Yamaha Card Filer Manual de usuario

Marca: Yamaha

Modelo: Card Filer

Categoría: Sintetizador

Tipo: Manual de usuario

Este manual también es adecuado para

OWNER’S MANUAL

MUSIC SYNTHESIZER

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 impor-

tant operating and maintenance (servicing) instruc-

tions 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 elimi-

nated. DO NOT modify this unit or commission others to do so unless

specifically authorized by Yamaha. Product performance and/or safe-

ty standards may be diminished. Claims filed under the expressed

warranty may be denied if the unit is/has been modified. Implied war-

ranties may also be affected.

SPECIFICATIONS SUBJECT TO CHANGE: The information con-

tained 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 pro-

duce 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:

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.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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 per-

form 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 require-

ments, etc., are located on this plate. You should record the model

number, serial number, and the date of purchase in the spaces pro-

vided below and retain this manual as a permanent record of your

purchase.

Model

Serial No.

Purchase Date

POWER AC INLET

ON OFF

CARD

3.3V

S80

92-469- 1 (rear)

(2)-6

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep these precautions in a safe place for future reference.

WARNING

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

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

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

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

components or result in the instrument falling over.

• 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.

■REPLACING THE BACKUP BATTERY

• This instrument contains a non rechargeable internal backup battery which permits

internal data to remain stored even when the power is off. When the backup battery

needs replacing, the message "Change internal battery." will display in the LCD.

When this happens, immediately back up your data, then have qualified Yamaha

service personnel replace the backup battery.

• Do not attempt to replace the backup battery yourself, in order to prevent the possible

serious hazards. Always have qualified Yamaha service personnel replace the backup

battery.

• Never place the backup battery in a location that a child can reach, since a child

might accidentally swallow the battery. If this should happen, consult a physician

immediately.

■SAVING USER DATA

• Always save data to a Memory Card (SmartMedia) frequently, in order to help

prevent the loss of important data due to a malfunction or user operating error.

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.

• 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.

• 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.

• Only use the voltage specified as correct for the instrument. The required voltage is

printed on the name plate of the instrument.

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

(For more information about the main power supply, see page 12.)

• Before cleaning the instrument, always remove the electric plug from the outlet.

Never insert or remove an electric plug with wet hands.

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

accumulated on it.

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:

• 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.

• 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 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.

• 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 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.

• 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 near other electrical products such as televisions, radios,

or speakers, since this might cause interference which can affect proper operation

of the other products.

• Do not place the instrument in an unstable position where it might accidentally fall

over.

• Before moving the instrument, remove all connected cables.

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

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

Introduction

Thank you for purchasing the Yamaha S80 Music Synthesizer.

Your new S80 synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the

creation of super-realistic sounds. You can play these sounds over the 88-note fully-weighted

keyboard. It also supports optional Plug-in Boards that provide other synthesis engines of your choice,

enabling the production of cutting edge synthesizer sounds.

You can play all these sounds using the synthesizer’s automatic playback facilities such as the built-in

Arpeggiator and Sequencer. The Quick Access feature lets you access various genres of sounds

quickly and directly via the front panel.

Other features include Effects and Control Sets (for controlling various sound parameters in real time

using different controllers.) These features make this synthesizer ideal for every kind of live

performance or studio work.

When editing a sound, you can use the [PAGE] knob to switch between screens and five other knobs

plus the [DATA] knob for changing parameter values. This makes the process of editing sounds much

easier and smoother. To make the most use of your synthesizer, you are encouraged to read through

this manual. After reading the manual, please keep it in a convenient and safe place for future

reference.

About This Manual

This manual is basically divided into two sections:

■ Basics Section (Page 6)

Explains how to get started with the synthesizer, its overall structure, and how to use its main features and

functions.

■ Reference Section (Page 64)

Explains the parameters in the synthesizer’s various Modes.

Package Contents

• Owner’s Manual (this book)

• Data List

• Performance List

• AC Power cord

• Installation Guide

• CD-ROM

The Included CD-ROM

Application software for your synthesizer included on this CD-ROM. The Voice Editor application lets you edit

your synthesizer's sounds through a graphical user interface. The Card Filer application lets you exchange data

between your synthesizer and computer. Details are given in the separate Installation Guide or the on-line

manuals included with the software.

Never attempt to play back the track1, in which the application software is located, on an audio CD player. Doing so may

result in damage to your hearing as well as to your CD player/audio speakers.

Copying of the commercially available music sequence data and/or digital audio files is strictry prohibited except for your personal use.

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.

The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies.

