PRODUCTION SYNTHESIZER C MIDI tone generator MIDI Keyboad S90 ES MIDI Synthesizer ■ Using an IEEE1394 interface (when an optional mLAN16E has been installed) The mLAN connection to computer (page 64) allows you to transfer both audio and MIDI data between your S90 ES and a computer. 66 Owner’s Manual Connections Connecting to a Computer Connecting this instrument to a computer via MIDI opens up a whole world of musical possibilities—such as using sequencer software to record and play back compositions with the S90 ES sounds or using the Voice Editor/Multi Part Editor software to create and edit your own custom Voices/Multis. In order to use the instrument with a computer via a USB connection, you will need to install an appropriate USB-MIDI driver. You can download the proper driver from our website: http://www.global.yamaha.com/download/usb_midi/ Quick Guide OS: Windows XP Professional/Home Edition, Mac OS X 10.2-10.4.0 *This information is current as of May 2005. For the latest information check the web site above. Connecting the Computer and Midi devices Using a USB cable MIDI messages can be transferred between the sequencer software and S90 ES using the USB cable. However, audio data cannot be transmitted or received via USB on the S90 ES. When using a USB connection, make sure to set the following parameter to “USB.” [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT = USB USB cable USB TO HOST S90 ES Computer with a USB interface n USB cables have different connectors on each end: the A type and the B type. When connecting this synthesizer to the computer, connect the A type to your computer and the B type to the USB TO HOST connector. When connecting this synthesizer to the computer, connect the A type to your computer and the B type to the USB TO HOST connector. n If you are using the Remote Control function of the S90 ES to control operations on a computer sequencer, use the USB connection. MIDI channel and MIDI port MIDI data is assigned to one of sixteen channels, and this instrument is capable of simultaneously playing sixteen separate parts via these channels. While a single MIDI cable is equipped to handle data over up to sixteen channels simultaneously, a USB connection is capable of handling far more—thanks to the use of MIDI ports. Each MIDI port can handle sixteen channels, and the USB connection allows up to eight ports, letting you use up to 128 channels (8 ports x 16 channels) on your computer. n This instrument can recognize and use up to three ports at the same time. n When using a USB connection, make sure to match the MIDI transmit port and the MIDI receive port as well as the MIDI transmit channel and the MIDI receive channel. Synchronizing with an external sequencer (Master and Slave) When using multiple MIDI devices, the tempo settings of the MIDI devices must be synchronized by clock signal. The device set to internal clock serves as a reference for all connected devices, and is referred to as the “master” instrument. The connected devices set to external clock are referred to as “slaves.” When using playback data of an external sequencer to trigger the Arpeggio function on the S90 ES, make sure to set the MIDI synchronization parameter in the Utility mode so that the external clock is used (as shown below). [UTILITY] → MIDI display → MIDI Sync = MIDI In addition, make sure that the external MIDI sequencer is set to “master” or internal sync. n Certain sequencers may not send clock signals to an external device while playback is stopped. When “MIDI Sync” is set to “MIDI,” the Arpeggio function is available only while the S90 ES receives clock signals from the master instrument. Owner’s Manual 67 Connections TIP Thru Port Setting MIDI ports can be used to divide playback among multiple synthesizers, as well as expand the MIDI channel capacity beyond sixteen. In the example below, a separate synthesizer connected to the S90 ES is played by MIDI data via port 5, as set in the ThruPort parameter with the following operation. [UTILITY] → [F5] MIDI → [SF4] OTHER → ThruPort = 5 MIDI cable MIDI IN USB cable Quick Guide Only MIDI data over port 5 will be transmitted through the S90 ES to this tone generator. MIDI OUT Outputting the MIDI data via multiple ports USB TO HOST Connecting the Computer and Midi devices S90 ES Only MIDI data over ports 1, 2, and 3 are recognized. For details on the relationship between the MIDI port and the tone generator block, see page 115. Precautions when using the USB TO HOST connector When connecting the computer to the USB TO HOST connector, make sure to observe the following points. Failing to do so risks freezing the computer and corrupting or even losing the data. If the computer or the instrument freezes, turn the power to the instrument off or restart the computer. CAUTION • Before connecting the computer to the USB TO HOST connector, exit from any power-saving mode (such as suspended, sleep, standby) of the computer. • Before turning on the power to the instrument, connect the computer to the USB TO HOST connector. • Execute the following before turning the power to the instrument on/off or plugging/unplugging the USB cable to/from the USB TO HOST connector. · Quit any open applications (such as Voice Editor, Multi Part Editor, and sequencer software). · Make sure that data is not being transmitted from the instrument. (Data is transmitted only by playing notes on the keyboard or playing back a song.) • While a USB device is connected to the instrument, you should wait for six seconds or more between these operations: (1) when turning the power of the instrument off then on again, or (2) when alternately connecting/disconnecting the USB cable. Using an IEEE1394 (mLAN) cable (when an optional mLAN16E has been installed) By installing an optional mLAN16E interface, you can connect a computer (with an IEEE 1394 interface) to this instrument and have both MIDI and audio data transfer via a single cable. [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT = mLAN IEEE1394 cable mLAN16E mLAN connector S90 ES Computer with an IEEE1394 interface The mLAN connection using an IEEE1394 cable lets you transfer both MIDI data and audio data. For example, you can record your keyboard performance to hard disk of the computer as audio data (page 88). 68 Owner’s Manual Connections Using a MIDI cable MIDI cable MIDI interface Serial port (modem or printer port) or USB port MIDI OUT Computer S90 ES Use an appropriate MIDI interface for your computer. If you are using a computer that has a USB port, make sure to connect the computer and the S90 ES by USB. (The data transfer rate is faster than MIDI and you'll have access to multiple MIDI ports.) Connecting the Computer and Midi devices n Quick Guide MIDI IN Local On/Off—when Connected to a Computer When connecting this synthesizer to a computer, the keyboard performance data is generally sent to the computer, and then returned from the computer to play the tone generator block. If the Local Control in the Utility mode is set to “on,” a “double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the computer. Use the setting suggestions below as a guideline; specific instructions may differ depending on your computer and the software used. • When MIDI “Echo” (MIDI Thru) is set to “on” the software/computer: Computer (SQ01, etc.) USB TO HOST S90 ES IN OUT OUT Tone generator block Keyboard [UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = off n IN MIDI Echo (MIDI thru) = on When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI “Echo” (MIDI through) on the computer software is set to “off.” • When MIDI “Echo” (MIDI Thru) is set to “off” the software/computer: Computer (SQ01, etc.) USB TO HOST S90 ES Tone generator block OUT IN Keyboard [UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = on MIDI Echo (MIDI thru) = off n Although not indicated in the illustration above, the S90 ES actually receives and responds to MIDI data from the computer application (sequencer), regardless of the Local Control setting on the S90 ES. * MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.” n For details about the MIDI Echo, refer to the owner’s manual of your particular software. Owner’s Manual 69 Creating a Song with the Multi mode Creating a Song with the Multi mode The Multi Mode lets you set up the S90 ES as a multi-timbral tone generator for use with computer-based music software or external sequencers. If each track in a MIDI song file uses a different MIDI channel, you can independently assign each of the Parts in a Multi to those MIDI channels. In this way, you can play back the song data on a sequencer with each track playing a different Voice. You can create a Multi containing up to 16 Parts using the internal tone generator. Installing Plug-in Boards allows you to create a Multi containing up to 34 Parts (page 117). Since there is only one bank of Multi presets, you can select a Multi directly without specifying a bank. Quick Guide n About the User Bank of Multis When shipped from the factory, this tone generator contains a full set of specially programmed 32 User Multis in the User Bank. If a Multi in a User Bank (User Voice) is overwritten, the User Voice will be lost. When you save the edited Multi, be careful not to overwrite any important User Multis. Up to 64 Multis can be stored in the User Bank. Connecting the Computer and Midi devices Playing the Multi In the Multi Play mode, you can select and play any of the Multis. For more details about Multis, see page 109. Here, you'll learn how to play back song files of your computer sequencer software with the S90 ES. Setting up for using a computer n 1 In the example explanations below, the S90 ES is connected to a computer via USB. You can also use MIDI cables or an mLAN (IEEE1394) cable to connect the instrument to a computer. Download the latest USB-MIDI driver from the website at the following URL: http://www.global.yamaha.com/download/usb_midi/ OS: Windows XP Professional/Home Edition, Mac OS X 10.2-10.4.0 * This information is current as of May 2005. For the latest information check the web site above. 2 Connect the S90 ES to the computer by the USB cable. For details, see page 67. 4 Set the following parameter to “USB.” [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT 5 Press the [STORE] button to store the settings as the system setting of Utility mode. CAUTION Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data. 70 1 Follow the instructions described in “Setting up for using a computer” (at left). 2 Start up the sequencer software on the computer, and then open a new song file in the sequencer. Set the MIDI port and MIDI channel setting of each track in the sequencer song file as desired. MIDI Port settings Install the USB-MIDI driver to the computer. For information about how to install, refer to the installation guide included in the downloaded file. 3 Using the sounds of the S90 ES for song playback from a sequencer Owner’s Manual If you are using the internal tone generator of the S90 ES, set the MIDI port of each track of the sequencer to “1.” If you are using Plug-in Board Voices, set the MIDI port of the track(s) to the same number as in the “PORT NO.” parameter. [UTILITY] → [F6] PLUG → [SF2] MIDI → PORT NO. MIDI channel settings Match the MIDI transmit channels of the sequencer with the receive channels of the Multi Parts (Step 6). The receive channels of the Multi can be set in the [F1] VOICE display in the Multi Part Edit mode (page 159). n MIDI ports 1 - 8 of USB are shown as “YAMAHA USB IN/OUT 0 - 1” - “YAMAHA USB IN/OUT 0 - 8” in Windows, and as “YAMAHA S90 ES Port 1” - “YAMAHA S90 ES Port 8” on the Macintosh. Creating a Song with the Multi mode 3 Press the [MULTI/SEQ PLAY] button once or twice to enter the Multi mode. 5 Record your song data to the sequencer song file. For details, refer to the owner's manual of your sequencer. VOICE PERFORM MASTER 6 MULTI/ SEQ PLAY FILE Play back the sequencer song file using the sounds of the S90 ES. UTILITY Connecting the Computer and Midi devices Quick Guide When a Note On message is received, the corresponding Part is played. For example, when you play back tracks on the sequencer, the Part whose Receive Channel is same as the sequencer track's Transmit Channel is played. If two or more Parts have the same MIDI receive channel value, those Parts will play in unison. Multi Play Mode External keyboard External sequencer Song playback 4 Select a Multi. Tone generator Multi This operation is the same as in the “Selecting a Performance” section on page 34. However, keep in mind that the following points differ from the Performance. Part 1 2 3 4 5 6 7 8 16 Voice • Only Group buttons [A] - [D] can be used. (A maximum of 64 channels can be used with a Multi.) • You cannot use the Category Search function. Playing a Multi Set the Voices to be assigned to each Multi Part, as well as the Receive Channels and Effects for the desired song. For more information, refer to “Simple Mixing functions (Multi Play mode)” on page 72 and “Detailed Mixing functions (Multi Edit mode)” on page 74. n When shipped from the factory, this tone generator contains a full set of specially programmed 32 User Multis in the User Bank. TIP Selecting Multis from a computer As in the Voice mode, you can select a Multi on this instrument from your computer software by specifying the following MIDI messages (page 107). The Bank Select MSB/LSB values for changing the Multi are as follows: • Bank Select MSB (Control Change #000) = 63 • Bank Select LSB (Control Change #032) = 65 This Bank Select/Program Change data must be sent over the same MIDI channel as that of the BasicRcvCh (Basic Receive Channel) setting. n When switching the mode (e.g., changing the Voice mode to the Multi mode), transmit the proper Mode Change message (System Exclusive) before sending the Bank Select MSB to the S90 ES (page 183). n After sending the Bank Select MSB/LSB, transmit the proper Program Change message to select the Multi program number. Owner’s Manual 71 Creating a Song with the Multi mode TIP Multi Part mute/solo ■ To mute a Part ■ To solo a Part 1. Press the [MUTE] button so that its lamp lights. Simultaneously hold down the [MUTE] button and press one of the Number buttons [1] to [16] to solo the corresponding Part. Once you've selected a Part for soloing, the [MUTE] button's lamp flashes, indicating the Solo function is active. While Solo is active, you can change the soloed track simply by pressing the corresponding Number button [1] to [16]. To turn Mute off, press the [MUTE] button again (the lamp goes off). 2. Press any of the Number [1] - [16] buttons to select the Part number to be muted. Quick Guide The corresponding Part is set to mute (its lamp goes off) and produces no sound. When pressing the same number button again, the Part mute is canceled (its lamp lights). 1 Connecting the Computer and Midi devices 2 3 4 5 6 7 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE 9 1 2 10 11 TRACK SELECT 8 SOLO ELEMENT/PERF. PART/ZONE 9 10 11 12 13 14 15 16 MUTE Press the buttons simultaneously SOLO n When selecting a Multi in the Master mode, the mute/solo settings apply not to each Part but to each MIDI transmit channel. Details are the same as for the mute/solo settings in the Sequence Play mode. Simple mixing functions (Multi Play mode) The Multi Play mode gives you convenient editing functions over some basic parameters, and features a graphic mixer—like layout that allows you to easily check each Part's setting. This mode is useful for changing parameters for each Part even while song data is being played back from a connected sequencer. Simple mixing functions and basic parameters are provided in the mode, such as selecting Voices, changing effect settings and so on. If you want to edit a Multi in greater detail, use the Multi Edit mode (page 74). 1 Select the Multi you wish to edit according to the instructions in “Using the sounds of the S90 ES for song playback from a sequencer” on page 70. When creating a new Multi from scratch, you can conveniently clear the settings for the current Multi beforehand by using the Initialize function in the Multi Job mode (page 160). 2 Turn the [TRACK SELECT] button on and select a Part by using the Number [1] - [16] buttons. When you play the keyboard, the Voice assigned to the current selected Part will be played. Pressing the [F6] button switches among the following displays: the display for Parts 1 - 16, to which the internal Voices are assigned, the display for Multi Plug-in Parts (17 - 32), to which the PLG100-XG voices are assigned, and the display for Plug-in Parts (PLG1 - 3), to which the Plug-in Voices of the single part Plug-in board are assigned. Notes on playing the selected Part using the keyboard The process of step 2 above not only selects the Part in the display, but the MIDI transmit channel that is assigned to the same number as the Part number as well (just as in the Voice or Performance mode). Therefore, when the MIDI receiving channel (ReceiveCh) is changed, the Voice assigned to an unselected Part may sound. For example, when you set the [TRACK SELECT] button to on and press the number [2] button, Part 2 is selected, and the MIDI transmit channel of the keyboard is set to channel 2 at the same time. However, if you've set the MIDI receive channel (ReceiveCh) of Part 2 to channel 3, and the MIDI receive channel of Part 3 to channel 2, the MIDI data of your keyboard performance is output to channel 2, and Part 3's voice will be output—instead of the selected Part 2 voice. (See illustration below.) 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE 9 10 11 SOLO n 72 The Receive Channel can be set in the Multi Edit mode (page 159). Owner’s Manual Creating a Song with the Multi mode Select the desired display, then edit the desired parameters by using the [F1] - [F6] and [SF1] - [SF5] buttons. 3 [F4] EF SEND (Effect Send) Adjust the Reverb/Chorus Effect for each Part. [F2] VOL/PAN Set the pan and output level (volume) of each Part. Quick Guide For details about the effect settings, see page 123. [F5] VCE ED (Multi Voice Edit) Turn the [TRACK SELECT] button and [MUTE] button to off, and then select the Voice Bank or Number, in the same way as in the Voice mode (page 30). n Bank By selecting the “BankMSB/BankLSB” parameter and using the data dial, you can call up the Voice Banks listed below. Normal Voice Drum Voice n Certain parameters cannot be edited in Multi Voice Edit. n Only Normal Voices can be edited. n A Voice edited with this function will be saved as a User Voice. n Please note that the functions of the [F5] and [F6] buttons depend on whether the [F1] PLAY display is selected or not. For details, see page 157. Plug-in Voice Pr 1 - 4: Preset PD: Preset Drum Pp: Plug-in Preset GM GD: GM Drum Pu1: Plug-in User Us 1 - 2: User UD: User Drum PB: Plug-in Board * * For details about Plug-in Board Voices, see page 100. TIP Using Category Search to assign Voices to the Parts You can select Voices using the Category Search function, just as is done in the Voice Play mode (page 32). TIP Assigning Voices to the Parts from a computer You can use a computer to select Voices to be assigned to the Parts by specifying appropriate MIDI messages. If you transmit the relevant Bank Select MSB/LSB and Program Change messages to the S90 ES, the Part Voice corresponding to the MIDI channel of these messages can be changed (page 107). n Edit the Normal Voice assigned to each Part. This is the same function as in both Common Edit and Voice Element Edit in the Voice mode (page 45). 4 Connecting the Computer and Midi devices [F3] VOICE Store the edited Multi. You can store up to 64 Multis to internal memory. For details about storing Multis, see page 76. Playing Single-part Plug-in Board Voices In the default settings, the Receive Channels are set to 1 for the PLG1 Part, 2 for PLG2, and 3 for PLG3. If the MIDI Port for a PLG Part is set to 1, the internal Parts which are set to the same receive channel as that of the Plug-in Part are also played when a Note On message is received. To prevent this from happening, set the receive channels of the Parts that you want to keep from playing to “off,” or set the MIDI port of the Plug-in Part(s) to “2” or “3” (page 100). Make sure that the MIDI Channel of the MIDI message is set to the same value as the Receive Channel (ReceiveCh) of the desired Part. Owner’s Manual 73 Creating a Song with the Multi mode Detailed mixing functions (Multi Edit mode) The Multi Edit mode has a detailed mixing function that lets you change the Multi parameter settings in the same way as the Voice Edit mode. There are two types of Multi Edit displays: those for Common Edit, and those for editing individual Parts (Part Edit). Use Common Edit to edit the settings common to all Parts and Part Edit to edit the settings for individual Parts. When creating a new Multi from scratch, you can conveniently clear the settings for the current Multi beforehand by using the Initialize function in the Multi Job mode (page 160). Quick Guide 1 Press the [MULTI/SEQ PLAY] button to enter the Multi mode, then select a Multi to be edited (page 70). 2 Press the [EDIT] button to enter the Multi Edit mode. 3 Call up the Common Edit display or Part Edit display. Connecting the Computer and Midi devices Use Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts. While in the Multi Edit mode, you can switch between the Common Edit display and the Part Edit display as shown below. Calling up the Common Edit display Press the [COMMON] button to call up the Common Edit display. In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button. DRUM DRUM KITS KITS FAVORITES FAVORITES Indicates a Common Edit display. PRE PRE22 PRE PRE11 A.A.PIANO PIANO KEYBOARD KEYBOARD AA BB SYN SYNLEAD LEAD SYN SYNPAD/ PAD/ CHOIR CHOIR 11 22 Calling up the Part Edit display PRE PRE33 PRE PRE44 ORGAN ORGAN GUITAR/ GUITAR/ PLUCKED PLUCKED CC DD Press the desired Part number from the PART [1] - [16] buttons to call up the Part Edit display. Indicates the display for editing part 1. SYN SYNCOMP COMP CHROMATIC CHROMATIC PERCUSSION PERCUSSION 33 88 ...... ...... ELEMENT/PERF. ELEMENT/PERF.PART/ZONE PART/ZONE COMMON COMMON 99 10 10 11 11 To switch between the Part 1 - 16 display, Part 17 - 32, and Part PLG1 - 3 display, press the [F6] button. 16 16 ...... ...... n You can mute or solo a Part just as is done with Parts in the Multi Play mode. FF66 Part1 Edit Part2 Edit Part3 Edit Internal Tone Generator Part4 Edit .. . Common Edit Part 16 Edit Part 17 Edit .. . n 4 Common Edit operations cannot be performed on the Multi-part Plug-in parts 17 - 32. The Multi settings for the Multi-Part Plug-in Part (17 - 32) apply not to one individual song but to all 64 songs. Part 32 Edit Plug-in part 1 (PLG1) Edit Plug-in part 2 (PLG2) Edit Plug-in part 3 (PLG3) Edit Single Part Plug-in Board Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit the parameters in each display. For details on the available parameters, see page 157. 5 Repeat steps 3 - 4 as desired. 6 Name the edited Multi. For detailed instructions on naming a Multi, refer to Page 27. 74 Multi-Part Plug-in Board PLG100-XG Owner’s Manual Creating a Song with the Multi mode 7 Store the settings as a User Multi. The edited Multi can be stored in the Multi Store mode. For details, refer to page 76. TIP Editing a Multi by using the Control sliders The four sliders at the top left of the instrument are not only for tweaking the sound while you perform — you can also use them to edit a Multi, either in the Multi Play mode or the Multi Edit mode. For details on the parameters edited by the sliders, refer to the descriptions in the Performance mode (page 55). [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F2] OUTPUT → [SF1] VOL/PAN → Pan Page 159 [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F2] OUTPUT → [SF2] EF SEND → RevSend Page 159 CHORUS [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F2] OUTPUT → [SF2] EF SEND → ChoSend Page 159 TEMPO [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMOM] → [F3] APP → [SF1] TYPE → Tempo Page 158 Connecting the Computer and Midi devices PAN REVERB Quick Guide ● When the [PAN/SEND] indicator is turned on: ● When the [TONE] indicator is turned on: CUTOFF [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF2] FILTER → Cutoff Page 159 RESONANCE [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF2] FILTER → Resonance Page 159 ATTACK [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF4] AEG → Attack Page 159 RELEASE [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → Part Selection → [F4] TONE → [SF4] AEG → Release Page 159 n The settings above are applied as offsets to the AEG and FEG settings in the Performance Edit mode. ● When the [ARP FX] indicator is turned on: SWING [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → Swing GATE TIME [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → Gate Time Rate Page 158 VELOCITY [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → Velocity Rate Page 158 UNIT MULTIPLY [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → [EDIT] → [COMMON] → [F3] APP → [SF3] PLAY FX → UnitMultiply Page 158 Page 158 ● When the [EQ] indicator is turned on: LO [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → Part Selection → [F3] EQ → Low Gain LO MID [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → Part Selection → [F3] EQ → Mid Gain – HI MID [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi Selection → Part Selection → [F3] EQ → High Gain HI Page 159 Page 159 Page 159 Page 159 ● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously): ASSIGN A Adjusts parameters assigned to these sliders in the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. Page 165 Depends on the settings of the Voice assigned to the selected Multi. Page 131 ASSIGN B ASSIGN 1 ASSIGN 2 n In addition to above functions, Master Effect related parameters (set in the [MULTI/SEQ PLAY] (selecting Multi mode) → Multi selection → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF2] MEFF display) can be assigned to these four sliders by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters are assigned to the four sliders can be set in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display. ● When the [VOLUME] indicator is turned on: PART Adjusts the level balance among the Parts. [MULTI/SEQ PLAY] (Selecting Multi mode) → Multi selection → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume Page 159 Compare function and Edit Recall (Multi mode) These are the same as in the Voice mode and Performance mode. For details, refer to page 105. Owner’s Manual 75 Creating a Song with the Multi mode Storing/saving the created Multi Two steps are necessary in order to store (save) your Multi—storing the edited Multi to internal memory and saving the stored Multis to a USB storage device. Internal memory Quick Guide Multi Play/ Multi Edit STORE Multi 001 Multi 002 Multi 003 SAVE USB storage device All the Multi data in internal memory can be saved as a single file. Storing edited Multis individually Multi 128 Connecting the Computer and Midi devices When you turn off the power to the instrument, User Multis saved in the Multi Store mode are not erased. As such it is not necessary to save the data to USB storage device; however, you may want to save it for backup or organizational purposes, using the Save operation. Storing the edited Multi as a User Multi to internal memory [MULTI/SEQ PLAY] (select Multi mode) → [STORE] 3 Select the file type “All.” If the desired file was saved to a specific folder, enter the folder and select the file. For information on how to select a folder, see the “Supplementary information” on page 170. The operation is the same as in the Performance mode (page 56). Saving the edited Multis to a USB storage device [FILE] → [F2] SAVE The basic operation is the same as in the Voice mode (page 51). However, you must select the file type “All” as in the Performance mode. When Type is set to “All,” execute the Save operation to save all the created data, including the Multis as well as the Voices assigned to them, as a single file (extension: S7A). USB storage Internal memory (Flash ROM) Multi 001 Multi 002 Multi 003 Multi 001 Multi 002 Multi 003 Multi 064 Loading Multi data from the USB storage device File extension: S7A n All the Multi data in internal memory can be saved as a single file. Multi 064 Multis cannot be loaded separately from the other data in an “All” file. [FILE] → [F3] LOAD These instructions describe how to recall the “All” file data saved to the USB storage device, using the Load operation to transfer the data to the instrument. An “All” file (extension: S7A) contains all Multis. 1 Press the [FILE] button to enter the File mode. Then press the [F1] CONFIG button and [SF2] CURRENT button. If the device is divided into several partitions, select the specific partition for use. If the device has several media (e.g., discs) inserted, select a specific Slot number. 2 76 Press the [F3] LOAD button to call up the Load display. Owner’s Manual CAUTION When Type (file type) is set to “All” and the Load operation is executed, all data that can be created on the instrument will be loaded. This means that any existing data in User memory will automatically be overwritten and lost. Make sure to save any important data to a USB storage device before performing the Load operations, especially when Type is set to “All.” 4 Press the [SF1] EXEC button to actually load the file. After the data has been loaded, a “Completed” message appears and operation returns to the original display. CAUTION While the data is being saved/loaded, make sure to follow these precautions: * Do not remove or eject the media from the USB storage device. * Do not unplug or disconnect the USB storage device. * Do not turn off the power of the instrument or the relevant devices. Using the S90 ES with computer software Using the S90 ES with computer software Editing the S90 ES as a software synthesizer Voice Editor and Multi Part Editor Quick Guide The Voice Editor and Multi Part Editor for S90 ES provide a highly intuitive way to create and edit the Voice and Multi settings completely from your computer display. These programs not only allow you to see virtually all parameters at once, they also give you direct graphic control—for example, letting you adjust the settings by clicking and dragging on a graph—enabling you to edit Voices and Multis with remarkable efficiency, speed and convenience. The latest versions of Voice Editor and Multi Part Editor for S90 ES can be downloaded at our website: http://www.yamahasynth.com/download/ For details on how to operate the Editor, refer to the PDF manual included with the Editor. OS: Windows XP Professional/Home Edition, Mac OS X 10.3 or later n Connecting the Computer and Midi devices *This information is current as of May 2005. For the latest information check the web site above. You will need the Studio Manager software (Version 2) to start each Editor. Make sure to download Studio Manager together with the appropriate Editors from the website above. Editing the S90 ES from a computer Multi Part Editor Computer Voice Editor Studio Connections Studio Connections is a sophisticated software/hardware solution that lets you seamlessly integrate the S90 ES into your computer music system. If you are using sequencer software that is compatible with Studio Connections, such as Cubase SX 3, you can start the Voice Editor and Multi Part Editor from your sequencer and make all edits within the program and save all Editor settings along with the project (song) file. Then, when you open the project again, all your Voice/Multi settings for the song are instantly recalled and automatically loaded to the S90 ES. Using Studio Connections effectively lets you control your hardware synthesizer as easily and conveniently as if it were a software synthesizer within your sequencer—all with no decrease in the processing power of your system. For details about Studio Connections, visit our website at: http://www.studioconnections.org/ Managing software and hardware with Studio Connections S90 ES Computer Sequencer software compatible with Studio Connections (such as Cubase SX 3) Tone generator compatible with Studio Connections Editor for each hardware device Mixer compatible with Studio Connections Owner’s Manual 77 Using the S90 ES with computer software Remote-controlling the software This powerful feature lets you control your music/audio software programs by using sliders and buttons on the panel of the S90 ES, rather than your computer's mouse and keyboard. The S90 ES can be used to control sequencer software and DAW (digital audio workstation) software, such as Cubase SX, Logic, and SONAR. These sequencers or DAWs are already set to respond to specific hardware controllers. The Remote Control function on the S90 ES emulates popular hardware controllers such as the Yamaha 01X, letting you use the panel buttons/controllers on the S90 ES for controlling your music/audio software. Computer Software that can be controlled from the instrument Quick Guide Windows Connecting the Computer and Midi devices Cubase SX 3 SQ01 SONAR 4 S90 ES Multi Part Editor MOTIF ES Multi Part Editor MOTIF-RACK Multi Part Editor MOTIF-RACK ES Multi Part Editor Macintosh Cubase SX 3 Logic Pro 7 Digital Performer 4.52 S90 ES Multi Part Editor MOTIF ES Multi Part Editor MOTIF-RACK Multi Part Editor MOTIF-RACK ES Multi Part Editor Setting up for Remote Control 1 Connect the S90 ES to the computer via USB (page 67). The mLAN connection can also be used for remote control (page 68). 2 Set the following parameter to “USB.” [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT If connecting via mLAN, set the MIDI IN/OUT parameter to “mLAN.” n If the S90 ES is connected to the computer by MIDI cable, the Remote Control function cannot be used. n If you are using the Remote Control function, we recommend making connections with a USB cable. 3 Call up the Remote Control Setup display by pressing the [F4] CTL ASN button, followed by the [SF4] REMOTE button. 4 Select the software to be controlled and the Port number. From the S90 ES, you can remote-control the sequencer and Multi Part Editor simultaneously using Mode A and Mode B. 78 Owner’s Manual Using the S90 ES with computer software ● When controlling Cubase SX via MIDI port 4 Mode A Set the Port for remote control of the sequencer or DAW. Select your sequencer and the desired Port number. When controlling Yamaha software, select “general.” Quick Guide Mode B n The “general” setting is for remote control of the Yamaha software. This lets you control the Multi Part Editor in Mode A, and control Yamaha sequencer software in Mode B. n For details on how to operate the Editor, refer to the PDF manual included with the software. S90 ES Computer Remote-control block Port 4 (Mode A) Tone generator block Port 1 and 2 (Playback data from sequencer) Cubass SX Project file (Song file) Multi When using the Port 1 for internal Parts and Port2 for PLG Parts Connecting the Computer and Midi devices Set the Port for remote control of the Multi Part Editor. When controlling the Multi Part Editor, select “general.” In this case, the parameter is set to “off” because the Multi Part Editor is not used. Port 1 (Playback data from keyboard of S90 ES)* * In the Multi mode or Sequence Play mode, the transmit Port may be set to 2 or 3 (page 100). In this case, if you try to use Port number 2 or 3 for the remote control function, the function may not work properly because of Port conflicts. 5 Press the [ENTER] button to execute the settings. 6 Press the [STORE] button to store the settings as the system setting of Utility mode. CAUTION If you turn the power off without storing, the currently edited settings will be lost. CAUTION Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data. 7 Start the software to be remote-controlled, and make the MIDI settings and remote control settings. Set the Port setting for remote-control on the software, referring to the illustration in step 4. Owner’s Manual 79 Using the S90 ES with computer software Specific instructions for setting up your particular software follow. For instructions on how to start the software, refer to the documentation included with the software. ■ Cubase SX 3 ■ Digital Performer 4.52 1 1 Quick Guide 2 3 4 Pull down the [Devices] menu and select [Device Setup] to call up the “Device Setup” window. Click the [+] button and add “Mackie Control.” Select “Mackie Control” from the popup list. Connecting the Computer and Midi devices When setting the Port to “4,” for example, in step 4 of “Setting up for Remote Control,” set the MIDI Input to “YAMAHA USB IN 0 - 4” and the MIDI Output to “YAMAHA USB OUT 0 - 4.” n The functions of buttons on the Mackie Control are assigned to the buttons of the S90 ES, with the exception of UserA and UserB (FootSw) which are not supported by the S90 ES. 2 3 4 When setting the Port to “4” for example in step 4 of “Setting up for Remote Control” add “YAMAHA USB IN 0-4” to the “Inputs” and add “YAMAHA USB OUT 0 - 4” to the “Outputs.” In the box for setting “Unit” and “MIDI,” select “Mackie Control” in the “Unit” section and select the MIDI port in the “MIDI” section. Start Logic on the computer, then turn on the power of the S90 ES. Start Logic on the computer. Logic automatically recognizes the S90 ES as Logic Control and performs the required settings. When starting Logic before turning on the power of the S90 ES: 1 Pull down the [Options] menu and select [Control Surfaces] to call up the Control Surface window. Click the “[+] button, select “Mackie Control,” then set the Input Port to “YAMAHA USB IN 0 - 4” and the Output Port to “YAMAHA USB OUT 0 - 4” (for example, when setting the Port to “4” in step 4 of “Setting up for Remote Control”). Select “Mackie Control” in the Driver section. When turning on the power of the S90 ES before starting Logic: 2 Pull down the [Options] menu and select [MIDI Devices] to call up the “MIDI Devices” window. Click the [+] button. ■ Logic Pro 7 1 ■ SONAR 4 1 2 3 4 Pull down the [Setup] menu and select [Control Surface Setup] to call up the “Control Surface” window. 2 Start Logic on the computer, then turn the power to the S90 ES on. If you have already set the software to be controlled to “Logic” in the Utility mode, you need not perform step 2 because Logic automatically recognizes the S90 ES when this step is performed. Set the software to be controlled to “Logic” in the Utility mode, then enter the Remote Control mode. Logic automatically recognizes the S90 ES and performs the required settings. Using the Remote Control functions 1 To enter the Remote Control mode, press the [REMOTE] button (the lamp flashes). The REMOTE display appears, and the panel controls are enabled for Remote operation of the computer software (their normal functions are disabled). REMOTE n 80 Press this button again to exit from the Remote Control mode. Owner’s Manual EFFECT BYPASS ARPEGGIO Using the S90 ES with computer software 2 Select the software to be remote-controlled (Mode A or Mode B). Change the Mode by simultaneously holding down the [F6] SHIFT button and pressing the [REMOTE] button. 3 REMOTE Mode B Quick Guide F6 Mode A Use the Control sliders and buttons on the S90 ES to remotely control the software. The following explains which sequencer functions are assigned to which panel controls in the remote control. For details about how to operate the Editor, refer to the PDF manual included the Editor. Press the Control function button to change the functions assigned to the [F1] - [F6] and [SF1] - [SF5] buttons (shown at the bottom of the display). Refer to the separate Data List. These dark bars serve as the cursor, indicating the track/part currently being edited by the slider. Moving the slider automatically moves the cursor to the corresponding track/part. Indicates which DAW controller is assigned to the Control sliders: knobs or faders. Use the [VOLUME] button to change the assignment. Upper row indicates the setting values for knobs/sliders 1 - 4 on the DAW controller. Bottom row indicates the setting values for knobs/sliders 5 - 8 on the DAW controller. PAN/SEND ASSIGN TONE ARP FX MEF EQ Connecting the Computer and Midi devices n The functions of the buttons on each DAW controller are assigned to the [F1] - [F6] and [SF1] - [SF5] button on the S90 ES. The functions to be assigned depend on the software selected in the Mode A or B. For details, refer to the “Remote Control Assignments.” on page 83. ■ [J], [F], [I], [ E], I [G], [H] buttons The six MODE buttons are used as transport controls, letting you start/stop playback of the DAW software on the computer. ■ [EDIT], [JOB], and [STORE] buttons When the Mode is set to “General” or “Cubase” Not used. When the Mode is set to “Logic” These buttons perform the same functions as those of the [OPTION], [CONTROL] and [ALT] buttons on the Logic Control. When the Mode is set to “SONAR” These buttons perform the same functions as those of the [M2], [M3] and [M4] buttons on the Mackie Control. When the Mode is set to “D.Perf” These buttons perform the same functions as those of the [OPTION], [CONTROL] and [COMMAND] buttons on the Mackie Control. ■ [DRUM KIT] button When the Mode is set to “General” or “Cubase” Not used. When the Mode is set to “Logic” The button can be used to switch the whether the track/slot number of DAW is displayed on the LCD or not. When the Mode is set to “SONAR” The button can be used to switch the whether the track/slot number of DAW is displayed on the LCD or not. When the Mode is set to “D.Perf” The button can be used to switch the whether the send/effect number of DAW is displayed on the LCD or not. ■ Data dial, [INC/YES] and [DEC/NO] buttons When the [DIAL] menu appears at the [SF4] button These controls can be used to set the value for the knob of the DAW controller, for the track/part selected by the cursor. The Control sliders can also be used, but these help you make fine adjustments to the value that are difficult to make with the Control sliders. When the menu does not appear at the [SF4] button The buttons can be used to move the song position in the DAW. n You can also move the song position by using the cursor [E] [F] buttons. Owner’s Manual 81 Using the S90 ES with computer software ■ Control sliders Assigns the functions of eight sliders and eight knobs on the DAW controller (01X, Mackie Control, and Logic Control) to the four Control sliders on the S90 ES. You can switch between fader and knob control by pressing the [VOLUME] button. When assigning the functions of faders to the Control sliders (The [VOLUME] button lights.) Controls the volume of each track (part). Pressing the [SF5] button changes which group of faders (faders 1 - 4 or faders 5 - 8 on the DAW controller) is assigned to the Control sliders on the S90 ES. When assigning the functions of knobs to the Control sliders (The [VOLUME] button turns off.) Controls various parameters of each track (part). As with the fader assignment above, pressing the [SF5] button changes which group of knobs is assigned (knobs 1 - 4 or knobs 5 - 8). The eight knobs on the DAW controller can also be used as switches. The switch function corresponding to the knob track (part) at the cursor position is also assigned automatically to the [ENTER] button, since the Control sliders on the S90 ES do not have a switch function. Quick Guide ■ Control function buttons, [F1] - [F6] buttons, [SF1] - [SF5] buttons Connecting the Computer and Midi devices When the Mode is set to “General” These buttons are assigned to perform the same functions as the panel buttons on the 01X. The corresponding names of the 01X panel buttons are also indicated at the bottom of the display of the S90 ES. When the Mode is set to “Logic” These buttons are assigned to perform the same functions as the panel buttons on the Logic Control. The corresponding names of the Logic Control panel buttons are also indicated at the bottom of the display of the S90 ES. When the Mode is set to “Cubase,” “SONAR,” or “D.Perf” These buttons are assigned to perform the same functions as the panel buttons on the Mackie Control. The corresponding names of the Mackie Control panel buttons are also indicated at the bottom of the display of the S90 ES. . n Among the functions assigned to the [F1] - [F6] buttons and [SF1] - [SF5] buttons, the functions indicated with brackets (such as [DIAL]) are not related to the Mackie Control, Logic Control and 01X but are unique to the S90 ES. ■ Cursor [E][F] buttons By moving the cursor left/right, you can change the track or part to controlled by the data dial and [INC/YES]/[DEC/NO] buttons. Pressing the Cursor [F] button moves through the columns in succession (1, 2, 3, 4...). After 4, the cursor is hidden and wraps around to 1. Press the [SF5] KN 5 - 8 (KN 1 - 4) button to move the cursor up/down. ■ Cursor [▲][▼] buttons When the Mode is set to “General” These buttons are assigned to the functions of the DISPLAY [▲][▼] buttons on the 01X. When the Mode is not set to “General” These buttons are assigned to the functions of the cursor [▲][▼] buttons on the Mackie Control and Logic Control. ■ [EXIT] button When the Mode is set to “General” The button is assigned to the function of the [PAGE SHIFT] button on the 01X. When the Mode is not set to “General” Not used. ■ Bank, Group [A] - [H], Number [1] - [16] buttons These buttons are assigned to perform the same functions as the buttons directly over the faders on the 01X, Mackie Control and Logic Control. When the Mode is set to “General” Numbers [1] - [8] and [TRACK SELECT] buttons These buttons are assigned to the functions of the nine [SEL] buttons on the 01X. Numbers [9] - [16] and [MUTE] buttons These buttons are assigned to the functions of the nine [ON] buttons on the 01X. When the Mode is not set to “General” [PRE1] - [PLG3] buttons These buttons are assigned to the functions of the eight [REC/RDY] buttons on the Mackie Control and Logic Control. Group [A] - [H] buttons These buttons are assigned to the functions of the eight [SOLO] buttons on the Mackie Control and Logic Control. Numbers [1] - [8] buttons These buttons are assigned to the functions of the eight [MUTE] buttons on the Mackie Control and Logic Control. Numbers [9] - [16] buttons These buttons are assigned to the functions of the eight [SELECT] buttons on the Mackie Control and Logic Control. 82 Owner’s Manual Using the S90 ES with computer software Remote Con trol Assignments Checking the Remote Control assignments If you're unsure as to which software function has been assigned to a particular panel control on the S90 ES, this convenient feature lets you quickly check it from the display. 2 SF3 F2 F1 SF4 F3 SF5 F4 INFORMATION F5 F6 In the Remote Control mode, press the [INFORMATION] button to call up the information display, indicating the function of the last pressed button. SF1 Press the button for which you want to check the assignment. SF2 F1 SF3 F2 SF4 F3 F4 Quick Guide 1 SF2 SF1 SF5 F5 F6 Connecting the Computer and Midi devices When controlling Multi Part Editor/SQ01 V2 Functions of 01X assigned to [F1] - [F6] and [SF1] - [SF5] buttons This display shown above appears when you press the [F] ([PERFORM]) button. In this way, you can check each button's control assignment simply by pressing it. 3 Press the [INFORMATION] button again to return to the Remote Control mode. PAGE1 SEND PAN/SEND PAN NAME/VALUE EFFECT DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT FADER BANKS TONE FLIP SOLO n GROUP DYNAMICS While the Information display is shown, the panel buttons cannot be used to control the computer software. NAME/VALUE REC/RDY DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT MIXER/LAYER ARP FX INST AUDIO AUX/BUS MIDI NAME/VALUE OTHER DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT PAGE2 EQ LOW EQ SEL CH EQ HIGH-MID EQ LOW-MID PAN/SEND F5 F1 TONE NAME/VALUE EQ HIGH F6 F7 F2 TONE CURSOR-L Button/Controller names on 01X CURSOR-R CURSOR-UP ZOOM KN1-4/5-8 SHIFT DIAL RESET BANK-L CURSOR-DWN SHIFT F4 NAME/VALUE ARP FX KN1-4/5-8 BANK-R F8 F3 ARP FX EQ DIAL RESET BANK-L SCRUB DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT KN1-4/5-8 BANK-R SHIFT Functions In all modes: [DISPLAY UP] [DISPLAY DOWN] Changes the parameter to be edited. [NAME/VALUE] Changes the indication of the parameter name and its value. [SHIFT]+[NAME/VALUE] Changes the meter display mode. [ON] (in the normal status) Turns each channel off or on (mutes/unmutes the signal). [SHIFT] + [ON] of the Master Channel (in the normal status) Turns all the channels including the Master Channel off or on (mutes/unmutes the signal). [SHIFT] + [ON] of each channel (in the normal status) Turns all the channels with the exception of the Master Channel off or on (mutes/unmutes the signal). [ON] (with the [SOLO] lamp turned on) Turns the Solo function of each channel on or off (applies to the Channel Module/Software Synthesizer Module) [SHIFT] + [ON] (with the [SOLO] lamp turned on) Turns the Solo function of each channel on or off (applies to the Channel Module/Software Synthesizer Module) [SOLO] Changes the function of the [ON] button to the Solo function. [SHIFT]+[SOLO] Determines the Solo/Mute settings of the selected tracks in the Track View window. [SHIFT]+[REC RDY] Turns track recording on or off. [AUDIO] Starts the Audio Mixer or moves the Audio Mixer Window to the front of the computer screen. This button operation applies to the Channel Module software. [INST] Starts the Audio Mixer or moves the Audio Mixer Window to the front of the computer screen. This button operation applies to the Software Synthesizer Module. [MIDI] Starts the MIDI Editor (such as the Multi Part Editor) or moves it to the front of the computer screen. Owner’s Manual 83 Using the S90 ES with computer software Button/Controller names on 01X Functions [AUX/BUS] Opens the AUX/BUS window or brings it to the front of the computer screen (when the Audio Mixer is active). [OTHER] Starts the Audio Mixer or brings it to the front of the computer screen. This operation applies to the Effect Module software. (Only PAN is available in the R settings.) [BANK </>] Scrolls through the track indication every eight channels. [SHIFT]+[F1] Brings the Track View window to the front of the computer screen. (This operation applies to the current song.) [SHIFT]+[F2] Starts the Mixer window (Audio Mixer/Multi Part Editor) or brings it to the front of the computer screen. [SHIFT]+[F3] Opens the List window or brings it to the front of the computer screen. Opens the Piano Roll window or brings it to the front of the computer screen. [SHIFT]+[F5] [SHIFT]+[F7] Starts the TWE (Wave Editor). [SHIFT]+[F8] Alternately hides/shows the Transport window (Transport Bar/ Location Bar/Record). Connecting the Computer and Midi devices Closes the current window. Quick Guide [SHIFT]+[F4] [RWD] Press briefly to move back one measure at a time, or hold to continuously rewind. When controlling Logic Pro 7: Functions of Logic Control assigned to [F1] - [F6] and [SF1] [SF5] buttons ASSIGNMENT SEND PAN/SEND TRACK FLIP CHANNEL-L [STOP] Press to stop recording or playback. Pressing this when playback is stopped goes to the top of the song. [PLAY] Press to start playback from the current point. [REC] Press this to enter/exit from the Recording Standby. The [F] (Play) and [I] (Rec) lamp are turned on during recording. [SCRUB] Determines how the Scrub function is applied when using the dial. When this is set to on, Scrub moves according to the Grid position in the Track View window. When set to off, it moves in measures. [UP] (with the [ZOOM] lamp turned off) Moves the cursor (indicating the current track) up. [DOWN] (with the [ZOOM] lamp turned off) Moves the cursor (indicating the current track) down. [LEFT] (with the [ZOOM] lamp turned off) Selects the next block. AUX KN1-4/5-8 BANK-R DIAL RESET BANK-L BUSSES INPUTS SHIFT KN1-4/5-8 BANK-R SHIFT OUTPUTS AUDIO TR USER AUDIO INST KN1-4/5-8 GLOBAL VIEW SHIFT UTILITIES SAVE EQ CANCEL UNDO TONE F6 MARKER ARP FX F7 F2 DROP CYCLE CURSOR-L CURSOR-DWN SHIFT KN1-4/5-8 F4 CLICK REPLACE CURSOR-R CURSOR-UP KN1-4/5-8 BANK-R F8 F3 NUDGE ARP FX DIAL RESET BANK-L F5 F1 TONE NAME/VALUE ENTER PAN/SEND EQ DIAL RESET KN1-4/5-8 SOLO SCRUB ZOOM Button/Controller names on Logic Control SHIFT SHIFT DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT Functions In all modes: [RIGHT] (with the [ZOOM] lamp turned off) Selects the previous block. [NAME/VALUE] Changes the indication of the parameter name and its value. [ZOOM] Turns Zoom on and off. [SHIFT]+[NAME/VALUE] Changes the meter display mode. [UP]/[DOWN]/[LEFT]/[RIGHT] (with the [ZOOM] lamp turned on) Zooms in/out in the active Track View and Piano Roll Window. [SEL] Selects a channel. PAN mode [PAN] Knobs 1 - 8 (tweaking) Edits the Pan (on page 1). Knobs 1 - 8 (tweaking) Edits the Input level (on page 2). [SHIFT] + Knobs 1 - 8 (pressing) Resets the edited parameter to the default value (CENTER/ 0.00). AUX SEND mode [SEND] (Not available when the AUX/BUS window is active.) Knobs 1 - 8 (tweaking) Edits the AUX Send Level. [SHIFT] + Knobs 1 - 8 (pressing) Resets the edited parameter to the default value (-∞). EFF SEND mode [EFFECT] (Not available when the AUX/BUS window is active.) Knobs 1 - 8 (tweaking) Edits the Effect Send Level. [SHIFT] + Knobs 1 - 8 (pressing) Resets the edited parameter to the default value (-∞). When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform the same functions as the Knobs on the DAW controller. 