5
Basics Section
The Controls & Connectors................................6
Before Use ........................................................12
Power Supply ........................................................12
Connections ..........................................................13
Powering Up..........................................................19
Basic Operations ..............................................21
Selecting a Mode ..................................................21
Selecting a Screen ................................................23
Entering Data........................................................24
Demo Playback ................................................26
Voices and Performances ..................................27
Playing a Voice......................................................27
Playing a Performance..........................................29
An Overview of the S80  ..................................31
Controller Section ................................................31
Sequencer Section ................................................31
Tone Generator Section ......................................32
Effects Section ......................................................34
About the Modes ..............................................35
Voices ................................................................36
An Overview of Voices/Waves ............................37
Waves ....................................................................38
Performances ....................................................39
Ideal for Playing Live ......................................40
1 Arpeggiator ........................................................41
2 Using Controllers ..............................................43
Voice Edit..........................................................50
Effects....................................................................55
Using as a Master Keyboard
(Performance Mode) ........................................57
Using as a Multitimbral Tone Generator
(Performance Mode) ........................................62
Reference Section
Voice Mode........................................................64
Voice Play..............................................................64
Voice Edit ..............................................................68
Voice Job Mode  ..................................................105
Voice Store ..........................................................106
Performance Mode  ........................................107
Performance Play  ..............................................107
Performance Edit  ..............................................111
Performance Job Mode ......................................130
Performance Store ..............................................131
Sequence Play Mode ......................................132
Utility Mode....................................................134
Utility Job Mode ................................................141
Card Mode ......................................................142
Appendix
About the Plug-in Boards (Optional) ............148
Display Messages ............................................151
Troubleshooting..............................................152
Specifications..................................................155
Index ..............................................................156
Table of Contents
Basics Section
Reference
Section
Voice Mode
Performance
Mode
Sequence Play
Mode
Utility Mode
Card Mode
Appendix

CONTROL SLIDER

1234

VOLUME

PITCH MODULATION

GAIN

.....

D INPUT PHONES OUTPUT

MONO R 1 2

INDIVIDUAL OUTPUT SUSTAIN BREATH TO HOST HOST SELECT

IN OUT

IDI

THRU

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

PITCH bend wheel (Page 43)

Controls the pitch bend effect. You can also assign

other functions to this controller.

MODULATION wheel (Page 43)

Controls the modulation effect. You can also assign

other parameters functions to this controller.

[VOLUME] Slider (Page 20)

Adjusts the master volume. Move the slider upwards

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

and the PHONES jack.

Control Sliders (Page 61)

In Master Keyboard Mode, the sliders can be used to

control various functions assigned to them (as Control

Change messages). Each slider controls each of four

Zones.

Basics

Section

Basics

Section

Basics Section

The Controls & Connectors

Front Panel

CARD

3.3V

DATAPAG E

PAR T

ELEMENT

ABC12

SHIFT

ASSIGNABLE KNOB

LCD (Liquid Crystal Display)

This is a backlit 2-line display.

[PAGE] knob (Page 23)

Switches between screens in each Mode. Each Mode includes

several screens.

Knobs [A], [B], [C], [1] and [2] (Page 24)

In each Play Mode, these knobs mainly control the functions

respectively assigned to them. In each Edit Mode, each knob is

used to enter a value for the associated parameter shown in the

display. Depending on the operation or the screen you are working

in, these knobs will function differently.

Knobs [A] to [C] can be assigned to system control functions (Pages

46, 136). Knobs [1] and [2] can be assigned control functions that

affect Voices (Pages 47, 74).

[DATA] knob (Page 25)

Use this to increase or decrease the value of the parameter at which

the cursor is positioned.

[SHIFT] key (Page 23)

In Voice or Performance Play Mode, a screen for viewing or setting the

Octave parameter and the MIDI Transmit channel (Page 23) is shown

when you press the [SHIFT] key. In any of the Edit Modes, when

pressing this key while turning the [PAGE] knob, a menu screen is

displayed and you can quickly switch between Edit Mode screens

(Page 23). If while holding this key you turn one of Knobs [A] ~ [C], [1]

~ [2], [DATA] knob, or press either [INC/YES] or [DEC/NO] key, you can

move the cursor without a parameter value being changed (Page 24).

Basics

Section

Basics

Section

Basics

Section

BYPAS S

ASTER

KEYBOARD

EXIT

DEC

NO INC

YES

ENTER

STOREVOI CE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

[ENTER] key (Pages 24, 25)

While selecting a Memory or Bank for Voice or Performance, press

this key to determine such a memory location. Also, use this key to

execute a Job or a Store operation.

[DEC/NO] key (Page 24)

Use this to decrease the value of the parameter at which the cursor

is positioned. Also use it to cancel a Job or a Store operation.

[INC/YES] key (Page 24)

Use this to increase the value of the parameter at which the cursor is

positioned. Also use it to execute a Job or a Store operation.