84 NAME/VALUE CHANNEL-R MIDI TR Press briefly to move forward one measure at a time, or hold to continuously fast-forward. DIAL RESET BANK-L GLOBAL VIEW — [FF] INSTRUMENT EQ FADER BANKS TONE ARP FX [SHIFT]+[F6] PLUG-IN PAN/SURND Owner’s Manual [MUTE] Mutes or unmutes each channel. [OPTION]+[MUTE] Sets all channels to on. [SOLO] Sets the Solo of each channel to on or off. [OPTION]+[SOLO] Sets the Solo of all the channels to off. [REC RDY] Sets the REC RDY of each channel to on or off. [OPTION]+[REC RDY] Sets the REC RDY of all the channels to off. [MIDI TR] Makes the Global View mode active and displays the MIDI track with the Multi Channel view. [INPUT] Makes the Global View mode active and displays the AUDIO INPUT object with the Multi Channel view. [AUDIO TR] Makes the Global View mode active and displays the Audio track with the Multi Channel view. [AUDIO INST] Makes the Global View mode active and displays the Audio Instrument track with the Multi Channel view. [AUX] Makes the Global View mode active and displays the AUX object with the Multi Channel view. [BUSSES] Makes the Global View mode active and displays the BUS object with the Multi Channel view. [OUTPUT] Makes the Global View mode active and displays the AUDIO OUTPUT object with the Multi Channel view. [GLOBAL VIEW] Switches between the Global View mode and Track View mode. [BANK </>] Scrolls through the track indication every eight channels. [CHANNEL </>] Scrolls through the track indication channel-by-channel. [SHIFT]+[FLIP] Exchanges the functions between the Channel Knobs and the Faders. [FLIP] Assigns the function of the Channel Knob to the Fader. [NUDGE] Turns Nudge on or off. [SHIFT]+[NUDGE] Enters the Nudge Option mode. [CYCLE] Turns Loop on or off. [SHIFT]+[CYCLE] Enters the Cycle Option mode. [F1] - [F7] Calls up Screen Sets 1 - 7. [F8] Closes the window located at the front of the computer or floating window. [UNDO] Executes the Undo operation. Using the S90 ES with computer software [SHIFT]+[UNDO] Executes the Redo operation. [SAVE] Executes the Save operation. [MARKER] Turns the Marker on or off. [SHIFT]+[MARKER] Enters the Marker Option mode. [RWD] Press to continuously rewind. Press repeatedly to rewind more quickly. When the Marker is turned on, this operation moves the song position to the previous Marker. When Nudge is turned on, this operation moves the current object. [FF] Press to continuously fast-forward. Press repeatedly to fastforward more quickly. When the Marker is turned on, this operation moves the song position to the next Marker. When Nudge is turned on, this operation moves the current object. [STOP] Press to stop recording or playback. Pressing this when playback is stopped goes to the top of the song. [PLAY] Press to start playback from the current point. [REC] Press this to start song recording. The [F] (Play) and [I] (Rec) lamp are turned on during recording. [ZOOM] Turns Zoom on and off. [SCRUB] Turns Scrub on and off. When Scrub is on, the dial can be used for Scrub playback. When Scrub is off, the dial is used to move the song position. PAN mode [PAN] (Multi Channel View) [PAN] → [PAN] (Track Parameter View of PAN/SURROUND) Knobs 1 - 8 (turning) Edits the parameter. Knobs 1 - 8 (pressing) (Parameters other than Mode selection) Resets the edited parameter to the default value. When controlling Cubase SX 3: Functions of Mackie Control assigned to [F1] - [F6] and [SF1] [SF5] buttons ASSIGNMENT PAGE UP PAN/SEND Cursor [UP]/[DOWN] (Multi Channel View) Changes the Slot number. Cursor [LEFT] Cursor [RIGHT] (Multi Channel View) Changes the parameter to be edited. Cursor [LEFT] Cursor [RIGHT] (Track Parameter View) Switches between SEND 1/2 and SEND 3/4... Knobs 1 - 8 (turning/turning → pressing) For editing parameters. When setting the Send destination, turn the knob to select it (indication flashes), then press the knob to actually enter the selected setting. Knobs 1 - 8 (pressing) (when the edited parameter is Send Level) Reset the parameter value to the default. Knobs 1 - 8 (pressing) (when the edited parameter is PRE/POST or Mute) Changes the setup. DYN PAN EQ DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT FADER BANKS TONE FLIP CHANNEL-L ARP FX EDIT NAME/VALUE CHANNEL-R MASTER SENDS DIAL RESET BANK-L SAVE INSTRUMENTS REVERT UNDO KN1-4/5-8 BANK-R DIAL RESET SHIFT KN1-4/5-8 REDO SHIFT FaderGroup 5 EQ 6 1 PAN/SEND ARP FX EQ MIXER RIGHT CURSOR-L CURSOR-DWN F8 KN1-4/5-8 F4 SOLO DEFAT CYCLE CURSOR-R CURSOR-UP SHIFT F7 F3 PROJECT KN1-4/5-8 4 F6 F2 LEFT ARP FX 8 3 F5 F1 TONE 7 2 TONE SEND mode [SEND] (Multi Channel View) [SEND] → [SEND] (Track Parameter View) PLUG-INS PAGE DWN SHIFT DIAL RESET KN1-4/5-8 PUNCH ADD PREV Button/Controller names on Mackie Control SHIFT DIAL RESET NEXT KN1-4/5-8 EDIT SHIFT Functions In all modes: [PAGE UP] [PAGE DOWN] Calls up the next/previous page. [SHIFT]+[PAGE UP] Calls up the first page. [SHIFT]+[PAGE DOWN] Calls up the last page. [NAME/VALUE] Changes the indication of the parameter name and its value. [SEL] Selects a channel. [MUTE] Mutes or unmutes each channel. PLUG-IN mode [PLUG-IN] (Multi Channel View) [PLUG-IN] → [PLUG-IN] (Track Parameter View) [SHIFT]+[SOLO DEFEAT] Unmutes all channels. [SOLO] Sets Solo for each channel to on or off. Cursor [UP]/[DOWN] (Multi Channel View) Changes the Slot number. [SOLO DEFEAT] Sets Solo for all channels to off. Knobs 1 - 8 (tweaking → pressing) [REC RDY] Sets the REC RDY of each channel to on or off. Turn the knob to select the desired Plug-in for insertion (indication flashes), then press the knob to actually enter the selected setting. [BANK </>] Scrolls through the track indication every eight channels. [CHANNEL </>] Scrolls through the track indication channel-by-channel. Knobs 1 - 8 (pressing) (Knob to which the Plug-in is assigned) Calls up the parameter page and opens the Editor window on Logic. [FLIP] Switches the functions of the Channel Knobs and Faders. [CYCLE] Turns Loop on or off. Knobs 1 - 8 (tweaking) (Parameter page) For editing parameters. [F1] - [F8] [F1] - [F8] as defined in Cubase SX. [PROJECT] Knobs 1 - 8 (pressing) (Parameter page) Reset the parameter value to the default. (Some parameters cannot be reset.) Brings the Track View window to the front of the computer screen. [MIXER] Opens the Mixer window. Cursor [LEFT] Cursor [RIGHT] (Parameter page) Changes the page. [SHIFT]+[EDIT] Closes the current window. [1] - [8] Corresponds to 1 - 8 of the Channel View on the Mixer Window. [PLUG-IN] Return to the PLUG-IN mode. INSTRUMENT mode [INSTRUMENT] (Multi Channel View) [INSTRUMENT] → [INSTRUMENT] (Track Parameter View) Knobs 1 - 8 (tweaking → pressing) Quick Guide Functions In all modes: Connecting the Computer and Midi devices Button/Controller names on Logic Control Turn the knob to select the desired instrument for insertion (indication flashes), then press the knob to actually enter the selected setting. Knobs 1 - 8 (pressing) (a Knob to which the Instrument is assigned) Calls up the parameter page and opens the Editor window on Logic. Knobs 1 - 8 (tweaking) (Parameter page) Edits the parameter. Knobs 1 - 8 (pressing) (Parameter page) [UNDO] Executes the Undo operation. [REDO] Executes the Redo operation. [SAVE] Executes the Save operation. [ADD] Enters a Marker at the current song position. [RWD] Hold to continuously rewind. [SHIFT]+[RWD] Moves the song position to the top of the song. [PREV] Moves the song position to the previous Marker. [FF] Hold to continuously fast-forward. [SHIFT]+[FF] Moves the song position to the end of the song. Resets the edited parameter value to the default. (Please note that some parameters cannot be reset.) [NEXT] Moves the song position to the next Marker. (This may not work in certain conditions.) Cursor [LEFT] Cursor [RIGHT] (Parameter page) Changes the page. [STOP] Press to stop recording or playback. Pressing this when playback is stopped goes to the song location at which the song playback started at last time. [INSTRUMENT] Return to the INSTRUMENT mode. [PLAY] Press to start playback from the current point. [REC] Press this to start song recording. The [F] (Play) and [I] (Rec) lamp are turned on during recording. When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform the same functions as the Knobs on the DAW controller. PAN mode [PAN] (MULTI CHANNEL only) Press the [DRUM KIT] button to indicate the Track/Slot number in the brackets [ ] at the top of the LCD. Knobs 1 - 8 The [OPTION], [CONTROL], and [ALT] buttons on the Logic Control corresponds to the [EDIT], [JOB], and [STORE] buttons at left below the LCD respectively. Knobs 1 - 8 Additional operations other than those listed above are available. For details, refer to the relevant documentation of Logic Control. For editing parameters. EQ mode [EQ] (SELECTED CHANNEL only) For editing parameters. SEND mode [DYN] (SELECTED CHANNEL only) Knobs 1 - 8 For editing parameters. Owner’s Manual 85 Using the S90 ES with computer software Button/Controller names on Mackie Control Button/Controller names on Mackie Control Functions [MAIN] PLUG-IN mode [PLUG-IN] (SELECTED CHANNEL only) Knob 1 Changes the Slot Number (on page 1 only). Knob 2 Turns the Effects on or off (on page 1 only). Knob 3 Selects an Effect Type (on page 1 only). Knobs 1 - 8 (turning) Edits each of the parameters (on page 2 and later). SEND EFFECT mode [SENDS]/MASTER EFFECT mode [MASTER] (Global mode only) Knob 1 Changes the Slot Number (on page 1 only). Knob 2 Turns the Effects on or off (on page 1 only). Knobs 1 - 8 Edits each of the parameters (on page 2 and later). INSTRUMENT mode [INSTRUMENTS] (Global mode only) Quick Guide Knob 1 Changes the Slot Number (on page 1 only). Knob 2 Turns the software tone generator on or off (on page 1 only). Knobs 1 - 8 Edits each of the parameters (on page 2 and later). [BANK </>] Scrolls through the track indication every eight channels. [CHANNEL </>] Scrolls through the track indication channel-by-channel. [FLIP] Assigns the functions of the Channel Knobs to the Faders. [FLIP] → [FLIP] Switches the functions of the Channel Knobs and the Faders. [NEXT WINDOW] Moves the next window to the front of the screen. [LOOP SW] Sets Loop to on or off. [F1] - [F8] [F1] - [F8] as defined in SONAR. [CLOSE WINDOW] Closes the current window. [UNDO] Executes the Undo operation. [REDO] Executes the Redo operation. [SAVE] Executes the Save operation. [M1]+[MARKER] Opens the window for entering the Marker to the current song position. [MARKER] Turns the Marker on or off. [RWD] Press briefly to move back one measure at a time, or hold to continuously rewind. When the Marker is turned on, this operation moves the song position to the previous Marker. [M1]+[RWD] Moves the song position to the top of the song. When the Marker is turned on, this operation opens the window for entering the Marker. [FF] Press briefly to move forward one measure at a time, or hold to continuously fast-forward. When the Marker is turned on, this operation moves the song position to the next Marker. [M1]+[FF] Moves the song position to the end of the song. When the Marker is turned on, this operation opens the window for entering the Marker. [STOP] Stops recording or playback. [PLAY] Press to start playback from the current point. [REC] Press this to start song recording. The [F] (Play) and [I] (Rec) lamp are turned on during recording. Parameters to be edited differ depending on the assigned Effect and Software Tone Generator. Additional operations other than those listed above are available. For details, refer to the relevant documentation of Mackie Control. Connecting the Computer and Midi devices When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform the same functions as the Knobs on the DAW controller. When controlling SONAR 4: Functions of Mackie Control assigned to [F1] - [F6] and [SF1] [SF5] buttons ASSIGNMENT SENDS PAN/SEND PLUG-INS TRACKS DYN PAN EQ DIAL RESET BANK-L KN1-4/5-8 BANK-R M1 FADER BANKS TONE FLIP CHANNEL-L EDIT NAME/VALUE CHANNEL-R DIAL RESET BANK-L KN1-4/5-8 BANK-R [ZOOM] Turns Zoom on and off. [SCRUB] Turns Scrub on and off. When Scrub is on, the dial can be used for Scrub playback. When Scrub is off, the dial is used to move the song position. [JOG PRM] Turns Data Entry on and off. When turned on (the lamp lights), rotating the dial has the Data Entry function. M1 TRACKS/DIALOG/WINDOW ARP FX OK/ENTER NEW AUDIO TRACK EQ SAVE AUX F5 MAIN M1 DIAL RESET BANK-L F7 F2 KN1-4/5-8 FIT PROJECT REDO F6 F1 TONE NEXT WINDOW CLOSE WINDOW FIT TRACK UNDO PAN/SEND F3 KN1-4/5-8 BANK-R F8 M1 KN1-4/5-8 F4 TRACK mode [TRACKS] (Track Parameter mode) [TRACKS] → [TRACKS] (Selected Channel mode) Knobs 1 - 8 (turning) For editing parameters. (The LCD indication may not be updated.) Knobs 1 - 8 (pressing) Resets the parameter value to its default. PAN mode [PAN] [PAN] → [PAN] (Selected Channel mode of PAN/SURROUND) Knobs 1 - 8 (turning) For editing parameters. Knobs 1 - 8 (pressing) Resets the parameter value to its default. M1 SEND mode [SENDS] [SENDS] → [SENDS] (Selected Channel mode) TONE ARP FX CANCEL NEW MIDI Functions Assigns output level adjustment of the Virtual Main Bus to the Faders. JOG PRM MAKER LOOP ON/OFF LOOP HOME SELECT DIAL RESET KN1-4/5-8 PUNCH M1 Knobs 1 - 8 (turning) For editing parameters. Knobs 1 - 8 (pressing) Resets the parameter value to its default. PLUG-IN mode [PLUG-IN] [PLUG-IN] → [PLUG-IN] (Selected Channel mode) ARP FX EQ CURSOR-L CURSOR-DWN CURSOR-R CURSOR-UP SCRUB ZOOM Button/Controller names on Mackie Control DIAL RESET BANK-L [M1]+[CHANNEL </>] KN1-4/5-8 BANK-R M1 Functions In all modes: 86 [EDIT] Assigns a parameter to a Knob by using the [CHANNEL] and [BANK] buttons. [CHANNEL </>] (Multi channel) Changes a parameter to be edited via a Knob in order one by one when [EDIT] is turned on. [BANK </>] (Multi channel) Changes the parameters to be edited via a Knob in groups of eight when [EDIT] is turned on. [CHANNEL </>] (Selected channel) Changes an indicated parameter in order one by one when [EDIT] is turned on. [BANK </>] (Selected channel) Changes the indicated parameters in groups of eight when [EDIT] is turned on. [NAME/VALUE] Changes the indication of the parameter name and its value. [SEL] Selects a channel. [MUTE] Mutes or unmutes each channel. [M4]+[MUTE] Unmutes all channels. [SOLO] Sets Solo for each channel to on or off. [M4]+[SOLO] Sets Solo for all channels to off. [REC RDY] Sets the REC RDY of each channel to on or off. [M4]+[REC RDY] Sets the REC RDY of all channels to off. [TRACK] Assigns a Track to a Fader. [AUX] Assigns an AUX BUS to a Fader. Owner’s Manual Changes the Plug-in number when the [EDIT] is turned on. Knobs 1 - 8 (turning) For editing parameters. Knobs 1 - 8 (pressing) Resets the parameter value to its default. EQ Edit [EQ] [EQ] → [EQ] (Selected Channel mode) (in the Selected Channel mode) [EQ] (Band mode) [M1]+[CHANNEL </>] Changes the EQ number when the [EDIT] is turned on. Knobs 1 - 8 (Band mode) For editing each frequency band. Faders (Band mode) For editing the gain of each Band. When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform the same functions as the Knobs on the DAW controller. The Song Position Bar may not synchronize with the actual playback position during Scrub playback. Parameters to be edited may differ depending on the assigned Effect and Software Tone Generator. Some parameters may not be available depending on the selected Effect Type. Press the [DRUM KIT] button to indicate the Track/Slot/EQ/DYN number in the brackets [ ] at the top of the LCD. The [M2] - [M4] buttons on the Mackie Control correspond respectively to the [EDIT], [JOB], and [STORE] buttons at left below the LCD. Additional operations other than those listed above are available. For details, refer to the relevant documentation of Mackie Control. You can find the Help window by selecting “Mackie Control” from the Tool Menu on SONAR and pressing the [F1] button. Please keep in mind that some functions may not be available. Using the S90 ES with computer software When controlling Digital Performer 4.52: Functions of Mackie Control assigned to [F1] - [F6] and [SF1] [SF5] buttons ASSIGNMENT SENDS PLUG-INS DYN PAN DIAL RESET EQ BANK-L KN1-4/5-8 BANK-R SHIFT FADER BANKS TONE LEVEL METERS EDIT CHANNEL-R DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT Track Groups/Windows SEQ EDITOR ARP FX GROUOP For editing parameters. Cursor [UP] [DOWN] Changes the Send number. Knobs 1 - 8 (pressing) Sets Mute to on or off. [DYN] + Knobs 1 - 8 (pressing) Resets the parameter value to the default (0 dB). [FLIP] Switches the functions of the Channel Knob and the Faders. [SEND] in the SndVal mode Turns the Meter on or off. SndOut mode [I/O] → Knob FLIP CHANNEL-L Knobs 1 - 8 (turning) TR OVERVIEW MIXING BOARD UNGROUP SUSPEND DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT Cursor [UP] [DOWN] Changes the Send number. Knobs 1 - 8 (turning) Selects the bus for each Send of the track. Knobs 1 - 8 (turning) (except when selecting a bus) Switches between Send PRE and POST. Input mode [I/O] → Knob Knobs 1 - 8 (turning) OVERDUB ENTER PATCH THRU ESCAPE CLEAR CLIP CLICK DIAL RESET Knobs 1 - 8 (turning) KN1-4/5-8 COUNTOFF SHIFT Transport/Project PAN/SEND TONE UNDO REDO PUNCH MARKER ARP FX SELECT EDIT GRID AUDIBLE MODE SAVE SLAVE EXT SYNC MEMORY LINK PRE/POST ROLL TONE Selects an input bus for a track. Output mode [I/O] → Knob Dialog/Record EQ Quick Guide I/O Functions SndVal mode [SEND] (or [I/O] → knob) BANK-L SOLO CYCLE DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT KN1-4/5-8 BANK-R Selects an output bus for a track. Connecting the Computer and Midi devices PAN/SEND Button/Controller names on Mackie Control Effect mode [PLUG-IN] (or [I/O] → Knob) Knobs 1 - 8 (turning) Selects a Plug-in Effect for each track. Cursor [UP] [DOWN] Changes the Effect Number. Knobs 1 - 8 (pressing) Turns the Effect Bypass on or off. When the bus is turned on, X is indicated above the Effect name. [EQ] + Knobs 1 - 8 (pressing) Assigns the Parametric EQ to the corresponding track. [EDIT] + Knobs 1 - 8 (pressing) (when any track is selected) Enters the Plug-in Effect Edit mode. (Available only when the Plug-in Effect is selected.) Please keep in mind that some parameters may not be available depending on the selected Effect Type. Press the [EDIT] button again to exit from the Edit mode. SHIFT Edit mode ARP FX EQ CURSOR-L CURSOR-DWN CURSOR-R CURSOR-UP SCRUB ZOOM Button/Controller names on Mackie Control DIAL RESET BANK-L KN1-4/5-8 BANK-R SHIFT Knobs 1 - 8 (turning) For editing parameters. Cursor [UP] [DOWN] Changes an Effect Number. [LEFT]/[RIGHT] Calls up the Effect of a different track. [CHANNEL </>] Changes the parameters to be edited with the Knobs in order one by one. [BANK </>] Changes the parameters to be edited with the Knobs in groups of eight. [FLIP] Switches the functions of the Channel Knobs and the Faders. Functions In all modes: [I/O] Calls up the Mode list display. [LEVEL METERS] Turns the Meter indication on or off. When turning the [VOLUME] button off, the Control sliders on the S90 ES are assigned to perform the same functions as the Knobs on the DAW controller. [SEL] Selects a channel. Some edited values are not shown on the S90 ES display. [SHIFT] + [SEL] Selects multiple channels. [MUTE] Mutes or unmutes each channel. Press the [DRUM KIT] button to indicate the Send/Effect number in the brackets [ ] at the top of the LCD. [SOLO] Sets Solo for each channel to on or off. [REC RDY] Sets the REC RDY of each channel to on or off. [BANK </>] Scrolls through the track indication every eight channels. [CHANNEL </>] Scrolls through the track indication channel-by-channel. [CONTROL]+[CYCLE] Turns Loop on or off. [TR OVERVIEW] Moves the Track Overview to front. [MIXING BOARD] Opens the Mixer window. [SEQ EDITOR] Starts the Sequencer Editor window. [SHIFT]+[SEQ EDITOR] Starts the Soundbites window. [UNDO] Executes the Undo operation. [REDO] Executes the Redo operation. [SAVE] When the lamp lights, press this so that the lamp flashes. Press this again to execute the Save operation (lamp turns off). [MARKER] Turns the Marker on or off. [SHIFT]+[MARKER] Opens the Marker Option window. [RWD] Press to continuously rewind. Press again to rewind more quickly. When the Marker is turned on, this operation moves the song position to the previous Marker. [FF] Press to continuously fast-forward. Press again to fast-forward more quickly. When the Marker is turned on, this operation moves the song position to the next Marker. [STOP] Stops recording or playback. [PLAY] Press to start playback from the current point. [REC] Press this to start song recording. The [F] (Play) and [I] (Rec) lamp are turned on during recording. [ZOOM] Switches between Scroll (lamp lights), Zoom (lamp is off), and Nudge (lamp flashes). [SCRUB] Turns Scrub on and off. When turned on, you can use the dial to move the song position. (A malfunction may occur.) Some parameters may not be available depending on the Effect Type. The [OPTION], [CONTROL], and [COMMAND] buttons on the Mackie Control correspond respectively to the [EDIT], [JOB], and [STORE] buttons at left below the LCD. Additional operations other than those listed above are available. For details, refer to the relevant documentation of Mackie Control. Please keep in mind that some functions may not be available. PAN mode [PAN] (or [I/O] → knob) Knobs 1 - 8 (turning) For editing parameters. [DYN] + Knobs 1 - 8 (pressing) Resets the edited parameter to the default value (center). [FLIP] Switches the functions of the Channel Knobs and the Faders. [PAN] in the PAN mode Turns the Meter on or off. Owner’s Manual 87 Using mLAN Using mLAN The mLAN interface is a powerful and flexible system that allows you to set up complex audio/MIDI routings through the use of a standard IEEE 1394 connection—eliminating the need for dozens of audio and MIDI cables, as was necessary on earlier conventional systems. By installing the optional mLAN16E, you can directly connect the S90 ES to a computer or another mLAN device, and take advantage of high-speed audio and MIDI data transfer between the devices with just a single IEEE 1394 cable. Special software is also available, letting you easily change the audio and MIDI signal routing among several mLAN devices from your computer. Quick Guide Auto Connecter, Graphic Patchbay Audio/MIDI Interface i88X Use the Auto Connector or Graphic Patchbay software to change the audio/MIDI signal routing among the mLAN devices. Connecting the Computer and Midi devices IEEE 1394 cable IEEE 1394 compatible computer mLAN16E Digital Mixing Studio 01X S90 ES Recording to computer using mLAN In these example instructions, we'll record the audio output of the S90 ES (from playing the keyboard in the Voice mode) to your audio sequencer on the computer. Setting up the S90 ES 1 Install the optional mLAN16E to the S90 ES 2 After turning the power on, set the MIDI IN/ OUT parameter to “mLAN” ([UTILITY] → [F5] MIDI → [SF4] OTHER). Press the [STORE] button to store the Utility mode settings. 3 3 From the software patch bay, connect output channels 15 and 16 of the mLAN16E to any two channels of the computer. For details, refer to the mLAN16E installation guide and Graphic Patchbay PDF manual. n The audio signals from playing keyboard in the Voice mode are sent from output channels 15 and 16 of the mLAN 16E. Refer to the next section “mLAN Audio/MIDI” signal routing. 4 Enable the mLAN input channels in the audio device settings in the sequencer. Enter the Voice mode by pressing the [VOICE] button and select the desired Voice. Setting up the computer From the mLAN Auto Connector or Graphic Patchbay software, connect the audio outputs of the S90 ES to the audio inputs of the computer. Refer to the owner’s manual of your sequencer for details. 1 Install the necessary software such as the mLAN driver. Refer to the relevant documentation for the mLAN16E. 2 Connect the computer to the S90 ES using an IEEE1394 cable (page 64). Recording the audio After completing the setup described above, try recording your keyboard performance to the computer by using the sequencer software. For specific information, refer to the owner’s manual of your particular sequencer. You can also follow this procedure to record the MIDI data. However, you must set the MIDI connections on the mLAN Auto Conenctor or Graphic Patchbay, and make the appropriate MIDI device settings on your sequenecer. 88 Owner’s Manual Using mLAN mLAN Audio/MIDI signal routing Connecting mLAN16E-equipped mLAN devices allows for data transmission of up to eight audio input channels (four stereo channels) and sixteen output channels, as well as four MIDI in/out ports. Try setting up your own mLAN system, referring to the illustration below. Computer or mLAN device mLAN input port 1 – 4 mLAN output channels 15 and 16 mLAN output channels port 1 – 4 mLAN input cannels 1 – 8 (Stereo 4 channels) 5 mLAN16E Quick Guide IEEE1394 cable mLAN output port 1 – 4 Powered speakers mLAN16E Monitor Switch 2 Audio output 3 OUTPUT L/R channels 1 – 14 (as 1 – 14) jack(L&R) Connecting the Computer and Midi devices 1 MIDI 4 Audio input Parts of Performance/ Multi S90 ES 1 MIDI The MIDI settings are the same as those for connecting the USB cable. 2 Audio output channels 1 - 14 (as1 - 14) When selecting a Drum Voice, Performance or Multi, each Drum key or Part can be output from a specific mLAN audio output (channels 1 - 14). For details about the output settings, refer to “Connecting to a Mixer” on page 63. 3 OUTPUT L and R jacks (L&R) The signals from the OUTPUT L and R jacks (when playing the keyboard using a Normal Voice) are sent from mLAN output channels 15 and 16. 4 Audio input Parts of the Performance and Multi You can also use the audio from mLAN input channels 1 - 8 as the Audio Input Part(s). Refer to the “Using the microphone and audio device sounds” on page 38 and the “Audio Input Part (AUDIO IN)” on page 118. 5 mLAN Monitor Switch To monitor the sounds from mLAN output channels 1 - 14 and mLAN input channels 1 - 8 (through the OUTPUT L and R jacks on the rear panel), set the following parameter set to “on.” [UTILITY] → [F2] I/O → [SF2] OUTPUT → mLANMonitorSw (mLAN Monitor Switch) = on Owner’s Manual 89 Creating Your Original Program Set (Master mode) Creating Your Original Program Set (Master mode) The Master mode is the highest mode in the S90 ES hierarchy, letting you instantly switch between programs you've created in the Voice, Performance and Multi modes. Use the Master mode in one of the following ways ■ Storing your favorite programs Quick Guide This lets you register settings that you often use in the Voice, Performance, or Multi mode, and instantly recall the mode and custom settings together in a single button press, without having to first select a mode. It also lets you set up a sequence of custom programs—for example, when playing different songs live—and smoothly switch from setting to setting as needed. ■ Playing as a master keyboard Creating Your Original Program Set (Master mode) This lets you divide the keyboard into four separate sections—just as if you were playing four different MIDI keyboards. You can also separately play the sounds of the S90 ES and the sounds of connected MIDI devices—all from the S90 ES keyboard—by assigning each zone to a different MIDI channel. Moreover, you can use the Control sliders to tweak the sound of each as desired. Selecting a Master The S90 ES features 128 specially programmed Masters. Try some of these out now. 1 Press the [MASTER] button to enter the Master Play mode. VOICE PERFORM MASTER Mode memorized to the current Master. Program number (Voice number in this example) memorized to the current Master. Indicates the Keyboard Octave setting. Same as in the Voice mode/Performance mode (page 105). Indicates the currently selected Master. Indicates information related to the Control sliders. The settings depend on the program number memorized to the current Master. 2 Use the [SF1] - [SF5] buttons to call up the Arpeggio type assigned to each button (page 39). Assigned types depend on the program number memorized to the current Master. Select a Master. Selecting a Master is done in basically the same way as selecting a Voice. Since there is only one bank for Masters, you need not select a Master bank. 3 Play the selected Master program. When the Mode is set to Voice or Performance, play the keyboard. When the Mode is set to Multi, play the MIDI song file on the external sequencer. 90 Owner’s Manual Creating Your Original Program Set (Master mode) Storing your favorite programs Select a Master to be created. 2 Press the [F2] MEMORY button to call up the Mode setting display. 3 Select the desired mode and program number to register the Mater. If you want to divide the keyboard into multiple Zones in the Master, set the Zone Switch to “on.” 5 Store the edited Master to internal User memory. 5-1 Press the [STORE] button to enter the Master Store mode. 5-2 Select the destination Master by using the data dial or the [INC/YES] and [DEC/NO] buttons. Quick Guide 1 CAUTION Determines the mode that called up when Master number is selscted. Determines whether Zone Switch is set to on or off. Creating Your Original Program Set (Master mode) When you execute the Store operation, the settings for the destination memory will be overwritten. Important data should always be backed up to a separate USB storage device (page 127). 5-3 Press the [ENTER] button. (The display prompts you for confirmation.) To cancel the Store operation, press the [DEC/NO] button. 5-4 Press the [INC/YES] button to execute the Store operation. Determines the program number that is called up when the Master is selected. CAUTION 4 Name the edited Master. Input a name in the [EDIT] → [COMMON] → [F1] NAME display. For detailed instructions on naming a voice, refer to page 27. Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data. data. CAUTION If you select another Master without storing, the currently edited Master will be lost. Make sure to store the edited Master before selecting another Master. Input a Master name. Playing as a master keyboard In the Master mode, you can divide the keyboard into (up to) four independent areas (called “Zones”). Each Zone can have different MIDI channel assignments as well as different functions for the Control sliders. This makes it possible to control several parts of the multi-timbral tone generator simultaneously by a single keyboard or to control voices of an external MIDI instrument over several different channels in addition to the internal voices of this synthesizer itself—letting you use the S90 ES to effectively do the work of several keyboards. You can set the parameters related to the four Zones in the Master Edit mode and store the settings as a User Master. 1 Select a Master to be created. 2 Press the [F2] MEMORY button to call up the Mode setting display. Owner’s Manual 91 Creating Your Original Program Set (Master mode) 3 After setting the Mode and Program number which you wish to memorize to the Master, set the Zone Switch to “on.” Determines the mode that is called up when the Master number is selected. Set the Zone Switch to “on.” Quick Guide Determines the program number that is called up when the Master is selected. 4 Press the [EDIT] button to enter the Master Edit mode. Creating Your Original Program Set (Master mode) EDIT JOB STORE COMPARE 5 Call up the Common Edit display or Zone Edit display. Use Zone Edit to edit the parameters for each Zone. Use Common Edit to edit the parameters for all of the Zones. While in the Master Edit mode, you can switch between the Common Edit display and the Zone Edit display as shown below. Calling up the Common Edit display Press the [COMMON] button to call up the Common Edit display. In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button. DRUM KITS PRE 5 PRE 6 USER 1 USER 2 FAVORITES A. PIANO KEYBOARD GUITAR/ PLUCKED GUITAR A B C D SYN LEAD SYN PAD/ CHOIR SYN COMP CHROMATIC PERCUSSION 1 2 3 4 Indicates a Common Edit display. Calling up the Zone Edit display Press the desired Zone number from the ZONE [1] - [4] buttons to call up the Zone Edit display. Indicates the display for editing Zone 1. ELEMENT/PERF. PART/ZONE COMMON 9 10 11 12 Zone 1 Edit Common Edit Zone 2 Edit Zone 3 Edit Zone 4 Edit 6 Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit the parameters in each display. See the next page for details and some setting examples. 7 Name the edited Master. Input a name in the [EDIT] → [COMMON] → [F1] NAME display. For detailed instructions on naming a voice, refer to page 27. 8 Store the edited Master to internal User memory. Refer to step 5 on page 91. 92 Owner’s Manual Creating Your Original Program Set (Master mode) Using Zones effectively with external The two examples below show how to use the Zones with both the internal tone generator and a connected external tone generator. These instructions correspond to step 6 on the previous page. n Though all four Zones are used in the example below, you can use any number of Zones (two, three, or four). The settings are made with the MIDISwitch parameter ([MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch) and the TGSwitch parameter ([MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch). n In these examples, the Zones are assigned to different areas of the keyboard. However, two or more Zones can also be assigned to the same area in a layer, from the NOTE display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE). Quick Guide ■ Master settings with the Voice mode/Performance mode (Single-timbre tone generator mode) External tone generator (Multi-timbral) Creating Your Original Program Set (Master mode) Set the MIDI receive channel for each part. For each Zone, set whether or not MIDI data is transmitted to the external instrument. [MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch Determine the MIDI Transmit Channel for each zone. MIDI Transmit Channel 1 MIDI Transmit Channel 2 MIDI Transmit Channel 3 MIDI Transmit Channel 4 [MASTER] → [EDIT] → Zone selection → [F1] TRANS → TransCh Determine the note range of each zone. [MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitH [MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitL For each Zone, set whether or not MIDI data is transmitted to each Part of the internal tone generator. [MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch Internal tone generator (Single Timbre) [UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh = 01 ■ Master settings with the Multi mode (Multi-timbral tone generator mode) External tone generator (Multi-timbral) Set the MIDI receive channel for each part. For each Zone, set whether or not MIDI data is transmitted to the external instrument. [MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch MIDI Transmit Channel 1 MIDI Transmit Channel 2 MIDI Transmit Channel 3 MIDI Transmit Channel 4 Determine the MIDI Transmit Channel for each zone. [MASTER] → [EDIT] → Zone selection → [F1] TRANS → TransCh Determine the note range of each zone. [MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitH [MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitL For each Zone, set whether or not MIDI data is transmitted to each Part of the internal tone generator. [MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch Part 05 Receive Channel 1 Part 13 Receive Channel 2 Internal tone generator (Multi-timbral) [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh Owner’s Manual 93 Creating Your Original Program Set (Master mode) Assigning Control Change numbers to the Conrol sliders for each Zone Here in the CS display of the Master Edit mode, you can set how the Control sliders will affect each Zone. This lets you specify a separate MIDI Control Change number for each slider. Set the parameters as shown below, corresponding to step 6 on page 92. Quick Guide All indicators are turned off by setting the [MASTER] → [EDIT] → [COMMON] → [F2] OTHER → Slider parameter to “zone.” Creating Your Original Program Set (Master mode) PAN/SEND PAN REVERB CHORUS TEMPO ASSIGN ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 TONE CUTOFF RESONANCE ATTACK RELEASE ARP FX SWING GATETIME VELOCITY UNITMULTIPLY MEF MEF 1 MEF 2 MEF 3 MEF 4 EQ LOW LOW MID HIGH MID HIGH VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 MASTER VOLUME VOLUME You can determine which Control Change numbers are used for the Control sliders for each zone in the [MASTER] → [EDIT] → Zone selection → [F5] CS display. In the example above, the Control sliders 1 - 2 have been set to 11 (Expression), and sliders 3 - 4 for all Zones have been set to 10 (Pan). In this way, you can use the Control sliders 1 - 2 to adjust the relative volume balance among the Zones, and control the stereo position of each Zone with the slider 3 - 4. 94 Owner’s Manual Creating Your Original Program Set (Master mode) TIP Setting up the Master Zones to Split or Layer This operation lets you easily determine whether the Zones of the selected Master are to be used in a Split or a Layer. The note range settings for each Zone can be determined by setting the NoteLimitH and NoteLimitL parameters from the NOTE display ([MASTER] → [EDIT] → Zone selection → [F2] NOTE). n Zones 1 and 2 are used in the explanations here. 1 In the Master Play mode, press the [JOB] button to enter the Master Job mode. Quick Guide 2 Press the [F1] INIT button to call up the Initialize display. 3 Uncheckmark the box of “All” by using the [DEC/NO] button and checkmark the box of “Zone.” Creating Your Original Program Set (Master mode) 4 Set the Type to “Split” or “Layer.” When Type is set to “Split” Set the UpperCh (MIDI transmit channel of the upper range), LowerCh (MIDI transmit channel of the lower range), and Split Point (which separates the keyboard into the upper range and lower range). Lower Split Point (C3) Upper When Type is set to “Layer” Set the UpperCh (MIDI transmit channel of Zone 1) and LowerCh (MIDI transmit channel of Zone 2). Layer (Upper) Layer (Lower) 5 Press the [ENTER] button. (The display prompts you for confirmation.) To cancel the Job, press the [DEC/NO] button. 6 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. Owner’s Manual 95 Playing back MIDI files (Sequence Play mode) Playing back MIDI files (Sequence Play mode) Quick Guide In the Sequence Play mode you can directly play back SMF (Standard MIDI File) song data, without the need of a computer or external sequencer. Simply load your MIDI song data (Format 0) to a USB storage device, such as a USB memory stick or flash drive, and connect it to the S90 ES. This is a huge convenience in live performance situations, since you could record the basic rhythm parts of a song beforehand, then play the melody and solo parts over top of them as they play back during your performance. You can also set the order of playback, having the S90 ES automatically call up the songs in the proper order for you. Playing back MIDI file (Sequence Play mode) n The settings in the Sequence Play mode cannot be stored to the S90 ES. If you need to save these settings, save them to a USB storage device in the File mode. n Make sure to connect a USB storage device Card containing appropriate Song data. n The S90 ES is compatible with and can play back Standard MIDI Files of Format 0. CAUTION Never attempt to remove/insert the USB storage device while in the Sequence Play mode. Setting the playback order of MIDI files (Chain) From the Chain display ([F1] CHAIN), you can specify the order of the MIDI files to be played, set the particular Multi to be used for each song, and stop MIDI file playback as desired. These settings are executed in order according to the specified Chain Step numbers. A maximum number of 100 Chain Steps can be programmed; after reaching 100, playback returns to 001. Chain Step Number Setting to execute 1 Press the [MULTI/SEQ PLAY] button once or twice to enter the Sequence Play mode. 2 Connect the USB storage device, then press the [F1] CHAIN button to enter the CHAIN display. 3 96 A Chain can only play back song files contained in the same directory. Owner’s Manual Press the [F5] OK button. In step 6 below, you can select the specific MIDI song file from the folder you've specified here. 5 Use the [▲] and [▼] buttons to select the Chain Step number. 6 Use the [DEC/NO], [INC/YES] buttons, and data dial to assign the following parameter to each Chain Step. Press the [SF4] GET button and select the folder which contains the desired MIDI files, then press the [ENTER] button. If the device has several media (e.g., discs, cards) inserted at the same time, select the Slot number. If the device is divided into multiple partitions, select the Partition number. For information on how to select a folder, see the section “Supplementary information” on page 170. n 4 Parameters MIDI Selects desired MIDI file from the folder selected in step 4 Multi name Specifies the Multi to be used for playback of the MIDI file, allowing you to set the desired Voices to be used for playback or the next song. skip Skips this Chain Step and playback will jump to the next Chain Step. end Returns to Chain Step number 001. stop Stops MIDI file playback. 7 Repeat steps 5 and 6 above to set up the Chain. Playing back MIDI files (Sequence Play mode) 8 Press the cursor [▲][▼] buttons to move the cursor to the desired Chain Step. 9 Press the [F6]Fbutton to start playback of the song. 10 Press the [F6]Jbutton to stop playback of the song. You can also stop playback by simultaneously holding down the [MULTI/SEQ PLAY] button and pressing the [VOICE] button. Also, if an “end” or “stop” Chain Step is reached, playback will stop. Quick Guide You can also play back the song by simultaneously holding down the [MULTI/SEQ PLAY] button and pressing the [PERFORM] button. When the Chain Step playback has finished, the song at the next Chain Step number will automatically be started. Playing back MIDI file (Sequence Play mode) Moving the song position/changing the tempo You can move the Song position or change the playback tempo for the Song at the currently selected Chain Step. When the Song is played back, the tempo setting made here automatically takes precedence over the original tempo setting of the Song. Change the tempo Move through the measures F5 F4 The measure be specified when releasing the [F5] button. Selecting the MIDI transmit channel for playing back the keyboard Press the [TRACK SELECT] button so that its indicator lights and press one of the Number [1] - [16] buttons to select the desired track for playing the keyboard. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE 9 10 11 SOLO The internal Voices of Multi Parts 1-16 are set by default to the respective MIDI receive channels 1-16. As a result, selecting a Part number will normally select the same numbered MIDI channel for use as the MIDI transmit channel for your keyboard performance. Keep in mind however, if any of the settings have been changed for the Multi, you will need to check the channel assignments and select the appropriate channel for the Part you wish to play. Owner’s Manual 97 Playing back MIDI files (Sequence Play mode) Changing the transmit settings for each MIDI channel When using a Multi with the Plug-in Boards or an external tone generator, you must set the appropriate transmit ports and determine whether the playback data is transmitted to internal/external tone generator or not in the [F2] OUTPUT display. You can set the OUTPUT settings for each Chain Step Number. Quick Guide OUT CH (MIDI transmit channel) Displays the MIDI transmit channel. The “M” mark indicates muted channels, while “S” indicates channels set to solo. PORT (transmit Port) Playing back MIDI file (Sequence Play mode) Determines the transmit Port for each MIDI channel. When this is set to “off,” MIDI data is output without any Port data. Keep in mind that this parameter can only be set for channels having assignments to Plug-in parts 1 - 3 (for installed single-part boards) or Plug-in parts 17 -32 (for installed multi-part boards). n The internal tone generator parts of the S90 ES are automatically set to Port 1. INT SW (Internal Switch) Determines whether or not MIDI data is transmitted to the internal tone generator. When using the internal tone generator of S90 ES or Plug-in Boards, set this parameter to “on.” When this is set to “off,” the tone generator or Plug-in Boards cannot be played using the corresponding MIDI channels. EXT SW (External Switch) Determines whether or not MIDI data is transmitted to the external tone generator. When using an external tone generator, set this parameter to “on.” When this is set to “off,” the external tone generator cannot be played using the corresponding MIDI channels. TIP Changing all channel settings simultaneously You can change the settings for all MIDI channels simultaneously by holding down the [SF1] ALL button while making the change. In the same way, if you change the setting while holding down the [SF2] 1-8 or [SF3] 9-16 button, you can change the respective group of MIDI channels (1-8 or 9-16) at once. When changing settings in the OUTPUT display Keep in mind that the OUTPUT settings of the Chain Step last selected in the Sequence Play mode will be maintained, even when selecting the Multi mode. In other words, depending on the OUTPUT settings called up by the last Chain Step, the sound may be unexpected or incorrect the next time you play the keyboard in the Multi mode. Always check the OUTPUT settings and rest them accordingly when returning to the Multi mode from the Sequence Play mode. TIP MIDI transmit channel mute/solo n In the Sequence Play mode, you can mute or solo the playback sound of MIDI song data. Playback of the keyboard cannot be mute or soloed. ■ To mute a MIDI transmit channel ■ To mute a MIDI transmit channel 1. Press the [MUTE] button so that its lamp lights. Simultaneously hold down the [MUTE] button and press one of the Number buttons [1] to [16] to solo the corresponding channel. Once you’ve selected a channel for soloing, the [MUTE] button’s lamp flashes, indicating the Solo function is active. While Solo is active, you can change the soloed channel simply by pressing the corresponding Number button [1] to [16]. To turn Mute off, press the [MUTE] button again (the lamp goes off). 2. Press any of the Number [1] - [16] buttons to select the transmit channel to be muted. The corresponding transmit channel is set to mute (its lamp goes off) and produces no sound. When pressing the same number button again, the channel mute is canceled (its lamp lights). 1 2 3 4 5 6 7 8 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE 9 1 2 10 11 TRACK SELECT SOLO ELEMENT/PERF. PART/ZONE 9 10 11 12 13 14 15 16 MUTE SOLO 98 Owner’s Manual Using the Plug-in Boards Using the Plug-in Boards Using the Plug-in Board Quick Guide Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and transparently within the system of this synthesizer—meaning that you can use their sounds and functions just as if they were built right into this synthesizer at the factory. The boards that are available for and can be installed to this synthesizer are described below. Up to three Plug-in boards can be installed to the S90 ES. These boards are not simply a source of more Voices; they are also full-featured, editable tone generators in their own right and extend the system-level specifications such as maximum polyphony. In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance/Multi. This synthesizer is compatible with the Modular Synthesis Plug-in System (see below). About MODULAR SYNTHESIS PLUG-IN SYSTEM The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multifaceted advances in modern music production. Available Plug-in Boards There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using these, you can build your own system based on the sounds you require. Single Part Plug-in Boards ● Virtual Acoustic Plug-in Board (PLG150-VL) Single Part Plug-in Boards let you add a completely different synthesizer or single timbre tone generator (page 115) and play its voices by using a single part of this synthesizer. Some boards allow you to use synthesis systems besides AWM2. With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments. ● Analog Physical Modeling Plug-in Board (PLG150-AN) Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have real-time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music. ● Piano Plug-in Board (PLG150-PF/PLG150-AP) These boards have the AWM2 tone generators mounted a massive waveform memory (16MB), which is dedicated to the reproduction of piano sounds. The PLG150-PF offers 136 stereo sounds, including a number of acoustic and electric pianos. The PLG150AP offers 32 stereo sounds, including a wide variety of exceptionally high-quality, authentic acoustic piano sounds, as well as an assortment of unusual effect-processed piano sounds. Each board enables you to expand the polyphony of the instrument by up to 64 notes. You can even install two of these boards to double the polyphony to 128 notes. ● Drum Plug-in Board (PLG150-DR)/Percussion Plug-in Board (PLG150-PC) Once connected and installed, the PLG150-DR/PLG150-PC becomes a seamless additional sound source of AWM2 for the host tone generator or synthesizer—providing a total of 88 drum/ percussion voices. Thanks to the built-in effect processing power, the PLG150-DR/PLG150-PC has two separate effect blocks— Insertion and Reverb—that can be applied to each kit. Multi-Part Plug-in Board Multi-Part Plug-in Boards let you add a completely independent multi-timbral tone generator to the S90 ES (page 115)—expanding the Voice capacity and polyphony of the instrument with a full sixteen additional instrument parts. ● XG Plug-in Board (PLG100-XG) This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and effects on this board. ● Advanced DX/TX Plug-in Board (PLG150-DX) The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the powerful FM Synthesis system — the same as found on DX-series synthesizers—for extraordinarily versatile and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump. Effect Plug-in Board Effect Plug-in Boards let you add a completely different effect block to the host synthesizer. ● Vocal Harmony Plug-in Board (PLG100-VH) With this board installed, you can add harmonies to selected parts using four types of effects. Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI data. You can also use this synthesizer like a vocoder by connecting and using a microphone while playing the keyboard. Owner’s Manual 99 Using the Plug-in Boards Using a Single Part Plug-in Board Install any of the Single Part Plug-in Boards such as the PLG150-AN, PLG150-AP, PLG150-PF, PLG150-DX, PLG150-VL, PLG150-DR, and PLG150-PC to the S90 ES and play the Plug-in Voice in the Voice Play mode. 1 After turning the power off, install a Single Part Plug-in Board to the instrument. 4 Set the MIDI port of the installed Plug-in Board to “2” or “3” in the [UTILITY] → [F6] PLUG → [SF2] MIDI display. See page 184. Quick Guide 2 Switch the S90 ES on. The corresponding slot indicator at the right top of the front panel lights. This indicates that the board has been successfully installed. Using the Plug-in Board SLOT 1 SLOT 2 SLOT 3 PLG 1 PLG 2 PLG 3 BRASS REED/PIPE STRINGS 3 Check the status of the installed Plug-in Boards in the [UTILITY] → [F6] PLUG → [SF1] STATUS display. VOICE MULTI/ SEQ PLAY PERFORM FILE n 5 If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may sound simultaneously with the internal Voice, when playing back a Multi in the Multi/Sequence Play mode. To keep this from happening, make sure the MIDI Port number of the Plug-in Board is set to “2” or “3”—especially when using the Multi/Sequencer Play mode. To prevent a similar problem when using both a Single Part Plug-in Board and a Multi Part Plug-in Board together, set each board to a different MIDI Port number. Press the [VOICE] button to enter the Voice Play mode and select a Plug-in Voice. Selecting a Plug-in Voice is done in the same way as selecting a Normal Voice (page 30) with the exception that you select one of the PLG (Plug-in) Banks. Press the PLG button which corresponds to the slot to which the Plug-in Board has been installed. MASTER SLOT 1 SLOT 2 SLOT 3 PLG 1 PLG 2 PLG 3 BRASS REED/PIPE UTILITY STRINGS SF2 SF1 F1 F2 SF3 F3 SF4 F4 SF5 F5 INFORMATION F6 You’ll also need to select a Bank within the Plug-in Board. Press the [F2] BANK button to call up the Plug-in Board Bank selection display, then select the desired Bank. n The name of the installed Plug-in Board is displayed. 6 n 100 Owner’s Manual For details about the Bank structure of each Plug-in Board, refer to the Owner’s Manual of each Plug-in Board. Regarding the PLGPRE (Plug-in Preset) bank, refer to the Plug-in Voice List. Regarding the Board Voice bank displayed as “035/000,” refer to the Voice Map/ List. The PLGUSR (Plug-in User) banks contain the Voices you edited and stored as User Voices. Play the keyboard. Playing Voices of the Plug-in User banks (PLG1USR, PLG2USR, PLG3USR) will result in no sound, if the Plug-in Board has just been installed. These banks become available only after you edit a Plug-in Voice and store it as a User Plug-in Voice. Using the Plug-in Boards Editing with a Single Part Plug-in Board ● Plug-in Voices and Board Voices Quick Guide The Voices of a Single Part Plug-in Board installed to this synthesizer can be divided into two types: Board Voices and Plug-in Voices. Board Voices are unprocessed, unaltered Voices of the Plug-in board—the “raw material” used for the Plugin Voices. Plug-in Voices, on the other hand, are edited Board Voices—Voices that have been specially programmed and processed for optimum use with the host synthesizer. Since the S90 ES includes preset Plug-in Voices for all the Plug-in Boards, you can call up and play appropriate Voices for each board immediately after installing it. ● Editing the Plug-in Voice Using the Plug-in Board This is basically the same as Normal Voice Edit. Unlike with Normal Voices, the Plug-in Voices only have one Element for editing. In addition, some of the other parameters may not be available. For details, refer to reference section on page 143. ● Editing the Board Voice Board Voices can be edited using the computer software for each Plug-in Board. You cannot edit the Board Voice on the S90 ES. TIP Playing the PLG150-VL sound with the Breath Controller With Virtual Acoustic (VA) synthesis, the PLG150-VL has the sounds of real instruments modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional Breath Controller, you can even capture some of the physical feel of woodwind instruments. 1 2 Install the PLG150-VL to the S90 ES. Connect the Breath Controller BC3 to the BREATH connector on the rear panel (page 59). 6 7 Press the [VOICE] button to enter the Voice Play mode, then select a Plug-in Voice of the PLG150VL. Play the Voice and blow into the Breath Controller to expressively change the sound. FOOT SWITCH BREATH ASSIGNABLE SUSTAIN FOOT PEDAL You can also use the MIDI Wind Controller WX5 to play the Plug-in Voice of the PLG150-VL. Connect the WX5 to the S90 ES with a MIDI cable. WX5 MIDI OUT connector 3 4 5 Switch the S90 ES power on. MIDI cable MIDI IN connector Set the Plug-in Board related parameters in the Utility mode, corresponding to steps 3 and 4 in the instructions on the previous page. Set the Breath Controller Curve via the [UTILITY] → [F1] GENERAL → [SF1] TG → BCCurve parameter (page 163). S90 ES n If you are using a Breath Controller and there is no sound, make sure that the BrthMode parameter is set to "BC/WC" in the [F4] NATIVE display of the Element Edit mode. Owner’s Manual 101 Using the Plug-in Boards Using a Multi Part Plug-in Board In this section, we'll explain how to play back an XG for mat song in the Multi mode, using the PLG100-XG Plug-in Boar d. Naturally, to get the most out of these instructions, you should prepare to play back XG song data (Standard MIDI File) by connecting the S90 ES to the computer. Playback with a Multi Part Plug-in Board Quick Guide 1 After turning the power off, install the Multi Part Plug-in Board PLG100-XG to slot 3 of this synthesizer. 5 Press the [MULTI/SEQ PLAY] button to enter the Multi mode. 6 Play back XG song from the sequencer software on the computer. Using the Plug-in Board See page 184 for details. 2 Switch the S90 ES power on. 3 Check the status of the installed Plug-in Boards in the [UTILITY] → [F6] PLUG → [SF1] STATUS display. The name of the installed Plug-in Board is displayed. 4 n 102 Set the MIDI port of the PLG100-XG to “2” or “3” in the [UTILITY] → [F6] PLUG → [SF2] MIDI display. If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may sound simultaneously with the internal Voice, when playing back a Multi in the Multi/Sequence Play mode. To keep this from happening, make sure the MIDI Port number of the Plug-in Board is set to “2” or “3”—especially when using the Multi/Sequencer Play mode. To prevent a similar problem when using both a Single Part Plug-in Board and a Multi Part Plug-in Board together, set each board to a different MIDI Port number. Owner’s Manual You must set the transmit port of each track on the XG song to the same number as the port number selected in the step 4. For details how to connect the S90 ES to computer, see page 67. Editing a Part on a Multi Part Plug-in Board How to edit the Multi Part Plug-in Parts 17 - 32 is basically the same as editing the internal Parts 1 - 16. See page 44. However, please note that the Multi Part Plug-in Part (17 32) settings apply not to one individual Multi but to all Multis, and the Insertion Effects and System Effects are not applied to Multi Part Plug-in Parts. Using the Plug-in Boards Using an Effect Plug-in Board In the example explanation below, the PLG100-VH Vocal Harmony Plug-in Board is used to apply harmony effects to the microphone sound in the Performance mode. n For Multi, the Effect Plug-in Board related parameters can be edited in the Multi Play mode or Multi Edit mode. n Please note that the Effect Plug-in Board cannot be used in the Voice mode. After turning the power off, install the Effect Plug-in Board PLG100-VH to slot 1. 7 Select the Plug-in Insertion Effect Type. Quick Guide 1 See page 184 for details. Plug the microphone to the A/D INPUT jack on the rear panel. Using the Plug-in Board 2 Move the cursor here, then select the Part. A / D INPUT R GAIN L 8 Set related parameters from the Plug-in Effect display ([PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT → [SF3] PLG-EF). For details, refer to the Owner’s Manual of the PLG100-VH. 9 n Sing or talk into the microphone to check the effect sound, and adjust the settings as necessary. A standard dynamic microphone is recommended. (The S90 ES does not support phantom-powered condenser microphones.) A / D INPUT 3 Turn the S90 ES power on. 4 Press the [PERFORM] button to enter the Performance Play mode, select the desired Performance, then set the microphone related parameters. R For details, refer to steps 4 - 9 on page 38. 10 5 Check the status of the installed Plug-in Boards in the [UTILITY] → [F6] PLUG → [SF1] STATUS display. 6 Select “PartAD” as the Part to which the Plugin Insertion Effect is applied in the CONNECT display ([PERFORM] → [F3] EFFECT → [SF1] CONNECT). GAIN L If desired, store the settings for the microphone sound and PLG100-VH as a Performance in the Performance Store mode (page 56). Move the cursor here, then select the Part. Owner’s Manual 103 Tips Tips This section explains the useful features included on your S90 ES. TIP Comparing the sound before editing Quick Guide with the just-edited one (Compare function) Tips This convenient function lets you switch between the edited Voice and its original, unedited condition— allowing you to listen to the difference between the two and better hear how your edits affect the sound. You can use the function in each Edit mode (Voice/ Performance/Multi). 