[EF BYPASS] key (Page 56)

Enables/dsiables the Effect Bypass. Press the key (its LED will light)

to bypass the effects used with the current Voice or Performance.

The bypassed effects (Reverb, Chorus, or Insertion) are specified in

Utility Mode (Page 135).

[MASTER KEYBOARD] key (pages 57, 111)

The S80 keyboard can work as MIDI master keyboard in

Performance mode. When the key is pressed and switched on (the

LED will light), the keyboard can play and control multiple MIDI

sound modules connected to the S80.

[EXIT] key (Page 23)

The menus and screens of the S80 have a hierarchical structure.

Press this key exit from the current screen and return to the previous

level in the hierarchy.

MODE keys (Page 21)

Press these to keys to select Voice, Performance, Utility or other

Modes.

SEQ controls (Pages 26, 132)

Press the [SEQ PLAY] key to enter Sequence Play Mode. Here, you

can play a MIDI file from Memory Card. Use the [PLAY/STOP] key

to start or stop playback of the currently selected file.

Basics

Section

POWER

OFF

AC INLET

PLG1EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1 PLG2

A. PIANO E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

12345678

910111213141516

MEMORY keys (Pages 27, 29, 65, 109)

Using one of these keys, you can select a Voice or Performance

Memory. Press the [ENTER] key to select the Memory. In

Performance Mode, the [EXT], [PLG1] and [PLG2] keys can be used

to select the A/D Part, Plug-in 1 Part and Plug-in 2 Part. The [PRE1]

and [PRE2] keys select “Common” (for all Parts).

BANK [A] to [H] keys (Pages

65, 109)

Each key selects a Voice or Performance Bank. Each Bank contains

sixteen Voices or Performances. In Voice Edit Mode, each of the BANK [A]

to [D] keys selects a Voice’s Element (ELEMENT SELECT) while each of

the BANK [E] to [H] keys turns the associated Voice’s Element on or off

(ELEMENT ON/OFF) (Page 51). When you activate Master Keyboard Mode

by pressing the [MASTER KEYBOARD] key, these key ([A] to [D]) can

respectively select Zones 1 to 4 if the Master Keyboard Mode setting is 4

zone in Performance Edit Mode.

PROGRAM/PART [1] to [16] keys (Pages 65, 109)

Each key selects a Voice or Performance from the current Bank. In Voice

Edit Mode, each PROGRAM/PART key selects an associated edit menu

(Page 70). In Performance Mode, these keys select Parts [1] to [16],

respectively.

[QUICK ACCESS] key (Page 68)

When you press the [QUICK ACCESS] key (its LED will light), you

can use BANK keys [A] to [H] to directly select Categories and

PROGRAM keys [1] to [16] to quickly select Voices.

Basics

Section

Basics

Section

Rear Panel

POWER AC INLET

ON OFF

CARD

3.3V

POWER switch (Page 19)

Use this to switch the

synthesizer on or off.

FOOT CONTROLLER jack

(Pages 18, 44)

An optional foot controller

(FC7, etc.) can be

connected here. Using the

foot controller, you can

control tones, pitches,

volumes or the like by foot.

FOOT VOLUME jack (Pages 18, 44)

An optional foot controller (FC7, etc.)

can be connected here. You can

control the output level from the

instrument by foot. In Utility Mode, you

can select Volume or Expression for

this controller.

INDIVIDUAL OUTPUT 1 and 2 jacks

(Page 13)

Line level audio signals are output from

the synthesizer via these phone jacks (1/4"

mono phone plug). The output is

separated from that at the OUTPUT

L/MONO and R jacks. In Performance

Mode, you can specify which Parts can be

output from these separate outputs.

AC INLET terminal (Page 12)

Plug the female end of the

supplied AC power cord in here

before plugging it into an AC

wall outlet.

CARD slot (Page 142)

Insert a Memory Card here to

transfer various data to/from

the instrument. Read

carefully the precautions on

use of a Memory Card (Page

142) before using a card.

MIDI IN, OUT, and THRU connectors (Page 15)

MIDI IN receives MIDI messages from an

external MIDI device. Use this connector to

control the synthesizer from an external MIDI

device. MIDI OUT sends out MIDI messages

generated by the synthesizer, such as notes

played on the keyboard or panel control/knob

variations, to an external MIDI sound module

or device. MIDI THRU just reflects the MIDI

messages received at MIDI IN. Connect

other MIDI devices here.

Basics

Section

MIDI

OUTTHRU IN

HOST SELECT TO HOST BREATH SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

Mac

PC-1PC-2

MIDI

INDIVIDUAL OUTPUT

OUTPUT

1 R L MONO PHONES A D INPUT GAIN

SUSTAIN jack

(Pages 18, 44)

An optional Foot

Switch (FC4 or

FC5) can be

connected here.

You can use the

Foot Switch as a

damper pedal on

the acoustic piano

or for a sustained

effect.

FOOT SWITCH jack

(Pages 18, 44)

Connect an optional

Foot switch (FC4 or

FC5) here. Using the

foot switch, you can

control of a range of

on or off a specific

function by foot, as

assigned on the

instrument. (Pages

53, 165)

PHONES jack (Page 13)

Connect a pair of headphones

here.

OUTPUT L/MONO and R jack

(Page 13)

Line level audio signals are output

via these phone jacks. For

monophonic output, use just the

L/MONO jack.

GAIN knob

(Pages 63

)

Use this to adjust the

input gain of the audio

signals at the A/D INPUT

jack. You may need to

adjust this depending on

the type of device

(microphone, other

instrument output, etc.)

connected when using a

A/D Input Part.

A/D INPUT jack (Page 14)

External audio signals can be input via this

phone jack. When an A/D Input Part is used

in a Performance, signals from devices

connected to this jack can be input in mono.

HOST SELECT switch (Page 16)

Select the type of computer

connected to the synthesizer via

the TO HOST connector .

TO HOST terminal

Connect a computer here using

an optional serial computer cable

(Page 16).

BREATH jack (Pages 18, 44)

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.

Before Use

This section explains how to connect to an AC power source, audio and MIDI devices, and a computer

system. Only switch the synthesizer on after you have made all the necessary connections.

It is recommended that you read this section before using the synthesizer.

Power Supply

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

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

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

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

Make sure your S80 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 S80. 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 S80 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 S80. 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.

Power cord

(included)

Rear panel

AC INLET terminal

Basics

Section

Basics

Section

Connections

Connecting to External Audio Equipment

Since the synthesizer has no built-in speakers, you need to monitor its sound output via external

audio equipment. Alternatively, you could use a pair of headphones.

There are several methods of connecting to external audio equipment, as described in the following

illustrations.

Connecting Stereo Powered Speakers

A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan

and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the

rear panel.

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 OUTPUT (L/MONO and R) jacks. These four

outputs can connect to a mixer for separately controlling the outputs of up to four Parts in

Performance Mode (Page 107). You can specify the output routing of each Part in Performance Edit

Mode (Page 111).

S80

Headphones

PHONES

OUTPUT

L/MONO

OUTPUT R

INPUTINPUT

Powered speaker (Left) Powered speaker (Right)

Basics

Section

Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks.

You can monitor the same sounds via headphones and at the OUTPUT jacks. However, you cannot monitor the

sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones.

Connecting a Microphone or Other Audio Equipment

When an A/D Input Part is used in a Performance, signals from devices connected to either of these

jacks can be input in mono.

After the above connections are complete, you are ready to set up for recording. When starting a recording, you

may need to adjust the input gain of the audio source using the GAIN knob. Details about A/D Input, including

how to adjust the input gain, are given on Pages 63, 119.

If you choose the wrong type of input source (Pages 119, 120), you may possibly damage your hearing and/or any

connected audio equipment. Make sure you set this parameter correctly.

Before connecting a device to the A/D INPUT jack, always turn the GAIN knob all the way down.

You can connect an external audio source to the A/D Input Part and use it as a Part in a Performance. Details are

given on Pages 63, 119.

CD Player or other audio equipment

(merged to mono internally)

A/D INPUT

Microphone

(mono devices)

S80

12345678910111213141516LR

Headphones

Mixer

Speaker

Amplifier

OUTPUT L

OUTPUT L /

MONO

PHONES

INDIVIDUAL

OUTPUT1

INDIVIDUAL

OUTPUT2

S80

Basics

Section

Connecting External MIDI Equipment

You can connect an external MIDI device using a MIDI cable (available separately) and control it from

this synthesizer. You can also use an external MIDI keyboard or sequencer to control the

synthesizer’s internal sounds. This section introduces several different applications of MIDI.

The HOST SELECT switch on the rear panel should be set to “MIDI.” Otherwise, MIDI information will not be

transmitted from the synthesizer’s MIDI OUT connector.

Controlling from an External MIDI Keyboard

Controlling an External MIDI Keyboard

Recording and Playback using an External MIDI Sequencer

MIDI IN

MIDI OUTMIDI IN

MIDI OUT

External MIDI

sequencer

S80

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

S80

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI OUT

MIDI IN

External MIDI keyboard

or synthesizer

S80

HOST SELECT

PC-2 PC-1

MIDI Mac

Basics

Section

Controlling Another MIDI Device via MIDI THRU

With the above MIDI connections, you can send MIDI data from the MIDI OUT connector while

MIDI data from the external sequencer can be sent to an external MIDI synthesizer via the MIDI

THRU jack.