1 In the Edit mode (the [EDIT] indicator lighting), press the [EDIT] button so that its indicator flashes. The [C] indicator is shown at the top of the display (in place of the [E] indicator), and the original, unedited Performance is restored for monitoring. EDIT JOB TIP Voice Element mute/solo (in the Normal Voice Edit mode only) ■ Muting an Element 1 Make sure that the [MUTE] button's lamp is turned on in the Normal Voice Edit mode. If the indicator is flashing, press the [MUTE] button. 2 Press one of the [9] - [12] buttons that you want to mute and turned the indicator off. Pressing the button alternates on and off. The example below shows that the Element 3 is muted. 1 STORE 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE 9 10 11 COMPARE SOLO ■ Soloing an Element 1 2 Press the [EDIT] button again to disable the “Compare” function and restore the settings for your edited program. Once you’ve selected an Element for soloing, the [SOLO] button's lamp flashes, indicating the Solo function is active and only the selected Element can be played. Compare the edited sound with the unedited sound by repeating steps 1 and 2. n While Compare is active, you cannot edit. 2 TIP Edit Recall Function If you are editing a program and select a different program without storing your edited one, all the edits you've made will be erased. If this happens, you can use Edit Recall to restore the program with your latest edits intact. 1 2 3 104 To exit from the Solo function, press the [SOLO] button again. The example below shows that the Element 3 is muted. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE 9 10 11 Press the [JOB] button in each mode to enter the Job mode. SOLO Press the buttons simultaneously Press the [F2] RECALL button to call up the Recall display. Press the [ENTER] button. (The display prompts you for confirmation.) If you wish to cancel the operation, press the [DEC/NO] button. 4 In the Normal Voice Edit mode, simultaneously hold down the [SOLO] button and press one of the Number buttons [9] to [12] to solo the corresponding Element. Press the [INC/YES] button to execute the Edit Recall to restore the program. Owner’s Manual Tips TIP Multi/Performance Part mute/solo TIP Keyboard MIDI transmit channel setting Press the [TRACK SELECT] button so that its indicator lights, and press any of the Number [1] - [16] buttons to change the Keyboard MIDI transmit channel in any mode. ■ Muting a Part Make sure that the [MUTE] button's lamp is turned on. If the indicator is flashing, press the [MUTE] button. 2 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE press one of the [1] - [4] buttons in the Performance mode or press one of the [1] - [16] buttons in the Multi mode that you want to mute and turned the indicator off. 9 10 11 Quick Guide 1 SOLO The example below shows that the Part 3 is muted. 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE Tips 1 ELEMENT/PERF. PART/ZONE 9 10 11 SOLO n You can also set the MIDI keyboard transmit channel of the Voice mode and Performance mode from the Utility mode ([UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh). ■ Soloing a Part 1 Press one of the [1] - [4] buttons in the Performance mode or press one of the [1] - [16] buttons in the Multi mode that you want to solo, whiile holding the [SOLO] button. Once you’ve selected an Part for soloing, the [SOLO] button's lamp flashes, indicating the Solo function is active and only the selected Part can be played. 2 TIP Transpose setting of the keyboard You can transpose the pitch up or down of the keyboard in semitone steps or octave steps. 1 2 Press the [UTILITY] button to enter the Utility mode. Press the [F1] GENERAL button, then the [SF2] KBD button. To exit from the Solo function, press the [SOLO] button again. The example below shows that the Part 3 is muted. 1 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF. PART/ZONE 9 10 11 SF2 SF1 F1 F2 SF3 F3 SF4 F4 SF5 F5 INFORMATION F6 SOLO Press the buttons simultaneously n When selecting a Multi in the Master mode, the mute/solo settings apply not to each Part but to each MIDI transmit channel. Details are the same as for the mute/solo settings in the Sequence Play mode. 3 4 5 Move the cursor the “Octave” when you want to shift the key by one octave. Move the cursor “Transpose” when you want to shift the key by one semitone. Change the parameter value by using the [INC/ YES], [DEC/NO] buttons and data dial. Press the [STORE] button to store the settings as the system setting of Utility mode. CAUTION If you turn the power off without storing, the currently edited settings will be lost. Owner’s Manual 105 Tips TIP Setting a specific file to load automatically when the power is turned on The S90 ES is very easy to use and you can create Voices, Performances, and Multis very quickly on it. However, there may be times that creating and editing of data may be spread out over several sessions. In such a case, you may find it convenient to have the instrument automatically load the appropriate files for you when you turn it on, so you can easily resume your editing session. Save the data after editing. Turn the power off USB storage device The saved files are loaded automatically when you turn the power on next time. USB storage device Quick Guide Save Auto Load Tips nThe Auto Load parameter is set to on when this synthesizer is shipped from the factory. nThe file types which can be loaded automatically are “All,” “Plugin All Bulk 1,” “Plugin All Bulk 2,” and “Plugin All Bulk 3.” 1 Change the names of the files you wish to have load automatically when the power is turned on as described below, and save them together in a single folder or in the root directory. File type File name All AUTOLOAD.S7A Plugin All Bulk 1 (for slot 1) AUTOLD1.W2B Plugin All Bulk 2 (for slot 2) AUTOLD1.W2B Plugin All Bulk 3 (for slot 3) AUTOLD1.W2B 2 Enter the Utility mode and call up the Auto Load display ([UTILITY] → [F1] GENERAL → [SF4] OTHER). 3 Set “Auto Load” to on, and press the [SF5] GET button. 4 Select the folder saved in step 1. If the device is inserted the multiple medias, select the Slot number. If the device is divided the multiple partitions, select the Partition number. 5 106 Press the [STORE] button to store the settings as the system setting of Utility mode. Owner’s Manual Tips TIP Selecting programs from a computer You can select Voices/Performances/Multis on this instrument from your computer software by specifying the following MIDI messages. When changing the program in each mode, the following three MIDI messages must be transmitted to the S90 ES. • Bank Select MSB (Control change #000) • Bank Select LSB (Control change #032) • Program Change Transmit a Bank Select MSB (Control change #000) value of 63. Transmit a Bank Select LSB (Controll change #032) value of 1. Tips 1 2 3 Quick Guide For example, transmit the following MIDI messages to select the Voice of number 12 in the PRE2 in the Voice mode. Transmit a Program Change value of 12. For details on what values are assigned to the Bank Select MSB/LSB and Program Change number of this synthesizer, refer to the separate Data List. n When switching Voices in the same Bank or Performances, you can change a Voice or Performances by a Program Change message. When switching Multis, you must transmit Bank Select MSB/LSB messages before a Program Change. n When switching the mode (e.g., changing the Voice mode to the Multi mode), transmit the proper Mode Change message (System Exclusive) before the Bank Select MSB to the S90 ES (page 183). Owner’s Manual 107 Internal Structure (System Overview) Basic Structure This section gives you an easy-to-understand overview of the S90 ES — its wide range of sophisticated features, its MIDI control and performance functions, and its convenient file management system for original data you’ve created with the instrument. Internal Structure (System Overview) This synthesizer is made up of several blocks, as shown here. Controller block Basic Structure Keyboard Controllers VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 MIDI output ZONE 1 Tone Generator block Internal AWM2 Plug-in board ZONE 2 ZONE 3 ZONE 4 Effect block Playback • Voice • Performance • Multi • Reverb • Chorus • Master Effect • Part Equalizer • Master Equalizer Audio (sound) output Playback Microphone, Guitar, Bass, Audio equipment, etc. Audio signal flow External MIDI instrument MIDI messages flow Controller block This block consists of the keyboard, Pitch Bend and Modulation Wheels, Control sliders, and so on. The keyboard itself doesn’t generate sounds, but instead generates/transmits note on/off, velocity and other information (MIDI messages) to the synthesizer’s tone generator block when you play notes. The controllers also generates/transmits MIDI messages. The synthesizer’s tone generator block produces the sound according to the MIDI messages transmitted from the keyboard and controllers. Controller supported by the S90 ES The controllers you can use on this synthesizer and the reference pages are as follows: ● Controllers with which the S90 ES is equipped Keyboard (Initial Touch, Aftertouch) ................. page 16 Pitch Bend Wheel ............................................. page 41 Modulation Wheel ............................................. page 41 Control slider (CS) ............................................ page 42 108 Owner’s Manual ● Controllers (sold separately) that can be connected to the rear panel of the S90 ES Foot Controller................................................... page 60 Footswitch ......................................................... page 59 Breath Controller ............................................... page 59 Internal Structure (System Overview) Tone Generator block The tone generator block is what actually produces sound in response to the MIDI messages received from the controller block, and from an external sequencer. Internal AWM2 Tone Generator and optional Plug-in board The tone generator block in the S90 ES consists of the built-in AWM2 and optional Plug-in boards. Plug-in boards (optional) Basic Structure Internal AWM2 Tone Generator Up to three boards can be installed. ● AWM2 (Advanced Wave Memory 2) AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, filter, modulation, and other parameters can be applied to the basic waveform. ● Plug-in board For details, see page 99. Voice, Performance, and Multi This instrument features three different types of programs that form the basis for creating and playing sounds. ● Voice A Voice is a program that contains the sonic Elements for generating a specific musical instrument sound. Each Voice consists of up to four Elements (Normal Voice) or up to 73 Keys (Drum Voice). Each Voice is created by editing parameters unique to each Element/Key and parameters common to all the Elements/Keys in the Voice mode (page 44) or in the Multi Voice Edit mode (page 73). ● Performance A Performance is a program in which multiple Voices (Parts) are combined in a layer, or in other configurations. Each Performance can contain up to four different Parts (Voices). Each Performance can be created by editing parameters unique to each Part and parameters common to all the Parts in the Performance mode (page 53). ● Multi A Multi is a program in which multiple Voices are assigned to Parts for multi-timbral play in the Multi mode. Each Multi can contain up to 34 Parts. Each Multi can be created by editing parameters unique to each Part and parameters common to all the Parts in the Multi mode (page 72). Owner’s Manual 109 Internal Structure (System Overview) The illustration below shows the structure and interrelationship of the Voices, Performances, and Multis. VOICE Element 1 - 4 or Key C0-C6 One Voice Common Edit parameters Arpeggio, Effects, Controller Set, etc. Up to four elements (Normal Voice) Up to 73 keys (Drum Voice) One Performance VOICE MULTI/ SEQ PLAY Up to four parts One Multi • Parts 1 - 16 (of the internal tone generator) • Parts 17 - 32 (of the optionally installed PLG100-XG) • Parts PLG 1 - 3 (of the optionally installed single part Plug-in boards) One Part Part Edit parameters Voice Basic Structure One Part Voice CH1 Part Edit parameters CH16 Common Edit parameters Common Edit parameters Different Voice for each part Set in the Voice Edit mode (page 44) Different Voice for each part Element Edit parameters or Key Edit parameters LFO Low Frequency Oscillator OSC (Oscillator) PITCH Waveform (AWM2) Controls the pitch of the sound. Outputs the wave that makes up the sound. FILTER Changes the tonal quality of the sound output from the PITCH unit. AMP (Amplitude) Controls the output level (amplitude) of the sound output from the FILTER unit. The signals are then sent at this level to the Effect block. EG n PEG FEG AEG Pitch Envelope Generator Filter Envelope Generator Amplitude Envelope Generator The Drum Voice Key Edit parameters do not contain LFO settings. Keyboard Mega Voices Normal Voices use velocity switching to make the sound quality and/or level of a Voice change according to how strongly or softly you play it. This makes the Voices sound authentic and natural. However, with Keyboard Mega Voices, each velocity range (the measure of your playing strength) has a completely different sound. For example, a guitar Voice includes the sounds of various performance techniques. In conventional instruments, different Voices having those sounds would be called up via MIDI and played in combination to achieve the desired effect. Now with Keyboard Mega Voices, a convincing guitar Part can be played with just a single Voice, using specific velocity values to play the desired sounds. n 110 The Keyboard Mega Voice names are indicated as “Mega **” in the display. Owner’s Manual Internal Structure (System Overview) The following illustrations may help in understanding the memory structure of the Voices, Performances, and Multis. VOICE Normal Voice Preset Voice PRE 1 Normal Voices: 512 Drum Voices: 64 A. PIANO PRE 2 KEYBOARD GM Voice GM Normal Voices: 128 Drum Voice: 1 BASS User Voice USER 1 Normal Voices: 256 Drum Voices: 32 Preset 1 (128 Voices) 1 2 1 1 2 PRE 4 ...... 128 GUITAR/ PLUCKED 1 2 FAVORITES A. PIANO DRUM KITS GM FAVORITES BASS User 1 (128 Voices) 2 USER 2 DRUM KITS USER 1 ...... 128 Preset Drum (64 Voices) ...... 128 1 2 ...... 64 Preset 4 (128 Voices) 1 2 ...... 128 ...... 128 User 2 (128 Voices) 1 2 GM Drum (1 Voice) 1 User Drum (32 Voices) ...... 128 1 2 ...... 32 FAVORITES 1 2 PLG 2 ...... 64 PLG1 User (64 Voices) 1 Performance PLG2 Preset (64 Voices) PLG1 Preset (64 Voices) PLG 1 STRINGS → PRE 1 GM Preset (128 Voices) 1 * When the PLG150-VL is installed, there are three Preset Banks and 192 Preset Voices. USER 1 2 ORGAN Preset 2 (128 Voices) DRUM KITS Preset 3 (128 Voices) PRE 3 ...... 128 Plug-in Voice PERFORM Drum Voice Basic Structure Voices 2 ...... 64 1 2 MULTI/ SEQ PLAY 2 1 2 PLG 3 ...... 64 PLG2 User (64 Voices) BRASS Multi User 1 (128 Performances) 1 PLG3 Preset (64 Voices) 1 ...... 64 PLG3 User (64 Voices) REED/PIPE ...... 64 2 1 2 ...... 64 User 1 (64 Multi) 1 2 ...... 32 ...... 64 ...... 128 When shipped from the factory, preset Multis of 32 different types are contained in program numbers 1 through 32. ■ Normal Voice and Drum Voice Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum waves or Normal Voices is known as a Drum Kit. Normal Voice Drum Voice Waveform (Preset 1 - 1935) Velocity Element 3 Element 2 Element 1 C0 C1 C6 One Voice Element 4 Key 1 Key 5 Key 10 Key 18 Key 21 Key 73 Individual drum sounds (different for each key) Owner’s Manual 111 Internal Structure (System Overview) ■ GM Voices GM (General MIDI) is a worldwide standard for Voice organization and MIDI functions of synthesizers and tone generators. It was designed primarily to ensure that any song data created with a specific GM device would sound virtually the same on any other GM device—no matter the manufacturer or the model. The GM Voice bank on this synthesizer is designed to appropriately play back GM song data. However, keep in mind that the sound may not be exactly the same as played by the original tone generator. ■ Tone generator parameters that produce the Voice sound Basic Structure Among various parameters that makes up one Voice, Oscillator, Pitch, Filter, Amplitude, LFO and three Envelope Generators (PEG, FEG, AEG) shown in the illustration on pages 112 - 114 are the basic parameters for creating the Voice sound. Parameters about Oscillator, Pitch, Filter and Amplitude determine the three basic elements of the sound—Pitch (how low or high it is), Tone (or its overall sound quality), and Volume (how loud its volume level is) of the Voice. Parameters such as LFO and EG (Envelope Generator) determine the transition in these three basic elements of the sound from the moment the sound starts to the moment the sound stops. In the sections that follow, we’ll explain in detail about the sound-related parameters and provide an introduction to the basics of electronic synthesis. ● Oscillator VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F1] OSC This unit outputs the wave which determines the basic pitch. You can assign the wave (or basic sound material) to each Element of the Normal Voice or each Key of the Drum Voice. In the case of the Normal Voice, you can set the note range for Element (the range of notes on the keyboard over which the Element will sound) as well as the velocity response (the range of note velocities within which the Element will sound). For example, you could set one Element to sound in an upper range of the keyboard, and another Element to sound in a lower range. Thus, even within the same Voice, you can have two different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are layered over a set range. Furthermore, you can set each Element to respond to different velocity ranges so that one Element sounds for lower note velocities, whereas another Element sounds for higher note velocities. n You can assign the wave with the following operation. [VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F1] OSC → [SF1] WAVE ● Pitch [VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F2] PITCH This unit controls the pitch of the sound (wave) output from the Oscillator. In the case of the Normal Voice, you can detune separate Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how the pitch changes over time. PEG (Pitch Envelope Generator) Using the PEG, you can control the transition in pitch from the moment the sound starts the moment the sound stops. You can create the PEG by setting parameters as illustrated below. When you press a note on the keyboard, the pitch of the Voice will change according to these envelope settings. This is useful for creating automatic changes in pitch, which is effective for example in synth brass sounds. Furthermore, different PEG parameters can be set for each Element or each Key. Attack Level Pitch Decay1 Level Hold Level Sustain Level (Decay2 Level) 0 Hold Time Attack Time Decay1 Time Pressing the key (Key on) 112 Owner’s Manual Release Level Decay2 Time Release Time Time Releasing the key (Key off) Internal Structure (System Overview) ● Filter [VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F3] FILTER This unit modifies the tone of the sound output from Pitch by cutting the output of a specific frequency portion of the sound. Cutoff Frequency and Resonance Here’s how filters work. In the example below (a low pass filter), a portion of the signal lower than a given frequency is allowed to pass, and signals above that frequency are cut. This frequency is referred to as the cutoff frequency. You can produce a relatively bright or darker sound by setting the cutoff. Resonance is a parameter that boosts the level of the signal in the area of the cutoff frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone, making the sound brighter and harder. Cutoff frequency Resonance Level These frequencies are “passed” by the filter. Frequency (pitch) Cutoff frequency Basic Structure Level Frequency (pitch) About the main Filter types The Low Pass Filter is shown in the illustration above—however, this synthesizer features four other Filter types as shown below. • Low Pass Filter (above) • Band Pass Filter This passes only those signals below the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. This passes only those a band of signals around the Cutoff frequency. The width of this band can be varied. Range passed Level • High Pass Filter This passes only those signals above the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Level Resonance These frequencies are “passed” by the filter. Cutoff range Frequency Center frequency • Band Elimination Filter This attenuates a band of signals around the Cutoff frequency, but passes everything else. Cutoff range Level Cutoff frequency Center frequency Range passed Frequency FEG (Filter Envelope Generator) Using the FEG, you can control the transition in tone from the moment the sound starts to the moment the sound stops. You can create the FEG by setting parameters as illustrated below. When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings. This is useful for creating automatic wah or filter sweep effects, for example. Furthermore, different FEG parameters can be set for each Element or each Key. Attack Level Cutoff Frequency Decay1 Level Hold Level Sustain Level (Decay2 Level) Release Level 0 Time Hold Time Attack Time Decay1 Time Pressing the key (Key on) Decay2 Time Release Time Releasing the key (Key off) Owner’s Manual 113 Internal Structure (System Overview) ● Amplitude [VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F4] AMP This unit controls the output level (amplitude) of the sound output from Filter. The signals are then sent at this level to the Effect block. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time. AEG (Amplitude Envelope Generator) Using the AEG, you can control the transition in volume from the moment the sound starts is to the moment the sound stops. You can create the AEG by setting parameters as illustrated below. When you press a note on the keyboard, the volume will change according to these envelope settings. Furthermore, different AEG parameters can be set for each Element or each Key. Attack Level Level (Volume) Decay1 Level Sustain Level (Decay2 Level) Initial Level Release Level 0 Time Basic Structure Attack Time Decay1 Time Decay2 Time Pressing the key (Key on) Release Time Releasing the key (Key off) When using a Footswitch connected to the FOOT SWITCH (SUSTAIN) jack When the Half Damper function is set to off When you release the key while holding the Footswitch, the sound will stay at the Sustain Level (Decay 2 Level) shown. (For Voices having a Sustain Level of 0, the sound decays naturally to silence.) When releasing the Footswitch, the operation is same as key off; the sound will start to decay, and finally decay to silence according to the Release Time. When the Half Damper function is set to on (FC3 only) When you release the key while pressing the Footswitch fully down, the sound will decay to the Sustain Level (Decay 2 Level), according to the Sustain Time value. In this case, you can control the decay time between the Sustain Time and Release Time by how far down you press the pedal. However, when you release the pedal after releasing the keys (key off event), the sound will decay according to the Release Time, as if the Half Damper function was set to off. Attack Level Level (Volume) Half Damper function is set to off Decay 1 Level Sustain Level (Decay 2 Level) Attack Time Decay1 Time Pressing the key (Key on) Decay2 Time Sustain TIme Half Damper function is set to on Release Time Time Releasing the key (Key off) Pressing the pedal Releasing the pedal n For details about the Footswitch and how to turn the Half Damper function on or off, see page 60. n When releasing the key before the sound reaches the Sustain Level When pressing the Footswitch fully down, the sound will decay after reaching the Sustain Level (after the Decay 2 Time). When the Footswitch is not pressed fully down, the sound will decay immediately. ● LFO (Low Frequency Oscillator) [VOICE] → Voice selection → [EDIT] → Element selection/Drum Key selection → [F5] LFO [VOICE] → Voice selection → [EDIT] → [COMMON] → [F5] LFO As its name suggests, the LFO produces a wave of a low frequency. These waves can be used to vary the pitch, filter or amplitude of each Element to create effects such as vibrato, wah and tremolo. LFO can be set independently for each Element; it can also be set globally for all Elements. 114 Owner’s Manual Internal Structure (System Overview) Single timbre tone generator (Voice/Performance mode) and multi-timbral tone generator (Multi mode) The internal tone generator block operates in two different ways (single timbre and multi-timbral) depending on the selected mode. The difference between the two is whether they can handle multiple MIDI channels at the same time or not. ● Single Timbre Tone Generator (Voice/Performance mode) A “single timbre” tone generator receives data over a single MIDI channel and plays a single instrument Part. This is the operating status of the internal tone generator in the Voice and Performance modes. n To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode. [UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh ● Multi-timbral Tone Generator (Multi mode) n Basic Structure A “multi-timbral” tone generator simultaneously receives data over multiple MIDI channels and plays multiple instrument Parts. This allows playback of multichannel MIDI song data—such as on a MIDI sequencer or computer—with each internal Part being assigned to and played by a different track or channel. This is the operating status of the internal tone generator in the Multi mode. To set the MIDI receive channel for multi-timbre operation (Multi mode), use the following operation in the Multi mode. [MULTI/SEQ PLAY] (select Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh Maximum Polyphony Maximum polyphony refers to the highest number of notes that can be sounded simultaneously from the internal tone generator of the instrument. The maximum polyphony of this synthesizer is 128. When the internal tone generator block receives a number of notes exceeding the maximum polyphony, previously played notes are cut off. Keep in mind this may be especially noticeable with Voices that have a long decay or sustain. Furthermore, the maximum polyphony applies to the number of Voice Elements used, not the number of Voices. When the Normal Voices that include up to four Elements are used, the maximum number of simultaneous notes may be less than 128. n When a Plug-in Board is installed, playing Plug-in Board Voices does not affect the maximum polyphony of the S90 ES. For details on maximum polyphony for the Plug-in Boards, refer to the owner’s manual of the particular board. Owner’s Manual 115 Internal Structure (System Overview) Part structure of the Tone Generator block The S90 ES plays the sounds in its tone generator block in response to MIDI messages received from external controllers or sequencer. The MIDI messages are assigned to sixteen independent channels, and the instrument is capable of simultaneously playing sixteen separate Parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of this synthesizer (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument. n The USB cable supports up to eight separate MIDI ports. However, the S90 ES supports up to three MIDI ports. n A single MIDI cable/connection cannot handle data over multiple MIDI ports. ■ Part structure of the tone generator block in the Voice mode Basic Structure In this mode, a Voice is played using a single Part. This Part is used also when the Plug-in Voice is selected. The tone generator block in the Voice mode receives MIDI data over a single channel. For this reason, song data on an external sequencer consisting of multiple MIDI channels will not play back properly in this mode. If you are using an external MIDI sequencer or computer to play the instrument, make sure to use the Multi mode. Tone generator block Voice mode MIDI port Part 1 n • To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode. [UTILITY] → MIDI display → BasicRcvCh • In the Voice mode, the instrument recognizes only data over MIDI Port 1. n The Multi-part Plug-in Board (PLG100-XG) cannot be used in the Voice mode. ■ Part structure of the tone generator block in the Performance mode This mode lets you play a Performance (in which multiple Voices or Parts are combined—in a layer, or in other configurations). While a total of seven Parts are available in this mode (as shown below), a maximum of four Parts can be used simultaneously. Although this mode lets you play several Parts at the same time, all are set to receive over the same single MIDI channel, as in the Voice mode. For this reason, song data on an external sequencer consisting of multiple MIDI channels will not play back properly in this mode. If you are using an external MIDI sequencer or computer to play the instrument, make sure to use the Multi mode. Tone generator block Performance Mode MIDI Port 1 Part 1 Part 2 Part 3 Part 4 Parts for the internal tone generator Part 5 Parts 5-13 are not used. Part 13 PLG3 (Part 14) PLG2 (Part 15) PLG1 (Part 16) Parts for the Single-part Plug-in Boards These seven Parts (1, 2, 3, 4, PLG1, PLG2, PLG3) are reserved for use in the Performance mode; however, only up to four of them can be used at the same time. The Parts selected with the “PartSw” parameter (in the [PERFORM] → Performance selection → [EDIT] → Part selection → [F1] VOICE → [SF1] VOICE display) are played. n • To set the MIDI receive channel for single timbre operation (Voice and Performance modes), use the following operation in the Utility mode. [UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh • In the Performance mode, the instrument recognizes only data over MIDI Port 1. n The Multi-part Plug-in Board (PLG100-XG) cannot be used in the Performance mode. 116 Owner’s Manual Internal Structure (System Overview) ■ Part structure of the tone generator block in the Multi mode/Sequence Play mode This mode lets you use multiple Parts and assign different Voices to be played back for each Part. Since different MIDI channels can be set for each Part of the tone generator block, you can use an external MIDI sequencer to play the sounds. As illustrated below, the sequence data of each track plays the corresponding Parts (those having the same MIDI channel assignment) in the tone generator block. Up to 48 Parts are provided for the Multi mode. However, the number of Parts that are actually used is a maximum of 34, as we will see later in the example. Tone generator block Multi Mode MIDI Port 1 MIDI Port 2 MIDI Port3 Part 1 Part 1 Part 1 Part 2 Part 2 Part 2 Part 14 Part 15 Part 14 Part 15 Part 14 Part 15 Part 16 Part 16 Part 16 Basic Structure (for the internal tone (for the Plug-in Board) (for the Plug-in Board) generator/Plug-in Board) This example applies when installing one Multi part Plug-in Board and two Single-part Plug-in Boards, and assigning the Multi-part Plug-in Board to “Port 3” and the Single-part Plug-in Boards to “Port 2.” External sequencer (example) Tone Generator block (example) The illustration below shows possible example settings when using a sequencer or computer software to play the S90 ES. MIDI Port 1 Transmit Channel = 1 (Port 1) Track 2 Transmit Channel = 2 (Port 1) Track 3 Transmit Channel = 3 (Port 1) Track 4 Transmit Channel = 4 (Port 1) Track 5 Transmit Channel = 5 (Port 1) Track 6 Transmit Channel = 6 (Port 1) Track 7 Transmit Channel = 7 (Port 3) Part 1 (Receive Channel = 2) Part 2 (Receive Channel = 3) Part 3 (Receive Channel = 4) Part 4 (Receive Channel = 1) .... Track 1 Part 15 (Receive Channel = 5) Part 16 (Receive Channel = 6) Internal Tone Generator MIDI Port 2 Part 1 Transmit Channel = 8 Track 9 Transmit Channel = off (Port off) (Port 3) .... Track 8 Part 15 PLG1 (Part 16) Track 10 Transmit Channel = 10 (Port 3) Track 11 Transmit Channel = 11 (Port off) Track 12 Transmit Channel = off (Port off) (Receive Channel = 16) MIDI Port 3 Part 17 (Part 1) (Receive Channel = 8) Part 18 (Part 2) (Receive Channel = 7) Transmit Channel = 13 (Port 3) Part 19 (Part 3) (Receive Channel = 10) Track 14 Transmit Channel = 14 (Port 3) Part 20 (Part 4) (Receive Channel = 13) Track 15 Transmit Channel = 15 (Port 3) Track 16 Transmit Channel = 16 (Port 2) .... Track 13 Part 31 (Part 15) (Receive Channel = 14) Part 32 (Part 16) (Receive Channel = 15) Single-part Plug-in Board Multi-part Plug-in Board These Parts are not used. Parts 1-16 of the Multi Plug-in Board’s MIDI port correspond to Parts 17-32 of a Multi. When using the internal tone generator of the S90 ES, set the MIDI port of each track on the sequencer to “1.” Keep in mind that data received over Ports 2 or 3 cannot sound the internal tone generator block. The tone generator of the installed Plug-in Board can be sounded via any of the MIDI ports 1 - 3. To set the MIDI receive channel for multi-timbre operation (Multi mode), use the following operation in the Multi mode. [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh To set the port number assignment for the Plug-in Board, use the following operation. [UTILITY] → [F6] PLUG → [SF2] MIDI n The Plug-in Board lets you use only a single Voice at the same time. Please note that you cannot assign multiple Voices of the Plug-in Board to multiple Parts at the same time. n The Multi-part Plug-in Board can only be installed to slot 3 (PLG3). n The Voice and related settings (volume, pan, etc.) are sounded according to the Part parameters of the current Part. Other settings such as Controllers and Effect types correspond to the Common parameters of the current Multi. Owner’s Manual 117 Internal Structure (System Overview) Audio Input Part (AUDIO IN) The Performance mode and Multi mode are capable of handling the audio input signal (such as a microphone or guitar) as a Part. Various parameters such as volume, pan, and effect can be set to this Part and the sound is output together with other Parts. Other available settings include how stereo input signals are handled, as well the output assignment of the audio Part. These parameters are set and stored for each Performance and Multi. Please note that the Audio Input Part is not available in the Voice mode. A/D input Part mLAN Input Parts (when the optional mLAN16E has been installed) This part (one stereo part) is input from the external audio equipment connected to the A/D INPUT jack. These four stereo parts are input from external mLAN-compatible audio equipment connected to the mLAN jack via a single IEEE1394 cable. Parameters for the above Parts can be set with the following operations. In the Performance mode Basic Structure In the Multi mode n [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F5] AUDIO IN [MULTI/SEQ PLAY] (select Multi mod) → Multi selection → [EDIT] → [COMMON] → [F5] AUDIO IN Although the Insertion Effects of this synthesizer can be applied to the A/D Input Part, they cannot be applied to the mLAN Input Part. Effect Block This block applies effects to the output of the tone generator block, processing and enhancing the sound using sophisticated DSP (digital signal processing) technology. Effect structure The effect processing of this synthesizer features the System Effects, Insertion Effects, Master Effect, Part EQ (Equalizer), and Master EQ (Equalizer). ■ System Effects (Reverb, Chorus) System Effects are applied to the overall sound, whether it be a Voice, an entire Performance, and an entire Multi. With System effects, the sound of each Part is sent to the effect according to the effect Send Level for each Part. The processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output—after being mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect sound and the original sound of the Parts. Reverb The Reverb effects add a warm ambience to the sound, simulating the complex reflections of actual performance spaces, such as a concert hall or a small club. A total of 20 different Reverb types are available. Chorus The Chorus effects use various types of modulation processing, including flanger and phaser, to enhance the sound in a variety of ways. A total of 49 types are available, including reverb and delay effects. ■ Insertion Effects A, B Insertion effects can be applied individually to each part. Insertion effects are mainly used to directly process a single part. The depth of the effect is adjusted by setting the dry/wet balance. Since an Insertion effect can only be applied to one particular part, it should be used for sounds you want to drastically change or for sounds that use an effect unintended for other sounds. You can also set the balance so that only the effect sound is heard, by setting Wet to 100%. This synthesizer features eight sets of Insertion effects (one set has A and B units). They can be applied to all parts of the Performance, and applied to eight parts (maximum) of the Multi. A total of 117 different Chorus types are available. 118 n In the Voice mode, only one set of the Insertion effects is available. n Among the AUDIO IN Parts, Insertion effects cannot be applied to the mLAN Parts. Owner’s Manual Internal Structure (System Overview) ■ Plug-in Insertion Effects This is a special effect system, only available when an effect-type Plug-in Board is installed (page 101). Plug-in Board effects are not available in the Voice mode. ■ Master Effect This block applies effects to the final stereo output signal of the entire sound. A total of 8 different Master Effect types are available. Bypassing the Effects (Effect Off) Basic Structure When only turning the [EFFECT BYPASS] button to on, you can bypass the specific effect(s). From the following display, you can select the effect(s) to be bypassed using the [EFFECT BYPASS] button. [UTILITY] → [F1] GENERAL → {SF3] EF BYPS Controlling the Master effect by using the Control sliders When pressing the [ARP FX] button and the [EQ] button simultaneously (both lamps light), you can control the Control sliders to adjust the Master effect related parameters specified in the [UTILITY] → [F4] CTL ASN → [SF5] MEF display of the Utility mode. ■ Equalizer (EQ) Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room, or to change the tonal character of the sound. The sound is divided into several frequency bands, and adjustments are made to the sound by raising or lowering the level of each band. By adjusting the sound according to the genre—classical music being more refined, pop music more crisp, and rock music more dynamic—you can draw out the special characteristics of the music and make your performance more enjoyable. Three separate EQ sections are available on the instrument: Element EQ, Part EQ, and Master EQ. ● Element EQ [VOICE] → Voice selection → [EDIT] → Element selection/Key selection → [F6] EQ The Element EQ is applied to each element of the Normal Voice and each key of the Drum Voice. You can specify which shape is used among the two shapes described below and set the related parameters. Peaking type Shelving type This type of EQ shape lets you attenuate/boost the signal at the specified Frequency setting. This type of EQ shape lets you attenuate/boost the signal at frequencies above or below the specified Frequency setting. Gain Gain + Low Gain High Gain + 0 Frequency Frequency 0 – – Low Freq n High Freq In addition to the individual gain controls, there is also an overall level parameter that attenuates/boosts the entire frequency range. Owner’s Manual 119 Internal Structure (System Overview) ● Part EQ [PERFORM] → Performance selection → [EDIT] → Part selection → [F3] EQ [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection → [F3] EQ This 3-band EQ is applied to each part of the Performance/Multi, The high band and low band are the shelving type. The middle band is the peaking type. Gain Q (frequency bandwidth) + 0 Frequency Basic Structure – 3 bands n LOW MID HIGH The part EQ is not available in the Voice mode. ● Master EQ [VOICE] → Voice selection → [UTILITY] → [F3] VOICE → [SF1] MEQ [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF1] MEQ Master EQ is applied to the final (post-effect), overall sound of the instrument. In this EQ, all bands can be set to peaking, or the lowest and highest bands can be set to shelving (as shown below). EQ for which all bands are set to peaking type EQ for which LOW and HIGH are set to shelving type Gain Gain Q (frequency bandwidth) Q (frequency bandwidth) + + 0 0 Frequency Frequency – – 3 bands 120 LOW LOWMID MID Owner’s Manual HIGHMID HIGH 5 bands LOW LOWMID MID HIGHMID HIGH Internal Structure (System Overview) Effect connection in each mode ● In the Voice mode The Effect parameters in the Voice mode are set for each Voice and the settings are stored as a User Voice. Note that the Master Effect and Master EQ parameters are set for all the Voices in the Utility mode. Once the Master Effect and EQ settings have been made, they can be stored as System settings by pressing the [STORE] button. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT System effects (Reverb effect and Chorus effect) Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type) Reverb Typ (Reverv Effect Type) Determines the effect type for Chorus. Chorus Send, Reverb Send Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Chorus/Reverb effect. Settings: 0 - 127 Element 1-4 Effect Output EL: OUT 1-4 Element or Key Element EQ Determines which Insertion effect (A or B) is used to process each individual Element (Key). The “thru” setting lets you bypass the Insertion effects for the specific Element. Insertion effects Basic Structure Tone Generator block Chorus Return, Reverb Return Chorus Pan, Reverb Pan Determines the Return level and pan position setting for the Chorus/Reverb effect. Settings: 0 - 127, L63 (far left) - C (center) - R63 (far right) Chorus to Reverb Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. Ins A Ctgry, Ins B Ctgry (Insertion effect Category), Ins A Type, Ins B Type (Insertion effect Type) Reverb Send Chorus Send Determines the effect type for Insertion A or B. Reverb Return Chorus Return Ins EF Connect (Insertion Effect Connect) Master effect [VOICE] → [UTILITY] → [F3] VOICE → [SF2] MEF (for all Voices) Settings: insA, insB, thru Determines the effect routing for Insertion effects A and B. The setting changes are shown on the diagram in the display, giving you a clear picture of how the signal is routed. Master EQ Output [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ (for all Voices) [VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS Settings n n Ins A to B Ins B to A Para A A A B B B The parallel connection is not available for Plug-in voices. The Plug-in Insertion effect (when the Effect Plug-in board has been installed) is not available in the Voice mode. Owner’s Manual 121 Internal Structure (System Overview) ● In the Performance mode The Effect parameters in the Performance mode are set for each Performance. System effects (Reverb effect and Chorus effect) Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type) Reverb Typ (Reverv Effect Type) Determines the effect type for Chorus. Chorus Send, Reverb Send Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Chorus/Reverb effect. Settings: 0 - 127 [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT Chorus Return, Reverb Return Chorus Pan, Reverb Pan Determines the Return level and pan position setting for the Chorus/Reverb effect. Settings: 0 - 127, L63 (far left) - C (center) - R63 (far right) *2 Chorus to Reverb Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. Basic Structure The Insertion connection type depends on the setting of the Voice assigned to the selected Part. *1 Part 1 Insertion Effect (VCE INS) *4 Reverb Send Chorus Send Reverb Return Chorus Return *5 Tone Generator block *1 A Master EQ B [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF3] MEF Part 1 Part EQ *3 *2 Plug-in Insertion Effect (PLG-EF) Audio Input part Master effect *1 Select the part to which the Insertion effect is applied. The Insertion effect depends on the setting of the Voice assigned to the selected part. [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F6] EFFECT → [SF2] INS SW n Among all of the audio input Parts, the Insertion effect can be applied only to the A/D Input Part. *2 When the PLG100-VH has been installed *2 Select the part to which the Plug-in Insertion effect is applied from Parts 1-4, Plug-in Parts 1-3, and the audio input Part (Plug EF Part parameter). Settings: Part 01 - Part 04, Part AD, Part P2 - Part P3, off” *3 [PERFORM] → Performance selection → [EDIT] → Part selection → [F3] EQ *4 [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT *5 [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS 122 Owner’s Manual Output Internal Structure (System Overview) ● In the Multi mode The Effect parameters in the Multi mode are set for each Multi. System effects (Reverb effect and Chorus effect) Chorus Ctg, Chorus Typ (Chorus Effect Category, Chorus Effect Type) Reverb Typ (Reverv Effect Type) Determines the effect type for Chorus. Chorus Send, Reverb Send Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Chorus/Reverb effect. These Parameters can be set in the Multi Play mode (*4) Settings: Settings: 0 - 127 [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT Chorus Return, Reverb Return Chorus Pan, Reverb Pan Determines the Return level and pan position setting for the Chorus/Reverb effect. Settings: 0 - 127, L63 (far left) - C(center) - R63 (far right) *1 Tone Generator block *4 Reverb Send Chorus Send Basic Structure Chorus to Reverb Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. *2 Reverb Return Chorus Return *1 Part 1 Insertion Effect (VCE INS) Part 1-16 Part 1 Part EQ *3 5* Master effect A Master EQ Output B Plug-in Part 1-3 (When the Single part Plug-in board has been installed) [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF2] MEF *2 Plug-in Insertion Effect (PLG-EF) *2 Audio Input part When the PLG100-VH has been installed *1 Select the part to which the Insertion effect is applied from Parts 1-16, Plug-in Parts 1-3, and the audio input Part. The Insertion effect depends on the setting of the Voice assigned to the selected part. [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F6] EFFECT → [SF2] INS SW n Among all of the audio input Parts, the Insertion effect can be applied only to the A/D Input Part. Tone Generator block Part 17-32 (When the Multi-part Plug-in Board PLG100-XG has been installed) *2 Select the part to which the Plug-in Insertion effect is applied from Parts 1-16, Plug-in Parts 1-3, and the audio input Part (Plug EF Part parameter). Settings: Part 01 - Part 16, Part AD, Part P2 - Part P3, off *3 [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection → [F3] EQ *4 [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F4] EF SEND *5 [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF2] MEQ [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF3] MEQ OFS n The Insertion effect, Plug-in Insertion effect, and the System effect cannot be applied to Parts 17-32 (using the Multi-part Plug-in board PLG100-XG). n The Part EQ cannot be applied to Parts of the Plug-in Board. n The System effects (Reverb, Chorus), the Master EQ, and the Master effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks or the mLAN connector of the mLAN16E board. (Only the Part EQ and the Insertion effect are applied.) Owner’s Manual 123 Internal Structure (System Overview) Arpeggio This function lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you a wide variety of inspiring musical phrases and ideas — both in composing and performing. n A single Arpeggio type can be played back at the same time even in the Performance, Multi mode, enabling you to play multiple tone generator’s parts simultaneously. Arpeggio type categories The Arpeggio types are divided into 18 categories as listed below. LCD Category Name Description Basic Structure Seq Synth Sequence Various arpeggio phrases suited for synth voices. ChSq Synth Chord Sequence Various rhythmic chord phrases or synth voices. HySq Synth Hybrid Sequence Various arpeggio types programmed so that bass phrases are played with the lower keys and chords or melodies are played with the midrange and higher keys. These arpeggio types ar e useful for split voice combinations. In addition, there are also Hybrid Velocity (“HybVel...”) types that feature different phrases for different velocity ranges, letting you change the arpeggio phrase depending on how str ongly you play the keyboard. APKb Acoustic Piano & Keyboard Various arpeggio types suited for piano and other keyboar d voices, such as electric piano and clav. Orgn Organ Various arpeggio types suited for organ voices. GtPl Guitar & Plucked Various arpeggio types suited for guitar and harp voices. GtKM Guitar - Keyboard Mega Voice Various arpeggio types suited for guitar Keyboard Mega voices (see note below). Bass Bass Various arpeggio types suited for bass or synth bass voices. BaKM Bass - Keyboard Mega Voice Various arpeggio types suited for bass Keyboard Mega voices (see note below). Strn Strings Various arpeggio types suited for strings and pizzicato voices. Bras Brass Various arpeggio types suited for brass voices. RdPp Reed & Pipe Various arpeggio types suited for saxophone and fl ute voices. Lead Synth Lead Various arpeggio types suited for synth lead voices. PdMe Synth Pad & Musical FX Various arpeggio types suited for synth pad voices and special musical ef fects voices, including percussive sounds. CPrc Chromatic Percussion Various arpeggio types suited for chromatic percussion voices. DrPc Drum & Percussion Various arpeggio types suited for drum and percussion voices (drum kits). Comb Combination Various arpeggio types suited for Per formances. These are combination arpeggios, with separate phrases suitable for drum voices, bass voices, and chord/melody instruments. Cntr Control Various arpeggio types programmed primarily with Control Change and Pitch Bend data. These arpeggio types change the tone or pitch of the sound, rather than play specifi c notes. In fact, some types contain no note data at all. When using a type of this categor y, set the KeyMode parameter to “direct” in each mode. Arpeggio playback types The S90 ES features a total of 1787 Arpeggio types divided into 18 categories, each with its own playback type designed for use with particular types of Voices, as described below. ● Arpeggios for Normal Voices Arpeggio types (belonging to the categories except for the DrPC and Cntr) created for use of Normal Voices have the following two playback types. Playback only of the played notes Playback of a programmed sequence according to the played chord 124 The Arpeggio is played back using only the played note and its octave notes. These Arpeggio types have the several sequences each of which is suited for a certain chord type. Even if you press only one note, the Arpeggio is played back using the programmed sequence — meaning that notes other than the ones you play may be sounded. Adding notes to those already held changes the sequence accordingly — in other words, the arpeggio plays back according to the chord you play. n The two playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference. n Since these types are programmed for Normal Voices, using them with Drum Voices may not give musically appropriate results. Owner’s Manual Internal Structure (System Overview) ● Arpeggios for Drum/Percussion Voices — Category: DrPc These arpeggio types are programmed specifically for use with Drum Voices, giving you instant access to various rhythm patterns. Three different playback types are available. Playback of a drum pattern Playback of a drum pattern, plus additional played notes (assigned drum instruments) Playback only of the played notes (assigned drum instruments) Pressing any note(s) will trigger the same rhythm pattern. Pressing any note will trigger the same rhythm pattern. Adding notes to the one already held produces additional sounds (assigned drum instruments) for the drum pattern, Playing a note or notes will trigger a rhythm pattern using only the notes played (assigned drum instruments). Keep in mind that even if you play the same notes, the triggered rhythm pattern differs depending on the order of the notes played. This gives you access to different rhythm patterns using the same instruments simply by changing the order in which you play the notes. n The three playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference. n Since these types are programmed for Drum Voices, using them with Normal Voices may not give musically appropriate results. Basic Structure ● Arpeggios for Performances — Category: Comb The Arpeggio types belonging to the category “Comb” are programmed so that different arpeggios are triggered — an arpeggio for a Normal Voice and an arpeggio for a Drum Voice — depending on the played note. These types are useful in the Performance mode in which multiple voices (Drum Voice and Normal Voice) are combined in a layer since these types enable you trigger the arpeggio for the Normal Voice and the Drum Voice at the same time. ● Arpeggios containing mainly non-note events — Category: Cntr These arpeggio types are programmed primarily with Control Change and Pitch Bend data. They are used to change the tone or pitch of the sound, rather than play specific notes. In fact, some types contain no note data at all. When using a type of this category, set the KeyMode parameter to “direct” with the following operations. Voice mode Performance mode Multi mode [VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → KeyMode Arpeggio related parameters The Arpeggio related parameters can be set from the following displays, depending on the selected mode. ● Voice mode Arpeggio type parameters called up when selecting a Voice [VOICE] → Voice selection → [F6] ARP Page 128 [VOICE] → Voice selection → [EDIT] → [COMMON] → [F3] ARP Page 129 Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Voice [VOICE] → Voice selection → [F1] PLAY Page 127 MIDI output parameters for Arpeggio playback for all the Voices [VOICE] → [UTILITY] → [F3] VOICE → [SF3] ARP CH Page 165 n MIDI output parameters for Arpeggio playback are set for each Voice in the Voice mode. In the other modes, however, they can be set for each Performance, and Multi. ● Performance mode [PERFORM] → Performance selection → [F6] ARP Arpeggio type parameters called up when selecting a Performance [PERFORM] → Performance selection → [EDIT] → [COMMON] → [F3] (including MIDI output parameters for Arpeggio playback) ARP Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Performance [PERFORM] → Performance selection → [F6] ARP Page 149 Page 151 Page 149 ● Multi mode Arpeggio type parameters called up when selecting a Multi (including MIDI output parameters for Arpeggio playback) [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] → [F3] ARP Page 158 Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Multi [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F1] PLAY → [F5] ARP Page 157 Arpeggio playback on or off for each Part (Only one Part can be turned on) [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection → [F1] VOICE → [SF2]MODE Page 159 n You can turn Arpeggio playback on for several Parts simultaneously, if the Parts have the same receive channel. Owner’s Manual 125 Maintaining data Maintaining data As you use the S90 ES, you’ll create many different kinds of data, including Voices, Performances, and Multis. This section describes how to maintain the various data. ■ Store This is a process of transferring or saving the created data of this synthesizer to a dedicated location (User Memory) in the internal memory. Each type of data can be stored with the following operations. Voice Performance Multi Master Basic Structure System settings [VOICE] → Voice selection → [STORE] Page 50 [PERFORM] → Performance selection → [STORE] Page 56 [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [STORE] Page 76 [Master] → Master selection → [STORE] Page 91 [UTILITY] → [STORE]* Page 163 * Please note that pressing the [STORE] button in the Utility mode immediately starts the Store operation for the System settings. CAUTION Never attempt to turn off the power while an “Executing...” or “Please keep power on” message is shown. Turning the power off in this state may cause the system to freeze and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data. ■ Save [FILE] → [F2] SAVE This is a process of transferring or saving the created data of this synthesizer to a USB storage device. This process can be done in the File mode. The Save operation can be done via various methods, such as saving all data as a single file or saving a specified type of data (e.g., only Voices) as a single file. For details, refer to page 168. The saved data as files can be recalled by loading them in the File mode. ■ Bulk Dump This function lets you save the data in the S90 ES by transmitting it as Bulk data (system exclusive message) to an external MIDI instrument or sequence software on a computer. ● Sending the editing current program as Bulk Dump data From each display, you can send the data of the program currently being edited on the S90 ES panel as Bulk Dump data. [VOICE] → Voice selection → [JOB] → [F4] BULK Voice Performance Multi Master [PERFORM] → Performance selection → [JOB] → [F4] BULK [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [JOB] → [F4] BULK [MASTER] → Master selection → [JOB] → [F4] BULK ● Sending other data as Bulk Dump data The data of Voice, Performance, Multi, Master, and System settings can be transmitted to an external MIDI instrument or computer upon reception of a bulk request message. For details about the bulk request message and bulk dump format, see the separate Data List. n User Arpeggio data and some of the System settings are not handled as Bulk data. ● Using the Voice Editor and Multi Part Editor Voice and Plug-in Voice data can be transmitted to a computer for editing with the Voice Editor software (page 79). The edited Voice on the instrument itself data can then be transmitted back to the instrument in banks as bulk data. Similarly, Voice data created in the Voice Edit mode can be sent to the computer in banks as bulk data. Multi data can also be transmitted to a computer for editing, using the Multi Part Editor software (page 79). The edited Multi data can then be transmitted back to the instrument as bulk data. Multi data created in the Multi Edit mode on the instrument itself can also be sent to the computer in banks as bulk data. 126 Owner’s Manual Voice Play mode Reference Voice mode [VOICE] → Voice selection Voice Play mode The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive editing operations, use the Voice Edit mode. With few exceptions, you can store all parameter settings to internal memory as User Voices. n In the Voice Play mode and Voice Edit mode, you can set the parameters for each Voice. The parameters for all the Voices such as Master EQ and Master Effect can be set from the [UTILITY] → [F3] VOICE display in the Utility mode. n The parameters that have the same name in the Voice Play mode and in the Voice Edit mode have the same functions and settings. n When a Plug-in voice is selected, certain parameters are not available for editing, even if they’re described here. Indicates the Keyboard MIDI transmit channel. You can change the Keyboard MIDI transmit channel by pressing the [TRACK SELECT] button so that its indicator lights and pressing any of the NUMBER [1] - [16] buttons. The Keyboard MIDI transmit channel can be changed also with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → KBDTransCh. OCT (Octave) Indicates the Keyboard Octave setting. This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave. ASA (ASSIGN A), ASB (ASSIGN B) Indicates the functions assigned to the respective Control sliders (printed “ASSIGN A” and “ASSIGN B”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned with the following operation: [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN. You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance. Refer to page 39 in the Quick Guide section. [F2] BANK This display is available only when a Plug-in Board has been installed and a Voice of the Plug-in Board is selected. From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in Voice or a “Board” Voice. Board Voices are unprocessed, unaltered Voices of the Plug-in board—the “raw material” for Plug-in Voices. Plug-in Voices are edited Board Voices—Voices that have been specially programmed and processed for optimum use with this synthesizer. For more details, see page 101. Settings: The following selections are available, for example, when a Plug-in Voice using the Plug-in board installed to slot 1 is selected: PLG1USR (User Plug-in Voice), PLGPRE1 (Preset Plug-in Voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board Voice. These values differ depending on the installed Plug-in board.) [F3] EFFECT Pressing the [F3] EFFECT button in the Voice Play mode calls up the same EFFECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] → [F6] EFFECT). From this display, you can set the effect related parameters for the current Voice. See page 133. Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). Settings: mono, poly n When pressing the second note while holding the first note with the PortaSw set to on and the Mono/Poly set to on, the second note sound starts succeeding the transition of the first note, or the second note starts not from the EG (AEG/ PEG/FEG) start point but from the EG (AEG/PEG/FEG) point the first note reaches. This realizes the legato performance. This legato degree can be set with the following operation: [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF4] PORTA → LegatoSlope (page 129). PortaSw (Portamento Switch) Master mode From this display you can select monophonic or polyphonic playback and set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. File mode [F4] PORTA (Portamento) Determines whether Portamento is applied to the current Voice or not. Settings: off, on PortaTime (Portamento Time) Determines the pitch transition time. Higher values result in longer transition times. Settings: 0 ~ 127 PortaMode (Portamento Mode) Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is set to “mono” or “poly.” Settings: fingered, fulltime fingered ........... Portamento is only applied when you play legato (playing the next note before releasing the previous one). fulltime ............. Portamento is always applied. Owner’s Manual 127 Reference [SF1] ARP1 (Arpeggio 1) [SF5] ARP5 (Arpeggio 5) Multi Voice mode Indicates the functions assigned to the respective Control sliders (printed “ASSIGN 1” and “ASSIGN 2”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned by setting the Voice Edit common parameters with the following operation: [VOICE] → [EDIT] → [COMMON] → [F4] CTL SET. Sequence Play mode AS1 (ASSIGN 1), AS2 (ASSIGN 2) Multi mode TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Voice. Because of this, these are not stored as an individual Voice in the Voice Store mode (page 46). Utility mode n Performance mode TCH (Transmit Channel) Voice mode [F1] PLAY Voice Edit mode Normal Voice Edit Common Edit [F5] EG (Envelope Generator) This display contains the basic EG settings, both volume and filter, for the voice, as well as the filter’s cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Voice Edit mode. The full names of the available parameters are shown in the chart below, as they appear in the display. ATK AEG Attack time FEG DCY Decay time SUS Sustain level --- REL Release time DEPTH CUTOFF --- --- RESO --- Depth Cutoff frequency Resonance Settings: -64 ~ 0 ~ +63 (except --- above) [F6] ARP (Arpeggio) This display contains the basic settings for Arpeggio playback, including Type and Tempo. About the [SF1] - [SF5] buttons, see the explanation of the [F1] PLAY display. Bank, Ctgr (Category), Type These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category. Tempo Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync) is set to “MIDI,” “MIDI” is displayed here and cannot be set. VelLimit (Velocity Limit) Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you play notes at velocities within in this range. Settings: Refer to the separate Data List. Settings: 1 ~ 300 Voice mode Settings: 1 ~ 127 n Keys played outside the set limit sound normally without any Arpeggio. Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the [ARPEGGIO] button. Switch Settings: off, on Performance mode Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed. Hold Multi mode Settings: sync-off (see below), off, on sync-off ............When set to “sync-off,” the Arpeggio playback continues to run silently, even when you release the keys. Pressing any key turns the Arpeggio playback on again. In other words, you can use the key to “un-mute” or “mute” (not start or stop) the Arpeggio playback by, respectively, holding it down or releasing it. [VOICE] → Voice selection → [EDIT] Voice Edit mode Multi Voice mode Sequence Play mode Reference There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following section shows how to edit the different types of voices and explains the parameters available. Note that available parameters to be edited differ depending on the Voice types (Normal Voice, Drum Voice, Plug-in Voice). Normal Voice Edit When a Normal Voice is selected, the Voice Edit parameters are divided into Common Edit (parameters common to all four Elements), and Element Edit (parameters of individual Elements). Utility mode Common Edit [VOICE] → Normal Voice selection → [EDIT] → [COMMON] These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice. [F1] GENERAL File mode Master mode [SF1] NAME From this display you can assign the category (sub and main) of the selected voice, and create a name for the voice. The voice name can contain up to 10 characters. For detailed instructions on naming a voice, see “Basic Operation” on page 27. [SF2] PLY MODE (Play mode) From this display you can make various settings for the tone generator of this synthesizer, and assign different Micro Tuning settings. Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically multiple simultaneous notes). Settings: mono, poly KeyAsgnMode (Key Assign Mode) When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to “multi.” Settings: single, multi M. TuningNo. (Micro Tuning Number) Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however additional tuning systems are available for a variety of tuning applications and effects. Settings: See the Micro Tuning List on page 147. M. TuningRoot (Micro Tuning Root) 128 Owner’s Manual Determines the root note of the Micro Tuning set above. Settings: C ~ B Voice Edit mode [SF3] MEQ OFS (Master EQ Offset) Normal Voice Edit Common Edit From this display you can adjust the master (global) EQ settings for the entire Voice. The settings made here are applied as offsets to the EQ settings (with the exception of “MID”) from the Utility mode, with the following operation: [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ. You can use the Control sliders to edit these parameters when the [EQ] button is turned on. Settings: -64 ~ 0 ~ +63 [SF4] PORTA (Portamento) This display allows you to set the Portamento related parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. Determines whether Portamento is applied to your keyboard performance using the current Voice or not. Switch Settings: off, on Determines the pitch transition time. Higher values result in a longer pitch change time, when Time Mode below is set to “Time.” Time Settings: 0 ~ 127 Determines how the Portamento is applied to your keyboard performance. Mode Settings: fingered, fulltime fingered ........... Portamento is only applied when you play legato (playing the next note before releasing the previous one). fulltime ............. Portamento is always applied. TimeMode This determines how the pitch changes in time. Determines the speed of the attack of legato notes, when Switch above is set to on and Mono/Poly is set to mono. (Legato notes “overlap” each other, the next being played before the previous is released.) The higher the value, the slower the attack rate. Settings: 0 ~ 7 [SF5] OTHER CSAssign (Control slider Assign) From this display you can set the control functions for the Control sliders, and determine the up/down range for the Pitch Bend wheel. Determines the function for the assignable Control sliders (1-4). Pressing the Control function button on the panel sets the desired function row, which is automatically stored to memory with the currently selected voice. Performance mode LegatoSlope Voice mode Settings: rate1, time1, rate2, time2 rate1 ................ Pitch changes at the specified rate. time1................ Pitch changes in the specified time. rate2 ................ Pitch changes at the specified rate within a octave. time2................ Pitch changes in the specified time within a octave. PB Upper (Pitch Bend range Upper), PB Lower (Pitch Bend range Lower) Sets the amount (in semitones) by which the pitch of the note is varied when you move the Pitch bend wheel up/down. For example, a Lower setting of -12 would result in the pitch being lowered up to a maximum of one octave (12 semitones) when the Pitch Bend wheel is moved downwards. Similarly, setting the Upper parameter to +12 would result in a maximum pitch rise of one octave when the wheel is moved upwards. Multi mode Settings: pan, tone, assign, MEQofs, MEF, arpFx, vol Settings: 0 ~ 127 Determines the stereo pan position of the Voice. You can also adjust this parameter using the Control slider when the [PAN/SEND] button is turned on. Pan Settings: L63 (Left) ~ C (Center) ~ R63 (Right) n When a stereo Voice is selected, this parameter setting may not be effective. Voices with Elements set to opposite Pan settings (set in [F4] AMP → [SF1] LVL/PAN → Pan) — i.e., one at L63 and another at R63 — are considered stereo Voices. RevSend ChoSend n Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb/ Chorus effect. You can also adjust these parameters using the Control sliders when the [PAN/SEND] button is turned on. Settings: 0 ~ 127 See page 121 for the Effect connection in the Voice mode. [SF1] TYPE The basic Arpeggio parameters (e.g., type, tempo) are provided in this display. Bank, Ctgr (Category), Type These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category. Tempo Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync) is set to “MIDI,” “MIDI” is displayed here and Tempo cannot be set. Master mode [F3] ARP (Arpeggio) Settings: Refer to the separate Data List. Settings: 1 ~ 300 ChgTiming (Change Timing) Determines the actual timing at which the Arpeggio type is switched when you select another type during Arpeggio playback. Settings: realtime, measure realtime............ The Arpeggio type is switched immediately when you select another type. measure........... The Arpeggio type is switched at the top of the next measure after you select another type. Owner’s Manual 129 Reference Determines the output level of the Voice. Volume Sequence Play mode [F2] OUTPUT Utility mode This parameter offsets the value of each Dest (Destination) parameter. Please note that certain Destinations of Assign A/B change the absolute value. File mode AssignA, AssignB, Assign1, Assign2 Multi Voice mode Settings: -48 ~ 24 Voice Edit mode Normal Voice Edit Common Edit Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the [ARPEGGIO] button. Switch Settings: off, on Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed. Hold Settings: sync-off (see below), off, on sync-off ............When set to “sync-off,” the Arpeggio playback continues to run silently, even when you release the keys. Pressing any key turns the Arpeggio playback on again. In other words, you can use the key to “un-mute” or “mute” (not start or stop) the Arpeggio playback by, respectively, holding it down or releasing it. Determines how the Arpeggio plays back when playing the keyboard. KeyMode Voice mode Settings: sort, thru, direct, sortdirect, thrudirect sort ...................When you play specific notes (for example, the notes of a chord), the same sequence plays, no matter what order you play the notes. thru...................When you play specific notes (for example, the notes of a chord), the resulting sequence differs depending on the order of the notes. direct................Note events of the Arpeggio sequence do not play; only the notes you play on the keyboard are heard. This setting is for use with non-note Arpeggio data, such as Control Change or Pitch Bend. When the Arpeggio plays back, these events are applied to the sound of your keyboard performance. Use this setting when the Arpeggio types includes non-note data or when the Category type “Ctrl” is selected. sortdirect..........The Arpeggio is played back according to the “sort” setting here, and the note pressed is also sounded. thrudirect..........The Arpeggio is played back according to the “thru” setting here, and the note pressed is also sounded. n Some Arpeggio types belonging to the “Cntr” Category may not have note events (page 170). When such an Arpeggio type is selected and the KeyMode is set to “sort” or “thru,” no sound is produced even if you press the note on the keyboard. n With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence data. VelMode (Velocity Mode) This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength. Settings: original, thru original .............The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data. thru...................The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases. Performance mode [SF2] LIMIT Determines the lowest and highest notes in the Arpeggio’s note range. Notes played in this range trigger the Arpeggio. NoteLimit Multi mode Settings: C -2 ~ G8 n You can also create a lower and an upper trigger range for the Arpeggio, with a note range “hole” in the middle, by specifying the highest note first. For example, setting a Note Limit of “C5 - C4” lets you trigger the Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio. n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. n Please keep in mind that no sound is produced when the KeyMode is set to “sort” or “thru” and notes are played outside the Note Limit setting here. Multi Voice mode Sequence Play mode Reference VelocityLimit Determines the lowest and highest velocity in the Arpeggio’s velocity range. This lets you control when the Arpeggio sounds by your playing strength. Settings: 1 ~ 127 n You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity “hole” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio from two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the Arpeggio. [SF3] PLAY FX Utility mode UnitMultiply (Unit Multiply) These Play Effect parameters let you control the playback of the Arpeggio in useful and interesting ways. By changing the timing and velocity of the notes, you can change the rhythmic “feel” of the Arpeggio. Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled (tempo is halved). On the other hand, if you set a value of 50%, the playback time will be halved (tempo is doubled). Normal playback time is 100%. Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200% File mode Delays notes on even-numbered beats (backbeats) to produce a swing feel. Swing Settings: -120 ~ +120 QuntValue (Quantize Value) Determines to what beats the note data in the Arpeggio sequence data will be aligned, or determines to what beats in the Arpeggio sequence data the swing is applied. Master mode Settings: 32nd note 16th note triplet 16th note 8th note triplet 8th note 1/4 note triplet 1/4 note QuntStrength (Quantize Strength) The Strength value sets the “strength” by which note events are pulled toward the nearest quantize beats. A setting of 100% produces exact timing set via the QuntValue parameter above. A setting of 0% results in no quantization. VelocityRate Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means the original values are used. Settings below 100% will reduce the velocity of the Arpeggio notes, whereas settings above 100% will increase the velocities. Settings: 0% ~ 100% Settings: 0% ~ 200% n The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will automatically be limited to the minimum or maximum. 130 Owner’s Manual Voice Edit mode GateTimeRate Normal Voice Edit Common Edit Determines how much the Gate Time (length) of the Arpeggio notes is offset from the original value. A setting of 100% means the original values are used. Settings below 100% will shorten the gate times of the Arpeggio notes, whereas settings above 100% will lengthen them. Settings: 0% ~ 200% n The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be limited to the minimum. [F4] CTL SET (Controller Set) [SF1] SET1/2 - [SF3] SET5/6 ElementSw Since up to six Controller Sets can be assigned to each Voice, three pages (Sets 1/2, Sets 3/4 and Sets 5/6) are provided. For more information on Controller Sets, see page 60. Determines whether or not the selected controller affects each individual Element. Settings: Elements 1 to 4 enabled (“1” to “4”) or disabled (“-”) n This parameter is disabled when the Dest (Destination) described below is set to a parameter unrelated to the Voice Elements. Source Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to control the parameter set in Destination below. Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (After Touch), FC1 (Foot Controller 1), FS (Footswitch), RB (Ribbon Controller), BC (Breath Controller), AS1 (Control slider ASSIGN 1), AS2 (Control slider ASSIGN 2), FC2 (Foot Controller2) n Keep in mind that unlike the other controllers, the ASSIGN A and B Control slider can each be assigned to one common function for the entire system of this synthesizer, and not to different functions for each individual voice. Also refer to the Utility mode (page 165). Dest (Destination) Determines the parameter that is controlled by the Source controller (above). Depth Determines the degree to which the Source controller affects the Destination parameter. For negative values, the controller operation is reversed; maximum controller settings produce minimum parameter changes. Settings: -64 ~ 0 ~+63 Voice mode Settings: For a complete list of the available parameters/controls, refer to the separate Data List booklet. From these displays, you can make a variety of LFO related settings. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude to create effects such as vibrato, wah and tremolo. [SF1] WAVE Settings: off (not synchronized), on (synchronized) TempoSpeed This parameter is available only when TempoSync above has been set to “on.” It allows you to make detailed note value settings that determine how the LFO pulses in sync with the Arpeggio or sequencer. Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th (quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd. (dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat) n The actual length of the note depends on the internal or external MIDI tempo setting. KeyOnReset Determines whether or not the LFO is reset each time a note is pressed. The following three settings are available. Settings: off, each-on, 1st-on off..................... The LFO cycles freely with no key synchronization. Pressing a key starts the LFO wave at whatever phase the LFO happens to be at that point. each-on ........... The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (below). 1st-on .............. The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter (below). However, if you play a second note while the first is being held, the LFO continues cycling according to the same phase as triggered by the first note. In other words, the LFO only resets if the first note is released before the second is played. off each-on 1st-on Time Key on RandomSpeed Time Time Key on (first note) Key on (second note) Key on (first note) Key on (second note) Determines the degree to which the LFO speed changes at random. A setting of “0” results in the original speed. Higher values result in a larger degree of speed change. Settings: 0 ~ 127 Owner’s Manual 131 Reference Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or Sequence Play mode. Sequence Play mode TempoSync Utility mode Determines the speed of the LFO Wave modulation. Higher values result in faster modulation speeds. Settings: 0 ~ 63 File mode Speed Multi Voice mode Multi mode Determines the LFO Wave. Settings: tri, tri+, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user Master mode Wave Performance mode [F5] LFO (Low Frequency Oscillator) Voice Edit mode Normal Voice Edit Common Edit [SF2] DELAY Delay (Delay Time) Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time. Settings: 0 ~ 127 FadeIn (Fade In Time) Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value results in a slower fade-in. Settings: 0 ~ 127 Low FadeIn value Faster fade-in High FadeIn value Slower fade-in FadeIn FadeIn Max Max Time Time Delay Delay Key on Hold (Hold Time) Key on Determines the length of time during which the LFO is held at its maximum level. A higher value results in a longer Hold time. Settings: 0 ~ 127 Hold Max Voice mode Time Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value results in a slower fade-out. FadeOut Performance mode Settings: 0 ~ 127 Low FadeOut value Faster fade-out Hold High FadeOut value Slower fade-out FadeOut Hold Max FadeOut Max Multi mode Time Time Determines the value for the particular step selected in the Step parameter below. Phase Settings: 0, 90, 120, 180, 240, 270 Sequence Play mode Reference Multi Voice mode [SF3] PHASE Time Utility mode Phase 0° Offset EL1 - EL4 (Phase Offset Element1 - Element4) File mode [SF4] BOX1 - 3 90° 180° 270° 120° 240° Determines the offset values of the Phase parameter (above) for the respective Elements. Settings: +0, +90, +120, +180, +240, +270 From this display you can select the destination parameter for the LFO (which aspect of the sound the LFO controls), the Elements to be affected by the LFO, and the LFO Depth. Three pages (boxes) provided for setting the destination let you assign multiple destinations. Master mode ElemSw (Element Switch) Determines whether or not each Element is to be affected by the LFO. The Element number (1- 4) is shown when the LFO is enabled; a dash (-) indicates the LFO is disabled for that Element. Dest (Destination) Determines the parameters which are to be controlled (modulated) by the LFO Wave. Settings: amd, pmd, fmd, reso (Resonance), pan, ELFOSpd (Element LFO Speed) Determines the LFO Wave Depth. Depth Settings: 0 ~ 127 DptRatio EL1 - EL4 (Depth Offset Element1 - Element4) 132 Owner’s Manual Determines the offset values of the Depth parameter (above) for the respective Elements. Settings: 0 ~ 127 Voice Edit mode [SF5] USER Template Normal Voice Edit Element Edit This menu is available only when the User LFO wave is selected. You can create a custom LFO wave consisting of up to sixteen steps. You can select a pre-programmed template for the LFO wave. The selected template’s wave graph appears on the display and you can create the LFO wave by viewing it. Each time pressing the [SF1] random button, different LFO wave is appears on the display randomly. Settings: all0 ................... Values of all the steps are set to 0. all64 ................. Values of all the steps are set to 64. all127 ............... Values of all the steps are set to 127. saw up ............. Creates a saw shaped upward wave. saw down ........ Creates a saw shaped downward wave. even step......... Values of all even steps are set to 0, and values of all odd steps are set to 127. odd step .......... Values of all odd steps are set to 0, and values of all even steps are set to 127. Slope Determines the slope or ramp characteristics of the LFO wave. Settings: OFF (no slope), up, down, up&down Value Determines the value for the particular step selected in the Step parameter below. Settings: 0 ~ 127 Step Numerator: Selects the desired step. Settings: 1-16 Denominator: Determines the maximum number of steps. Settings: 2, 3, 4, 6, 8, 12, 16 [SF1] CONNECT This display gives you comprehensive control over the effects. For details on the parameters, see page 121. [SF2] INS A (Insertion A) These are for adjusting the various parameters of the Effect blocks. The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. Note that the menu of the corresponding Effect block disappears when the “thru” type is selected. These parameters are for editing the individual Elements that make up a Normal Voice. [F1] OSC (Oscillator) [SF1] WAVE ElementSw (Element Switch) From this display you can select the desired waveform or sound used for the Element. Determines whether the currently selected Element is on or off. Settings: off (inactive), on (active) Wave No. (Waveform Number), WaveCtgry (Waveform Category) [SF2] OUTPUT KeyOnDelay Determines the Waveform for the selected Element. See the Waveform list in the separate Data List. From this display you can set certain output parameters for the selected Element. Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each Element. DelayTempoSync Determines whether or not the KeyOnDelay is synchronized to the tempo of the Arpeggio or Sequence Play mode. Settings: off (not synchronized), on (synchronized) DelayTempo Determines the timing of the KeyOnDelay when the DelayTempoSync is set to on. Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th (quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd. (dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat) InsEffectOut (Insertion Effect Output) File mode Settings: 0 ~ 127 Determines which Insertion effect (1 or 2) is used to process each individual Element. The “thru” setting lets you bypass the Insertion effects for the specific Element. (This parameter is the same as “EL: OUT” on the [F6] EFFECT → [SF1] CONNECT display in Normal Common Edit. Making a setting here automatically changes the setting of that parameter as well.) Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B) Owner’s Manual 133 Reference [VOICE] → Normal Voice selection → [EDIT] → Element selection Multi Voice mode Element Edit Multi mode [SF5] CHORUS Sequence Play mode [SF4] REVERB Utility mode [SF3] INS B (Insertion A) Performance mode For details on the Effect connections in the Voice mode, see page 121. For details on the Effect Types, refer to the Effect Type list in the separate Data List booklet. Master mode n Voice mode [F6] EFFECT Voice Edit mode Normal Voice Edit Element Edit [SF3] LIMIT Determines the lowest and highest notes of the keyboard range for each Element. The selected Element will sound only when you play notes within this range. NoteLimit Settings: C -2 ~ G8 n You can also create a lower and an upper range for the Element, with a note range “hole” in the middle, by specifying the highest note first. For example, setting a Note Limit of “C5 - C4” lets you play the Element from two separate ranges: C -2 to C4 and C5 to G8. Notes played between C4 and C5 do not play the selected Element. n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. VelocityLimit Determines the minimum and maximum values of the velocity range within which each Element will respond. Each Element will only sound for notes played within its specified velocity range. For example, this lets you have one Element sound when you play softly and have a different one sound when you play strongly. Settings: 1 ~127 n You can also create separate low and high ranges for the Element, with a velocity “hole” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the Element from two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the selected Element. VelCrossFade (Velocity Cross Fade) This determines how gradually the sound of an Element decreases in volume in proportion to the distance of velocity changes outside the Velocity Limit setting (above). The practical application of this parameter is to create natural-sounding velocity crossfades, in which different Elements change gradually depending on how strongly or softly you play. The higher the value, the more gradual the level change. Settings: 0 ~ 127 [F2] PITCH Voice mode [SF1] TUNE From this display you can set various pitch-related parameters for the selected Element. Determines the pitch of each Element in semitones. Coarse Settings: -48 ~ 0 ~ +48 Determines the fine tuning for the pitch of each Element. Fine Performance mode Settings: -64 ~ 0 ~ +63 FineScaling Determines the degree to which the notes (specifically, their position or octave range) affect the pitch in fine tuning (set above) of the selected Element, regarding C3 as the basic pitch. A positive setting will cause the pitch of lower notes to change lower and that of higher notes to change higher. Negative values will have the opposite effect. Multi mode Settings: -64 ~ 0 ~+63 This lets you randomly vary the pitch of the Element for each note you play. This is effective in reproducing the natural pitch variations in acoustic instruments. It is also useful for creating unusual random pitch changes. The higher the value, the greater the pitch variation. A value of “0” results in no pitch change. Random Sequence Play mode Reference Multi Voice mode Settings: 0 ~127 [SF2] VEL SENS (Velocity Sensitivity) From this display you can determine how the Pitch EG responds to velocity. Determines the velocity sensitivity of the PEG’s Time parameters. Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower. EGTime, Segment Utility mode Settings: EGTime: -64 ~0 ~+63 Settings: Segment: atk, atk+dcy, dcy, atk+rls, all atk (attack) .............................EG Time Value affects Attack time. atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time. dcy (decay)............................EG Time Value affects Decay time. atk+rls (attack + release).......EG Time Value affects Attack/Release time. all ..........................................EG Time Value affects all PEG Time parameters. Determines the velocity sensitivity of the PEG Level. Positive settings will cause the pitch change to rise the harder you play the keyboard, and negative values will cause it to fall. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Pitch EG Depth. EGDepth, Curve File mode Settings: EGDepth: -64 ~ 0 ~ +63 Settings: Curve: 0 ~ 4 Determines the velocity sensitivity of the Pitch. Extreme values produce greater variation in PEG Depth. For positive values, the harder you play the keys, the greater the change in PEG Depth. For negative values, the softer you play the keys, the greater the change in PEG Depth. Pitch Master mode Settings: -64 ~ 0 ~ +63 [SF3] PEG (Pitch Envelope Generator) From this display you can make all the time and level settings for the Pitch EG, which determine how the pitch of the sound changes over time. These can be used to control the change in pitch from the moment a note is pressed on the keyboard to the moment the sound stops. The full names of the available parameters are shown in the chart below, as they appear in the display. HOLD ATK DCY1 DCY2 REL TIME Hold time Attack time Decay1 time Decay2 time Release time LEVEL Hold level Attack level Decay1 level Decay2 level Release level Settings: TIME: 0 ~ 127 LEVEL: -128 ~ 0 ~ +127 DEPTH: -64 ~ 0 ~ +63 n For details on the PEG, see page 112. 134 Owner’s Manual DEPTH Depth Voice Edit mode [SF4] KEY FLW (Key Follow) Normal Voice Edit Element Edit From this display you can set the Key Follow effect—in other words, how the pitch of the Element and its Pitch EG respond to the particular notes (or octave range) you play. Determines the sensitivity of the Key Follow effect (the pitch interval of adjacent notes). At +100 (the normal setting), adjacent notes are pitched one semitone (100 cents) apart. At 0, all notes are the same pitch. At +50, one octave is stretched out over twenty-four notes. For negative values, the settings are reversed. PitchSens (Pitch Sensitivity) Settings: -200 ~ 0 ~ +200 n This parameter is useful for creating alternate tunings, or for use with sounds that do not need to be spaced in semitones, such as pitched drum sounds in a Normal Voice. FCenterKey Determines the central note or pitch for the Key Follow effect on pitch. The note number set here is the same pitch as normal regardless of the Pitch Sensitivity setting. Depending on the Pitch Sensitivity parameter above, the further away from the Center Key the keys are played, the greater the degree of pitch change. Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Determines the degree to which the notes (specifically, their position or octave range) affect the Pitch EG times of the selected Element. The Center Key (next parameter) is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect. EGTimeSens (EG Time Sensitivity) Settings: -64 ~ 0 ~+63 FCenterKey Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Performance mode Positive value Large Faster speed +63 +30 Lower range Higher range -40 – Higher range Multi Voice mode Center key Center key [F3] FILTER [SF1] TYPE Type From this display you can make comprehensive settings for the Filter unit. The available parameters differ depending on which Filter type is selected here. Basically, there are four different Filter types: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass Filter) and a BEF (Band Elimination Filter). Each type has a different frequency response and produces a different effect on the sound. This synthesizer also features special combination Filter types, for additional sonic control. Settings: Refer to page 148. Gain Determines the Gain (the amount of boost applied to the signal sent to the Filter). Settings: 0 ~ 255 Cutoff Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied. Settings: 0 ~ 255 Resonance/Width This parameter’s function varies according to the selected Filter Type. If the selected filter is an LPF, HPF, BPF (excluding the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the Width of the band. Resonance is used to set the amount of Resonance (harmonic emphasis) applied to the signal at the cutoff frequency. This can be used in combination with the cutoff frequency parameter to add further character to the sound. The Width parameter is used to adjust the width of the band of signal frequencies passed by the filter with the BPFw. Settings: 0 ~ 127 Distance File mode Lower range Slower speed Determines the distance between the Cutoff frequencies, for the Dual Filter types (which feature two identical filters combined in parallel, and the LPF12 + BPF6 type). Settings: 0 ~ 255 HPFCutoff Determines the central frequency for the Key Follow parameter (below) of the HPF. When a filter type “LPF12” or “LPF6” is selected, this parameter is available. Settings: 0 ~ 255 Owner’s Manual 135 Reference Small Multi mode Negative value + Master mode Amount of pitch change Sequence Play mode When Pitch Sensitivity is set to 100 EG Time Sensitivity and Center Key Utility mode Pitch Sensitivity and Center Key Voice mode Determines the central note or pitch for the Key Follow effect on Pitch EG. When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EG Time settings. Voice Edit mode Normal Voice Edit HPFKeyFlw (Key Follow) Element Edit Determines the Key Follow setting for the HPF Cutoff frequency. This parameter varies the center frequency according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for higher notes and lower it for lower notes. A negative setting will have the opposite effect. This parameter is available only when the filter type “LPF12” or “LPF6” is selected. Settings: -200 ~ 0 ~ +200 [SF2] VEL SENS (Velocity Sensitivity) From this display you can determine how the Filter and the FEG respond to velocity. Determines the velocity sensitivity of the FEG’s Time parameters. Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower. EGTime, Segment Settings: EG Time: -64 ~0 ~+63 Settings: Segment: atk, atk+dcy, dcy, atk+rls, all atk (attack) .............................EG Time Value affects Attack time. atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time. dcy (decay)............................EG Time Value affects Decay time. atk+rls (attack + release).......EG Time Value affects Attack/Release time. all ..........................................EG Time Value affects all FEG Time parameters. Determines the velocity sensitivity of the FEG Level. For positive settings, the more strongly you play the keyboard, the more Filter changes the sound. Negative settings do the opposite; the more softly you play, the more the sound changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Filter EG. EGDepth, Curve Voice mode Settings: EGDepth: -64 ~ 0 ~ +63 Settings: Curve: 0 ~ 4 Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. For positive values, the more strongly you play the keys, the greater the change in the Cutoff frequency. Negative values do the opposite; the more softly you play, the greater the change in frequency. Cutoff Settings: -64 ~ 0 ~ +63 Performance mode Resonance Determines the degree to which velocity affects the Resonance of the Filter EG. For positive values, the more strongly you play the keys, the greater the Resonance change. Negative values do the opposite; the more softly you play, the greater the change in Resonance. Settings: -64 ~ 0 ~ +63 Multi mode [SF3] FEG (Filter Envelope Generator) From this display you can make all the time and level settings for the Filter EG, which determine how the tonal quality of the sound changes over time. These can be used to control the change in Cutoff Frequency from the moment a note is pressed on the keyboard to the moment the sound stops. The full names of the available parameters are shown in the chart below, as they appear in the display. Sequence Play mode Reference Multi Voice mode HOLD ATK DCY1 DCY2 REL TIME Hold time Attack time Decay1 time Decay2 time Release time LEVEL Hold level Attack level Decay1 level Decay2 level Release level DEPTH Depth Settings: TIME: 0 ~ 127 LEVEL: -128 ~ 0 ~+127 DEPTH: -64 ~ 0 ~+63 n For details on the FEG, see page 113. [SF4] KEY FLW (Key Follow) CutoffSens (Cutoff Sensitivity) From this display you can set the Key Follow effect for the Filter—in other words, how the tonal qualities of the Element and its Filter EG respond to the particular notes (or octave range) you play. Utility mode Determines the degree to which the notes (specifically, their position or octave range) affect the Filter of the selected Element. A Center Key setting (next parameter) of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect. Settings: -200 ~ 0 ~ +200 FCenterKey File mode This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For other notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed. Settings: C -2 ~ G8 Master mode EGTimeSens (EG Time Sensitivity) Determines the degree to which the notes (specifically, their position or octave range) affect the Filter EG times of the selected Element. The basic speed of change for the FEG is at the note specified in the Center Key (next parameter). A positive setting will cause slower changes for lower notes and faster changes for higher notes. A negative setting will have the opposite effect. Settings: -64 ~ 0 ~ +63 FCenterKey Determines the central note or pitch for the Key Follow effect on Filter EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Filter EG deviates from the normal. When the Center Key note is played, the FEG behaves according to its actual settings. The Filter change characteristics for other notes will vary in proportion to the EG Time settings. Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. 136 Owner’s Manual Voice Edit mode Cutoff Sensitivity and Center Key When Cutoff Sensitivity is set to 100 Normal Voice Edit Element Edit EG Time Sensitivity and Center Key Positive value Large Amount of cutoff frequency change Negative value + Small Faster speed +63 +30 Lower range Higher range -40 – Lower range Center key Slower speed Higher range Center key [SF5] SCALE (Filter Scaling) Filter Scaling controls the filter cutoff frequency according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of Cutoff Frequency to them respectively. Refer to the setting example on page 147. Settings: BREAK POINT 1 ~ 4: C-2 ~ G8 OFFSET 1 ~ 4: 128 ~ 0 ~ +127 n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. Level This display not only lets you make basic Level and Pan settings for each individual Element, it also gives you some detailed and unusual parameters for affecting Pan position. Determines the output level for the selected Element. Settings: 0 ~ 127 Pan Determines the stereo Pan position for the selected Element. This will also be used as the basic Pan position for the Alternate, Random and Scale settings. Settings: L63 (Left) ~ C (Center) ~ R63 (Right) AlternatePan Determines the amount by which the sound of the selected Element is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position. Performance mode [SF1] LVL/PAN (Level/Pan) Voice mode [F4] AMP (Amplitude) Determines the degree to which the notes (specifically, their position or octave range) affect the Pan position, left and right, of the selected Element. At note C3, the main Pan setting (above) is used for the basic Pan position. Settings: -64 ~ 0 ~ +63 EG Time, Segment From this display you can determine how the Amplitude (volume) EG responds to velocity. Determines the velocity sensitivity of the AEG’s Time parameters. Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower. Determines the velocity sensitivity of the Amplitude EG Level. For positive settings, the more strongly you play the keyboard, the more the volume changes. Negative settings do the opposite; the more softly you play, the more the volume changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Amplitude EG. Settings: Level: 64 ~ 0 ~ +63 Curve: 0 ~ 4 Master mode Level, Curve Utility mode Settings: EG Time: -64 ~0 ~+63 Settings: Segment: atk, atk+dcy, dcy, atk+rls, all atk (attack) ............................ EG Time Value affects Attack time. atk+dcy (attack + decay)...... EG Time Value affects Attack/Decay1 time. dcy (decay) ........................... EG Time Value affects Decay time. atk+rls (attack + release) ...... EG Time Value affects Attack/Release time. all .......................................... EG Time Value affects all AEG Time parameters. Sequence Play mode [SF2] VEL SENS (Velocity Sensitivity) File mode ScalingPan Owner’s Manual 137 Reference Settings: 0 ~ 127 Multi Voice mode Determines the amount by which the sound of the selected Element is panned randomly left and right for each note you press. The Pan setting is used as the Center Pan position. Multi mode Settings: L64 ~ 0 ~ R63 RandomPan Voice Edit mode Normal Voice Edit [SF3] AEG (Amplitude Envelope Generator) Element Edit From this display you can make all the time and level settings for the Amplitude EG, which determine how the volume of the sound changes over time. These can be used to control the change in volume from the moment a note is pressed on the keyboard to the moment the sound stops. The full names of the available parameters are shown in the chart below, as they appear in the display. INIT TIME LVL/SW ATK DCY1 DCY2 REL --- Attack time Decay1 time Decay2 time Release time Initial level Attack level Decay1 level Decay2 level --- SUS Sustain time Half damper switch When the Half Damper switch is turned on, you can use the Half Damper function with an optional Foot Controller FC3 connected to the FOOT SWITCH SUSTAIN jack. Unlike a conventional damper pedal control which simply turns sustain on and off, the Half Damper function lets you finely control the amount of sustain and natural decay—just as with a real acoustic piano—by using a continuous pedal controller. n Please note that the SusPedal parameter (below) must be set to "FC3 (Half On)." [UTILITY] → [F4] CTL ASN → [SF3] FT SW → SusPedal → FC3 (Half On) However, if you are controlling the Half Damper function by Control Change messages from an external MIDI device, it is not necessary to change the SusPedal parameter. Settings: TIME: 0 ~ 127 LVL/SW (Level/Switch): 0 ~ 127 or on/off n For details on the AEG, see page 114. [SF4] KEY FLW (Key Follow) From this display you can set the Key Follow effect for Amplitude—in other words, how the volume of the Element and its Amplitude EG respond to the particular notes (or octave range) you play. Determines the degree to which the notes (specifically, their position or octave range) affect the volume of the selected Element. A Center Key setting of C3 is used as the basic setting. A positive setting will lower the output level for lower notes and raise it for higher notes. A negative setting will have the opposite effect. LevelSens (Level Sensitivity) Voice mode Settings: -200 ~ 0 ~+200 Performance mode Multi mode FCenterKey This indicates that the central note for Level Sensitivity above is C3. At C3, the volume (level) remains unchanged. For other notes played, the volume varies according to the particular note and the Level Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed. EGTimeSens (EG Time Sensitivity) Determines the degree to which the notes (specifically, their position or octave range) affect the Amplitude EG times of the selected Element. The Center Key (next parameter) is used as the basic amplitude for this parameter. A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect. Settings: -64 ~ 0 ~ +63 FCenterKey Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Sequence Play mode Reference Multi Voice mode Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Amplitude EG deviates from the norm. When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change characteristics for other notes will vary in proportion to the EGTime settings. Level Sensitivity and Center Key When Level Sensitivity is set to 100 EG Time Sensitivity and Center Key Positive value Large Utility mode Amount of AEG level change Negative value + Small Faster speed +63 +30 Lower range Higher range -40 File mode – Master mode 138 Lower range Center key Slower speed Higher range Center key [SF5] SCALE (Amplitude Scaling) Amplitude Scaling controls the output level (set in the [F4] AMP → [SF1] LVL /PAN display) according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of amplitude to them respectively. Refer to the setting example on page 147. Settings: BREAK POINT 1 ~ 4: C-2 ~ G8 Settings: OFFSET 1 ~ 4: -128 ~ 0 ~ +127 n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. Owner’s Manual Voice Edit mode Element Edit [F5] LFO (Low Frequency Oscillator) This display gives you a comprehensive set of controls over the LFO for each individual Element. The LFO can be used to create vibrato, wah, tremolo and other special effects, by applying it to the pitch, filter and amplitude parameters. Determines the LFO waveform used to vary the sound. Wave Settings: saw, tri, squ tri (triangle wave) saw (sawtooth wave) squ (square wave) Determines the speed of the LFO waveform. The higher the value, the faster the speed. Speed Settings: 0 ~ 63 Determines whether or not the LFO is reset each time a note is played. KeyOnReset Settings: off, on Off On Key on Time Key on Determines the delay time between the moment you play a note on the keyboard and the moment the LFO comes into effect. A higher value results in a longer delay time. KeyOnDelay Voice mode Time Settings: 0 ~ 127 FMod (Filter Modulation Depth) Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The higher the value, the greater the amount of filter modulation. Settings: 0 ~ 127 AMod (Amplitude Modulation Depth) Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the sound. The higher the value, the greater the amount of amplitude modulation. Multi mode Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound. The higher the value, the greater the amount of pitch modulation. Performance mode Settings: 0 ~ 127 PMod (Pitch Modulation Depth) Settings: EQ L/H, P.EQ, boost6, boost12, boost18, thru EQ L/H (Low/High) ................ This is a “shelving” equalizer, which combines separate high and low frequency bands. P.EQ (Parametric EQ) ............ The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This type features 32 different “Q” settings, which determine the frequency band width of the equalizer. boost6 (boost 6dB)/boost12 (boost 12dB)/boost18 (boost 18dB) These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively. thru ........................................ If you select this, the equalizers are bypassed and the entire signal is unaffected. When set to P.EQ File mode When set to EQ L/H Low Freq Settings: 50.1Hz – 2.00kHz Gain High Freq Setttings: 503.8Hz – 10.1kHz Q (Frequency characteristic) Settings: 0 – 31 + Frequency Frequency 0 Gain – – Master mode 0 Gain + Settings: -32 – 0 – +32 Low Gain High Gain Freq Settings: -32 – 0 – +32 Settings: -32 – 0 – +32 Settings: 139.7Hz – 12.9kHz Owner’s Manual 139 Reference Determines the Equalizer Type. This synthesizer features a wide selection of various equalizer types, which can be used not only to enhance the original sound, but even completely change the character of the sound. The particular parameters and settings available depend on the specific Equalizer Type that is selected. Type Sequence Play mode Settings: 0 ~ 127 [F6] EQ (Equalizer) Utility mode Determines the amount of time for the LFO effect to fade in (after the KeyOnDelay time has elapsed). A higher value results in a slower fade-in. FadeInTime Multi Voice mode Settings: 0 ~ 127 Voice Edit mode Drum Voice Edit Common Edit Drum Voice Edit When a Drum Voice is selected, Voice Edit parameters are divided into Common Edit (parameters common to all keys, up to 73), and Key Edit (parameters of individual keys). Common Edit [VOICE] → Drum Voice selection → [EDIT] → [COMMON] These parameters are for making global (or common) edits to all keys of the selected Drum Voice. [F1] GENERAL [SF1] NAME Same as in Normal Voice Common Edit. See page 128. [SF3] MEQ OFS (Master EQ Offset) [SF5] OTHER [F2] OUTPUT Same as in Normal Voice Common Edit. See page 129. In addition, the following two parameters are also available. InsRevSend (Insertion Reverb Send) Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Reverb effect. Settings: 0 ~ 127 InsChoSend (Insertion Chorus Send) Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Chorus effect. Voice mode Settings: 0 ~ 127 n n The parameters cannot be set indepently for each Drum key. For Normal Voices, the values are fixed at 127 (maximum). [F3] ARP (Arpeggio) Performance mode [SF1] TYPE Same as in Normal Voice Common Edit. See page 129. [SF2] LIMIT [SF3] PLAY FX Multi mode [F4] CTL SET (Controller Set) Same as in Normal Voice Common Edit. See page 131. Please note that the Element Switch parameter is not available in Drum Voice Common edit. [F6] EFFECT Sequence Play mode Reference Multi Voice mode Same as in Normal Voice Common Edit. See page 133. The only difference here is that “KEY: OUT” appears in the [SF1] CONNECT display instead of “EL: OUT” (in Normal Common Effect). [VOICE] → Drum Voice selection → [EDIT] → Key selection Key Edit These parameters are for editing the individual keys that make up a Drum Voice. Utility mode [F1] OSC (Oscillator) [SF1] WAVE From this display you can select the desired wave or Normal voice used for the individual Drum key. Determines whether a Wave or a Normal voice is to be used for the selected key. Also, use the Bank, Number and Category parameters below to specify the desired Wave or Normal voice. Type File mode Settings: pre wav (Preset wave), voice n When the Type is set to “voice” here, some parameters in the Drum Voice Edit mode cannot be edited. ElementSw (Element Switch) This parameter is available when Type (above) is set to “pre wav.” This determines whether the currently selected key is on or off, or in other words, whether the wave for the key is active or inactive. Master mode Settings: on, off This parameter is available when Type (above) is set to “voice.” Any of the Normal voice banks can be selected. Bank n Plug-in voices cannot be selected for Drum keys. Determines the Wave/Voice number. The number differs depending on the selected Type. For details about available Waves and Voices, refer to the separate Data List booklet. Number Settings: When Type is set to “pre wav”: 001 ~ 1935 When Type is set to “voice”: 001 ~ 128 Determines the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in that Category will be selected. Category n 140 Owner’s Manual For more information about the Categories, refer to the separate Data List booklet. Voice Edit mode [SF2] OUTPUT InsEFOut (Insertion Effect Output) Drum Voice Edit Key Edit From this display you can set certain output parameters for the selected Drum key. Determines which Insertion effect (A or B) is used to process each individual Drum key. The “thru” setting lets you bypass the Insertion effects for the specific key. Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B) RevSend (Reverb Send) Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. A setting of “0” results in no Reverb processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.” Settings: 0 ~ 127 ChoSend (Chorus Send) Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. A setting of “0” results in no Chorus processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.” Settings: 0 ~ 127 OutputSel (Output Select) Determines the specific output(s) for the individual Drum key signal. You can assign each individual Drum key sound to be output from a specific hardware output jack on the rear panel. This is available only when Insertion Effect Output (above) is set to “thru.” Settings: See page 49. Set the Alternate Group to which the key is assigned. In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats.You can prevent keys from playing back simultaneously by assigning them to the same Alternate Group. Up to 127 Alternate Groups can be defined. You can also select “off” here if you wish to allow the simultaneous playback of sounds. Settings: off, 1 ~ 127 n This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.” [F2] PITCH Determines the pitch of each Drum Key Wave (or Normal Voice) in semitones. Settings: -48 ~ +48 n If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) relative to note C3. Fine Determines the fine tuning for the pitch of each Drum Key Wave (or Normal Voice). Settings: -64 ~ +63 [SF2] VEL SENS (Velocity Sensitivity) Pitch This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.” Determines how the pitch of the selected Drum key responds to velocity. For positive values, the more strongly you play the key, the higher the pitch becomes. For negative values, the more strongly you play the key, the lower the pitch. Settings: -64 ~ +63 [F3] FILTER [SF1] CUTOFF This synthesizer lets you apply a low pass filter and high pass filter to each individual Drum key — giving you exceptionally detailed and comprehensive sonic control over the Drum voice. Settings: This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display. LPFCutoff Determines the Cutoff frequency of the Low Pass Filter. LPFReso Determines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. Settings: 0 ~ 127 HPFCutoff Determines the Cutoff frequency of the High Pass Filter. Master mode Settings: 0 ~ 255 Settings: 0 ~ 255 [SF2] VEL SENS (Velocity Sensitivity) LPFCutoff This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.” Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. For positive settings, the more strongly you play the keyboard, the higher the cutoff frequency becomes. For negative settings, the more strongly you play, the lower the cutoff frequency. Settings: -64 ~ 0 ~ +63 Owner’s Manual 141 Reference Coarse From this display you can set various pitch-related parameters for the selected key. Multi Voice mode [SF1] TUNE Sequence Play mode AlternateGroup Performance mode Determines whether or not the selected Drum key responds to MIDI Note Off messages. Settings: off, on n This parameter is only available if the Type parameter ([F1] OSC → [SF1] WAVE display) is set to “pre wav.” Multi mode Settings: single, multi RcvNoteOff (Receive Note Off) Voice mode When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to “multi.” Utility mode AssignMode From this display you can set various parameters related to how the individual notes of the Drum voice respond to the keyboard and MIDI data. File mode [SF5] OTHER Voice Edit mode Drum Voice Edit Key Edit [F4] AMP (Amplitude) [SF1] LVL/PAN (Level/Pan) This display not only lets you make basic Level and Pan settings for the sound of each individual Drum key, it also gives you some detailed and unusual parameters for affecting Pan position. Determines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments among the various sounds of the Drum voice. Level Settings: 0 ~ 127 Determines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan position for the Alternate and Random settings. Pan Settings: L63 (Left) ~ C (Center) ~ R63 (Right) AlternatePan Determines the amount by which the sound of the selected Drum key is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position. Settings: L64 ~ 0 ~ R63 n This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display. RandomPan Determines the amount by which the sound of the selected Drum key is panned randomly left and right for each note you press. The Pan setting (above) is used as the Center Pan position. Settings: 0 ~ 127 n This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display. [SF2] VEL SENS (Velocity Sensitivity) Determines the velocity sensitivity of the Amplitude Envelope Generator’s output level. Positive settings will cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall. Level Voice mode Settings: -64 ~ 0 ~ +63 [SF3] AEG (Amplitude Envelope Generator) Performance mode Multi mode AttackTime Settings: 0 ~ 127 Decay1Time Settings: 0 ~ 127 Decay1Lvl (Level) Settings: 0 ~ 127 Decay2Time Settings: 0 ~ 126, hold Decay2Time=hold Decay2Time=0 - 126 Level Attack level Level Attack level Decay1 level Multi Voice mode Sequence Play mode Reference Attack time Key on Decay2 time [F6] EQ (Equalizer) Same as in Normal Voice Element Edit. See page 139. n This parameter is available when the Type is set to “pre wav” in the [F1] OSC → [SF1] WAVE display. Utility mode File mode Master mode 142 Decay1 time Owner’s Manual Decay1 level Time Attack time Key on Decay1 time Decay2 time Time Voice Edit mode Plug-in Voice Edit Common Edit Plug-in Voice Edit These parameters are basically the same as in Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for editing. n Depending on the particular Plug-in board you are using, some of the parameters described here may not be available. For details, refer to the relevant owner’s manual of the Plug-in board. n For details on the current lineup of available Plug-in boards, see page page 99. Common Edit [VOICE] → Plug-in Voice selection → [EDIT] → [COMMON] [SF1] NAME Same as in Normal Voice Common Edit. See page 128. [SF2] PLY MODE (Play mode) Same as in Normal Voice Common Edit. See page 128. Please note that Micro Tuning is not available in Plug-in Voice Common Edit. [SF3] MEQ OFS (Master EQ Offset) Same as in Normal Voice Common Edit. See page 129. [SF4] PORTA (Portamento) Same as in Normal Voice Common Edit. See page 129. Please note that Portamento Mode, Time Mode and Legato Slope are not available in Plug-in Voice Common Edit. [SF5] OTHER Same as in Normal Voice Common Edit. See page 129. Unlike with Normal Voice Edit, the Upper and Lower ranges cannot be independently set here. [F2] OUTPUT Voice mode [F1] GENERAL Performance mode Same as in Normal Voice Common Edit. See page 129. [F3] ARP (Arpeggio) Same as in Normal Voice Common Edit. See page 131. [SF2] LIMIT From this display you can set how the Plug-in Voice responds to the Modulation wheel, by changing the control depth for the filter, pitch and amplitude (volume). Filter Determines the depth of control of the Modulation Wheel over the filter cutoff frequency. Negative settings result in reversed Modulation wheel operation (i.e., moving the wheel up results in less modulation). Settings: -64 ~ 0 ~ +63 PMod (Pitch Modulation Depth) Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the greater the depth of control. Settings: 0 ~ 127 FMod (Filter Modulation Depth) Determines the depth of control the Modulation Wheel has over filter cutoff modulation. The higher the setting, the greater the depth of control. Settings: 0 ~ 127 AMod (Amplitude Modulation Depth) Determines the depth of control the Modulation Wheel has over amplitude modulation. The higher the setting, the greater the depth of control. Settings: 0 ~ 127 [SF3] AT (After Touch) Pitch This synthesizer gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change the pitch and filter settings, and produce modulation effects (pitch, filter and amplitude) — simply by pressing down hard on the keys. Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves. Settings: -24 ~ 0 ~ +24 Filter Determines the depth of control of keyboard aftertouch over the filter cutoff frequency. Settings: -64 ~ 0 ~ +63 PMod (Pitch Modulation Depth) Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the greater the depth of control. Settings: 0 ~ 127 FMod (Filter Modulation Depth) Determines the depth of control that keyboard aftertouch has over filter cutoff modulation. The higher the setting, the greater the depth of control. Settings: 0 ~ 127 Owner’s Manual 143 Reference [SF2] MW (Modulation Wheel) Sequence Play mode Same as in Normal Voice Common Edit. See page 131. Please note that Element Switch is not available in Plug-in Voice Common Edit. Utility mode [SF1] SET1/2 File mode [F4] CTL SET (Controller Set) Multi Voice mode Multi mode [SF3] PLAY FX Master mode [SF1] TYPE Voice Edit mode Plug-in Voice Edit Element Edit Determines the depth of control that keyboard aftertouch has over amplitude modulation. The higher the setting, the greater the depth of control. AMod (Amplitude Modulation Depth) Settings: 0 ~ 127 [SF4] AC (Assignable Control) From this display you can assign MIDI Control Change numbers (as Src) and determine the degree to which the assigned controllers affect the filter and the modulation effects (pitch, filter and amplitude). Determines the MIDI Control Change number used to control the filter, PMod, FMod, and AMod. Src (Source) Settings: 0 ~ 95 Determines the depth of control the Control Change numbers (set in the Src parameter above) have over the filter cutoff frequency. Filter Settings: -64 ~ 0 ~ +63 PMod (Pitch Modulation Depth) Determines the depth of control the Control Change messages (set in the Src parameter above) have over pitch modulation. The larger the setting, the greater the depth of control. Settings: 0 ~ 127 FMod (Filter Modulation Depth) Determines the depth of control the Control Change messages (set in the Src parameter above) have over filter cutoff modulation. The larger the setting, the greater the depth of control. Settings: 0 ~ 127 Determines the depth of control the Control Change messages (set in the Src parameter above) have over amplitude modulation. The larger the setting, the greater the depth of control. AMod (Amplitude Modulation Depth) Settings: 0 ~ 127 [F6] EFFECT Voice mode Same as in Normal Voice Common Edit. See page 133. Please note that the EL: OUT settings are not available in the [SF1] CONNECT display and the parallel setting (Insertion Connection) is not available in the [SF1] CONNECT display. Performance mode [VOICE] → Plug-in Voice selection → [EDIT] → Element selection Element Edit Multi mode [F1] OSC (Oscillator) [SF1] WAVE From this display you can select the desired Board Voice used for the Element of the Plug-in voice. Keep in mind that a Plug-in voice only has one Element. Determines the Board Voice Bank. Bank Sequence Play mode Reference Multi Voice mode Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details. Determines the Board Voice Number. Number Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details. [SF5] OTHER Utility mode VelocityDepth Determines the velocity sensitivity of the Plug-in Voice. For higher values, the harder you play the keyboard, the louder the Voice becomes. VelocityOffset This lets you specify an offset value for Velocity Depth (above). In other words, you can increase the relative velocity (or level) of the Voice by a set amount—so that all the notes you play have the added velocity. Settings: 0 ~ 127 Settings: 0 ~ 127 Determines the transpose setting for the Plug-in voice, or the amount (in semitones) by which the pitch is raised or lowered. The pitch range is two octaves, up or down. NoteShift Settings: -24 ~ 0 ~ +24 File mode [F2] PITCH From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Plug-in Voice changes over time. The full names of the available parameters are shown in the chart below, as they appear in the display. Master mode INIT TIME LEVEL ATK DCY1 DCY2 --- Attack time --- --- Initial level --- --- --- REL Release time Release level DEPTH Pitch Original pitch Initial level Release level --- 0 Attack time [F3] FILTER HPFCutoff (High Pass Filter Cutoff frequency) 144 Owner’s Manual Determines the Cutoff frequency for the High Pass Filter. Settings: -64 ~ 0 ~ +63 Release time Key off Time Voice Edit mode [F4] NATIVE With a Plug-in board installed to this synthesizer, you can create a Plug-in Voice by editing both native parameters (those parameters exclusive to the particular board) and unique parameters (related specifically to this synthesizer). Pressing [F4] gives you access to the native parameters of the Plug-in board. The parameters will vary depending on the Plug-in Board. For details about each parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board. [F5] LFO (Low Frequency Oscillator) From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects. Speed Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it. Settings: -64 ~ 0 ~ +63 Delay Determines the delay time between the moment you press note on the keyboard and the moment the LFO comes into effect. Positive settings lengthen the delay and negative settings shorten it. Settings: -64 ~ 0 ~ +63 PMod (Pitch Modulation Depth) Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount and negative settings decrease it. Settings: -64 ~ 0 ~ +63 [F6] EQ (Equalizer) LowFreq (Low Frequency) LowGain HighGain Determines the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/attenuated by the amount set in the LowGain parameter. Settings: 32Hz ~ 2.0kHz LowGain (Low Gain) Determines the amount by which signals below the LowFreq frequency will be boosted/attenuated. Settings: -64 ~ 0 ~ +63 HighFreq (High Frequency) Determines the shelving point for the high frequencies. The levels of signals above this frequency will be boosted/attenuated by the amount set in the HighGain parameter. Settings: 500Hz ~ 16.0kHz Determines the amount by which signals above the HighFreq frequency will be boosted/attenuated. Utility mode Sequence Play mode Settings: -64 ~ 0 ~ +63 File mode HighGain (High Gain) Owner’s Manual 145 Reference - Performance mode Frequen 0 Voice mode HighFreq Multi mode LowFreq For details on the EQ, see page 119. Master mode n Gain + Multi Voice mode From this display you can apply equalizer settings to the Plug-in Voice. This is a shelving equalizer with two bands; one for high frequencies and the other for low frequencies. Voice Job mode [VOICE] → Voice selection → [JOB] Voice Job mode The Voice Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. [F1] INIT (Initialize) This function lets you reset (initialize) all Voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Element/Drum key, and so on—very useful when creating a completely new voice from scratch. Type of parameter to be initialized All: All data in the Common Edit and Element (Key) Edit modes Common: Data in the Common Edit mode EL (1-4): Data of the corresponding Element Edit parameters If “without Wave” is checked, the waves assigned to the Elements (Keys) will not be initialized. n n In order to select “Common,” “EL,” or “without Wave,” the “ALL” box must be unchecked. If you turn the check mark on when a Drum Voice is selected, you can select a specific Drum Key. [F2] RECALL (Edit Recall) If you are editing a Voice and select a different Voice without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Voice with your latest edits intact. [F3] COPY Source Voice Voice mode Data type to be copied (Type) Common: Data in the Common Edit mode Element (1-4): Data of the corresponding Element Edit parameters Key C0-C6: Data of the corresponding Key Edit parameters Performance mode Destination Voice (Current Voice) Copy procedure 1. Select the Source Voice. When “Current” is selected in the Source Voice, the Source Voice will be same as the Destination Voice. If you wish to copy one Element to another Element in the same Voice, select “Current.” 2. Select the Destination Voice (Current Voice). If the Source Voice type (Normal/Drum/Plug-in) differs from that of the Voice you are currently editing (destination), you will only be able to copy the Common parameters. 3. When “Element” or “Key” is selected in the Source Voice, select the Part/Key to be copied in the Destination Voice. 4. Press the [ENTER] button. Multi mode Multi Voice mode Sequence Play mode Reference Utility mode File mode [F4] BULK (Bulk Dump) This function lets you send all your edited parameter settings for the currently selected Voice to a computer or another MIDI instrument for data archiving. For details, see page 126. n In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo. Voice Store mode [VOICE] → Voice selection → [STORE] This function lets you store your edited voice to User memory. For details, refer to page 50 in the Quick Guide section. Master mode 146 From this display you can copy Common and Element/Drum Key parameter settings from any Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter settings from another Voice. Owner’s Manual Supplementary infomation ■ Supplementary information Micro Tuning List [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo./M.TuningRoot (page 128) Type M.TuningRoot Comments 00 Equal Temp (Equal temperament) -- The “compromise” tuning used for most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with identical pitch relationships. However, none of the intervals are perfectly in tune. 01 PureMaj (Pure major) This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C~B) you will be playing in. 02 PureMin (Pure minor) C~B The same as Pure Major, but designed for the minor scale. 03 Werckmeist (Werckmeister) C~B Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character. 04 Kirnberger C~B Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to allow performances in any key. 05 Vallot&Yng (Vallotti & Young) C~B Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to the Pythagorean tuning, in which the first six fifths are lower by the same amount. 06 1/4 Shift (1/4 shifted) -- This is the normal equal tempered scale shifted up 50 cents. 07 1/4 tone -- Twenty-four equally spaced notes per octave. (Octaves are 24 notes apart.) 08 1/8 tone -- Forty-eight equally spaced notes per octave. (Octaves are 48 notes apart.) 09 Indian -- Designed for use Indian music (white keys only). 10 Arabic 1 C~B Designed for use Arabic music. 11 Arabic 2 12 Arabic 3 Multi mode Performance mode C~B Voice mode M.TuningNo. Setting example of Filter Scaling File mode Cutoff Frequency 81 97 Amplitude 74 Master mode 90 68 84 60 76 Note C1 D2 C3 A4 Break Point 1 Break Point 2 Break Point 3 Break Point 4 Note C1 C2 Break Point 1 Break Point 2 C3 Break Point 3 C4 Break Point 4 Owner’s Manual 147 Reference The best way to understand Amplitude Scaling is by example. For the settings shown in the example display above, the basic Amplitude (volume) value for the selected Element is 80, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Amplitude are shown in the diagram below. The Amplitude changes in a linear fashion between successive Break Points as shown. Sequence Play mode The best way to understand Filter Scaling is by example. For the settings shown in the example display below, the basic Cutoff frequency value is 64, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Cutoff frequency are shown in the diagram below. The Cutoff frequency changes in a linear fashion between successive Break Points as shown. Utility mode [VOICE] → [EDIT] → Element selection → [F4] AMP → [SF5] SCALE (page 138) Multi Voice mode Setting example of Amplitude Scaling [VOICE] → [EDIT] → Element selection → [F3] FILTER → [SF5] SCALE (page 137) Supplementary Filter Type List [VOICE] → [EDIT] → Element selection → [F3] FILTER → [SF1] TYPE → Type (page 135) LPF24D (24dB/oct Digital Low Pass Filter) A dynamic 24dB/oct low-pass filter with a characteristic digital sound. Compared to the LPF24A type (below), this filter can produce a more pronounced resonance effect. HPF12 (12dB/oct High Pass Filter) 12dB/oct dynamic high-pass filter. Dual HPF (Dual High Pass Filter) Two 12dB/oct high-pass filters connected in parallel. Resonance Level Distance Resonance These frequencies are “passed” by the filter. Frequency BPF12D (12dB/oct Digital Band Pass Filter) Resonance Level LPF24A (24dB/oct Analog Low Pass Filter) A digital dynamic low-pass filter with characteristics similar to a 4-pole analog synth filter. The lower cutoff frequency is set directly on the display. Cutoff range Cutoff range 12db/oct Dual BPF (Dual Band Pass Filter) Two 6dB/oct band-pass filters connected in parallel. Level Distance Frequency Resonance Range passed Voice mode BPFw (Wide Band Pass Filter) A 12dB/oct BPF that combines HPF and LPF filters to allow wider bandwidth settings. LPF18 (18dB/oct Low Pass Filter) 3-pole 18dB/oct low-pass filter. Level Performance mode Cutoff range Cutoff range LPF18s (18dB/oct Staggered Low Pass Filter) 3-pole 18dB/oct low-pass filter. This filter has a smoother cutoff slope than the LPF18 type. Width can be increased Multi mode Multi Voice mode Sequence Play mode Utility mode Reference Resonance LPF6 (6dB/oct low-pass Filter) 1-pole 6dB/oct low-pass filter. No resonance. This filter is designed to be used in conjunction with a high-pass filter. Level BPF6 (6dB/oct Band Pass Filter) Frequency The lower cutoff frequency is set directly on the display. Resonance Cutoff range Cutoff range LPF12 + BPF6 (12dB/oct Low Pass Filter + 6dB/ oct Band Pass Filter) A combined low-pass and high-pass filter. 6db/oct Frequency Level Range passed BEF12 (12dB/oct Band Elimination Filter) BEF6 (6dB/oct Band Elimination Filter) Level Cutoff range The lower cutoff frequency is set directly on the display. File mode Frequency Range passed Range passed Center frequency Master mode HPF24D (24dB/oct Digital High Pass Filter) A dynamic 24dB/oct high-pass filter with a characteristic digital sound. This filter can produce a pronounced resonance effect. Dual LPF (Dual Low Pass Filter) Two 12dB/oct low-pass filters connected in parallel. Level Distance Frequency The lower cutoff frequency is set directly on the display. Owner’s Manual Frequency Distance Resonance 148 Distance Range passed Level LPF12 (12dB/oct Low Pass Filter) 12dB/oct low-pass filter. This filter is designed to be used in conjunction with a high-pass filter. Dual BEF (Dual Band Elimination Filter) Two 6dB/oct band-elimination filters connected in serial. Frequency Resonance LPF18 LPF18s Frequency The lower cutoff frequency is set directly on the display. thru The filters are bypassed and the entire signal is unaffected. Performance Play mode Performance mode Performance Play mode [PERFORM] → Performance selection The Performance Play mode lets you perform a variety of general editing operations on the selected Performance. For more detailed and comprehensive editing operations, use the Performance Edit mode. n The parameters that have the same name in the Performance Play mode and in the Performance Edit mode have the same functions and settings. [F1] PLAY TCH (Transmit Channel) OCT (Octave) Same as in Voice Play mode. These parameters are available both in the Voice mode and the Performance mode regardless of the selected Voice or Performance. ASA (ASSIGN A), ASB (ASSIGN B) TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Performance. Because of this, these are not stored as an individual Performance in the Performance Store mode (page 156). AS1 (ASSIGN 1), AS2 (ASSIGN 2) Indicates the values obtained by controlling the respective Control sliders (printed “ASSIGN 1” and “ASSIGN 2”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these sliders depend on the setting of the Voice assigned to each Part of the Performance. [SF1] ARP1 (Arpeggio 1) [SF5] ARP5 (Arpeggio 5) You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance. Refer to page 39 in the Quick Guide section. [F2] VOICE Voice mode n [SF4] LIMIT L (Note Limit Low) This sets the lowest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note. [SF5] LIMIT H (Note Limit High) This sets the highest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note. [F3] EFFECT Pressing the [F3] EFFECT button in the Performance Play mode calls up the same EFFECT display in the Performance Edit mode ([PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT). From this display, you can set the effect related parameters for the current Performance. See page 122. [F4] PORTA (Portamento) From this display you can set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. PortaSw (Portamento Switch) Determines whether Portamento is on or off for all Parts. (This is a global switch and overrides the individual Part settings in Part Switch below.) Settings: off, on PortaTime (Portamento Time) Determines the pitch transition time. This parameter offsets the same parameter in Part Edit (page 152). Higher values result in longer transition times. PartSwitch Determines whether Portamento is on or off for each individual Part. This is available only when the PortaSw (above) is set to on. Settings: -64 ~ 0 ~ +63 [F5] EG (Envelope Generator) This display contains the basic EG settings, both volume and filter, for the Performance, as well as the filter’s cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Performance Edit mode (pages 154, 155). The parameters are same as in Voice Play mode. See page 128. [F6] ARP (Arpeggio) This display contains the basic settings for Arpeggio playback, including Type and Tempo. Note that the Performance mode lets you independently enable or disable Arpeggio playback for each Part. The parameters are same as in the Voice Play mode (page 128) except for the following one. PartSw Determines whether Arpeggio is on or off for the selected Part. The Parts for which boxes are checkmarked are enabled for Arpeggio play. Owner’s Manual 149 Reference Pressing this button deletes the Voice assignment for the selected Part, leaving the Part blank. Multi Voice mode [SF3] DELETE Sequence Play mode Press this button to assign a Plug-in Voice to the selected Part. Utility mode [SF2] ADD PLG (Add Plug-in Voice) File mode Press this button to assign an internal Voice to the selected Part. Master mode [SF1] ADD INT (Add Internal Voice) Multi mode Performance mode From this display you can select a Voice for each Part and determine the note range it can be played from. Performance Edit mode Common Edit Performance Edit mode [PERFORM] → Performance selection → [EDIT] Voice Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Parts). Common Edit [PERFORM] → Performance selection → [EDIT] → [COMMON] [F1] GENERAL [SF1] NAME From this display you can assign the category (sub and main) of the selected Performance, and create a name for the Performance. The Performance name can contain up to 10 characters. For detailed instructions on naming a Performance, see “Basic Operation” on page 128. [SF3] MEQ OFS (Master EQ Offset) Determines the offset values of the Master EQ in the [F2] OUT/MEF → [SF2] MEQ display. The level of each of the four bands (with the exception of “MID”) can be adjusted. When the [EQ] button is turned on, you can also adjust these settings directly from the Control sliders. [SF4] PORTA (Portamento) This display allows you to set the Portamento related parameters. The parameters are the same as in the Performance Play mode. See page 129. [SF5] OTHER From this display you can set the control functions for the Control sliders and related parameters. With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the Voice Edit mode (page 129). [F2] OUT/MEF (Output/Master Effect) Voice mode [SF1] OUT (Output) Determines the output level of the selected Performance. You can adjust the overall volume, keeping the balance between all Parts. Volume Settings: 0 ~ 127 Performance mode Determines the stereo pan position of the selected Performance. This parameter offsets the same parameter in the Part Edit setting. When the [PAN/SEND] button is turned on, you can also adjust this parameter using the Control slider. Pan Settings: L63 (Left) ~ C (Center) ~ R63 (Right) n A setting of “C” (center) maintains the individual Pan settings of each Part. Multi mode RevSend (Reverb send) Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb effect. When the [PAN/SEND] button is turned on, you can also adjust this parameter using the Control slider. Settings: 0 ~ 127 ChoSend (Chorus send) Settings: 0 ~127 n For details on Effect connections in the Performance mode, see page 122. [SF2] MEQ (Master EQ) Sequence Play mode Reference Multi Voice mode Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus effect. When the [PAN/SEND] button is turned on, you can also adjust this parameter using the Control slider. From this display you can apply five-band equalization to all Parts of the selected Performance. You can raise or lower the signal level at the Frequency of each band (LOW, LOWMID, MID, HIGHMID, HIGH). Determines whether the equalizer type used is Shelving or Peaking. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. This parameter is available only for the LOW and HIGH frequency bands. SHAPE Utility mode Settings: shelv (Shelving type), peak (Peaking type) FREQ (Frequency) Determines the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. Settings: LOW: Shelving 32Hz ~ 2.0kHz, Peaking 63Hz ~ 2.0kHz LOWMID, MID, HIGHMID: 100Hz ~ 10.0kHz HIGH: 500Hz ~ 16.0kHz File mode Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted. GAIN Settings: -12dB ~ 0dB ~ +12dB Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. Master mode Settings: 0.1 ~ 12.0 n For details on the EQ, see page 119. [SF3] MEF (Master Effect) From this display you can set the Master Effect related parameters. Determines whether Master Effect is applied or not to the selected Performance. Switch Settings: off, on Determines the Master effect type. Type Settings: Refer to the Effect Types list in the separate Data List booklet. n 150 The available parameters except for the above two differ depending on the currently selected effect type. For more information, refer to the separate Data List booklet. Owner’s Manual Performance Edit mode Common Edit [F3] ARP (Arpeggio) From this display you can set the Arpeggio related parameters. [SF1] TYPE Same as in Normal Voice Common Edit. See page 129. [SF2] LIMIT [SF3] PLAY FX (Play Effect) [SF4] OUT CH (Output Channel) OutputSwitch From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have the Arpeggio sound from an external tone generator or synthesizer. When this is set to on, Arpeggio playback data is output via MIDI. Settings: on, off TransmitCh Determines the MIDI transmit channel for Arpeggio playback data. When set to “KbdCh,” the Arpeggio playback data is output via the MIDI Keyboard Transmit Channel ([UTILITY] → [F5] MIDI → KBDTransCh). Settings: 1 ~ 16, KbdCh (Keyboard Channel) [F4] CTL ASN (Controller Assign) RB (Ribbon Controller) The S90 ES does not have a Ribbon Controller. However, the S90 ES responds as if a Ribbon Controller was used when receiving Control Change messages over the Control Change number determined in this parameter. AS1 (Assign 1), AS2 (Assign 2) Determines the Control Change number generated when you control the Control slider 3 and the Control slider 4 with both the [PAN/SEND] and [TONE] lamp turned on. FC1 (Foot Controller 1), FC2 (Foot Controller 2) Determines the Control Change number generated when you use the Foot Controller connected to the FOOT CONTROLLER jack. n Keep in mind that the functions of these controllers set here are not changed for the internal tone generator. The controller assignments for the S90 ES itself depend on the settings of the Voices assigned to each Part. [F5] AUDIO IN The audio signal input from the A/D INPUT jack, and mLAN connector (when the optional mLAN16E has been installed to this synthesizer), can be handled as Audio Input Parts. You can apply various parameters such as Effect settings to these Parts, just as with the other Parts. [SF1] OUTPUT Determines the output level of the Audio Input Part. Sequence Play mode Settings: 0 ~ 127 Determines the stereo pan position of the Audio Input Part. Pan Settings: L63 (Left) ~ C (Center) ~ R63 (Right) RevSend Determines the Send level of the Audio Input Part signal sent to the Reverb effect. Settings: 0 ~ 127 ChoSend Determines the Send level of the Audio Input Part signal sent to the Chorus effect. Settings: 0 ~ 127 DryLevel Determines the level of the Audio Input Part which has not been processed with the System Effects (Reverb, Chorus). Utility mode Volume Settings: 0 ~ 127 n For details about Effect connection in the Performance mode, see page 122. Mono/Stereo Determines the signal configuration for the Audio Input Part, or how the signal or signals are routed (stereo or mono). OutputSel (Output Select) Master mode Settings: stereo, L mono, R mono, L+R mono stereo............... Both the L and R channels of the audio input are used. L (left) mono .... Only the L channel of the audio input is used. R (right) mono . Only the R channel of the audio input is used. L+R mono........ The L and R channels of the audio input are mixed and processed in mono. Determines the output jack assignment for the Audio Input Part. Settings: See page 63. Owner’s Manual 151 Reference Multi Voice mode For details about the Audio Input Parts, see page 118. File mode n Performance mode Determines the Control Change number generated when you apply breath pressure to the Breath Controller connected to the BREATH connector. Multi mode BC (Breath Controller) Voice mode You can assign Control Change numbers to the controllers listed below, letting you use the hardware controllers on the keyboard to alter the sound of external MIDI devices, via the appropriate MIDI messages. When the S90 ES receives Control Change data corresponding to the settings here, the internal tone generator responds as if the instrument’s controllers were used. Performance Edit mode Part Edit [SF2] INS TYPE (Insertion Type) InsEF Connect (Insertion Effect Connection) InsA Ctgry (Insertion A Category) InsA Type (Insertion A Type) This display is available only when the AD (A/D Part) is set to on from the [F6] EFFECT → [SF2] INS SW display. The type and connection of the Insertion Effect applied to the A/D Part can be set from this display. Same as in the CONNECT display in the Voice Edit mode ([VOICE] → [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT). Please note that the InsEF Connect cannot be set to “parallel” here. n When selecting the effect types in this display, [SF3] INS A and [SF4] INS B are displayed and you can set the effect parameters. InsB Ctgry (Insertion B Category) InsB Type (Insertion B Type) n Insertion effects can be applied only to the A/D Part, among the Audio Input Parts. [F6] EFFECT This menu gives you comprehensive control over the effects. For details about the Effect connections in the Performance mode, see page 122. [SF1] CONNECT (Connection) For details on the parameters, see page 122. [SF2] INS SW (Insertion Switch) The Insertion Effects can be applied to up to eight Parts. This display lets you set to which Parts the Insertion Effects are applied. [SF3] PLG-EF (Plug-in Effect) This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100VH has been installed to this synthesizer. For details on each parameter, refer to the Owner’s Manual included with the PLG100-VH. [SF4] REVERB The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. Voice mode [SF5] CHORUS [PERFORM] → Performance selection → [EDIT] → Part selection Part Edit Performance mode These parameters are for editing the individual Parts that make up a Performance. To switch between the display for Parts 1 - 4 to which the internal Voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices are assigned, press the [F6] button. n Multi mode When a Plug-in Voice is assigned to a Part of the selected Performance, some parameters may not be available depending on the installed Plug-in board. [F1] VOICE [SF1] VOICE Sequence Play mode Reference Multi Voice mode PartSw (Part Switch) Determines whether each Part is on or off. Since a Performance can consist of up to four Parts, you can select four Parts from Parts 1 - 4 and the Plug-in Parts 1 - 3. Settings: on, off Bank Determines the Voice Bank (page 30) for each Part. For details about the Plug-in Voice Bank, refer to the Owner’s Manual included with your Plug-in Board. Number Determines the Voice Program number for each Part. For details about the Plug-in Voice Program number, refer to the Owner’s Manual included with your Plug-in Board. [SF2] MODE Utility mode Mono/Poly Settings: mono, poly n This parameter is not available for the Part to which a Drum Voice is assigned. File mode ArpSwitch (Arpeggio Switch) Determines whether Arpeggio is on or off for the currently selected Part. Settings: on, off [SF3] LIMIT Master mode NoteLimitH (Note Limit High) NoteLimitL (Note Limit Low) VelLimitH (Velocity Limit High) VelLimitL (Velocity Limit Low) 152 Determines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic (multiple notes). Owner’s Manual Determines the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes played within its specified range. Settings: C -2~G8 n If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.” n You can set the note by pressing the keyboard while holding the [INFORMATION] button. Determines the minimum and maximum values of the velocity range within which each Part will respond. Each Part will only sound for notes played within its specified velocity range. Settings: 1~127 n If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered will be “1 to 34” and “93 to 127.” Performance Edit mode [SF4] PORTA (Portamento) Switch Part Edit Determines the Portamento parameters for each Part. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. Determines whether Portamento is on or off. Settings: off, on Time Determines the pitch transition time. Higher values mean longer transition times. Settings: 0 ~127 Mode Determines the Portamento mode. Settings: fingr (fingered), full (full time) fingr (fingered)..........Portamento is only applied when you play legato (playing the next note before releasing the previous one). full (full time) .............Portamento is always applied. n The Mode setting is not available for the Plug-in Part. n These Portamento parameters above are not available for the Part to which the Drum Voice is assigned. [SF5] OTHER PB (Pitch Bend) Upper, PB (Pitch Bend) Lower Determines the amount and direction of Pitch Bend range. Details are same as that in the Common Edit parameters in Normal Voice mode (page 129). Settings: -48 ~0 ~+24 PB (Pitch Bend) Range This parameter is available for Plug-in Parts 1 - 3. This determines the pitch change range (in semitones) of the Pitch Bend wheel. Unlike the Pitch Bend setting for Parts 1 - 4 to which the internal Normal Voices are assigned described above, the Upper and Lower ranges of the Drum Voice Parts and Plug-in Parts cannot be set independently. Depth = 64 Actual resulting velocity (affecting the tone generator) Depth = 32 Depth = 0 127 Velocity with which you play a note VelSensOfst (Velocity Sensitivity Offset) Determines the amount by which played velocities are adjusted for the actual resulting velocity effect. This lets you raise or lower all velocities by the same amount — allowing you to automatically compensate for playing too strongly or too softly. Settings: 0 ~ 127 When Depth (above) = 64 and Offset = 32 When Depth (above) = 64 and Offset = 64 127 127 Sequence Play mode 127 When Depth (above) = 64 and Offset = 96 Actual resulting velocity (affecting the tone generator) 0 64 127 0 64 127 Velocity with which you play a note 0 64 127 [F2] OUTPUT Volume Determines the volume for each Part, giving you detailed control over the level balance among the Parts. Settings: 0~127 Pan Determines the stereo pan position for each Part. File mode [SF1] VOL/PAN (Volume/Pan) VoiceELPan (Voice Element Pan) Determines whether the individual pan settings for each Voice (made via [VOICE] → [EDIT] → Element selection → [F4] AMP → [SF1] LVL/PAN → Pan) are applied or not. When this is set to “off,” the basic pan position for the selected Part is set to center. Settings: on, off n This parameter is not available for the Plug-in Parts. [SF2] EF SEND (Effect Send) RevSend (Reverb Send) Master mode Settings: L63 (far left) ~ C (center) ~ R63 (far right) From this display you can set the Send Level and Dry Level sent to the System Effects for each Part. For details about the Effect connection in the Performance mode, see page 122. Determines the send level for the Reverb effect of the selected Part, giving you detailed control over the Reverb balance among the Parts. Settings: 0~127 ChoSend (Chorus Send) Determines the send level for the Chorus effect of the selected Part, giving you detailed control over the Chorus balance among the Parts. Settings: 0~127 Owner’s Manual 153 Reference 0 Performance mode Depth = 127 127 Multi mode Settings: 0 ~ 127 When Offset (below) is set to 64: Multi Voice mode Determines the degree to which the resulting volume of the tone generator responds to your playing strength. The higher the value, the more the volume changes in response to your playing strength (as shown at right). Utility mode VelSensDpt (Velocity Sensitivity Depth) Voice mode Settings: -24 ~ 0 ~ +24 Performance Edit mode Part Edit Determines the level of the unprocessed (dry) sound of the selected Part, letting you control the overall effect balance among the Parts. Dry Level Settings: 0~127 [SF3] SELECT (Output Select) OutputSel (Output Select) From this display you can assign individual Parts to sound from independent output connectors (jacks). Determines the specific output(s) for the individual Part. You can assign each individual Part’s Voice to be output from a specific hardware output jack on the rear panel. Settings: See page 63. InsEF (Insertion Effect) Determines whether the Insertion effects are applied to the output signal from the rear panel or not. Settings: on, off [F3] EQ (Equalizer) From this display you can adjust the EQ settings for each Part. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with. • Display showing four Parts • Display showing all parameters for one Part Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters. For details about the Effect connection including the EQ in the Performance mode, see page 122. n This display is not available for the Plug-in Part. LowFreq (Low Frequency) Determines the center frequency of the low EQ band that is attenuated/boosted. Settings: 50.1 ~ 2.00K Voice mode LowGain (Low Gain) Determines the amount of boost or attenuation applied to the low EQ band. Settings: -32 ~ +32 MidFreq (Middle Frequency) Determines the center frequency of the middle EQ band that is attenuated/boosted. Settings: 139.7 ~ 10.1K Performance mode MidGain (Middle Gain) Determines the amount of boost or attenuation applied to the middle EQ band. Settings: -32 ~ +32 MidReso (Middle Resonance) Determines the resonance applied to the center frequency of the middle EQ band. Settings: 0 ~ 31 Multi mode HighFreq (High Frequency) Determines the center frequency of the high EQ band that is attenuated/boosted. Settings: 503.8 ~ 14.0K HighGain (High Gain) Determines the amount of boost or attenuation applied to the high EQ band. Settings: -32 ~ +32 You can set parameters related to the pitch and tone for each Part. Keep in mind that the settings made here are applied as offsets to the Voice Edit settings. [SF1] TUNE Sequence Play mode Reference Multi Voice mode [F4] TONE Determines the pitch (key transpose) setting for each Part in semitones. NoteShift Settings: -24 ~ +24 Determines the fine tuning for each Part. Detune Settings: -12.8Hz ~+12.7Hz Utility mode [SF2] FILTER Keep in mind that the settings made here are applied as offsets to the filter settings in the Element Edit parameters of each Part’s Voice. Determines the cutoff frequency for each Part. This parameter is available for the LPF when the filter used by the Part is a combination type of LPF and HPF. Cutoff Settings: -64 ~ 0 ~ +63 File mode Resonance Determines the Filter Envelope Generator depth (amount of cutoff frequency) for each Part. FEGDepth Master mode Settings: -64 ~ 0 ~ +63 n The FEG Depth setting is not available for the Plug-in Parts. n For details about Filter, see page 113. [SF3] FEG (Filter Envelope Generator) Attack (Attack Time) Decay (Decay Time) Sustain (Sustain Level) Release (Release Level) 154 Determines the amount of filter resonance or emphasis of the Cutoff Frequency for each Part. Settings: -64 ~ 0 ~ +63 Owner’s Manual From this display you can set the FEG (Filter Envelope Generator) parameters for each Part. Keep in mind that the settings made here are applied as offsets to the filter settings in the Element Edit parameters of each Part’s Voice. Determines each parameter of the FEG for each Part. For details about FEG, see page 113. Settings: -64 ~ 0 ~ +63 n These parameters are not available for the Drum Voice Parts and PLG Parts. Performance Edit mode [SF4] AEG (Amplitude Envelope Generator) Attack (Attack Time) Decay (Decay Time) Sustain (Sustain Level) Part Edit From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part. Determines each parameter of the AEG for each Part. For details about AEG, see page 114. Settings: -64 ~ 0 ~ +63 n The Sustain and Release parameters are not available for the Drum Voice Parts. The Sustain parameter is not available for the Plug-in Parts. Release (Release Level) [F5] RCV SW (Receive Switch) From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with. • Display showing four Parts • Display showing all parameters for one Part Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters. MIDI messages generated by using the Pitch Bend Wheel. MW (Modulation Wheel) MIDI messages generated by using the Modulation Wheel. RB (Ribbon Controller)* MIDI messages generated by using the Ribbon Controller. ChAT (Channel After Touch) MIDI messages generated by pressing and holding the note on the keyboard. FC1 (Foot Controller 1)* MIDI messages generated by using the optional Foot Controller connected to the rear panel. FC2 (Foot Controller 2)* MIDI messages generated by using the optional Footswitch connected to the SUSTAIN jack on the rear panel. FS (Footswitch)* MIDI messages generated by using the optional Footswitch connected to the ASSIGNABLE jack on the rear panel. AS1 (Assign1)*, AS2 (Assign2)* MIDI messages generated by using the ASSIGN1 and ASSIGN2 Control sliders with both the [PAN/SEND] and [TONE] lamps turned on. BC (Breath Controller)* MIDI messages generated by using the optional Breath Controller connected to the BREATH jack on the rear panel. Exp (Expression) MIDI messages generated by using the optional Foot Controller connected to the rear panel. Master mode File mode Utility mode Sequence Play mode Multi Voice mode Sus (Sustain) Owner’s Manual 155 Reference PB (Pitch Bend) Performance mode Indicates all the Control Change messages. Multi mode CtrlChange (Control Change) Voice mode Settings: See below. Parameters marked with an asterisk (*) are not available for the Plug-in Part. Performance Job mode Performance Job mode [PERFORM] → Performance selection → [JOB] The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. n Among the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4, and 5 indicate the mLAN Input Parts. [F1] INIT (Initialize) This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Part, and so on — very useful when creating a completely new Performance from scratch. Type of parameter to be initialized All: All data in the Performance Common: Data in the Common Edit mode Part 1-4: Data of the Part Edit parameters of the corresponding internal Part PLG 1-3: Data of the Part Edit parameters of the corresponding Plug-in Part Audio 1-5: Data of the Part Edit parameters of the corresponding Audio Part n In order to select “Common,” “Part,” or “Audio,” the “ALL” box must be unchecked. [F2] RECALL (Edit Recall) If you are editing a Performance and select a different Performance without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Performance with your latest edits intact. Voice mode [F2] RECALL (Edit Recall) If you are editing a Performance and select a different Performance without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Performance with your latest edits intact. [F3] COPY Performance mode Source Performance Multi mode Data type to be copied (Type) Part 1-4: Data of the Part Edit parameters of the corresponding internal Part Part P1-P3: Data of the Part Edit parameters of the corresponding Plug-in Part Part A1-A5: Data of the Part Edit parameters of the corresponding Audio Part Destination Performance (currently selected Performance) Sequence Play mode Reference Multi Voice mode Utility mode File mode Master mode 156 ou can copy Part parameter settings from any Performance to a particular Part of the Performance you are editing. This is useful if you are creating a Performance and wish to use some parameter settings from another Performance. Copy procedure 1. Select the Source Performance When “Current” is selected in the Source Performance, the Source Performance will be same as Destination Performance. If you wish to copy one Part to another Part in same Performance, select “Current.” 2. Select the type of Source Performance (data that you want to copy). 3. Select which Parts will be replaced by the copied Part in the Destination Performance parameter. If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the Source Part will be copied. 4. Press the [ENTER] button. [F4] BULK (Bulk Dump) This function lets you send all your edited parameter settings for the currently selected Performance to a computer or another MIDI instrument for data archiving. For details, see page 126. In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo. Performance Store mode [PERFORM] → Performance selection → [STORE] This function lets you store your edited Performance to User memory. For details, refer to page 56 in the Quick Guide section. Owner’s Manual Multi Play mode Multi mode [MULTI/SEQ PLAY] (select Multi mode) → Multi selection Multi Play mode [F1] PLAY Track Indicates the selected Part number. The notes you play in Multi Mode will be transmitted on the same MIDI channel as the corresponding Track number. You can change the Track number by pressing the [TRACK SELECT] button (the indicator lights), then press any of the Number [1] - [16] buttons. n OCT (Octave) Selecting one of the PLG Parts 1-3 displays Track 1-3. Selecting one of the Multi-part Plug-in Parts 17-32 displays Track 1-16, e.g. the PLG Part 1-3, displays Track 1-3. When selecting Multi-part Plug-in Part 17-32, displays Track 1-16. Same as in the Performance Play mode (page 149). ASA (Assign A), ASB (Assign B) AS1 (Assign 1), AS2 (Assign 2) Determines the stereo pan position for each part. Settings: Settings: L63 - L01, C, R01 - R63 Determines the volume for each part, giving you detailed control over the level balance among the parts. Settings: 0 - 127 [F3] VOICE Determines the Voices for assigning to each Part. Select the Part then determine the Voice bank and Voice number via the same procedure as in the Voice mode (page 24 ). [F4] EF SEND (Effect Send) Determines the Send Level/Dry Level to the System Effects for each Part. REV SEND (Reverb Send) Determines the Send Level for the Reverb/Chorus Effect of the selected Part, giving you detailed control over the Reverb/Chorus balance among the parts. CHO SEND (Chorus Send) Settings: 0 - 127 DRY LVL (Dry Level) Determines the Dry Level (unprocessed level) of the selected Part, giving you detailed control over the balance between the original, unprocessed sound of the Parts and the Reverb/Chorus sound. Settings: 0 - 127 [F5] ARP (Arpeggio) You can select the Arpeggio display only from the [F1] Play display. The parameters are same as in the Performance Play mode. n Only Normal Voices can be edited. [F5] VCE ED (Multi Voice Edit) (when a display other than [F1] PLAY is shown) You can select the VCE ED display from any display other than the [F1] play display. Press the [F5] VCE ED button in the Multi mode to call up the Multi Voice Edit mode (page 161). Press the [EXIT] button to return to the original display. Only Normal Voices can be edited. File mode n [F6] F/ J(when the [F1] PLAY display is shown) Pressing the [F1] button plays back the MIDI song assigned to the last selected Chain Step number in the Sequence Play mode. You can switch among the displays for three types of Parts by pressing this button. Numbers 1-16 are Parts of the internal tone generator, 17-32 are Multipart Plug-in Parts of the optionally installed PLG100-XG, and PLG 1-3 are Plug-in Parts of the optionally installed Single Part Plug-in Board. n Please note that the Multi-part Plug-in Part (17 - 32) settings apply not to one individual Multi but to all Multis. Owner’s Manual Master mode [F6] 17-32/PLG1-3/1-16 (when a display other than [F1] PLAY is shown) 157 Reference Multi mode The Category Search function cannot be used to select the Voices of the Multi Part Plug-in Parts 17-32 (when the PLG 100-XG has been installed). You can also change the VOICE NUM (Voice Number) or BANK MSB/LSB (Bank select MSB/LSB) directly using the Data dial. Multi Voice mode n n Sequence Play mode VOLUME Utility mode PAN Performance mode [F2] VOL/PAN Voice mode [SF1] ARP1 (Arpeggio 1) - [SF5] ARP5 (Arpeggio 5) Multi Edit mode Common Edit [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] Multi Edit mode Common Edit [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → [COMMON] These parameters are for making global (or common) edits to all Parts of the selected Multi. n Common Edit operations cannot be performed on Multi Plug-in Parts 17 - 32. [F1] GENERAL [SF1] NAME Determines the name of the currently edited Multi. For detailed instructions on naming, see page 27. [SF3] MEQ OFS (Master EQ Offset) Adjusts the master (global) EQ settings for the entire Multi. The settings made here are applied as offsets to the EQ settings (with the exception of “MID”) from the [F2] MEQ/MEF display below. Settings: -64 - +63 [SF5] OTHER Determines the Control slider settings. These parameters are the same as in the Voice mode. However, you cannot set the Pitch Bend range in the Multi mode. [F2] MEQ/MEF (Master EQ/Master effect) [SF1] MEQ (Master EQ) These parameters are the same as in the Performance Edit mode (page 150). Voice mode [SF2] MEF (Master Effect) [F3] ARP (Arpeggio) [SF1] TYPE These parameters are the same as in the Performance Edit mode (page 151). Performance mode [SF2] LIMIT [SF3] PLAY FX (Play Effect) [SF4] OUT CH (Output Channel) [F4] CTL ASN (Control Assign) Multi mode These parameters are the same as in the Performance Edit mode (page 151). [F5] AUDIO IN [SF1] OUTPUT Sequence Play mode Reference Multi Voice mode [SF2] INS SW [SF2] INS SW (Insertion Effect Switch) Utility mode [F6] EFFECT For details about the effect connections in the Multi mode, see page 123. [SF1] CONNECT These parameters are the same as in the Performance Edit mode (page 152). [SF3] PLG-EF (Plug-in Effect) [SF4] REVERB [SF5] CHORUS File mode Master mode 158 These parameters are the same as in the Performance Edit mode (page 151). Owner’s Manual Multi Edit mode Part Edit Part Edit [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [EDIT] → Part selection These parameters are for editing the individual Parts that make up a Multi. Press the [F6] button to switch among the various Part displays: • Display for Parts 1 - 16 to which the internal Voices are assigned. • Display for Multi-part Plug-in Parts (17 - 32) to which the PLG100-XG voices are assigned. • Display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the single part Plug-in board are assigned. n n Please note that the Multi-part Plug-in Part (17 - 32) settings apply not to one individual Multi but to all Multis. When one of the Multi-part Plug-in Parts (17 - 32) is selected, some parameters cannot be edited. [F1] VOICE [SF1] VOICE Determines the Voice to be assigned to each Part. Select the Part then determine the Voice bank and Voice number via the same procedure as in the Voice mode (page 73). n n n To select the desired Part, move the cursor using the [<][>] buttons or see page 72. The Category Search function cannot be used to select the Voices of the Multi Part Plug-in Parts 17-32 (when the PLG 100-XG has been installed). You can also change the VOICE NUM (Voice Number) or BANK MSB/LSB (Bank select MSB/LSB) directly using the Data dial. [SF1] MODE Mono/Poly Determine whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). Determines whether Arpeggio is on or off for the currently selected Part. Settings: off, on n Arpeggio Switch is applied to only one Part at the same time. It cannot be applied to multiple Parts simultaneously. However, only Parts having the same receive channel can be applied simultaneously. n ReceiveCh (Receive Channel) The “ArpeggioSW” parameter is not available for Multi-part Plug-in Parts 17 - 32. Determines the MIDI receive channel for the selected Part. Since MIDI data may be coming from many channels at once, you should set this to match the particular channel over which the desired controlling data is being sent. Settings: 01 - 16, off The parameters are the same as in the Performance Edit mode (page 152). Multi mode [SF3] LIMIT Performance mode ArpSwitch (Arpeggio Switch) Voice mode Settings: mono, poly n This parameter is not available for the Part to which a Drum Voice is assigned. [SF4] PORTA (Portamento) [SF5] OTHER The parameters are the same as in the Performance Edit mode (page 153). [SF2] EF SEND [F4] TONE The parameters are the same as in the Performance Edit mode (page 154). [F5] RCV SW (Receive Switch) From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with. • Display showing four Parts This display type shows the Receive Switch status for four Parts at a time. Set the desired Part on or off, for the corresponding MIDI data type. To view and edit another set of four Parts, press the appropriate Number button, [1] to [16]. Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters. • Display showing all parameters for one Part This display type shows all of the Receive Switch settings for a single selected Part. Set the desired MIDI data type on or off for the selected Part. To select other Parts, use the Number [1] - [16] buttons (making sure that the [TRACK SELECT] button is on). Owner’s Manual File mode The parameters are the same as in the Performance Edit mode (page 154). Master mode [F3] EQ (Equalizer) Utility mode Sequence Play mode [SF3] SELECT 159 Reference [SF1] VOL/PAN Multi Voice mode [F2] OUTPUT Multi Job mode Multi Job mode [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [JOB] The Multi Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. n Among the Audio Parts shown in the Multi Job display, Audio Part 1 indicates the A/D Input Part. When the optional mLAN16E has been installed, Audio Parts 2 - 5 are mLAN Input Parts. [F1] INIT (Initialize) This function lets you reset (initialize) all Multi parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Part, and so on — very useful when creating a completely new Multi program from scratch. Type of parameter to be initialized GM ...................Initializes the Voice(s) of Part(s) selected below, just as if they were reset by a GM System On message. All .....................All data in the Common Edit and Part Edit modes Common ..........Data in the Common Edit mode Part 1-16 ..........Data of the Part Edit parameters of the corresponding internal Part PLG 1-3............Data of the Part Edit parameters of the corresponding Plug-in Part Audio 1-5 .........Data of the Part Edit parameters of the corresponding Audio Part n In order to select “Common,” “Part,” “PLG,” or “Audio,” the “All” box must be unchecked. [F2] RECALL (Edit Recall) If you are editing a Multi program and select a different program without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Multi program with your latest edits intact. Voice mode [F3] COPY You can copy Part parameter settings from any Multi to a particular Part of the Multi you are editing. This is useful if you are creating a Multi and wish to use some parameter settings from another Multi. Data type to be copied Performance mode The procedure is same as Performance mode. See page 156. [F4] BULK (Bulk Dump) Multi mode This function lets you send all your edited parameter settings for the currently selected Multi program to a computer or another MIDI instrument for data archiving. n In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number. For details, see page 126. [F5] PF COPY (Performance Copy) All Parts of the Performance are copied at once. Please note that a specific Part or Parts cannot be copied. Sequence Play mode Reference Multi Voice mode This convenient operation lets you copy certain settings of the four Parts in a performance to the Multi program currently being edited. This would come in handy when a certain performance has settings that you want to use in your Multi program. Use this Job to simply copy the settings you need. The MIDI receive channel settings are set to match the basic channel settings (page 165). When the basic channel is set to “omni,” the receive channel here is set to 1. To select a group of parameters for copying, checkmark the appropriate box in the display. n Utility mode Multi Store mode [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [STORE] This function lets you store your edited Multi program to User memory. For details, refer to page 76 in the Quick Guide section. File mode Master mode 160 Part 1-4 ............Data in each Part edit of the internal Parts Part P1-P3 ........Data in each Part edit of the Plug-in Parts Part A1-A5........Data in each Part edit of the Audio Parts Owner’s Manual Multi Voice Edit mode Common Edit Multi Voice mode n You can selsct the Multi Voice mode from any display other than the [F1] play display. [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F3] VOICE → Normal Voice selection → [F5] VCE ED Multi Voice Edit mode From Multi Voice Edit, you can edit the detailed settings of the Normal Voice assigned to each Part. These are the same as in the Voice Common Edit mode (page 128) and the Voice Element Edit mode (page 133). Please note that there are certain parameters that cannot be edited in the Multi Voice Edit mode. Common Edit [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F3] VOICE → Normal Voice selection → [F5] VCE ED → [COMMON] These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice. These are the same as in the Voice Common Edit mode (page 128). Please note that there are certain parameters that cannot be edited in the Multi Voice Edit. Multi Voice Store mode [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F3] VOICE → Normal Voice selection → [F5] VCE ED → [STORE] Performance mode Master mode File mode This function lets you store your edited Multi Voice to User memory. For details, refer to page 50 in the Quick Guide section. Owner’s Manual 161 Reference If you are editing a Multi Voice and select a different Multi Voice, Multi program, Multi without storing your edited one, all the edits you’ve made will be erased. Edits are also erased if the current part to which the edited Multi Voice is assigned receives a program change from an external MIDI instrument. If this happens, you can use Edit Recall to restore the Multi Voice with your latest edits intact by pressing the [ENTER] button. Since a Recall Buffer for the Multi Voice is prepared for each Part of the current Multi, you can specify the Part to which the Multi Voice to be recalled is assigned before executing the Edit Recall. Multi mode [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F3] VOICE → Normal Voice selection → [F5] VCE ED → [JOB] Multi Voice mode Multi Voice Job mode (Edit Recall) Sequence Play mode These parameters are for editing the individual Elements that make up a Normal Voice. These are the same as in the Voice Element Edit mode (page 133). Please note that there are certain parameters that cannot be edited in the Multi Voice Edit mode. Voice mode [MULTI/SEQ PLAY] (select Multi mode) → Multi selection → [F3] VOICE → Normal Voice selection → [F5] VCE ED → Element selection Utility mode Element Edit Sequence Play mode Sequence Play mode Sequence Play mode [MULTI/SEQ PLAY] (select Sequence Play mode) [F1] CHAIN Determines how the SMF files are played back. You can assign the desired SMF files and Multi settings to the desired Chain Step numbers (the playback order). For details, see page 96. [SF4] GET Determines the desired slot number, partition, and directory (folder). [SF5] DEMO Plays the demo songs for S90 ES. For details, see page 29. [F2] OUTPUT These settings apply to each Chain Step number and let you specify the port number and whether or not MIDI messages are output to the internal/external tone generator. n n The OUTPUT settings selected at the last Chain Step are applied to the Multi mode. You can change the settings of all channels simultaneously by changing the parameter while holding the [SF1] ALL button. Also, you can change the settings of channels 1 - 8 or channels 9 - 16 simultaneously by changing the parameter while holding the [SF2] 1-8 button or [SF3] 9-16 button. Determines the MIDI transmission port for the corresponding track. Playback data of tracks set to off is output without a Port designation via MIDI. When using the internal tone generator block, the Port setting here is available for the tracks assigned to the Plug-in Parts 1-3 (when a single Plug-in Board has been installed) and Multi Plug-in Parts 17-32 (when the PLG100-XG has been installed). Tracks using the internal tone generator parts of this synthesizer are automatically fixed to Port 1. PORT Voice mode Performance mode Settings: off, 1-3 n Port data can be output only through the USB terminal. No Port data is transmitted through the MIDI OUT terminal, even if the corresponding track is set to a specific Port number. INT SW (Internal Switch) Determines whether or not the MIDI messages of each channel are sent to the internal tone generator. Settings: on, off EXT SW (External Switch) Determines whether the MIDI messages of each channel are sent to the external device. Multi mode Settings: on, off [F4] TEMPO Determines the SMF file playback tempo. Simultaneously hold down the [F4] TEMPO button and use the Data dial or [INC/YES]/[DEC/NO] buttons to change the value. Moves the current measure number. Simultaneously hold down the [F5] MEAS button and use the Data dial or [INC/YES]/[DEC/NO] buttons to change the value. Sequence Play mode Reference Multi Voice mode [F5] MEAS Utility mode File mode Master mode 162 Owner’s Manual Utility mode Utility mode The Utility mode features a variety of important settings related to overall operation of the S90 ES. These settings can also be stored — simply press the [STORE] button from any mode (with the exception of the Utility Job mode), and store the data to internal memory as system settings. Utility mode [UTILITY] In this mode, you can set parameters that apply to the entire system of the S90 ES. This mode is actually a sub-mode of the Voice/Performance/Multi/Sequence Play mode. Press the [UTILITY] button in each mode to enter the Utility mode and press the [EXIT] button after making settings to go back to the previous mode. [F1] GENERAL [SF1] TG (Tone Generator) Volume From this display you can make overall settings for the internal tone generator. Settings here do not affect MIDI messages transmitted to the external MIDI instrument. Determines the overall volume of the instrument. Settings: 0~127 NoteShift Determines the amount (in semitones) by which the pitch of all notes is shifted. BCCurve (Breath Controller Curve) These four curves determine how the sound of the internal tone generator responds to use of a Breath Controller. The setting here affects the Destination parameters when the Source is set to “BC,” both of which can be set in the CTL SET displays ([VOICE] → [EDIT] → [COMMON] → [F4] CTL SET). The graph shown in the display indicates the controller response curve. (The horizontal line represents the received breath control values, while the vertical line represents the actual response of the internal tone generator.) Settings: thru, soft, hard, wide [SF2] KBD (Keyboard) Octave From this display you can set the keyboard-related parameters. The settings here affect the MIDI messages generated by playing the keyboard. Determines the amount in octaves by which the range of the keyboard is shifted up or down. Performance mode Determines the fine tuning (in 0.1 cent steps) of the internal tone generator’s overall sound. Settings: -102.4~+102.3 Multi mode Tune Voice mode Settings: -24~0~+24 Settings: norm, soft, hard, wide, fixed norm (normal)....... This linear “curve” produces one-to-one correspondence between the strength of your keyboard playing (velocity) and the actual sound change. soft........................ This curve provides increased response, especially for lower velocities. In other words, playing softly results in higher response than the “norm” curve. hard ...................... This curve provides increased response, especially for higher velocities. In other words, playing hard results in higher response than the “norm” curve. wide ...................... This setting provides opposite response curves for lower and higher velocities. It widens the apparent dynamic range of the controller, producing less sound change in the softer range and more change in the higher range. fixed...................... This setting produces the same amount of sound change (set in Fixed Velocity below), no matter what your playing strength. FixedVelocity This parameter is only available if you select the “fixed” Velocity Curve above. The velocity of the note you play is fixed at the value set here. Settings: 1 ~ 127 [SF3] EF BYPS (Effect Bypass) From this display you can select the specific effect(s) to be bypassed when the [EFFECT BYPASS] button is turned on. Insertion FInternal When this is set to on and the [EFFECT BYPASS] button is turned on, the internal Insertion Effect is bypassed. FPLG-EF (Plug-in Effect) When this is set to on and the [EFFECT BYPASS] button is turned on, the Insertion Effect or Variation Effect of the Plug-in Boards is bypassed. n This parameter does not affect certain Plug-in Boards. Owner’s Manual 163 Reference Sequence Play mode These five curves determine how the actual velocity will be generated and transmitted according to the velocity (strength) with which you play notes on the keyboard. The graph shown in the display indicates the velocity response curve. (The horizontal line represents the received velocity values (strength of your playing), while the vertical line represents the actual velocity values transmitted to the internal/external tone generators.) Utility mode VelCurve (Velocity Curve) File mode Determines the amount in semitones by which the range of the keyboard is shifted up or down. Settings: -11~ 0 ~+11 n If you transpose beyond the note range limits (C-2 and G8), notes in the adjacent octaves will be used. For example, a transposed note of F9 will be changed to F8. Master mode Transpose Multi Voice mode Settings: -3~0~+3 Utility mode System FReverb When this is set to on and the [EFFECT BYPASS] button is turned on, the Reverb effect is bypassed. FChorus When this is set to on and the [EFFECT BYPASS] button is turned on, the Chorus effect is bypassed. Master When this is set to on and the [EFFECT BYPASS] button is turned on, the Master effect is bypassed. n For details about the Effects, see page 118. [SF4] OTHER Determines whether the Auto Load function is on or off. When this is on, the instrument will automatically load the specified files (from USB storage device) to User memory — whenever the power is turned on. For details about the Auto Load function, see page 106. AutoLoad Settings: on, off PowerOnMode This determines the default power-on mode (and memory bank) — letting you select which condition is automatically called up when you turn the power on. Settings: performance, voice (USR1), voice (PRE1), GM, last, master performance ....Performance Play mode (User Performance 001) voice (USR1)....Voice Play mode (User Voice “USR1: 001”) voice (PRE1) ....Voice Play mode (Preset Voice “PRE 1: 001”) GM ...................Voice Play mode (GM Voices “GM: 001”) last ...................The mode and program number registered the last time by the procedure on page 167. master ..............Master Play mode (User Master 001) mult ..................Multi Play mode (User Multi 001) Voice mode CtrlReset (Controller Reset) Performance mode Settings: reset, hold If you select “reset,” the controllers will be reset to the following states/positions: Pitch Bend .................... Center Modulation Wheel ......... Minimum Aftertouch .................... Minimum Foot Controller ............. Maximum Breath Controller .......... Maximum Foot Switch .................. Off Expression ................... Maximum Foot Volume ................. Maximum Sustain ......................... Off Multi mode [F2] I/O (Input/Output) [SF1] INPUT From this display you can set parameters related to audio input. Sequence Play mode Reference Multi Voice mode When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line. Mic/Line Settings: mic, line mic ...................Intended for low output equipment, such as a microphone, electric guitar or bass. line ...................Intended for high output equipment, such as a keyboard, synthesizer, or CD player. [SF2] OUTPUT From this display you can set parameters related to audio output. Set the output gain of each jack. L&RGain Assign Gain L&R, 1&2, 3&4, 5&6, 7&8, 9&10, 11&12, 13&14 Utility mode mLAN MonitorSw Settings: 0dB, +6dB n The Assign Gain 1&2 - 13&14 parameters are only available when the mLAN16E is installed. When this is set to on, the audio signal of the instrument output via an IEEE1394 cable to a computer will be output also via the main OUTPUT L/MONO and R jacks. When this is set to on, the audio signal sent from a computer to the instrument will be output via the main OUTPUT L/MONO and R jacks directly, bypassing the Effect block. Settings: on, off File mode [VOICE] → [UTILITY] → [F3] [F3] VOICE These special voice-related settings are available only when entering the Utility mode from the Voice mode, letting you set parameters related to all the Voices. [SF1] MEQ (Master EQ) Master mode 164 Determines the status of the controllers (Modulation Wheel, Aftertouch, Foot Controller, Breath Controller, Knobs, etc.) when switching between voices. When this is set to “hold,” the controllers are kept at the current setting. When this is set to “reset,” the controllers are reset to the default states (below). From this display you can apply five-band equalization to all Voices, raising or lowering the level of each frequency band (LOW, LOWMID, MID, HIGHMID, HIGH). The parameters are the same as in the Performance Common Edit. See page 150. Settings: For details about EQ, see page 119. [SF2] MEF (Master Effect) Owner’s Manual From this display you can set the Master Effect related parameters applied to all the Voices. The parameters are the same as in the Performance Common Edit. See page 150. Utility mode [SF3] ARP CH (Arpeggio Channel) OutputSwitch From this display you can set parameters related to output of the Arpeggio MIDI data in the Voice mode. This enables or disables MIDI data output for the Arpeggio function. When this is set to “on,” Arpeggio data is sent via MIDI — allowing you to send the Arpeggio data to an external sequencer or play back the Arpeggios on connected MIDI tone generators. Settings: on (enable), off (disable) TransmitCh (Transmit channel) Determines the MIDI channel through which Arpeggio playback data will be sent (when Output Switch above is on). Settings: 1 ~ 16 [SF4] CTL ASN (Controller Assign) Sets the parameters related to the controllers in the Voice mode. Details on each parameter are the same as in Performance Common Edit. See page 150. [F4] CTL ASN (Controller Assign) [SF1] ARP (Arpeggio) Switch Determines the Control Change Number that controls on/off status of Arpeggio playback. Settings: 00~95 Hold Determines the Control Change Number that controls on/off status of Arpeggio Hold (page 128). Settings: 00~95 ASA (Assign A) Dest (Destination) You can assign specific functions to the Control slider 1 and 2 (ASSIGN A and B) when the [PAN/SEND] and [TONE] lamps are on. Two parameters are available here. The first (ASA) determines the Control Change number generated by the ASSIGN A slider. The second, Destination (Dest), determines what parameter or aspect of the sound is affected by the slider. Keep in mind that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages. Voice mode [SF2] ASSIGN ASB (Assign B) Dest (Destination) Two parameters are available here. The first (ASB) determines the Control Change number generated by the ASSIGN B slider. The second, Destination (Dest), determines what parameter or aspect of the sound is affected by the slider. Keep in mind that if the same MIDI Control Change messages as set here are received from an external device, the internal tone generator also responds to those messages. Performance mode Settings: Refer to the separate Data List booklet. Using the FC 3 When using the half damper function, set this parameter to “FC3 (Half On)” and turn the half damper switch on (Voice Element Edit mode → [F4] AMP → [SF3] AEG display). If you are not using the half damper function, set this parameter to “FC3 (Half Off).” Using the FC4 or FC5 Set this parameter to “FC4/5.” You cannot use the half damper function with the FC4 or FC5. n You can also control the half damper function by using Control Change messages from an external device. In this case, you do not need to set the Sustain Pedal Select parameter. Settings: FC3 (Half On), FC3 (Half Off), FC4/5 [SF4] REMOTE Two different computer software control modes can be selected here, as well as the respective MIDI port settings for control. When you’ve made the desired settings, press the [ENTER] button to actually call up the preset control templates for the software. For details, refer to the Quick Guide on page 78. [SF5] MEF (Master Effect) From this display you can set the parameters related to the Master Effect Control slider operations. (Press both the [ARP FX] and [EQ] buttons so that their lamps light.) Slider1 ~ Slider4 Assigns a parameter of the Master Effect to each slider. Available parameters differ depending on the selected Master Effect type. [F5] MIDI [SF1] CH (Channel) BasicRcvCh (Basic Receive Channel) From this display you can make basic MIDI settings. Determines the MIDI receive channel when this synthesizer is set to single-timbre tone generator mode (Voice/ Performance modes). Settings: 1~16, omni (all channels), off n In the multi-timbral tone generator mode (Multi mode), each Part receives MIDI data according to its assigned MIDI receive channel ([MULTI/SEQ PLAY] → multi selection→ [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh). n However, when changing the Multi program from the external device, make sure that the MIDI channel used for transmitting the bank select and program change settings is the same as the Basic Receive Channel. Owner’s Manual 165 Reference Selects the Foot Controller type connected to the FOOTSWITCH SUSTAIN jack. Multi Voice mode SusPedal (Sustain Pedal Select) Sequence Play mode Settings: 000~100 (000, 032: off, 096: Arpeggio Switch, 097: Arpeggio Hold, 098: playback start/stop in the Sequence Play mode, 099/100: Program Change INC/DEC 101: Octave Rest) Utility mode From this display you can determine the Control Change number generated by using the Footswitch connected to the ASSIGNABLE jack. Keep in mind that if the same MIDI Control Change messages set here are received from an external device, the internal tone generator also responds to those messages as if the Footswitch of the instrument was used. File mode FSAssign (Footswitch Assign) Master mode [SF3] FT SW (Footswitch) Multi mode Settings: Refer to the separate Data List booklet. Utility mode KBDTransCh (Keyboard Transmit Channel) Determines the MIDI channel over which the instrument sends MIDI data (to an external sequencer, tone generator, or other device). This parameter is available in the single-timbre tone generator mode (Voice/ Performance modes). Settings: 1~16, off n In the multi-timbral tone generator mode (Multi/Sequence Play modes), MIDI data generated by playing the keyboard (and its controllers) is sent to the internal tone generator and external devices via the MIDI output channel, which corresponds to the selected Part number. The Port setting also depends on the setting of the last Chain Step selected in the Sequence Play mode (page 98). Also keep in mind that if one of the Multi-part Plug-in Parts 17 –32 is selected, MIDI data is sent via MIDI channels 1 - 16. Similarly, if one of the PLG Parts 1-3 is selected, MIDI data is sent via MIDI channels 1 - 3. n When changing the Multi program using the S90 ES panel buttons, the bank select and program change messages are transmitted via the Keyboard Transmit Channel set here. DeviceNo. (Device Number) Determines the device number used by this synthesizer in receiving or transmitting data. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages. Settings: 1~16, all, off [SF2] SWITCH BankSel (Bank Select) This switch enables or disables Bank Select messages, both in transmission and reception. When this is set to “on,” this synthesizer responds to incoming Bank Select messages, and it also transmits appropriate Bank Select messages (when using the panel). Settings: off, on PgmChange (Program Change) This switch enables or disables Program Change messages, both in transmission and reception. When this is set to “on,” this synthesizer responds to incoming Program Change messages, and it also transmits appropriate Program Change messages (when using the panel). Voice mode Settings: off, on CtrlChange (Control Change mode) Determines how this synthesizer receives and recognizes the AEG Sustain MIDI message. When set to mode1, it is received as a Parameter Change. When set to mode2, it is received as a Control Change message. Settings: mode1, mode2 Performance mode LocalCtrl (Local Control On/Off) Multi mode This determines whether or not the tone generator of the instrument responds to your keyboard playing. Normally, this should be set to “on” — since you’ll want to hear the sound of the S90 ES as you play it. However, for external sequencer applications, you may need to set this to “off” to avoid getting “double” notes, in which the tone generator of the instrument is played twice — once by the keyboard and once again by the keyboard data routed through the sequencer. Even if this is set to “off,” the data will be transmitted via MIDI. Also, the internal tone generator block will respond to messages received via MIDI. Settings: off, on RcvBulk (Receive Bulk) Determines whether or not Bulk Dump data can be received. Settings: protect (not received), on (received) Sequence Play mode Reference Multi Voice mode [SF3] SYNC (Synchronization) From this display you can set various parameters related to MIDI clock and synchronization. Determines whether Arpeggio playback and sequence playback in the Sequence Play mode will be synchronized to the instrument’s internal clock or an external MIDI clock. MIDI Sync Settings: internal, MIDI internal ..............................Synchronization to internal clock. Use this setting when this synthesizer is to be used alone or as the master clock source for other equipment. MIDI ..................................Synchronization to a MIDI clock received from an external MIDI instrument via MIDI. Determines whether MIDI clock (F8) messages will be transmitted via MIDI. ClockOut Settings: on (transmitted), off Utility mode SeqCtrl (Sequencer Control) Determines whether Sequencer Control signals—start, continue, stop, and song position pointer— will be received and/or transmitted via MIDI. File mode Settings: off, in, out, in/out off .....................Not transmitted/recognized. in ......................Recognized but not transmitted. out ....................Transmitted but not recognized. in/out ...............Transmitted/recognized. [SF4] OTHER MIDI IN/OUT Master mode Determines which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT, USB, or mLAN (when the optional mLAN16E has been installed). Settings: MIDI, USB, mLAN n Three types of terminals above cannot be used at the same time. Only one of them can be used to transmit/receive MIDI data. ThruPort (Through Port) Many computer sequencers are capable of transmitting data over several MIDI ports, effectively breaking the 16-channel barrier. When using the USB terminal or mLAN terminal (when the optional mLAN16E has been installed) for MIDI transmission/reception, you can have this synthesizer respond to MIDI data over one port, while relaying the data for another port number (you can set here) to a separate tone generator (connected to the MIDI OUT terminal). In this way, 16 channels of data can be played on this synthesizer and another 16 can be played on the connected MIDI device. Settings: 1~8 n When the mLAN16E has been installed and the MIDI IN/OUT is set to mLAN, ports 5-8 are not available even if you set them here. 166 Owner’s Manual Utility Job mode [F6] PLUG [SF1] STATUS Plug1: - Plug3: Indicates the name of the Plug-in Board which has been installed to this synthesizer. PolyExpand This parameter is accessible only when you have two or three identical Plug-in boards installed. The “off” setting enables two or three boards to work separately (you can select them for two or three different Parts). When this is set to “on,” the two boards effectively function together as one board (used in a single part) — giving you double the amount of polyphonic notes you can play at one time. Settings: on, off [SF2] MIDI DEVNO. (Device Number) From this display you can set various MIDI-related parameters for the Plug-in board. Determines the MIDI Device Number of the Plug-in Board. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages. Settings: 1~16, all, off PORTNO. (Port number) Determines the MIDI Port number over which the Plug-in board receives MIDI data in the multi-timbral tone generator mode (Multi/Sequence Play). One port can be set for a Multi-part Plug-in board and two ports can be set for a Single part Plug-in board. Determines whether “GM on” and “XG on” messages are recognized (on) or not (off). This parameter is available only when a Multi-part Plug-in board has been installed to slot 3. Settings: on, off From this display you can set the Native System parameters of the Plug-in board installed to slots 1 - 3. For details on the parameters, refer to the owner’s manual of your particular Plug-in board. Performance mode [SF4] NATIVE2 Utility Job mode [UTILITY] → [JOB] In this Mode, you can restore this synthesizer’s User memory to the factory default settings (Factory Set). For details, see page 21. Since the settings of the Plug-in Boards in the Utility mode are stored not to internal User memory but to the memory on the respective boards themselves, the data cannot be restored with this Job. Sequence Play mode n ■ Supplementary Utility mode Setting the default display when turning the power on [UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode (page 164) Enter the desired mode and the program number you wish to call up first when turning the power on. Press the [ENTER] button while holding the [STORE] button to register the mode and program number set in step 1. File mode Set the PowerOnMode parameter to “last” in the [UTILITY] → [F1] GENERAL → [SF4] OTHER display. Press the [STORE] button to store the Utility setting made in step 3 above. Turn the power off and turn the power on again to call up the mode/program number set in step 2 to the display. Master mode 1 2 3 4 5 Owner’s Manual 167 Reference [SF5] NATIVE3 Multi mode [SF3] NATIVE1 Multi Voice mode GM/XG Voice mode Settings: off, 1~3 n The Port number for the Effect Plug-in board (VH) is fixed to 1. n For information on the Plug-in board and the internal tone generator block, see page 116. File mode File mode The File mode provides tools for transferring data between the instrument and USB storage device. n For details about USB storage devices, see page 20. n For details about the relationship between the data created on this synthesizer and the files for saving, see page 171. File mode n [FILE] For information on how to select a file/folder and how to create a new folder, see page 170. [F1] CONFIG [SF1] CURRENT From this display you can set the parameters about the currently recognized USB storage device. Voice mode USB Device Select the partition in the device. You can transfer files between the partition in the slot selected below and the S90 ES. FSlot If using a USB storage device compatible with multiple media, select the slot number. The desired partition can be selected in the right box. Status Indicates the status of the storage device recognized by this synthesizer. FFree Indicates the amount of unused (free) memory on the current device. FTotal Indicates the amount of total memory on the current device. [SF2] FORMAT Performance mode Before you can use a new USB storage device with this synthesizer, you will need to format it. Use this operation to format the USB storage device and assign a Volume Label to it. For instructions formatting, see page 170. Selects a slot to be accessed when the connected USB storage device supports multiple media. Slot Settings: CARD, USB. Specifies the partition to be formatted. Type Settings: all, partition1 ~ 4 Multi mode Names the Volume Label. For instructions on naming, refer to page 27 in the Basic Operation section. Volume Label [F2] SAVE File name This operation lets you save files to a USB storage device. For instructions on saving files of the various data types, refer to the following pages: page 51 (Voices), page 57 (Performances), page 76(Multis). File/Folder selection box Sequence Play mode Reference Multi Voice mode File/Folder selection box Among the various types of data created on this synthesizer, you can save all of them or only a specific type of data to a single file. This parameter determines which specific type of data will be saved to a single file. TYPE Settings:Refer to “Supplementary information” on page 171. Utility mode [SF1] EXEC Executes saving of the file into the selected folder. n Copies the file/folder name selected in the File/Folder selection box into the File name column. [F6] NEW Creates a new folder in the current folder. File mode [F3] LOAD This operation lets you load files from a USB device to this synthesizer. Indicates the current folder (directory). Master mode File/Folder selection box Among the various types of data saved in a single file on a USB storage device, you can load all of them or only a specific type of data to this synthesizer. This parameter determines which specific type of data will be loaded from a single file. Settings: Refer to “Supplementary information” on page 171. TYPE [SF1] EXEC Executes loading of the file. n 168 The [ENTER] button on the panel is used to call up the contents of the selected folder. [SF2] SETNAME Owner’s Manual The [ENTER] button on the panel is used to call up the contents of the selected folder. File mode [F4] RENAME From this display you can rename files or folders in the selected USB storage device, using up to eight alphabetic and numeric characters. Select the desired file type. File/Folder selection box Select the file/folder to be renamed. Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MSDOS, these characters will automatically be replaced by “_” (underscore) characters when saving. File name Rename the selected file/folder here. [SF1] EXEC Executes renaming of the file. n The [ENTER] button on the panel is used to call up the contents of the selected folder. [SF2] SETNAME Copies the file/folder name selected in the File/Folder selection box into the File name column. [F6] NEW Creates a new folder within the current folder. [F5] DELETE File mode Utility mode Owner’s Manual 169 Reference Sequence Play mode Multi Voice mode Multi mode Performance mode n When you wish to delete a folder, delete all the files and folders contained in the folder beforehand. Please keep in mind that only folders that contain no files or other nested folders can be deleted. Master mode File/Folder selection box Select the file or folder to be deleted. Voice mode From this display you can delete files/folders from the selected USB storage device. Select the desired file or folder as shown below, then press the [SF1] EXEC button. Select the desired file type. Supplementary information ■ Supplementary information File ( )/Folder ( ) selection Formatting a USB storage device The instructions and illustrations below show you how to select files and folders on the USB storage devices within the File mode. Before you can use a new USB storage device with this synthesizer, you will need to format it. Follow the instructions below. Move the cursor to the desired file or folder by using the [INC/YES] and [DEC/NO] buttons or the data dial. CAUTION If data is already saved to the USB storage device, be careful not to format it. If you format the USB storage device, all previously recorded data will be deleted. 1 To return to the next highest level, press the [EXIT] button. To call up the contents of a desired folder, highlight the folder and press the [ENTER] button. Connect a USB storage device to the USB TO DEVICE connector. If necessary, insert the proper media into the slot of the USB storage device. 2 3 Press the [FILE] mode to enter the File mode. Press the [F1] CONFIG button, then the [SF2] FORMAT button to call up the Format display. Move the cursor to the desired file or folder by using the [INC/YES] and [DEC/NO] buttons or the data dial. Voice mode Performance mode 4 Multi mode 5 Select the slot and partition to be formatted. Specify the slot number at the right top of the display as necessary and select the partition to be formatted at the Type value location in the second line of the display. Set the Volume Label. 6 Sequence Play mode Reference Multi Voice mode Move the cursor to the “Volume Label” and input a Volume Label. For instructions on naming, refer to page 53 in the Basic Operation section. Press the [ENTER] button. (The display prompts you for confirmation.) Press the [DEC/NO] button to cancel the Format operation. 7 Press the [INC/YES] button to execute the Format. Utility mode After formatting has been completed, a “Completed” message appears and operation returns to the original display. CAUTION File mode While formatting is in process, make sure to follow these precautions: • Never remove or eject the media from the USB storage device. • Never unplug or disconnect any of the devices. • Never turn off the power of the S90 ES or the relevant devices. n Master mode 170 Owner’s Manual By executing the Format operation in the File mode, the USB storage device will be formatted to MS-DOS or Windows format. The formatted USB storage device may not be compatible with other devices such as a Macintosh computer or a digital camera. File mode File types that can be handled by the S90 ES File types that can be saved from the instrument to the USB storage device [FILE] → [F2] SAVE → TYPE TYPE File extension Description All *.S7A All data in this synthesizer’s internal User Memory is treated as a single file, and can be saved. All Voice *.S7V All the User Voice data in this synthesizer’s internal User Memory is treated as a single file, and can be saved. Chain *.S7C The Chain data in the Sequence Play mode can be saved. Plugin All Bulk 1-3 *.W2B All the data of a Plug-in board (Board Voice data created by using the editor software that comes with the Plug-in Board and the Board related settings in the Utility mode) is treated as a single file, and can be saved. The numbers 1, 2, and 3 correspond to the Plug-in slots. Voice Editor *.S7E All the User Voice data stored to User Banks is handled as a single file and saved. The saved file can be loaded to the Voice Editor software (page 77) on your computer. n A “All” file does not include the “Plugin All Bulk 1-3” data. File types that can be loaded from USB storage device to the instrument [FILE] → [F3] LOAD → TYPE Voice *.S7A, *.S7V (*.W7A, *.W4A, *.W2A, *.W7V, *.W4V, *.W2V) A specified voice in a file that is saved as “All” or “All Voice” type can be individually selected and loaded to the instrument. Please note that the file icons of “All” and “All Voice” are changed to (as virtual folders) when this file type is selected (Quick Guide on page 52). Performance *.S7A A specified performance in a file that is saved as an “All” type can be individually selected and loaded to the instrument. Please note that the file icon of “All” is changed to (as a virtual folder) when this file type is selected (Quick Guide on page 58). Chain *.S7C Files of the “Chain” type can be loaded and restored to the instrument. Plugin All Bulk 1-3 *.W2B A file that is saved as “Plugin All Bulk 1, 2, 3” type can be loaded and restored to the Plug-in board installed to the instrument. Please note that the same Plug-in Boards should be installed to the same slots as when the file was saved. Voice Editor *.S7E Voice data edited with the Voice Editor software (page 77) on your computer can be loaded to the instrument. User Arp *.W7G Files of the “Usr ARP” type saved using the Yamaha MOTIF ES can be loaded and restored to the instrument. File mode Utility mode The “All” and “All Voice” files using the S90, MOTIF ES, or MOTIF can be loaded to the S90 ES (*.W4A, *.W7A, *.W2A, *.W4V, *.W7V, *.W2V). However, the Voices may not produce the exact same sound as those on the original instrument, since the contents of the preset Waveforms and the Effect structure are different between the two instrument series. Master mode n Owner’s Manual 171 Reference Files of the “All Voice” type can be loaded and restored to the instrument. Performance mode *.S7V (*.W7V, *.W4V, *.W2V) Multi mode All Voice Voice mode Description Files of the “All” type can be loaded and restored to the instrument. When the box at the left of “without System” is checkmarked, only the Utility mode settings will not be loaded. Multi Voice mode File extension *.S7A Sequence Play mode TYPE All Master Play mode Master mode [MASTER] → Master selection Master Play mode The Master Play mode lets you perform a variety of general editing operations on the selected Master. For more detailed and comprehensive editing operations, use the Master Edit mode. Edited parameters with the exception of some parameters are stored to internal memory as a User Master. [F1] PLAY OCT (Octave) Indicates Keyboard Octave setting. This can be changed also with the following operation: [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave. ASA (ASSIGN A), ASB (ASSIGN B) Indicates the functions assigned to the respective Control sliders (printed “ASSIGN A” and “ASSIGN B”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned from the [UTILITY] → [F4] CTL ASN → [SF2] ASSIGN display. n OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings are not independently assignable for each Master. Because of this, these are not stored as an individual Master in the Master Store mode (page 175). Voice mode AS1 (ASSIGN 1), AS2 (ASSIGN 2) Indicates the values obtained by controlling the respective Control sliders (printed “ASSIGN 1” and “ASSIGN 2”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these sliders depend on the setting of the Voice selected as a Master program. [SF1] ARP1 (Arpeggio 1) [SF5] ARP5 (Arpeggio 5) You can call up the Arpeggio types by pressing these buttons to which the Arpeggio types are assigned. The Arpeggio type assigned to each button depends on the program (Voice, Performance, Multi) selected as a Master. [F2] MEMORY Performance mode From this display you can set basic parameters for the Master, including the mode that is called up with the Master and the program number. Determines the mode that is called up when the Master number is selected. Mode Settings: Voice, Performance, Multi/SeqPlay. Determines the Program number that is called up when the Master is selected. Memory Multi mode Settings: When the Mode is set to Voice: Select a Voice back and number. Refer to the instructions page 30. When the Mode is set to Performance: Select a Performance number. Refer to the instructions on page 34. When the Mode is set to Multi: Select a Multi number. Refer to the instructions on page 71. ZoneSwitch Sequence Play mode Reference Multi Voice mode Utility mode File mode Master mode 172 Determines whether the Zone function is used (on) or not (off). See page 93 for details about the Zone function. n Owner’s Manual When the Mode is set to “Voice” or “Performance” and the Zone Switch is turned on, only Zone 1 can be used in the default setting (playing Zones 2-4 will produce no sound). You can use these Zones by setting various parameters in the Master Edit mode. Master Edit mode Common Edit [MASTER] → Master selection → [EDIT] Master Edit mode The Master Edit is divided into Common Edit, for setting parameters common to all four Zones, and Zone Edit, for setting parameters of individual Zones. When Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode, only the Common Edit is available. Common Edit [MASTER] → Master selection → [EDIT] → [COMMON] These parameters are for making global (or common) edits to all four Zones of the selected Master. [F1] NAME From this display you can create a name for the Master. For instructions on naming, refer to page 27 in the Basic Operation section. [F2] OTHER Zone Edit [MASTER] → Master selection → [EDIT] → Zone selection These parameters are for editing the individual Zones that make up a Master. Zone Edit is available only when the Zone Switch is turned on in the [F2] MEMORY display in the Master Play mode. [F1] TRANS (Transmit) Performance mode Settings: pan ...........................Selecting the Master lights the [PAN/SEND] lamp, for control over the Pan/Send row. tone ..........................Selecting the Master lights the [TONE] lamp, for control over the Tone row. assign .......................Selecting the Master lights the [PAN/SEND] and [TONE] lamps, for control over the Assign row. MEQofs or partEQ ....Selecting the Master lights the [EQ] lamp, for control over the EQ row. When the Mode is set to Voice, MEQofs is available. When the Mode is set to Performance or Multi, partEQ is available. MEF ..........................Selecting the Master lights the [ARP FX] and [EQ] lamps, for control over the Master Effects row. arpFx ........................Selecting the Master lights the [ARP FX] lamp, for control over the Arpeggio FX row. vol .............................Selecting the Master lights the [VOLUME] lamp, for control over the Volume row. zone..........................Selecting the Master lights no lamp and automatically calls up the slider functions specifically set for each respective Zone (page 91). This is available only when the Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode. Voice mode From this display you can set which row of slider functions will be lit and selected. Multi mode Slider [F2] NOTE From this display you can set the pitch- and keyboard-related parameters for each Zone — allowing you to set up Zone splits and determine the pitch range for each Zone. Octave Determines the amount in octaves by which the range of the Zone is shifted up or down. Settings: -3 ~ 0 (Default) ~ +3 Transpose Determines the amount in semitones by which the range of the Zone is shifted up or down. Settings: -11 ~ 0 (Default) ~ +11 NoteLimitH, L (High, Low) Sequence Play mode Determines whether or not MIDI data for each Zone is transmitted to an external MIDI device. Settings: on, off Utility mode MIDISwitch Determines whether or not MIDI data for each Zone is transmitted to the internal tone generator. Settings: on, off Determines the lowest and highest notes of the range for each Zone. The selected Zone will sound only when you play notes within this range. Settings: C -2 ~ G8 n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. Owner’s Manual File mode TGSwitch (Tone Generator Switch) 173 Reference Determines the MIDI Transmit Channel for each Zone. Settings: 1 ~ 16 Master mode TransCh (Transmit Channel) Multi Voice mode From this display you can set how each Zone transmits MIDI messages when you play the keyboard. Master Edit mode Zone Edit [F3] TX SW (Transmit Switch) From this display you can set how the playing of each individual Zone affects transmission of various MIDI messages, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” playing the selected Zone will transmit the corresponding MIDI messages. Note that two different display types are provided (see below). Each display type features the same settings in a different format; use the type you feel most comfortable with. • Display showing four Zones • Display showing all parameters for one Zone Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Zone display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters. Settings: Determines whether or not to transmit Bank Select MSB/LSB messages to the internal tone generator. PC (TG) Determines whether or not to transmit Program Change messages to the internal tone generator. Bank (MIDI) Determines whether or not to transmit Bank Select MSB/LSB messages to the external tone generator via MIDI. PC (MIDI) Determines whether or not to transmit Program Change messages to the external tone generator via MIDI. PB (Pitch Bend) Determines whether or not to transmit Pitch Bend messages to the internal and external tone generator. MW (Modulation Wheel) Determines whether or not to transmit MIDI messages generated by using the Modulation Wheel to the internal and external tone generator. ChAT (Channel Aftertouch) Determines whether or not to transmit Channel Aftertouch messages generated by pressing the keys to the internal and external tone generator. Voice mode BC (Breath Controller) Determines whether or not to transmit MIDI messages generated by using the Breath controller connected to the BREATH connector to the internal and external tone generator. Slider Determines whether or not to transmit MIDI messages generated by using the sliders to the internal and external tone generator. Performance mode FC1 (Foot Controller1) FC2 (Foot Controller2) Determines whether or not to transmit MIDI messages generated by pressing the optional Foot Controller to the internal and external tone generator. Vol (Volume) Determines whether or not to transmit Volume messages to the internal and external tone generator. Pan Determines whether or not to transmit Pan messages to the internal and external tone generator. Sus (Sustain) Determines whether or not to transmit Sustain messages generated by pressing the Footswitch connected to the SUSTAIN jack to the internal and external tone generator. FS (Footswitch) Determines whether or not to transmit MIDI messages generated by pressing the Footswitch connected to the ASSIGNABLE jack to the internal and external tone generator. Multi mode Bank (TG) From this display you can make the Voice-related settings for each Zone, in the selected Master program number. In this way, selecting a different Master automatically calls up a completely different set of Voices and Voice-related settings for the four Zones. n Using the [F6] SEND button, you can select whether the settings in PRESET display are immediately applied or not. If the [F6] SEND button is turned on ( ), each MIDI messages will be output from the S90 ES as soon as you changed each parameter in this display. If the [F6] SEND button is turned off ( ), each MIDI messages will be output from the S90 ES after you store the edited Master and then select the Master again. However, the parameters set to off in the [F1] TRANS or [F3]TX SW display cannot be output. Sequence Play mode Reference Multi Voice mode [F4] PRESET Utility mode BankMSB, BankLSB, PgmChange (Program Change) Determines the output level of the Voice in each Zone. Volume File mode Master mode 174 Determines the Voice assignment for each Zone in the selected Master. Settings: Refer to the Voice List in the separate Data List booklet. Settings: 0 ~ 127 Determines the stereo pan position of the Voice in each Zone. Pan Settings: L64 (Left) ~ C (Center) ~ R63 (Right) [F5] CS (Control slider) From this display you can determine which Control Change numbers are used for the sliders for each Zone. These settings are available only when the slider parameter (in the [F2] OTHER display in Common Edit) is set to “zone.” Settings: off, 1~95 Owner’s Manual Master Job mode Master Job mode [MASTER] → [JOB] The Master Job mode contains two convenient operations (called “Jobs”) — one letting you initialize (reset) the Master data, and the other letting you transmit your edited Master data to an external MIDI device or computer. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. [F1] INIT (Initialize) This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Zone, and so on — very useful when creating a completely new Master from scratch. Parameter Types (for Initializing): All, Common, Zone ALL All settings for the selected Master are initialized. Common Common parameter settings for the selected Master are initialized. Zone You can initialize the Zone setting to one of the following three types. Split Splits the keyboard range using Zone 1 and Zone 2. “UpperCh” determines the MIDI transmit channel of the upper range of the keyboard, “LowerCh” determines the MIDI transmit channel of the lower range of the keyboard, and “SplitPoint” determines the note (C2 ~ G8) number which separates the upper range and lower range of the keyboard. 4Zone Initializes all four Zones. Layer Lets you layer two parts using Zone 1 and Zone 2. “UpperCh” and “LowerCh” determine the MIDI transmit channels of the two Zones respectively. [F4] BULK (Bulk Dump) In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo. [MASTER] → Master selection → [STORE] Master mode File mode Utility mode Sequence Play mode Multi Voice mode Multi mode This function lets you store your edited Master to User memory. For details, refer to page 126 in the Quick Guide section. Owner’s Manual 175 Reference Master Store mode Performance mode n Voice mode This function lets you send all your edited parameter settings for the currently selected Master to a computer or another MIDI device for data archiving. For details, see page 126. Information Displays Appendix Information Displays The convenient Information displays let you see at-a-glance some of the more important settings relevant to each mode. Select the desired mode, then press the [INFORMATION] button to call up the Information display for that mode. Voice mode Multi mode Bank PlugInfo/Port (Plug-in board installation status) Indicates the MSB/LSB (page 180) of currently selected Voice bank. EL 1234 Indicates the currently selected Voice, on/off status of four Elements and mono/poly (page 128) status. Porta (Portamento) Indicates the Portamento switch on/off status of the currently selected Voice. Indicates the Plug-in board name and its MIDI port number (page 167) at the right of the slot number. When PolyExpand (page 167) is set to on in the Utility mode, “P” is indicated at the left of the slot number. Ins (Insertion), InsPLG (Plug-in Insertion) Indicates the part number to which the Insertion effect is applied and the part number to which the Plug-in Insertion effect is applied (when the PLG100-VH is installed). PB (Pitch Bend) Indicates the Upper/Lower setting of the Pitch Bend range. Sequence Play mode InsA (Insertion A), InsB (Insertion B) Rev (Reverb), Cho (Chorus) Indicates the currently selected effect type for each effect block (page 121). Performance mode Play Dir (Play Directory) Indicates the slot number and volume label of USB storage device’s directory used in the Sequence Play mode, and indicates the path to the directory. Current Dir (Current Directory) Indicates the currently selected directory. Bank Indicates the MSB/LSB (page 180) of currently selected Performance bank. 1 (Plug-in board 1), 2 (Plug-in board 2), 3 (Plug-in board 3) Indicates the installation status of the respective Plug-in board. The Plug-in board name is displayed at the right of the corresponding slot number. When PolyExpand (page 167) is set to on in the Utility mode, “P” is indicated at the left of the slot number. Appendix Ins (Insertion), InsPLG (Plug-in Insertion) Indicates the part number to which the Insertion effect is applied and the part number to which the Plug-in Insertion effect is applied (when the PLG100-VH is installed). Rev (Reverb), Cho (Chorus) Indicates the currently selected effect type for each effect block (page 122). 