The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in

a MIDI chain (chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for

parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained

together via their MIDI THRU connectors.

Connecting to a Personal Computer

When a computer is connected, it can be used to control the synthesizer and to transfer synthesizer

data to/from computer via MIDI. With the included Voice Editor program, for instance, you can edit

the synthesizer’s Voices. Using another program – Card Filer – you can transfer files between the

computer and the Memory Card inserted in the synthesizer’s CARD slot.

There are two ways to connect your synthesizer to a computer:

1: Serial connection (the computer’s serial port to the synthesizer’s TO HOST terminal)

2: MIDI connection (the computer’s MIDI interface or external MIDI interface to the

synthesizer’s MIDI IN and OUT)

Different computers require different connections, as follows.

1: Serial Port to TO HOST

IBM PC/AT

Macintosh

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

Apple Macintosh

PS422

(Modem or

Printer port)

S80

IBM PC/AT and compatibles

RS-232C

(DB9)

IBM

Personal System/V

PS/V

Personal System/V

HOST

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

S80

MIDI OUT

MIDI IN

External MIDI synthesizer

S80

MIDI IN

MIDI THRU

MIDI OUT

MIDI IN

External MIDI

sequencer

External MIDI

synthesizer

HOST SELECT

PC-2 PC-1

MIDI Mac

Basics

Section

2: MIDI Interface to MIDI IN and OUT

Using the computer’s MIDI interface

Using an external MIDI interface

You will need to an appropriate MIDI application (sequencer, editor, etc.) for your computer platform.

MIDI Interface

MIDI OUT

MIDI IN

MIDI IN MIDI OUT

HOST SELECT

PC-2 PC-1

MIDI Mac

Computer

S80

Computer with MIDI interface

Serial cable

HOST SELECT

PC-2 PC-1

MIDI Mac

MIDI OUT

MIDI

OUT

MIDI

MIDI IN

IBM

Personal System/V

PS/V

Personal System/V

S80

Basics

Section

Connecting Various Controllers

The S80 has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT

CONTROLLER, FOOT VOLUME and BREATH. You can connect optional controllers like a Foot

Switch (the FC4 or FC5), Foot Controller (the FC7) and Breath Controller (BC3, etc.) to control tone,

volume, pitch and other parameters.

Details about how to these controllers are given on Page 44.

FOOT

SWITCH

FC4

FC5

FC4

FC5

FC7 FC7BC3

FOOT

CONTROLLER

FOOT

VOLUME

BREATH

SUSTAIN

MIDI

OUTTHRU IN

HOST SELECT TO HOST BREATH SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

Mac

PC-1PC-2

MIDI

INDIVIDUAL OUTPUT

OUTPUT

1 R L MONO PHONES A D INPUT GAIN

Basics

Section

Powering Up

Power-on Procedure

When you have made all the necessary connections between your synthesizer and any other devices,

make sure that all volume settings are turned down all the way to zero. Then turn on the every device

in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment

(mixers, amplifiers, speakers, etc.). This ensures the smooth flow of signals from the first device to the

last (first MIDI, then audio).

When powering down the setup, first turn down the volume for each audio devices, then switch off

each device in the reverse order (first audio devices, then MIDI).

When the S80 as MIDI receiver:

Switching the S80 On

Before you switch your synthesizer on or off, first turn down the volume of any audio equipment connected to it.

1Press the POWER switch.

2A splash screen is displayed briefly.

3The Voice or Performance Play Mode screen appears next.

VCE Play) PRE1:001(A01)[Sq:Generation]

EQLow-Q EQMid-G EQHi-G FLT-Rez HPF

POWER AC INLET

ON OFF

MIDI sender Audio equipment (first mixer, then amplifier)

1 2 3 4 5 6 7 8 9 10111213141516 L R

POWER

ON!!

S80

(MIDI receiver)

Basics

Section

If you have a Memory Card inserted in the instrument’s CARD slot or an optional Plug-in Board

installed, you may see other screens before the Voice or Performance Play Mode screen is displayed.

If a previously used Memory Card is inserted in the CARD slot, you will see a screen while files in

EXT Memory are being loaded.

If a new Memory Card (one never used on the instrument) is inserted in the CARD slot, you will see

a screen while a basic file is being created in EXT Memory.

If you have a Plug-in Board installed, you will see a screen that confirms the presence of the Plug-in

Board.

The final screen after the power-on sequence may change depending on the Power On Mode setting available

Utility Mode (Page 135).

4Turn up the amplifier’s volume as necessary.

5Adjust the synthesizer's [VOLUME] slider to set an appropriate volume level.

About Memory Cards

You can save various kinds of data - Voice, Performance, Plug-in, Sequence Chain and so on - onto

Memory Card. The built-in CARD slot can accept 3.3-volt Memory Cards (SmartMedia).

Before using a Memory Card, read through precautions on how to handle it (Page 142).

• Formatting a Memory Card

You cannot use a new Memory Card to save files immediately. The card must be formatted in Card

Mode (Page 147) beforehand.

• Saving and Loading Data

You can save various kinds of data as files on a formatted Memory Card. Each file on the card can be

loaded when required.

You can save and load data such as System, Voice, Performance, Plug-in, Sequence Chain or the like.

Since Sequence Chain data is held temporarily in the synthesizer’s buffer memory and will be lost

once you switch it off, you need to save such data onto the Memory Card first.

Details about formatting a Memory Card, saving and loading data, and the recognized file types are

given on Page 143.

Basics

Section

Basic Operations

This section gives some basic explanations about operating the synthesizer.

Selecting a Mode

There are several operation Modes — Voice Play Mode, Performance Play Mode, etc. — each of which

enables you to work efficiently with the synthesizer’s various functions.

An overview of each Mode is given on Page 35.

There are separate Play Modes for Voices and Performances. To enter each of these Modes, use the

appropriate MODE key ([VOICE] for Voice Play Mode, [PERFORM] for Performance Play Mode).

There are also separate Edit and Job Modes for Voices and Performances. To enter Edit or Job Mode,

simply press the [EDIT] or [JOB] key while in each respective Play Mode.

Similarly, pressing the [STORE] key in Voice or Performance Mode takes you into Store Mode where

you can store Voices or Performances.

Other Modes include Utility Mode where you can specify system settings, Card Mode where you can

perform tasks related to the Memory Card, and Sequence Mode where you can play back MIDI song

files or create a sequence chain. (Press the [UTILITY] key for Utility Mode, the [CARD] key for Card

Mode and the [SEQ PLAY] key for Sequence Mode.)

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

Play Modes

1 Voice Play Mode (Page 64)

Press the [VOICE] key (its LED

will light) to enter Voice Play

Mode. To exit to another Mode,

simply press the respective key

for that Mode.

2 Performance Play Mode

(Page 107)

Press the [PERFORM] key (its

LED will light) to enter

Performance Mode. To exit to

another Mode, simply press the

respective key for that Mode.

PFM Play) INT:001(A01)[--:Init Perf ]

EQLow-G EQMid-G EQHi-G ------- -------

VCE Play) PRE1:001(A01)[Sq:Generation]

EQLow-G EQMid-G EQHi-G FLT-Rez HPF

Edit Modes

When in each Play Mode, you

can swiftly switch to each

respective Edit Mode by simply

pressing the [EDIT] key (its

LED will light).

3 Voice Edit Mode (Page 68)

Press the [EDIT] key in Voice

Play Mode. To exit to another

Mode, simply press the

respective key for that Mode or

press the [EXIT] key to return

to Voice Play Mode.

GEN Name) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

3 Performance Edit Mode

(Page 111)

Press the [EDIT] key while in

Performance Play Mode. To exit

to another Mode, simply press

the respective for that Mode or

press the [EXIT] key to return to

Performance Play Mode.

GEN Name) Ctgry a-Z 0-? Cursor

Common [--:Init Perf ]

Basics

Section

Job Modes

When in each Play Mode, you

can swiftly switch to each

respective Job Mode by simply

pressing the [JOB] key (its LED

will light).

4 Voice Job Mode (Page 105)

Press the [JOB] key in Voice Play

Mode. To exit to another Mode,

simply press the respective key

for that Mode or press the

[EXIT] key to return to Voice

Play Mode.

4 Performance Job Mode

(Page 130)

Press the [JOB] key while in

Performance Play Mode. To exit

to another Mode, simply press

the respective for that Mode or

press the [EXIT] key to return to

Performance Play Mode.

4 Utility Job Mode (Page 141)

Press the [JOB] key in Utility

Mode. To exit to another Mode,

press the respective key for that

Mode or press the [EXIT] key to

return to Utility Mode.

UTIL Factory Set)

Job

PFM Initialize)

Job Current Perform

VCE Initialize)

Job Current Voice

Other Modes

5 Utility Mode (Page 134)

Press the [UTILITY] key (its

LED will light) to enter Utility

Mode. To exit to another Mode,

simply press the respective key

for that Mode.

6 Card Mode (Page 142)

Press the [CARD] key (its LED

will light) to enter Card Mode.

To exit to another Mode, simply

press the respective key for that

Mode.

7 Sequence Play Mode

(Page 132)

Press the [SEQ PLAY] key (its

LED will light) to enter

Sequence Play Mode. To exit to

another Mode, simply press the

respective key for that Mode.