176 Owner’s Manual Information Displays Utility mode Master mode PlugInfo/Port (Plug-in board installation status) Mode Indicates the Plug-in board name and its MIDI port number (page 167) at the right of the slot number. When PolyExpand (page 167) is set to on in the Utility mode, “P” is indicated at the left of the slot number. Indicates the mode and program number memorized to the currently selected Master. MIDI IN/OUT Indicates which physical output terminal(s) will be used for transmitting/receiving MIDI data. However, the following display will be shown in the [F1] GENERAL → [SF4] OTHER display. ZoneSwitch Indicates the on/off status of the Zone switch. ZoneTCH (Zone Transmit Channel) Indicates the MIDI transmit channel of each zone (when the Zone Switch is set to on). Remote Control mode AutoLoad Dir (Auto Load Directory) Indicates the slot number and volume label of USB storage device’s directory used in the Auto Load function, and indicates the path to the directory. See page 83 for details. File mode USB Free Indicates the amount of currently available (unused) memory of the connected USB storage device. Slot, Volume Label Indicates the slot number and volume label of USB storage device’s directory used in the File mode. Current Dir (Current Directory) Appendix Indicates the currently selected directory. Owner’s Manual 177 Display Messages Display Messages LCD Indication Appendix 178 Description Are you sure? [YES]/[NO] Confirms whether you want to execute a specified operation or not. Arpeggio type stored. The current Arpeggio type has been stored to one of the [SF1] - [SF5] buttons. Bad USB device. The USB storage device is unusable. Format the device and try again. Bulk protected. Bulk data was received when RcvBulk was set to “protect.” (See page 166.) Can’t make folder. No more directories can be created below the current level. Completed. The specified load, save, format, or other job has been completed. Device number is off. Bulk data cannot be transmitted/received because the device number is set to “off.” Device number mismatch. Bulk data cannot be transmitted/received because the device numbers don’t match Effect plug-in is not in slot 1. The Effect Plug-in board does not work because it has not been installed to slot 1. Executing... A format operation or job is being executed. Please wait. File already exists. A file having the same name as the one you are about to save already exists. File not found. Can’t find the specified type of file. Folder is too deep. Directories below this level cannot be accessed. Folder not empty. You have attempted to delete a folder that contains data. Illegal USB device. USB storage device has been incorrectly formatted. Illegal file. The file specified for loading is unusable by the S90 ES or cannot be loaded in the current mode. Illegal file name. The specified file name is unacceptable. Incompatible USB device A USB device which cannot be used with the S90 ES has been connected to the USB TO DEVICE connector. MIDI buffer full. Failed to process the MIDI data because too much data was received at once. MIDI checksum error. Error occurred when receiving bulk data. MIDI data error. Error occurred when receiving MIDI data. Multi plug-in is not in slot 3. The Multi-Part Plug-in board does not work because it has not been installed to slot 3. No response from USB device. There is no response from the USB device connected to the USB TO DEVICE terminal. Not empty folder. You have attempted to delete a folder that contains data. Now checking plug-in board. The S90 ES is checking the Plug-in board installation status during power-on. Now loading... (xxxx) Indicates that a file is being loaded. Now saving... (xxxx) Indicates that a file is being saved. Now scanning autoloaded files. Scanning for the files specified for Auto Load. Now working... Executing the memory arrangement after canceling the Load/Save operation by pressing the [EXIT] button. Overwrite? [YES]/[NO] A save operation will overwrite data on the USB storage device, and this message confirms whether it is OK to continue or not. Press [INC/YES] or [DEC/NO] as required. Please keep power on. The data is being written to internal memory. Never attempt to turn off the power while data is being written to internal memory. Turning the power off while this message is shown results in loss of all user data and may cause the system to freeze. This may also result in the S90 ES being unable to properly start up the next time the power is turned on. Please stop sequencer. The operation you’ve attempted to execute cannot be done during sequencer playback. PLG100 not supported. The Plug-in All Bulk Save function does not apply to the PLG100 series boards. Plug-in1 communication error. The Plug-in board that has been installed to slot 1 does not work. Plug-in1 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from slot 1) has been selected. Plug-in2 communication error. The Plug-in board that has been installed to slot 2 does not work. Plug-in2 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from slot 2) has been selected. Plug-in3 communication error. The Plug-in board that has been installed to slot 3 does not work. Plug-in3 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from slot 3) has been selected. Power on mode stored. The setting of the program number automatically selected when turning the power on has been stored. Read only file. You have attempted to delete, rename, or overwrite a read-only file. Receiving MIDI bulk. The S90 ES is receiving MIDI bulk data. System memory crashed. Writing data to internal Memory has failed This performance uses user voices. The performance you have loaded includes User voice data. Check whether the voice you saved exists at the appropriate User voice bank. Too many favorites. You’ve attempted to assign more than 257 voices to the Favorite category. Transmitting MIDI bulk. The S90 ES is transmitting MIDI bulk data. Unknown file format. File format is not recognized. Owner’s Manual Display Messages LCD Indication Description A break in the connection with the USB storage device has occurred because of an abnormal electric current. Disconnect the USB storage device from the USB TO DEVICE connector, then press the [ENTER] button. USB device connecting. Currently recognizing the USB storage device connected to the USB TO DEVICE terminal. USB device full. The USB storage device is full and no more data can be saved. Use a new USB storage device, or make space by erasing unwanted data from the USB storage device. USB device not ready. A USB storage device is not properly inserted in or connected to the S90 ES. USB device read/write error. An error occurred while reading or writing to/from a USB storage device. USB device unformatted. The disk is not formatted, or the format is unusable by the S90 ES. USB device write protected. The USB storage device is write protected, or you have attempted to write to a read-only medium such as CDROM. USB power consumption exceeded. The power consumption of the USB storage device connected to the USB TO DEVICE connector exceeds the regulated value. USB transmission error. An error has occured when communicating with the USB storage device. Utility stored. The settings in the Utility mode have been stored. Appendix USB connection terminated. Press [ENTER]. Owner’s Manual 179 About MIDI About MIDI “MIDI” is an acronym for “Musical Instrument Digital Interface,” and is a worldwide standard designed to allow performance, voice, and other data to be transferred between musical instruments. Data communication is assured even between musical instruments and equipment from different manufacturers. This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data. It can also be controlled by incoming MIDI messages which automatically determine the tone generator mode, select MIDI channels, voices and effects, change parameter values, and of course play the voices specified for the various Parts. Many MIDI messages listed in the About MIDI section and the MIDI Data Format (in the separate Data List) lists are expressed in decimal numbers, binary numbers and hexadecimal numbers. Hexadecimal values have “H (hexadecimal)” at the beginning of the data line or at the end of the values. Also, “n” indicates any integer number. MIDI Channels MIDI data is transferred over 16 channels numbered from 1 through 16. Using these channels, 1 - 16, the performance data for sixteen different instrument parts can be simultaneously sent over one MIDI cable. MIDI channels can be thought of as being like television channels. Each TV station broadcasts on a separate channel. Your home TV set receives many different programs simultaneously from several TV stations and you select the appropriate channel to watch the desired program. MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various types of MIDI messages which this synthesizer can recognize/transmit. n Some of the following explanations are described in a general sense, and not necessarily as how they relate to the S90 ES. For details about the behavior of S90 ES when receiving each MIDI message, refer to the “MIDI Data Format” and the “MIDI Implementation Chart” in the separate Data List. Channel Messages Weather Report Channel messages contain data related to the performance on the keyboard for the specific channel. News 1 MIDI Messages Transmitted/ Recognized by this synthesizer 2 News 2 MIDI operates on the same basic principle. The transmitting instrument sends MIDI data on a specific MIDI channel (MIDI Transmit Channel) via a single MIDI cable to the receiving instrument. If the receiving instrument’s MIDI channel (MIDI Receive Channel) matches the Transmit Channel, the receiving instrument will sound according to the data sent by the transmitting instrument. For information on how to set the MIDI transmit channel and the MIDI receive channel, see page 65. ■ Note On/Off Messages which are generated when the keyboard is played. Note On: Generated when a key is pressed. Note Off: Generated when a key is released. Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is struck. Reception note range = C-2 (0) - G8 (127), C3 = 60 Velocity range = 1 - 127 (Only the Note On velocity is received) ■ Control Change MIDI cable MIDI Transmit channel 2 MIDI Receive channel 2 Control Change messages let you select a Voice bank, control volume, panning, modulation, portamento time, brightness and various other controller parameters, through specific Control Change numbers which correspond to each of the various parameters. MIDI channel and MIDI port Appendix MIDI data is assigned to one of sixteen channels. However, we can overcome the sixteen-channel limit by using separate MIDI “ports,” each supporting sixteen channels. For details, see page 67. 180 Owner’s Manual Bank Select MSB (Control Change #000) Bank Select LSB (Control Change #032) Messages which select variation Voice bank numbers by combining and sending the MSB and LSB from an external device. The functions of MSB and LSB messages differ depending on the tone generator mode. MSB numbers select Voice type (Normal Voice or Drum Voice), and LSB numbers select Voice banks. A new bank selection will not become effective until the next Program Change message is received. For more information about Banks and Programs, see “Voice List” in the separate Data List. About MIDI Modulation Wheel (Control Change #001) Sostenuto Pedal (Control Change #066) The MIDI data produced when a modulation wheel is operated. Setting the value to 127 produces maximum vibrato and 0 results in vibrato off. Messages which control sostenuto on/off. Setting the value between 64 –127 turns the sostenuto on, between 0 - 63 turns the sostenuto off. Holding specific notes and then pressing and holding the sostenuto pedal will sustain those notes as you play subsequent notes, until the pedal is released. Portamento Time (Control Change #005) Messages which control the duration of portamento, or a continuous pitch glide between successively played notes. Setting the value to 127 produces maximum portamento time and 0 results in minimum portamento time. When the parameter Portamento Switch (Control Change #065) is set to on, the value set here can adjust the speed of pitch change. Harmonic Content (Control Change #071) Messages which adjust the filter resonance set for each Part. The value set here is an offset value which will be added to or subtracted from the voice data. Release Time (Control Change #072) Data Entry MSB (Control Change #006) Data Entry LSB (Control Change #038) Messages which set the value for the parameter specified by RPN MSB/LSB (page 182) and NRPN MSB/LSB (page 182). The value is represented by two control change data numbers — the MSB and the LSB. Main Volume (Control Change #007) Sets the volume for each individual part. Setting the value to 127 produces maximum volume and 0 results in volume off. Pan (Control Change #010) Messages which control the stereo panning position of each Part (for stereo output). Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left. Messages which adjust the AEG release time set for each Part. The value set here is an offset value which will be added to or subtracted from the voice data. Attack Time (Control Change #073) Messages which adjust the AEG attack time set for each Part. The value set here is an offset value which will be added to or subtracted from the voice data. Brightness (Control Change #074) Messages which adjust the filter cutoff frequency set for each Part. The value set here is an offset value which will be added to or subtracted from the voice data. Decay Time (Control Change #075) Messages which adjust the AEG decay time set for each Part. The value set here is an offset value which will be added to or subtracted from the voice data. Expression (Control Change #011) Messages which control intonation expression of each Part during performance. Setting the value to 127 produces maximum volume and 0 results in volume off. Effect Send Level 1 (Reverb Depth) (Control Change #091) Hold1 (Control Change #064) Effect3 Send Level 3 (Chorus Depth) (Control Change #093) Messages which control sustain on/off. Notes playing when the pedal is pressed will be sustained. Setting the value between 64 - 127 turns the sustain on, between 0 - 63 turns the sustain off. While sustain is on, notes currently playing will be sustained, even if Note Off messages are received. n The Half Damper function lets you finely control the length of sustain over a range of 1 - 127, according to the depth at which you press a continuous foot pedal. Portamento (Control Change #065) Specifies the reverb effect send level. Messages which adjust the send level for the Chorus effect. Data Increment (Control Change #096) Data Decrement (Control Change #097) Messages which increase or decrease the MSB value of pitch bend sensitivity, fine tune, or coarse tune in steps of 1. You will need to assign one of those parameters using the RPN in the external device in advance. Appendix Messages which control portamento on/off. Setting the value between 64 –127 turns the portamento on, and between 0 - 63 turns the portamento off. If portamento is turned on and the Mono/Poly parameter is set to “mono,” expressive legato play is possible. In other words, when you play one note before releasing the next, the pitch will glide smoothly from note to note, and the envelopes (PEG, FEG and AEG) will stay in effect from note to note — mimicking the natural behavior of acoustic instruments. The speed of the pitch glide is determined by the portamento time (Control Change #005). Owner’s Manual 181 About MIDI NRPN (Non Registered Parameter Number) LSB (Control Change #098) (only for Plug-in Board) NRPN (Non Registered Parameter Number) MSB (Control Change #099) (only for Plug-in Board) Messages which adjust a voice’s vibrato, filter, EG, drum setup or other parameter settings. First send the NRPN MSB and NRPN LSB to specify the parameter which is to be controlled. Then use Data Entry (page 181) to set the value of the specified parameter. Note that once the NRPN has been set for a channel, subsequent data entry will be recognized as the same NRPN’s value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid unexpected results. For details, refer to the owner’s manual of the relevant Plug-in Board. ■ Channel Mode Messages 2nd BYTE 3rd BYTE MESSAGE 120 0 All Sound Off 121 0 Reset All Controller 123 0 All Notes Off 126 0 –16 127 0 Mono Poly All Sound Off (Control Change #120) Clears all sounds currently sounding on the specified channel. However, the status of channel messages such as Note On and Hold On is maintained. Reset All Controllers (Control Change #121) RPN (Registered Parameter Number) LSB (Control Change #100) RPN (Registered Parameter Number) MSB (Control Change #101) Messages which offset, or add or subtract values from a Part’s pitch bend sensitivity, tuning, or other parameter settings. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use Data Increment/Decrement above to set the value of the specified parameter. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPN’s value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid unexpected results. The following RPN numbers can be received. RPN MSB RPN LSB Parameter Name 00H 00H 00H 01H Fine Tune 00H 02H Coarse Tune 7FH 7FH Null Resets all controllers to their initial values. Controller Pitch Bend Initial Value 0 (center) Aftertouch 0 (min) Modulation 0 (min) Expression 127 (max) Breath Controller 127 (max) Foot Controller 127 (max) Assign A 0 (center) Assign B 0 (center) Assign 1 0 (center) Assign 2 0 (center) Sustain Switch 0 (off) Sostenuto Switch 0 (off) RPN Number not specified; internal data will not change Pitch Bend Sensitivity All Notes Off (Control Change #123) Clears all notes currently on for the specified channel. However, if Hold1 or Sostenuto is on, notes will continue sounding until these are turned off. Mono (Control Change #126) Performs the same operation as when an All Sound Off message is received. If the 3rdbyte parameter (the parameter that determines the mono number) is 0 - 16 the parts corresponding to those channels are set to mono. Poly (Control Change #127) Performs the same operation as when an All Sound Off message is received, and sets the parts corresponding to those channels are set to poly. Appendix 182 Owner’s Manual About MIDI ■ Program Change MIDI Master Volume Messages that determine which voice to select for each Part. With a combination of Bank Select, you can select not only basic voice numbers, but also variation voice bank numbers. For a list of the Voices, see the separate Data List. When received, the Volume MSB will be effective for the System Parameter. Keep in mind that the programs of the S90 ES are numbered starting with 1. This means that when you use MIDI program change numbers 0 - 127, you will have to subtract 1 from the S90 ES program to determine the correct MIDI program change number. (For example, to call up program number 128 on the S90 ES you will have to specify MIDI program change number 127.) ■ Pitch Bend Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a specified amount over a specified duration. ■ Channel Aftertouch Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel. ■ Polyphonic Aftertouch Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, for each individual key. This synthesizer does not transmit this data from the keyboard. System Messages System messages are the data related to the overall system of the device. ■ System Exclusive Message System Exclusive messages control various functions of this synthesizer, including master volume and master tuning, tone generator mode, effect type and various other parameters. General MIDI (GM) System On When a “General MIDI system on” message is received, the instrument will receive MIDI messages which are compatible with GM System Level 1. When the instrument receives the GM System On, each receive channel of Parts 1-16 (in a Multi) will be assigned to “1- 16." F0 7E 7F 09 01 F7 (Hexadecimal) n Make sure that the interval between this message and the first note data of the song is at least a quarter note or greater in length. F0 7F 7F 04 01 ll mm F7 (Hexadecimal) Mode Change When received, the mode of the S90 ES will be switched. * n = Device Number (page 166) * m = 0, 1, or 3 (0: Voice mode, 1: Performance mode, 2: not available, 3: Multi mode, 4: Master) F0 43 1n 7F 01 0A 00 01 0m F7 (Hexadecimal) ■ System Realtime Messages These messages control the sequencer. Active Sensing (FEH) Once FEH (Active Sensing) has been received, if no MIDI data is subsequently received for longer than an interval of approximately 300 msec, the S90 ES will perform the same function as when All Notes Off and Reset All Controllers messages are received, and will then return to a status in which FEH is not monitored. Timing Clock (F8H) This message is transmitted with a fixed interval to synchronize connected MIDI instruments. You can select whether the S90 ES uses the internal Timing Clock, or external Timing Clock messages received via MIDI IN by setting the MIDI Sync parameter: [UTILITY] → MIDI display → “MIDI Sync.” Start (FAH) This message lets the MIDI sequence data start playing back from the beginning. This message will be transmitted when pressing the [F6]F(Play) button at the top of the MIDI song file. Continue (FBH) This message lets the MIDI sequence data start playing back from the current song position. This message will be transmitted when pressing the [F6]F(Play) button at the middle of the MIDI song file. Stop (FCH) This message causes MIDI sequence data (song) to stop playing back. This message will be transmitted when pressing the [F6]J(Stop) button while playing back the MIDI song file. n You can select whether this synthesizer will transmit Timing Clock, Start, Continue, and Stop messages by setting the SeqCtrl parameter: [UTILITY] → [F5] MIDI → [SF3] SYNC → SeqCtrl. Appendix n * mm (MSB) = appropriate volume value, ll (LSB) = ignored Owner’s Manual 183 Installing Optional Hardware Installing Optional Hardware Available devices Plug-in Boards Installation Precautions mLAN16E Up to three boards can be installed. Before installing the optional hardware, make sure you have a Phillips screwdriver and ample space to work. Protective cushions or supports for the instrument may also be needed. WARNING Locations to which the optional units are installed Plug-in Board cover mLAN16E cover • Before beginning installation, switch off the power to the instrument and connected peripherals, and unplug them from the power outlet. Then remove all cables connecting the instrument to other devices. (Leaving the power cord connected while working can result in electric shock. Leaving other cables connected can interfere with work.) Installation or removal of any devices should be started ONLY after the instrument (and the optional hardware) returns to normal room temperature. • Be careful not to drop any screws inside the instrument during installation (this can be prevented by keeping the optional units and cover away from the instrument while attaching). If this does happen, be sure to remove the screw(s) from inside the unit before turning the power on. Loose screws inside the instrument can cause improper operation or serious damage. If you are unable to retrieve a dropped screw, consult your Yamaha dealer for advice. • Install the optional units carefully as described in the procedure below. Improper installation can cause shorts which may result in irreparable damage and pose a fire hazard. • Do not disassemble, modify, or apply excessive force to board areas and connectors on optional units. Bending or tampering with boards and connectors may lead to electric shock, fire, or equipment failures. • Before handling the optional units, you should briefly touch the metal surface to which the optional unit cover is attached (or other such metallic area/be careful of any sharp edges) with your bare hand so as to drain off any static charge from your body. Note that even a slight amount of electrostatic discharge may cause damage to these components. CAUTION • It is recommended that you wear gloves to protect your hands from metallic projections on optional units and other components. Touching leads or connectors with bare hands may cause finger cuts, and may also result in poor electrical contact or electrostatic damage. • Handle the optional units with care. Dropping or subjecting them to any kind of shock may cause damage or result in a malfunction. • Be careful of static electricity. Static electricity discharge can damage the IC chips on the Plug-in board. Before you handle the optional Plug-in board, to reduce the possibility of static electricity, touch the metal parts other than the painted area or a ground wire on the devices that are grounded. • Do not touch the exposed metal parts in the circuit board. Touching these parts may result in a faulty contact. Appendix • When moving a cable, be careful not to let it catch on the circuit Plug-in board. Forcing the cable in anyway may cut the cable, cause damage, or result in a malfunction. • Be careful not to misplace any of the screws since all of them are used. • Do not use any screws other than what are installed on the instrument. 184 Owner’s Manual Installing Optional Hardware How to Install the Optional Plug-in Board 4 A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument. The S90 ES provides three slots behind the rear panel for the Plug-in Boards, allowing you to install up to three board to the instrument. For details about the Plug-in Boards which can be used with the S90 ES, see page 99. n The Vocal Harmony Plug-in board (PLG100-VH) can be installed only to slot 1. n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. n The Single Part Plug-in boards can be installed to any of the three slots. Insert the board along the guide rails about twothirds of the way inside the S90 ES, with the connector side face up and toward you. 3 2 1 Plug-in SLOT GREEN YELLOW ORANGE Slot 3 Slot 2 1 2 Turn the S90 ES’s power off, and disconnect the AC power cord. Also, make sure to disconnect the S90 ES from any other external devices. Slot 1 Securely insert the board into the appropriate slot, taking care that the board isn’t jammed between slots. Remove the large screw from the expansion bay cover on the rear panel using a Phillips screwdriver. Keep the removed screw in a safe place. Be careful not to misplace any of the screws since all of them are used. 5 GREEN YELLOW ORANGE Plug-in SLOT Plug-in SLOT GREEN YELLOW ORANGE Plug-in SLOT 3 Insert the Plug-in board the rest of the way into the expansion bay. 3 2 1 GREEN YELLOW ORANGE n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3. n The Multi part Plug-in Board (PLG100-VH) can be installed only to slot 3. It cannot be installed to slot 1 or 2. Remove the ribbon cables that are to be connected to the Plug-in board from the inside of the S90 ES. The slots are assigned to the color-coded cables as follows: Slot 1 — orange, Slot 2 — yellow, Slot 3 — green. 3 2 1 Cable for Slot 3 (Green) GREEN YELLOW ORANGE Slot 3 Slot 2 Slot 1 Appendix Plug-in SLOT Cable for Slot 2 (Yellow) Cable for Slot 1 (Orange) Green Yellow Orange Owner’s Manual 185 Installing Optional Hardware 6 Installing the mLAN16E Connect the cable to the Plug-in Board. Make sure to connect the proper cable, matching the color of the cable to the slot used. Plug-in connector Press the connectors together until the two notches lock into the sockets. The mLAN expansion board (mLAN16E) sold separately can be installed to this instrument. 1 Notch Connector from S90 ES Plug-in SLOT 7 2 Plug-in board 3 2 1 Turn the S90 ES’s power off, and disconnect the AC power cord. Also, make sure to disconnect the S90 ES from any other external devices. Turn over the S90 ES so you can have direct access to the underside. To protect the wheels and sliders, place the keyboard so the four corners are supported by something that provides sufficiently high and firm support, such as magazines or cushions. GREEN YELLOW ORANGE Carefully put the cable back into the S90 ES, making sure that no part of the cable sticks out of the instrument. View of the keyboard from the bottom Plug-in SLOT 3 2 1 GREEN YELLOW ORANGE Place supports at all four corners, taking care not to touch the wheels and sliders. 8 9 Replace the cover with the screw you removed in step 2 above. Check that the installed Plug-in board is functioning properly. After connecting the AC power cord to the S90 ES, turn on the power. The main display then appears and the corresponding slot indicator at the right top of the front panel lights. This indicates that the board has been successfully installed. If the cable is not connected properly or firmly, the indicator will not light. CAUTION Since this instrument is very heavy, this procedure should not be done alone, but by two or three people. 3 Remove the top cover on the rear of the instrument (as shown below). With the rear panel facing you, remove the screws of the top cover, then remove the cover from the instrument. Slot indicator PRE 4 GM GUITAR/ PLUCKED BASS SLOT 1 SLOT 2 SLOT 3 PLG 1 PLG 2 PLG 3 BRASS REED/PIPE STRINGS CATEGORY SEARCH Appendix In this example, a Plug-in board has been installed to slot 1. Keep the removed screws in a safe place. They will be used when attaching the cover to the S90 ES again after installing the mLAN16E. Also make sure to keep the cover in a safe place. Do not leave the cover inside the instrument. 186 Owner’s Manual Installing Optional Hardware 4 Insert the mLAN16E into the opening of the instrument with the panel facing out. While holding the panel with your hand, fasten the panel to the instrument with the screws you removed in step #4 above. Remove the second cover (shown below). Hold the cover with your hand and remove the two screws. Keep the removed screws in a safe place. They will be used when installing the mLAN16E to the S90 ES. Also make sure to keep the cover in a safe place. Do not leave the cover inside the instrument. 5 Fasten the screw with the front panel of the mLAN16E inside the instrument. Remove the mLAN16E from its package. 8 6 Fasten the screw with the front panel of the mLAN16E outside the instrument. Insert the connector on the other end of the flat ribbon cable to the circuit board of the S90 ES. Attach the sticker label to the front of the mLAN16E. Remove the protective transparent film from the label, then apply it to the panel of the mLAN16E. Attach the sticker to the panel upside down. Re-install the cover you removed in step #3, in reverse order. Fasten the mLAN16E to the S90 ES. Insert this tab inside the S90 ES. Place the mLAN16E here. Appendix 7 9 Cable connector Owner’s Manual 187 Specifications Specifications Keyboard 88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch) Tone Generator block Tone Generator AWM2 (complying with the Modular Synthesis Plug-in System) Maximum polyphony 128 notes + the polyphony of the Plug-in Board (if installed) Multi Timbral Capacity 16 Internal Parts + 3 Plug-in Boards + Audio Input Part(s) (A/D, mLAN*) * 4 stereo parts Sequencer Section Wave 228MB (when converted to 16-bit linear format), 1,935 waveforms Voice Preset: 512 normal voices + 64 drum kits GM: 128 normal voices + 1 drum kits User: 128 x 2 (Bank 1: Original, Bank 2: copied from Preset bank) Normal Voice + 32 drum kits Plug-in Voice Preset for the PLG150-AN/DX/PF/DR/PC: 64 Preset for the PLG-150VL: 192 User: 64 for each Plug-in slot Performance User: 128 (up to 4 Parts) Multi User: 64 Filter 18 types Effects Reverb x 20 types, Chorus x 49 types, Insertion (A, B) x 117 types x 8 blocks, Master Effect x 8 types, Master Equalizer (5 bands), Part EQ (3 bands, stereo), Plug-in Insertion (available when the PLG100-VH has been installed to slot 1) Expendability 3 Slots for Modular Synthesis Plug-in Boards Sequence Play SMF Format 0 (playback only) BPM (Tempo) 1 - 300 Number of Chain Steps 100 Arpeggio Preset x 1,787 types User x 256 types (when loading the User Arpeggio data of MOTIF ES). * MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set. Other Master User: 128 * 4 Zones (Master keyboard settings), Assignable Slider settings, Program Change Table Sequence Software compatible with the Remote Control function For Windows®: Cubase SX 3, SQ01 V2, SONAR 4, S90 ES/MOTIF ES/MOTIF-RACK ES/MOTIF-RACK Multi Part Editors. For Macintosh®: Cubase SX 3, Logic Pro 7, Digital Performer 4.52, S90 ES/MOTIF ES/ MOTIF-RACK ES/MOTIF-RACK Multi Part Editors * Functions to be controlled by the S90 ES differ depending on the software you use. Controllers Pitch Bend wheel, Modulation wheel, Assignable Control sliders (4), Data dial Display 240 x 64 dot graphic backlit LCD Jack and Terminals OUTPUT L/MONO, R (standard phone jack), ASSIGNABLE OUTPUT L, R (standard phone jack), A/D INPUT L, R (standard phone jack), PHONES (standard stereo phone jack), FOOT CONTROLLER 1, 2, FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE), BREATH, MIDI IN/OUT/THRU, USB (TO HOST, TO DEVICE), AC INLET Power Consumption 33W Dimensions, Weight 1,472 (W) x 385 (D) x 163 (H) mm, 22.5 kg Accessories AC Power cord, Owner’s Manual (this book), Data List, sticker label for optional mLAN16E. * Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. Appendix 188 Owner’s Manual Troubleshooting Troubleshooting If you hear no sound or a strange sound, first check the items described below and take appropriate action. You may be able to solve the problem by resetting the instrument to the factory settings (page 21). (Make sure to back up any important data to an external device first.) If the problem persists, consult your Yamaha dealer. ■ No sound comes from the speakers. • Are all four Control sliders set to appropriate levels (other than zero or minimum)? (page 16) • Has the Local Control switch been set to off? If this is set to off, the internal tone generator will not sound. [UTILITY] → [F5] MIDI → [SF2] SWITCH → Local Ctrl (page 69) • Have you turned on the power of the S90 ES and all connected external equipment? • Have you made all the appropriate level settings—including the Master Volume on the S90 ES and the volume settings on any connected external equipment? • Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)? • Are you using an external MIDI controller and are the MIDI volume and/or MIDI expression settings too low? • Is the S90 ES properly connected to related external equipment (e.g., amplifier or speaker) via audio cables? • Are the effect and filter settings appropriate? If you are using the filter, try changing the cutoff setting. Some cutoff settings may mute the sound entirely. [VOICE] → [EDIT] → [COMMON] → [F6] EFFECT (page 133) [PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT (page 152) [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT (page 158) [VOICE] → [EDIT] → Element/Key selection → [F3] FILTER (page 135) [PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 154) [MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 159) • Are the volume or level settings too low? [UTILITY] → [F1] GENERAL → [SF1] TG → Volume (page 163) [VOICE] → [EDIT] → [COMMON] → [F2] OUTPUT → Volume (page 129) [VOICE] → [EDIT] → Element/Key selection → [F4] AMP → [SF1] LVL/PAN → Level (page 137) [PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → Volume (page 150) [PERFORM] → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume (page 153) [MULTI/SEQ PLAY] (selecting Multi mode) → [F2] VOL/PAN → Volume (page 157) [MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F2] OUTPUT → [SF1] VOL/PAN → Volume (page 159) • Are the element switch, note limit, velocity limit parameters set appropriately? [VOICE] → [EDIT] → Element/Key selection → [F1] OSC → [SF1] WAVE → Element Sw (page 133) [VOICE] → [EDIT] → Element/Key selection → [F1] OSC → [SF3] LIMIT (page 134) [PERFORM] → [F2] VOICE (page 149) [PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF1] VOICE → Part Sw (page 152) [PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF3] LIMIT (page 152) • When the Performance/Multi produces no sound, has a Voice been assigned to each Part? Appendix [PERFORM] → [F2] VOICE (page 149) [MULTI] (selecting Multi mode) → [F3] VOICE (page 157) • When the Performance/Multi produces no sound, is the output setting of each Part set appropriately? [PERFORM] → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel (page 154) [MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F2] OUTPUT → [SF3] SELECT → OutputSel (page 159) Owner’s Manual 189 Troubleshooting • When the Multi produces no sound, are the output port/channel of each track in the external sequencer and the receive port/channel of each Part in the Multi set appropriately? [MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → Receive Ch (page 159) [MUTLI/SEQ PLAY] (selecting Sequence Play mode) → Chain Step selection → [F2] OUTPUT → PORT (page 162) n Keep in mind that the Output ([F2] OUTPUT) setting of the Chain Step last selected in the Sequence play mode is effective. • When the Multi produces no sound, are the Chain Step settings in the Sequencer Play mode set appropriately? [MUTLI/SEQ PLAY] (selecting Sequence Play mode) → Chain Step selection → [F2] OUTPUT (page 162) n Keep in mind that the Output ([F2] OUTPUT) setting of the Chain Step last selected in the Sequence play mode is effective. ■ Playback continues without stopping. • When the [ARPEGGIO] button is turned on, press it so that its lamp is turned off. (page 17) ■ Distorted sound. • Are the effect settings appropriate? (Some effect types or settings can cause distortion.) [VOICE] → [EDIT] → [COMMON] → [F6] EFFECT (page 133) [PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT (page 152) [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT (page 158) • Are the filter settings appropriate? (Excessively high filter resonance settings can cause distortion.) [VOICE] → [EDIT] → Element/Key selection → [F3] FILTER (page 135) [PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 154) [MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF2] FILTER (page 159) • Is the volume set so high that clipping is occurring? [UTILITY] → [F1] GENERAL → [SF1] TG → Volume (page 163) [VOICE] → [EDIT] → [COMMON] → [F2] OUTPUT → Volume (page 129) [PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT → Volume (page 150) [MUTLI/SEQ PLAY] (selecting Multi mode) → [F2] VOL/PAN → Volume (page 157) ■ Sound is choppy and intermittent. • Are you exceeding the maximum polyphony of the S90 ES ? (page 188) ■ Only one note sounds at a time. • Is the Mono/Poly parameter set to “mono”? If you wish to play chords, set this parameter to “poly.” [VOICE] → [F4] PORTA → Mono/Poly(page 127) [PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → Mono/Poly (page 152) [MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → Mono/Poly (page 159) ■ Pitch or intervals are wrong. • Is the Master Tune parameter set at a value other than “0”? [UTILITY] → [F1] GENERAL → [SF1] TG → Tune (page 163) • Is the Note Shift parameter set at a value other than “0”? [UTILITY] → [F1] GENERAL → [SF1] TG → NoteShift (page 163) Appendix • When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter? [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.Tuning No (page 128) 190 Owner’s Manual Troubleshooting • When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth set too high? [VOICE] → [EDIT] → Element/Key selection → [F5] LFO → P Mod (page 139) • When the Performance/Multi produces a wrong pitch, is the Note Shift or Detune parameter of each Part set to a value other than “0”? [PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE (page 154) [MUTLI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE (page 159) ■ No effects are applied. • Is the [EFFECT BYPASS] button turned off? (page 17) • Are the Control sliders (for REVERB and CHORUS) set to appropriate levels (other than zero or minimum)? (page 42) • Have any or all of the Elements’ Effect Output parameters been set to “thru” in the effect setting display? [VOICE] → [EDIT] → [COMMON] → [F6] EFFECT → [SF1] CONNECT → EL: OUT 1-4 (page 133) • Have any or all of the effect types been set to “thru” or “off”? (pages 121, 122, 123) When this occurs in the Performance mode/Multi mode, check whether the Insertion Switch (INS SW) parameters are set properly or not. [PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT → [SF2] INS SW (page 152) [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT → [SF2] INS SW (page 158) ■ The Edit Indicator appears, even when parameters are not being edited. • Keep in mind that simply moving a Slider changes the parameter, automatically displaying the Edit indicator. (page 25) ■ Cannot start the Arpeggio. • Check whether the [ARPEGGIO] button is turned on or off. (page 17) • Have you selected a User Arpeggio type (with no User data)? To use the User Arpeggios, the User Arpeggio data created in the MOTIF ES must be loaded to the S90 ES. .. (page 39) • Are the Arpeggio related parameters such as Note Limit and Velocity Limit set appropriately? [VOICE] → [EDIT] → [COMMON] → [F3] ARP → [SF2] LIMIT (page 130) [PERFORM] → [EDIT] → [COMMON] → [F3] ARP → [SF2] LIMIT (page 151) [MULTI/SEQ PLAY] (selecting Multi mode)→ [EDIT] → [COMMON] → [F3] ARP → [SF2] LIMIT (page 158) When this occurs in the Performance mode/Multi mode, check whether the Arpeggio Switch parameter for each Part is set properly or not. [PERFORM] → [EDIT]] → Part selection → [F1] VOICE → [SF2] MODE → ArpSwitch (page 152) [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ArpSwitch (page 159) ■ Cannot stop the Arpeggio. • When Arpeggio playback does not stop even if you release the key, set the Arpeggio Hold parameter to “off.” [VOICE] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → Hold (page 130) [PERFORM] → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → Hold (page 151) [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F3] ARP → [SF1] TYPE → Hold (page 158) ■ Microphone does not work properly. Appendix • Check whether the S90 ES is in the Voice mode or not. In the Voice mode, the A/D part which handles the microphone sound cannot be recognized. [UTILITY] → [F2] I/O → [SF1] INPUT → Mic/Line (page 164) • Check whether the Gain Knob on the rear panel is set to minimum position or not. (page 19) Owner’s Manual 191 Troubleshooting ■ A Plug-in Voice cannot be selected even when a Plug-in Board has been installed. • Check whether the SLOT lamp (from SLOT1 - 3) corresponding to the selected PLG button ([PLG1] - [PLG3]) is turned on or off. • When selecting a User bank, are any Voices stored into the User bank? In the default settings, User banks for Plug-in Voice contain no Voices. You must the select the Preset bank or create a User Voice. [VOICE] → [F2] BANK (page 127) • Check whether the PLG which corresponds to the PLG100-XG slot is selected or not. The Voice on the PLG100-XG cannot be selected in the Voice mode or Performance mode. • Check whether the PLG which corresponds to the PLG100-VH slot is selected or not. The PLG100-VH contains no Voices for selection, since it is an Effect Plug-in Board. ■ The Plug-in Board does not work. Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? (page 18) • Has the PLG100-VH been installed to slot 2 or 3? The PLG100-VH can be installed only to slot 1. • Has the PLG100-XG been installed to slot 1 or 2? The PLG100-XG can be installed only to slot 3. ■ Data communication between the computer and the S90 ES does not work properly. • Check whether the Port setting on the computer is appropriate or not. • Is the cable setting (MIDI, USB, mLAN) in the Utility mode appropriate? [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT(page 166) ■ The S90 ES does not sound properly even when playing back the song data on the computer or the MIDI instrument connected to the S90 ES. • Make sure to set the S90 ES to the Multi mode. To play back the multiple channels simultaneously, select multi mode. (page 70) ■ MIDI bulk data transmission/reception does not work properly. • Is Bulk data receive protection enabled? Turn the Receive Bulk parameter to “on.” [UTILITY] → [F5] MIDI → [SF2] SWITCH → RcvBulk (page 166) • When receiving recorded data with the internal Bulk Dump function, the device number must be set to the same value as that used when transmitting/recording. [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo (page 166) • When transmission does not work properly, is the device number of the MIDI instrument connected to the S90 ES set to match the DeviceNo. parameter? [UTILITY] → [F5] MIDI → [SF1] CH → DeviceNo (page 166) • When using the Voice Editor/Multi Part Editor, have you set a sufficient Dump Interval? The Dump Interval in the Editor Setup dialog must be set to 20ms or greater. For details refer to the PDF manual included with the Editor. ■ Data cannot be saved in the USB storage device • Is the connected USB storage device write protected? (Write-protect should be set to off for saving data.) • Is the connected USB storage device properly formatted? Appendix [FILE] → [F1] CONFIG → [SF2] FORMAT (page 168) ■ Cannot enter the Edit mode • Is the Category Search function turned on? After exiting from the Category Search function, press the [EDIT] button. • Is the S90 ES in the File mode? After exiting from the File mode, press the [EDIT] button. 192 Owner’s Manual Application Index Application Index ■ Playing songs • Playing the Demo Songs ............................................................................................................................................ page 29 • Playing the MIDI song file (Sequence Play mode)..................................................................................................... page 96 • Listening the Arpeggio ............................................................................................................................................... page 39 ■ Playing the keyboard • • • • • Selecting and playing a Voice.................................................................................................................................... page 30 Selecting and playing a Voice of a Plug-in Board...................................................................................................... page 99 Selecting and playing a Performance........................................................................................................................ page 34 Playing two or three voices simultaneously (Performance mode) ............................................................................. page 36 Playing different sounds on both S90 ES and connected MIDI devices from the S90 ES keyboard (Master mode) page 91 ■ Selecting programs • • • • • • Selecting a Voice........................................................................................................................................................ page 30 Selecting a Performance............................................................................................................................................ page 34 Selecting the sounds you want, based on their instrument type (Category Search function). .................................. page 32 Selecting a Multi. ........................................................................................................................................................ page 70 Selecting a Master...................................................................................................................................................... page 90 Selecting an Arpeggio type........................................................................................................................................ page 40 ■ Changing the waveform • Changing the waveform of the Voice [VOICE] → [EDIT] → Element/Key selection → [F1] OSC → [SF1] WAVE ..................................................................................... page 133 ■ Using effects • Effect structure and signal flow ................................................................................................................................ page 118 • Applying effects [VOICE] → Voice selection → [EDIT] → [COMMON] → [F6] EFFECT ......................................................................................... page 113 [PERFORM] → [EDIT] → [COMMON] → [F6] EFFECT .......................................................................................................... page 152 [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F6] EFFECT ...................................................................... page 158 • Turning effects off ([EFFECT BYPASS] button)......................................................................................................... page 119 ■ Using the equalizer (EQ) • Equalizers in the S90 ES .......................................................................................................................................... page 119 • Setting the equalizer for each Element/Part [VOICE] → [EDIT] → Element/Key selection → [F6] EQ ......................................................................................................... page 139 [PERFORM] → [EDIT] → Part selection → [F3] EQ .............................................................................................................. page 154 [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F3] EQ ......................................................................... page 154 • Setting the equalizer for an entire program [VOICE] → [UTILITY] → [F3] VOICE → [SF1] MEQ ............................................................................................................... page 164 [PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF2] MEQ ...................................................................................... page 150 [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F2] MEQ/MEF → [SF1] MEQ ................................................. page 158 ■ Using the filter • Filter types for S90 ES .............................................................................................................................................. page 148 • Selecting a Filter [VOICE] → [EDIT] → Element/Key selection → [F3] FILTER → [SF1] TYPE ................................................................................. page 135 • • • • • Controllers on the S90 ES........................................................................................................................................... page 41 External controllers that can be connected to the S90 ES......................................................................................... page 59 Changing the function of controller (Controller Set)................................................................................................... page 60 Changing the Control number assigned to the controller .......................................................................................... page 62 Setting the Pitch Bend Range [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF5] OTHER → PB Upper/PB Lower ......................................................... page 129 [PERFORM]] → [EDIT] → Part selection → [F1] VOICE → [SF5] OTHER → PB Upper/PB Lower ...................................................... page 153 Owner’s Manual Appendix ■ Using the controllers 193 Application Index • Using a Foot Pedal as a sustain pedal ...................................................................................................................... page 60 • Switching between programs by a Foot Switch [UTILITY] → [F4] CTL ASN → [SF3] FT SW → FS Assign ..................................................................................................... page 165 • Switching Arpeggiator on and off by a Foot Switch [UTILITY] → [F4] CTL ASN → [SF3] FT SW ..................................................................................................................... page 165 • Using a Breath controller ........................................................................................................................................... page 59 • Setting the Breath Curve, which determines how the strength of your breath (when using a Breath Controller) affects the sound. [UTILITY] → [F1] GENERAL → [SF1] TG → BCCurve .................................................................................................pages 101, 163 • Keeping the effect of a controller the same, even when changing Voices [UTILITY] → [F1] GENERAL → [SF4] OTHER → CtrlRest = hold .............................................................................................pages 164 ■ Sounding only the specified Part or Voice • Muting each Element/Part temporarily. ...........................................................................................................pages 104, 105 • Turning each Element/Part off. [VOICE] → [EDIT] → Element selection → [F1] OSC → [SF1] WAVE → ElementSw ...................................................................... page 133 [PERFORM] → [EDIT] → Part selection → [F1] VOICE → [SF1] VOICE → PartSw ........................................................................ page 152 • Turning off or muting playback of a Multi Part, by setting the receive channel to off [MULTI/SEQ PLAY] (selecting MUlti mode) → slider ............................................................................................................ page 157 ■ Adjusting the volume or output level • Adjusting the Master Volume output ([MASTER VOLUME] slider) ............................................................................ page 16 • Adjusting the entire volume of the S90 ES’s internal tone generator block [UTILITY] → [F1] GENERAL → [SF1] TG → Volume ............................................................................................................ page 163 • Adjusting the output gain of each Output connector [UTILITY] → [F2] I/O → [SF2] OUTPUT ............................................................................................................................ page 164 • Adjusting the volume balance of the Elements with the Control sliders .................................................................... page 43 • Adjusting the volume for an entire Voice, Performance, or Multi [VOICE] → [EDIT] → [COMMON] → [F2] OUPUT → Volume .................................................................................................. page 129 [PERFORM] → [EDIT] → [COMMON] → [F2] OUT/MEF → [SF1] OUT → Volume ......................................................................... page 150 [MULTI/SEQ PLAY] (selecting Multi mode) → [F2] VOL/PAN → Volume ...................................................................................... page 157 • Adjusting the input volume from a microphone or an external audio device [PERFORM] → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → Volume .................................................................... page 151 [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F5] AUDIO IN → [SF1] OUTPUT → Volume .............................. page 158 ■ Inputting audio from a microphone, instrument or other audio device • About the organization of audio input parts............................................................................................................. page 118 • Connecting a microphone or other audio equipment to the A/D INPUT jacks .......................................................... page 38 • Setting parameters related to audio input. [PERFORM] → [EDIT] → [COMMON] → [F5] AUDIO IN ........................................................................................................ page 151 [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → [COMMON] → [F5] AUDIO IN .................................................................... page 158 • Applying a vocal harmony effect to the microphone sound by using the PLG100-VH Plug-in Board ................... page 103 ■ Using Plug-in Boards • How to Install the Optional Plug-in Board ................................................................................................................ page 184 • Checking the status of the installed Plug-in Boards [UTILITY] → [F6] PLUG → [SF1] STATUS ......................................................................................................................... page 167 Appendix • Checking the receive Ports of the installed Plug-in Boards [UTILITY] → [F6] PLUG → [SF2] MIDI .............................................................................................................................. page 167 • Selecting and playing a Voice of a Single Part Plug-in Board (PLG150-AN, PLG-150-PF, PLG150-DX, PLG150-VL, etc.)