When MIDI system exclusive

messages are received from an

external MIDI device, the LED

for the currently selected Play

Mode (VOICE or PERFORM)

will blink.

8 Store Modes

(Pages 106, 131)

When in each Play or Edit

Mode, you can swiftly switch to

each respective Store Mode by

simply pressing the [STORE]

key. To exit to another Mode,

simply press the respective key

for that Mode or press the

[EXIT] key to return to Play

Mode.

VCE [Sq:Generation] >[Pf:Slamming ]

Store INT:001(A01)

SEQ) File:[ ] Perf

Chain00 001 ⁄= 120 Meas=001 INT:128

Save) Type File A-? Cursor

Card all ***[NEWFILE .S2A]

MSTR TG) Vol NoteShift Tune

Sys 127 +63 +102.3c

Basics

Section

Selecting a Screen

You can switch between screens using the [PAGE]

knob and pressing [SHIFT], [PROGRAM/PART],

[EXIT] and [ENTER] keys.

[PAGE] Knob

Usually, there are several screens and sub-screens

in each Mode. Use the [PAGE] knob to switch

between screens.

As shown below, the “ ” indicator is displayed to

the left of the screen if there are more screens

before and after that which you are currently

viewing.

At the first in a series of screens, you will see the

“ ” indicator meaning that there are more screens

to follow, but none before it. At the last screen,

you will see the “ ” indicator meaning that there

are no more screens to follow.

[SHIFT] Key

If you hold down the [SHIFT] key in Voice Play

Mode, you can modify the parameters on screen

as follows.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

(Oct= +3) PRE1:128(H16)[Pf:GrandPiano]

(Tch= 1)

LFO Depth)

EL1234

Indicator

SHIFT PAGE AB

VCE Srch) PRE1:

Memory

Next screenPrevious screen

Some Modes have more screens. In this case, you

can use the [PAGE] knob while holding down the

[SHIFT] key to switch to a specific screen.

For example, if you use the [PAGE] knob while

hoilding down the [SHIFT] key in Voice Edit

Mode, the following screen is shown. Select a

specific item using the cursor (≥), then release the

[SHIFT] key to switch to the parameter screen for

that item.

The [SHIFT] key also has other functions, as

described in other sections in this manual.

PROGRAM/PART keys

In Voice Edit Mode, PROGRAM/PART keys can

be used to select the items shown under the keys

and to switch to their screens.

[EXIT] Key

Press the [EXIT] key to move up (exit) in the

hierarchical structure and return to the previous

screen.

The [EXIT] key also has other more functions, as

described in other sections in this manual.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

12345678

910111213141516

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF

EL1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ

Cursor

Basics

Section

[ENTER] Key

Normally, the [ENTER] key is used to apply

parameter settings. In some cases, however, the

following screen appears prompting you to press

the [ENTER] key.

The [ENTER] key has other functions, as described

in other sections in this manual.

Entering Data

You can use the knobs to directly alter their

respective parameters on the screen.

Alternatively, you can also move the cursor (≥) to

a parameter and set its value using the

[INC/YES] and [DEC/NO] keys, or the [DATA]

knob.

Knobs [A], [B], [C], [1]

and [2]

Each parameter in a screen is normally associated

with a knob ([A], [B], [C], [1] or [2]) below the

display. When you use one of these knobs, the

cursor (≥) moves to its respective parameter and

you can change its value. For instance, you can use

Knob [B] at the following screen to change the

Level setting. Turn the knob clockwise to increase

the value and anti-clockwise to decrease it.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

EFFíEF1) Ctgry Type [ENTER]

C 1234 MOD Tremolo to Edit

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

Moving the Cursor

By using a knob ([A], [B], [C], [1] or [2]) while

holding down the [SHIFT] key, you can move the

cursor (≥) to the respective parameter on the

screen without affecting its value.

[INC/YES] and [DEC/NO]

Keys

You can use the [INC/YES] key to increment a

parameter setting by one step, or the [DEC/NO]

key to decrement it. If you hold down either key,

the value is continuously changed.

You can also use these keys to answer “YES” or

“NO” when a confirmation message is displayed.

Moving the Cursor

By pressing the [INC/YES] or [DEC/NO] key

while holding down the [SHIFT] key, you can

move the cursor between parameters on the

screen without affecting their values.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

DEC

NO INC

YES

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

DEC

NO INC

YES

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF

EL1234 96 ≥ 0 ins2

Basics

Section

[DATA] Knob

Use this knob to change the value of the

parameter at which the cursor is positioned.

Turn the knob clockwise to increment the value

one click (step) at a time, or turn it anti-clockwise

decrement it.