...................................................................................................................................................... page 100 • Playing an XG song by using the Multi-part Plug-in Board PLG100-XG ................................................................. page 102 • Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG100-VH .................... page 103 194 Owner’s Manual Application Index ■ Creating data • • • • • • Creating your original Voices ..................................................................................................................................... page 44 Creating your original Performances ................................................................................................................. pages 36, 53 Creating your original Multis....................................................................................................................................... page 72 Creating your original Masters ................................................................................................................................... page 90 Editing the Normal Voice in the Multi mode (Multi Voice Edit) ................................................................................... page 73 Loading the Arpeggio data created in the S90 ES .................................................................................................. page 172 ■ Storing/saving the created data • • • • Saving your original Voices ........................................................................................................................................ page 50 Saving your original Performances ............................................................................................................................ page 56 Saving your original Multis ......................................................................................................................................... page 76 Saving your original Masters .................................................................................................................................... page 126 ■ Recovering lost data • Comparing the program before editing with the just-edited one (Compare function) ............................................... page 26 • Recalling an edited, but not-stored Performance (when another Performance has been selected) (Recall function) ......................................................................................................................................................... page 26 ■ Maintaining data • Factory Reset (factory programmed settings) ........................................................................................................... page 21 • Formatting USB storage media ................................................................................................................................ page 168 • Initializing a program Each mode → [JOB] → [F1] INT ............................................................................................................ pages 146, 156, 160, 175 ■ Pitch related settings (Tune, Note Shift, etc.) Entire • Adjusting the Octave Setting [UTILITY] → [F1] GENERAL → [SF2] KBD → Octave ............................................................................................................ page 163 • Shifting the note up or down on the keyboard [UTILITY] → [F1] GENERAL → [SF2] KBD → ..................................................................................................................... page 163 • Shifting the note up or down in the tone generator block [UTILITY] → [F1] GENERAL → [SF1] TG → NoteShift .......................................................................................................... page 163 • Tuning the overall sound of the S90 ES to match other instruments (Master Tuning) [UTILITY] → [F1] GENERAL → [SF1] TG → Tune ................................................................................................................ page 163 Voice mode • Setting the Micro Tuning (tuning system, or temperament) used for the Voice. [VOICE] → Voice selection → [EDIT] → [COMMON] → [F1] GENERAL → [SF2] PLY MODE → M.TuningNo. ........................................ page 128 • Shifting the note up or down of each Element [VOICE] → [EDIT] → Element selection → [F2] PITCH → [SF1] TUNE → Coarse .......................................................................... page 134 • Determining the fine tuning for the pitch of each Element. [VOICE] → [EDIT] → Element selection → [F2] PITCH → [SF1] TUNE → Fine ............................................................................. page 134 • Setting the all notes to the same pitch [VOICE] → [EDIT] → Element selection → [F2] PITCH → [SF4] KEY FLW → PitchSens = 0 ............................................................. page 135 Performance mode • Shifting the note up or down of each Part ............................................................................................. page 154 • Determining the fine tuning for the pitch of each Part. [PERFORM] → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ........................................................................... page 154 Owner’s Manual Appendix [PERFORM] → [EDIT] → [F4] TONE → [SF1] TUNE → NoteShift 195 Application Index Multi/Sequence Play mode • Shifting the note up or down for each Part [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → NoteShift ................................... page 154 • Determining the fine tuning for the pitch of each Part. [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F4] TONE → [SF1] TUNE → Detune ...................................... page 154 Master mode • Shifting the keyboard octave up or down for each zone of the edited Master. [MASTER] → Master selection → [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Octave ..................... page 173 • Adjusting the keyboard pitch for each zone of the edited Master. [MASTER] → Master selection → [F2] MEMORY → ZoneSwitch = on → [EDIT] → Zone selection → [F2] NOTE → Transpose ................. page 173 ■ Connecting to a computer/external MIDI instrument • Determining which connector (among the MIDI, USB TO HOST, mLAN) is used as a MIDI input/output connector. [UTILITY] → [F5] MIDI → [SF4] OTHER → MIDI IN/OUT ....................................................................................................... page 166 • Using the sounds of the S90 ES for song playback from a MIDI sequencer ............................................................ page 70 • Setting whether or not Bulk Dump data can be received [UTILITY] → [F5] MIDI → [SF2] SWITCH → RevBulk = on/protect ............................................................................................ page 166 • Sounding only the external MIDI tone generator and turning the internal tone generator off when playing the keyboard (turning the Local Control setting off). [UTILITY] → [F5] MIDI → [SF2] SWITCH → LocalCtrl = off .................................................................................................... page 166 • Synchronizing with an external MIDI instrument/computer Using the S90 ES as a MIDI master [UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = internal, ClockOut = on, SeqCtrl = out .......................................................... page 166 Using the S90 ES as a MIDI slave [UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI, ClockOut = off, SeqCtrl = in ................................................................ page 166 • Synchronizing the LFO wave speed of the Voice with an external MIDI instrument/computer. [UTILITY] → [F5] MIDI → [SF3] SYNC → MIDI Sync = MIDI .................................................................................................... page 166 [VOICE] → Normal Voice selection → [EDIT] → [COMMON] → [F5] LFO → [SF1] WAVE → TempoSync = on ...................................... page 131 • Specifying the MIDI transmit port/channel. Determining the MIDI transmit channel from the keyboard (by using [TRACK SELECT] button and Number [1] - [16] buttons). ................................................................................................................................................................. page 105 • Selecting the transmit port from the keyboard in the Voice mode or Performance mode. In the Voice mode and Performance mode, the transmit port is fixed to 1. • Selecting the transmit ports from the keyboard in the Multi mode. In the Multi mode, the transmit port depends on the last Chain Step settings selected in the Sequence Play mode .................................................................................................................................................................................. page 98 • Determining the MIDI channel for Arpeggio playback data. [UTILITY] → [F3] VOICE → [SF3] ARP CH → TransmitCh ...................................................................................................... page 165 • Specifying the MIDI receive port/channel. Setting the MIDI receive channel in the Voice mode/Performance mode. [UTILITY] → [F5] MIDI → [SF1] CH → BasicRcvCh .............................................................................................................. page 165 Setting the MIDI Receive Channel for each Part. [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F1] VOICE → [SF2] MODE → ReceiveCh ............................... page 152 • Checking the receive Ports. When selecting a Voice or Part of internal tone generator, the transmit port is fixed to 1. When selecting a Plug-in Voice or Plug-in Part, the transmit port depends on the settings in the following display. [UTILITY] → [F6] PLUG → [SF2] MIDI .............................................................................................................................. page 167 Appendix 196 Owner’s Manual Application Index ■ Setting parameters for Program Change transmission/recognition • Enabling or disabling the sending of Bank Select and Program Change messages, when selecting a Voice or Performance. [UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange ........................................................................................... page 166 • Enabling or disabling selection of S90 ES Voices/Performances/Multis from an external MIDI device. [UTILITY] → [F5] MIDI → [SF2] SWITCH → BankSel, PgmChange ........................................................................................... page 166 [MULTI/SEQ PLAY] (selecting Multi mode) → [EDIT] → Part selection → [F5] RCV SW → PgmChange .............................................. page 159 • Setting whether each Part playback sounds the internal tone generator or an external tone generator in the Sequence Play mode. [MULTI/SEQ PLAY] (selecting Sequence Play mode) → Chain Step selection → [F2] OUTPUT → INT SW (Internal Switch), EXT SW (External Switch) ................................................................................................................................................................................ page 162 • Setting whether each Multi’s Part playback sounds the internal tone generator or an external tone generator. In the Multi mode, the transmit port depends on the last Chain Step settings selected in the Sequence Play mode. ■ Other Tips • Loading the specified file on the USB storage device automatically when the power is turned on. ....................... page 106 • Setting the default display when turning the power on. [UTILITY] → [F1] GENERAL → [SF4] OTHER → PowerOnMode .............................................................................................. page 164 Appendix • Selecting the output jack for each Drum key or Part. ................................................................................................ page 63 Owner’s Manual 197 Index Index Numerics B 1/4 Shift (1/4 shifted) .......................................... 147 BaKM (Arpeggio type category) ..................... 124 1/4 tone .................................................................. 147 Band Elimination Filter ........................................ 113 1/8 tone .................................................................. 147 Band Pass Filter ................................................... 113 [1] - [16] buttons .................................................... 17 Bank .................................................. 30, 140, 144, 152 contrast ....................................................................10 Control Change ....................................................180 Bank (MIDI) ........................................................... 174 Bank Select LSB ............................................ 71, 180 A Bank Select MSB ........................................... 71, 180 A/D INPUT jacks .................................................... 19 Bank (TG) .............................................................. 174 Active Sensing ..................................................... 183 Bank Type ..................................................... 128, 129 AEG (Amplitude Envelope Generator) ........... 114 BankLSB ................................................................ 174 Aftertouch ................................................................ 62 BankMSB ............................................................... 174 [A] - [H] buttons ..................................................... 17 BankSel (Bank Select) ........................................ 166 All Notes Off ......................................................... 182 BasicRcvCh (Basic Receive Channel) ........... 165 All Sound Off ........................................................ 182 Bass (Arpeggio type category) ....................... 124 AlternateGroup .................................................... 141 BC (Breath Controller) ........................ 151, 155, 174 AlternatePan ................................................. 137, 142 BCCurve (Breath Controller Curve) ................ 163 AMod (Amplitude Modulation Depth) BEF12 (12dB/oct Band Elimination Filter) ..... 148 .................................................................. 139, 143, 144 BEF6 (6dB/oct Band Elimination Filter) .......... 148 AMP ........................................................................ 114 Board Voice .......................................................... 101 APKb (Arpeggio type category) ...................... 124 BPF12D (12dB/oct Digital Band Pass Filter) 148 Application Index ................................................ 193 BPF6 (6dB/oct Band Pass Filter) ..................... 148 Arabic 1 ................................................................. 147 BPFw (Wide Band Pass Filter) ......................... 148 Arabic 2 ................................................................. 147 Bras (Arpeggio type category) ........................ 124 Arabic 3 ................................................................. 147 Breath Controller .................................................... 59 [ARP FX] button ..................................................... 42 BREATH Controller jack ....................................... 19 Arpeggio ............................................................... 124 Brightness ............................................................. 181 [Arpeggio] button .................................................. 39 Bulk Dump ............................................................. 126 Arpeggio type categorie ................................... 124 ArpeggioSW (Arpeggio Switch) ...................... 159 ArpSwitch (Arpeggio Switch) ........................... 152 C Control slider (Performance) ...............................55 Control slider (Voice) ............................................46 Control sliders ........................................................42 Controller .................................................................59 Controller block ....................................................108 Controller Set ..........................................................60 Copy procedure ...................................................146 CPrc (Arpeggio type category) ........................124 CSAssign (Control slider Assign) ....................129 Ctgr (Category) Type ..................................128, 129 CtrlChange (Control Change) ..........................155 CtrlChange (Control Change mode) ...............166 CtrlReset (Controller Reset) ..............................164 Cursor buttons ........................................................17 Curve ......................................................134, 136, 137 Cutoff ......................................................135, 136, 154 Cutoff Frequency .................................................113 CutoffSens (Cutoff Sensitivity) ..........................136 D Data Decrement ...................................................181 Data dial ...................................................................17 Data Entry LSB .....................................................181 Data Entry MSB ....................................................181 Data type to be copied ......................................160 Data type to be copied (Type) .........................146 Appendix AS1 (ASSIGN 1) .................................. 127, 149, 172 Category ................................................................ 140 AS1 (Assign 1) ..................................... 151, 155, 157 Category Search ........................................ 32, 35, 73 AS2 (ASSIGN 2) .................................. 127, 149, 172 [CATEGORY SEARCH] button ............... 32, 35, 73 AS2 (Assign 2) ............................................. 151, 157 CenterKey ............................................. 135, 136, 138 AS2 (Assign2) ...................................................... 155 Channel Aftertouch ............................................. 183 ASA (ASSIGN A) .................................. 127, 149, 172 Channel Message ............................................... 180 ASA (Assign A) .................................................... 157 Channel Mode Messages ................................. 182 ASA (Assign A) Dest (Destination) ................. 165 ChAT (Channel After Touch) ............................ 155 ASB (ASSIGN B) .................................. 127, 149, 172 ChAT (Channel After touch) ............................. 174 ASB (Assign B) .................................................... 157 ChgTiming (Change Timing) ............................ 129 ASB (Assign B) Dest (Destination) ................. 165 CHO SEND (Chorus Send) ............................... 157 ASSIGN A, ASSIGN B .......................................... 61 Chorus .................................................... 118, 121, 164 Assign Gain 1&2, 3&4, 5&6, 7&8, 9&10, 11&12, Chorus Ctg ............................................................ 121 13&14 ..................................................................... 164 Chorus Pan ........................................................... 121 Assign Gain L&R ................................................. 164 Chorus Return ...................................................... 121 Assign1/2 .............................................................. 129 Chorus Send ......................................................... 121 AssignA/B ............................................................. 129 Chorus to Reverb ................................................ 121 ASSIGNABLE OUT L and R jacks .................... 19 Chorus Typ (Chorus Effect Category, Chorus Ef- ATK ......................................................................... 144 fect Type) .............................................................. 121 Attack (Attack Time) ................................... 154, 155 ChoSend (Chorus Send) ........... 129, 141, 150, 153 Attack Time ................................................... 142, 181 ChSq (Arpeggio type category) ...................... 124 Audio Equipment ................................................... 63 ClockOut ................................................................ 166 Audio Input ............................................................. 64 Cntr (Arpeggio type category) ......................... 124 Audio Input Part (AUDIO IN) ............................ 118 Coarse ............................................................ 134, 141 Audio Output .......................................................... 63 Comb (Arpeggio type category) ..................... 124 AutoLoad ............................................................... 164 Common Edit .............................................. 45, 47, 53 AWM2 (Advanced Wave Memory 2) .............. 109 [COMPARE] button ............................................... 26 Conrol sliders ......................................................... 94 Continue ................................................................ 183 Owner’s Manual Control slider (Multi) ..............................................75 Data Increment .....................................................181 Computer ........................................................... 67, 70 198 Control Change numbers ....................................62 DCY1 .......................................................................144 DCY2 .......................................................................144 [DEC/NO] button ....................................................17 Decay (Decay Time) ...................................154, 155 Decay Time ...........................................................181 Decay1Lvl (Level) ................................................142 Decay1Time ..........................................................142 Decay2Time ..........................................................142 Delay .......................................................................145 Delay (Delay Time) ..............................................132 DelayTempo ..........................................................133 DelayTempoSync ................................................133 Demo Songs ...........................................................29 DEPTH ....................................................................144 Depth ..............................................................131, 132 Dest (Destination) ........................................131, 132 Detune ....................................................................154 DeviceNo. (Device Number) .............................166 DEVNO. (Device Number) .................................167 Distance .................................................................135 DptRatio EL1 - EL4 (Depth Offset Element1 - Element4) ...............132 driver .........................................................................70 DrPc (Arpeggio type category) ........................124 Drum Voice ......................................................30, 111 Drum Voice Edit .....................................................47 Dry Level ................................................................154 DRY LVL (Dry Level) ...........................................157 Dual BEF (Dual Band Elimination Filter) .........148 Index Dual BPF (Dual Band Pass Filter) ....................148 Gain .........................................................................135 Dual HPF (Dual High Pass Filter) .....................148 GAIN knob ...............................................................38 Dual LPF (Dual Low Pass Filter) ......................148 GateTimeRate .......................................................131 [GM] button .............................................................30 GM Voice ...............................................................112 GM/XG ....................................................................167 “E” Indicator ............................................................25 GtKM (Arpeggio type category) .......................124 Echo ..........................................................................69 GtPl (Arpeggio type category) .........................124 [EFFECT BYPASS] button ...........................17, 119 hardware controllers .............................................78 Effect Plug-in Board ..............................................99 Harmonic Content ................................................181 Effect Send Level .................................................181 High Pass Filter ....................................................113 Effect structure .....................................................118 HighFreq (High Frequency) ......................145, 154 EG Time .................................................................137 HighGain (High Gain) .................................145, 154 EGDepth ........................................................134, 136 Hold .........................................................128, 130, 165 EGTime ...........................................................134, 136 Hold (Hold Time) ..................................................132 EGTimeSens (EG Time Sensitivity) .135, 136, 138 Hold1 .......................................................................181 EL:OUT 1-4 (Element 1-4 Effect Output) .......121 HPF12 (12dB/oct High Pass Filter) ..................148 Element ....................................................................44 HPF24D (24dB/oct Digital High Pass Filter) ..148 Element Edit ............................................................45 HPFCutoff .......................................................135, 141 Element EQ ...........................................................119 HPFCutoff (High Pass Filter Cutoff frequency) ... ElementSw (Element Switch) ............131, 133, 140 ...................................................................................144 [ENTER] button ......................................................17 HPFKeyFlw (Key Follow) ....................................136 [EQ] button ..............................................................42 HySq (Arpeggio type category) .......................124 I Expression .............................................................181 IEEE 1394 ................................................................88 EXT SW (External Switch) ..................................162 [INC/YES] button ....................................................17 Indian ......................................................................147 F Information .............................................................176 [INFORMATION] button ...............................17, 176 [F1] – [F6] buttons .................................................23 INIT ..........................................................................144 Factory Set ..............................................................21 Ins A/B Ctgry (Insertion effect Category) .......121 FadeIn (Fade In Time) ........................................132 Ins A/B Type (Insertion effect Type) ...............121 FadeInTime ...........................................................139 Ins EF Connect (Insertion Effect Connect) ....121 FadeOut .................................................................132 InsA Ctgry (Insertion A Category) ...................152 Favorite Category ..................................................33 InsA Type (Insertion A Type) ............................152 FC1 (Foot Controller 1) ...............................155, 174 InsB Ctgry (Insertion B Category) ...................152 FC2 (Foot Controller 2) .......................151, 155, 174 InsB Type (Insertion B Type) ............................152 FC3, FC4, FC5 ........................................................59 InsChoSend (Insertion Chorus Send) .............140 FEG (Filter Envelope Generator) ......................113 InsEF (Insertion Effect) .......................................154 FEGDepth ..............................................................154 InsEffectOut (Insertion Effect Output) .............133 [FILE] button ...........................................................12 InsEFOut (Insertion Effect Output) ...................141 File mode .........................................................12, 168 Insertion ..................................................................163 Filter ........................................................113, 143, 144 Insertion Effects ....................................................118 Filter Type List ......................................................148 INT SW (Internal Switch) ....................................162 Fine ..................................................................134, 141 Internal ....................................................................163 FineScaling ............................................................134 Internal Structure ..................................................108 Foot Controller ........................................................60 lemSw (Element Switch) .................................... 132 LEVEL ..................................................................... 144 LFO (Low Frequency Oscillator) ..................... 114 Local Control .......................................................... 69 LocalCtrl (Local Control On/Off) ...................... 166 Low Pass Filter ..................................................... 113 LowFreq (Low Frequency) ........................ 145, 154 LowGain (Low Gain) ................................... 145, 154 LPF12 + BPF6 (12dB/oct Low Pass Filter + 6dB/ oct Band Pass Filter) .......................................... 148 LPF12 (12dB/oct Low Pass Filter) ................... 148 LPF18 (18dB/oct Low Pass Filter) ................... 148 LPF18s (18dB/oct Staggered Low Pass Filter) .. .................................................................................. 148 LPF24A (24dB/oct Analog Low Pass Filter) . 148 LPF24D (24dB/oct Digital Low Pass Filter) ... 148 LPF6 (6dB/oct low-pass Filter) ......................... 148 LPFCutoff ............................................................... 141 M M. TuningNo. (Micro Tuning Number) ........... 128 M. TuningRoot (Micro Tuning Root) ............... 128 Main Volume ......................................................... 181 Master ................................................................ 67, 90 [MASTER] button ................................................... 12 Master Edit mode ................................................ 173 Master Effect ................................................ 119, 121 Master EQ ..................................................... 120, 121 Master Job mode ................................................ 175 master keyboard ................................................... 90 [MASTER] mode .................................................... 90 Master mode .................................................. 12, 172 Master Play mode ............................................... 172 [MASTER VOLUME] slider .................................. 16 Maximum Polyphony .......................................... 115 Mega Voice ........................................................... 110 Memory .................................................................. 172 memory structure ................................................ 111 Mic/Line ................................................................. 164 Micro Tuning List ................................................. 147 microphone ............................................................. 38 MidFreq (Middle Frequency) ........................... 154 FixedVelocity .........................................................163 FMod (Filter Modulation Depth) .......139, 143, 144 LegatoSlope ......................................................... 129 LPFReso ................................................................ 141 Equal Temp (Equal temperament) ..................147 Exp (Expression) ..................................................155 Lead (Arpeggio type category) ....................... 124 LevelSens (Level Sensitivity) ............................ 138 H Effect connection .................................................121 Equalizer (EQ) ......................................................119 Layer ......................................................................... 36 Level ............................................................... 137, 142 Edit Recall ...............................................................26 Effect Block ...........................................................118 L&RGain ................................................................ 164 MidGain (Middle Gain) ...................................... 154 K FOOT CONTROLLER 1 and 2 jacks .................19 KBDTransCh (Keyboard Transmit Channel) .166 FOOT SWITCH jacks ............................................19 Key Edit ....................................................................47 Footswitch (assignable) .......................................59 KeyAsgnMode (Key Assign Mode) .................128 Footswitch (sustain) ..............................................59 Keyboard .................................................................16 Free .........................................................................168 Keyboard Mega Voice ........................................110 FREQ (Frequency) ..............................................150 KeyMode ................................................................130 FS (Footswitch) .............................................155, 174 KeyOnDelay ..................................................133, 139 FSAssign (Footswitch Assign) ..........................165 KeyOnReset ..................................................131, 139 Kirnberger ..............................................................147 MIDI ........................................................................ 180 MIDI Channel ................................................. 65, 180 MIDI IN/OUT ......................................................... 166 MIDI IN/OUT/THRU connectors ........................ 19 MIDI Master Volume ........................................... 183 MIDI port .......................................................... 67, 180 MIDI Sync .............................................................. 166 MIDI through ........................................................... 69 MIDISwitch ............................................................ 173 Appendix E L Mixer ......................................................................... 63 mLAN ....................................................................... 88 G GAIN .......................................................................150 mLAN MonitorSw ................................................. 164 mLAN16E ........................................................ 88, 184 Mode ...................................................... 129, 153, 172 Owner’s Manual 199 Index Mode A .................................................................... 79 PB (Pitch Bend) ........................................... 155, 174 Mode B .................................................................... 79 PB (Pitch Bend) Lower ....................................... 153 MODE buttons ....................................................... 22 PB (Pitch Bend) Range ...................................... 153 Mode Change ...................................................... 183 PB (Pitch Bend) Upper ...................................... 153 Modes ...................................................................... 12 PB Upper/Lower Modulation Wheel ......................................... 41, 181 (Pitch Bend range Upper/Lower) .................... 129 Mono ...................................................................... 182 PC (MIDI) ............................................................... 174 Mono/Poly ..................................... 127, 128, 152, 159 PC (TG) .................................................................. 174 Multi .................................................................. 70, 109 PdMe (Arpeggio type category) ...................... 124 Multi Edit mode ...................................................... 74 Peaking type ......................................................... 119 Multi Job mode .................................................... 160 PEG (Pitch Envelope Generator) ..................... 112 Multi mode ...................................................... 12, 157 [PERFORM] button ................................................ 12 Multi Part Editor ..................................................... 77 Performance ................................................... 34, 109 Multi Play mode ................................................... 157 Performance Edit ................................................... 53 Multi Voice Edit mode ........................................ 161 Performance Job mode ..................................... 156 Multi Voice Job mode (Edit Recall) ................ 161 Performance mode ....................................... 12, 149 Multi Voice mode ................................................. 161 Performance Play mode .............................. 34, 149 Multi Voice Store mode ...................................... 161 PgmChange (Program Change) .............. 166, 174 [MULTI/SEQ PLAY] button .................................. 12 Phase ...................................................................... 132 Multi-Part Plug-in Board ...................................... 99 PHONES jack ......................................................... 19 multi-timbral tone generator ............................. 115 Pitch ................................................ 112, 134, 141, 143 [MUTE] button .............................................. 104, 105 Pitch Bend ............................................................. 183 MW (Modulation Wheel) ............................ 155, 174 Pitch Bend Wheel .................................................. 41 PitchSens (Pitch Sensitivity) ............................. 135 PLG - EF ................................................................ 103 N PLG100-VH ............................................................. 99 Naming .................................................................... 27 PLG100-XG ............................................................. 99 Normal ................................................................... 111 PLG150 .................................................................... 99 Normal Voices ........................................................ 30 PLG150-AN ............................................................. 99 Note On/Off ........................................................... 180 PLG150-DR ............................................................. 99 NoteLimit ....................................................... 130, 134 PLG150-DX ............................................................. 99 NoteLimitH (Note Limit High) ........................... 152 PLG150-PC ............................................................. 99 NoteLimitH, L (High, Low) ................................. 173 PLG150-VL .............................................................. 99 NoteLimitL (Note Limit Low) ............................. 152 [PLG1] - [PLG3] buttons ...................................... 30 NoteShift ................................................ 144, 154, 163 PLG-EF ................................................................... 122 NRPN (Non Registered Parameter Number) LSB PLG-EF (Plug-in Effect) ...................................... 163 .................................................................................. 182 Plug1: – Plug3: ..................................................... 167 NRPN (Non Registered Parameter Number) MSB Plug-in Board ........................................................ 184 .................................................................................. 182 Plug-in Insertion Effect ....................................... 119 InsRevSend (Insertion Reverb Send) ............. 140 Plug-in Voice ......................................................... 101 Number .................................................. 140, 144, 152 PMod (Pitch Modulation Depth) 139, 143, 144, 145 Poly ......................................................................... 182 PolyExpand ........................................................... 167 O Polyphonic Aftertouch ........................................ 183 OCT (Octave) ............................... 127, 149, 157, 172 PORT ...................................................................... 162 Octave ........................................................... 163, 173 Portamento ............................................................ 181 Offset EL1 - EL4 Portamento Time .................................................. 181 (Phase Offset Element1 - Element4) .............. 132 PortaMode (Portamento Mode) ....................... 127 Optional Hardware .............................................. 184 PortaSw (Portamento Switch) ................... 127, 149 Orgn (Arpeggio type category) ....................... 124 PortaTime (Portamento Time) ................... 127, 149 OSR ........................................................................ 112 PORTNO. (Port number) .................................... 167 OUTPUT L/MONO & R jacks .............................. 19 POWER switch ......................................................... 8 OutputSel (Output Select) ................................. 154 PowerOnMode ..................................................... 164 OutputSwitch ................................................ 151, 165 [PRE1] - [PRE4] buttons ...................................... 30 Program Change ........................................... 71, 183 PureMaj (Pure major) .......................................... 147 P PureMin (Pure minor) .......................................... 147 PAN ......................................................................... 157 Appendix Pan .......................... 129, 137, 142, 150, 153, 174, 181 [PAN/SEND] button .............................................. 42 Part Edit ................................................................... 53 Q (Frequency Characteristic) ........................... 150 Part EQ ................................................................... 120 QuntStrength (Quantize Strength) ................... 130 Part structure ........................................................ 116 QuntValue (Quantize Value) ............................. 130 PartSw (Part Switch) ........................................... 152 PartSwitch ............................................................. 149 Random ..................................................................134 RandomPan ..................................................137, 142 RandomSpeed .....................................................131 RB (Ribbon Controller) ...............................151, 155 RcvBulk (Receive Bulk) ......................................166 RcvNoteOff (Receive Note Off) ........................141 RdPp (Arpeggio type category) .......................124 ReceiveCh (Receive Channel) .........................159 REL ..........................................................................144 Release (Release Level) ............................154, 155 Release Time ........................................................181 Remote Control ......................................................78 [REMOTE] button ...................................................17 Reset All Controllers ............................................182 Resonance ............................................113, 136, 154 Resonance/Width ................................................135 REV SEND (Reverb Send) .................................157 Reverb ....................................................118, 121, 164 Reverb Pan ............................................................121 Reverb Return ......................................................121 Reverb Send .........................................................121 Reverb Typ (Reverv Effect Type) ....................121 RevSend (Reverb Send) ............129, 141, 150, 153 Ribbon Controller ...................................................62 RPN (Registered Parameter Number) LSB ...182 RPN (Registered Parameter Number) MSB ..182 S Save ........................................................................126 ScalingPan ............................................................137 Segment .................................................134, 136, 137 Seq (Arpeggio type category) ..........................124 SeqCtrl (Sequencer Control) ............................166 Sequence Play mode ...................................12, 162 sequencer ...............................................................70 [SF1] ARP1 (Arpeggio 1) - [SF5] ARP5 (Arpeggio 5) ...................................................................................157 [SF1] - [SF5] buttons .............................................23 SHAPE ....................................................................150 Shelving type ........................................................119 Single Part Plug-in Board ....................................99 Single timbre tone generator ............................115 Slave .........................................................................67 Slider ...............................................................173, 174 Slider1 ~ Slider4 ..................................................165 Slope .......................................................................133 Slot ...........................................................................168 software synthesizer .............................................77 [SOLO] button ......................................................104 Sostenuto Pedal ...................................................181 Source ....................................................................131 Specifications .......................................................188 Speed .....................................................131, 139, 145 Split .....................................................................37, 95 Src (Source) ..........................................................144 Start .........................................................................183 Q PartSw .................................................................... 149 R Status ......................................................................168 Step .........................................................................133 Stop .........................................................................183 [STORE] button ....................................................126 Strn (Arpeggio type category) ..........................124 Supplementary information ...............................170 Sus (Sustain) .................................................155, 174 SusPedal Select (Sustain Pedal Select) .........165 200 Owner’s Manual Index Sustain (Sustain Level) ...............................154, 155 VelSensOfst (Velocity Sensitivity Offset) ........153 Switch .............................128, 129, 130, 150, 153, 165 Voice .................................................................30, 109 System ....................................................................164 [VOICE] button .......................................................12 System effect ........................................................121 Voice Edit .................................................................44 System Effects ......................................................118 Voice Edit mode ...................................................128 System Messages ...............................................183 Voice Editor .............................................................77 System Overview .................................................108 Voice mode .....................................................12, 127 System Realtime Messages ..............................183 Voice Play mode ..................................................127 VoiceELPan (Voice Element Pan) ....................153 T Vol (Volume) ..........................................................174 VOLUME .................................................................157 TCH (Transmit Channel) ............................127, 149 Volume ................................... 129, 150, 153, 163, 174 Template ................................................................133 Volume Label ........................................................168 Tempo ............................................................128, 129 TempoSpeed ........................................................131 TempoSync ...........................................................131 W TGSwitch (Tone Generator Switch) .................173 Wave ...............................................................131, 139 thru ..........................................................................148 Wave No. (Waveform Number) ........................133 ThruPort (Through Port) ...............................68, 166 WaveCtgry (Waveform Category) ....................133 TIME ........................................................................144 Werckmeist (Werckmeister) ..............................147 Time ................................................................129, 153 TimeMode ..............................................................129 Timing Clock .........................................................183 Z [TONE] button ........................................................42 Zones ........................................................................93 Tone Generator block .........................................109 ZoneSwitch ............................................................172 Total ........................................................................168 Total Recall ..............................................................77 Track .......................................................................157 [TRACK SELECT] button ...................................105 TransCh (Transmit Channel) .............................173 TransmitCh ............................................................151 TransmitCh (Transmit Channel) .......................165 Transpose ..............................................105, 163, 173 Troubleshooting ...................................................189 Tune ........................................................................163 TYPE .......................................................................168 Type ........................................135, 139, 140, 150, 168 Type of parameter to be initialized ..........156, 160 U USB Device ...........................................................168 USB storage devices ............................................20 USB TO DEVICE connector ................................20 USB TO HOST connector ....................................20 [USER1] - [USER2] buttons ................................30 [UTILITY] button .....................................................12 Utility Job mode ...................................................167 Utility mode .....................................................12, 163 V Vallot&Yng (Vallotti & Young) ...........................147 Value .......................................................................133 VCE - INS ...............................................................122 VelCrossFade (Velocity Cross Fade) ..............134 VelCurve (Velocity Curve) .................................163 VelLimit (Velocity Limit) ......................................128 Appendix VelLimitH (Velocity Limit High) .........................152 VelLimitL (Velocity Limit Low) ...........................152 VelMode (Velocity Mode) ..................................130 VelocityDepth .......................................................144 VelocityLimit ..................................................130, 134 VelocityOffset ........................................................144 VelocityRate ..........................................................130 VelSensDpt (Velocity Sensitivity Depth) ........153 Owner’s Manual 201 FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply 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 regulations 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 satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation 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. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. COMPLIANCE INFORMATION STATEMENT (DECLARATION OF CONFORMITY PROCEDURE) IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW. 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. • This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (class B) (3 wires) Responsible Party : Yamaha Corporation of America Address : 6600 Orangethorpe Ave., Buena Park, Calif. 90620 Telephone : 714-522-9011 Type of Equipment : Music Synthesizer Model Name : S90 ES This device complies with Part 15 of the FCC Rules. Operation is subject to the following conditions: 1) this device may not cause harmful interference, and 2) this device must accept any interference received including interference that may cause undesired operation. See user manual instructions if interference to radio reception is suspected. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (FCC DoC) 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. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 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. THE NETHERLANDS/ BELGIUM/LUXEMBOURG Yamaha Music Central Europe GmbH, Branch Benelux Clarissenhof 5-b, 4133 AB Vianen, The Netherlands Tel: 0347-358 040 FRANCE U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de México S.A. de C.V. Calz. Javier Rojo Gómez #1149, Col. Guadalupe del Moral C.P. 09300, México, D.F., México Tel: 55-5804-0600 BRAZIL Yamaha Musical do Brasil Ltda. Av. Reboucas 2636-Pinheiros CEP: 05402-400 Sao Paulo-SP. Brasil Tel: 011-3085-1377 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 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 EUROPE 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 Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 ASIA THE PEOPLE’S REPUBLIC OF CHINA Yamaha Music & Electronics (China) Co.,Ltd. 25/F., United Plaza, 1468 Nanjing Road (West), Jingan, Shanghai, China Tel: 021-6247-2211 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 Subroto 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 DENMARK YS Copenhagen Liaison Office Generatorvej 6A 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 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. #03-11 A-Z Building 140 Paya Lebor Road, Singapore 409015 Tel: 747-4374 TAIWAN 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 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. 891/1 Siam Motors Building, 15-16 floor Rama 1 road, Wangmai, Pathumwan Bangkok 10330, Thailand Tel: 02-215-2626 OTHER ASIAN COUNTRIES 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: +81-53-460-2317 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 CZECH REPUBLIC/SLOVAKIA/ HUNGARY/SLOVENIA Yamaha Music Central Europe GmbH, Branch Austria, CEE Department Schleiergasse 20, A-1100 Wien, Austria Tel: 01-602039025 POLAND Yamaha Music Central Europe GmbH Sp.z. o.o. Oddzial w Polsce ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland Tel: 022-868-07-57 OCEANIA AFRICA Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2312 AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 NEW ZEALAND MIDDLE EAST 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 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 HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2445 SY37 OWNER’S MANUAL Yamaha Web Site (English only) http://www.yamahasynth.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 2005 Yamaha Corporation This document is printed on chlorine free (ECF) paper with soy ink. WE71930 505MWCP25.2-01A0 Printed in Japan EN