Moving the Cursor

Turn the [DATA] knob clockwise or anti-

clockwise while holding down the [SHIFT] key to

move the cursor to a parameter in the screen

without affecting its value.

[ENTER] Key

Use this key to apply a setting (when it is

blinking, for example.). The [ENTER] key is also

used when executing a Job or Store operation, as

described in other sections of this manual.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

OSCíOut) Level Delay InsEF

EL1234 ≥ 96 0 ins2

Types of Parameters (Absolute and Relative)

There are many ways to set parameters. Some

parameters require you to directly enter

numerical settings or alphabetic characters.

With others, you can choose from a number of

available settings. Furthermore, some types of

parameters are “absolute” whereas others are

“relative.”

For example, the absolute parameter in the

following illustration can be set to either

“Mono” or “Poly.” For other absolute

parameters such as Volume, the setting can be

any value between zero and 127. The Volume

setting has a linear, on-to-one relationship

with the actual volume, as shown in the graph

on the left.

However, relative parameters do not follow the

same relationship. The graph on the bottom

shows the role of the Velocity Offset

parameter. The value you have set here,

known as an “offset,” is added to, or

subtracted from, the actual value. With

Velocity Offset, the specified offset value is

added to, or subtracted from, the actual

velocity of the notes you play on the keyboard.

Sometimes, these types of relative parameters

are set as a percentage.

127

Volume

1 Volume (absolute)

Volume

offset added -10

Actual velocity

offset added +10

2 Velocity offset (relative)

-64

Offset

+64

QEDíLevel) Vol Pan RevSend ChoSend

C 1234 127 C 127 127

0~127

GEN Other) Mode Assign MicroTuning

C 1234 poly single 31:Indian

mono/poly

Basics

Section

Demo Playback

Several demo songs are supplied with this synthesizer. You can play them back as follows.

Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on Page 12.

At the “SEQ Demo” screen, any data in the instrument’s internal memory (System, Internal Voices or the like)

will be overwritten by the data for the demo song. Important data should be saved to Memory Card (Page 144)

beforehand.

1Press the [SEQ PLAY] key to enter Sequence Play Mode. You will see the following screen.

There are two screens in Sequence Play Mode. Use the [PAGE] knob to switch to the screen shown above.

2Press the [INC/YES] key to enter the SEQ Demo screen.

To cancel demo playback, press the [DEC/NO] key.

3Press the [PLAY/STOP] key to start playback of the song.

4Press the [PLAY/STOP] key again to stop playback.

At the end of the song, playback is automatically looped back to the beginning.

You can change the playback tempo using the Knob [C]. To use the song’s original tempo, select a tempo value

of “***.”

Details about Sequence Play Mode (and demo playback from Memory Card), are given on Page 132.

SEQ Demo) Song:[DEMOSONG]

≥ 001 ⁄= 120

Demo song name

Demo song number Playback tempo

SEQ Demo)<< Are you sure? [YES]/[NO] >>

System,IntVoice will be changed.

Basics

Section

Voices and Performances

Playing a Voice

Based on an AWM2 synthesis engine, this synthesizer offers various kinds of preset Voices (256

Normal Voices and 8 Drum Voices). You can also create your original Voices and store them into the

instrument’s internal memory (INT) or an external Memory Card (EXT). The internal and external

memory can each contain up to 128 Normal Voices and 2 Drum Voices. You can freely select and play

Voices from both groups of memories, as explained in the following.

1 [VOICE] key

2 MEMORY key

3 [DEC/NO] and [INC/YES] keys

3 [DATA] knob

PLG1EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1 PLG2

A. PIANO

STOREVOI CE

BYPAS S

ASTER

KEYBOARD

ODE

UTILITYEXIT

DATAPAG E

PAR T

ELEMENT

ABC12

SHIFT

ASSIGNABLE KNOB

DEC

NO INC

YES

ENTER

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

12345678

910111213141516

1 Press the [VOICE] key

The [VOICE] key LED will light, showing that

you are now in Voice Play Mode. The following

appears in the display.

At this point, you can play the Voice (named on

the screen) via keyboard.

VCE Play) PRE1:001(A01)[Pf:StereoGrnd]

EQLow-G EQMid-G EQHi-G ChoSend RevSend

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

2 Press a MEMORY key

to select a Voice Memory

There are six Voice Memories: PRE1 (Preset 1),

PRE2 (Preset 2), INT (Internal), EXT (External),

PLG1 (Plug-in 1), and PLG2 (Plug-in 2). Within

each Voice Memory are several Banks (up to

eight, A to H) in which the Voices are stored.

The following illustration shows how Voices are

stored in a Voice Memory.

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

PRE1 (Preset 1)

Bank A~H

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

PLG2 (Plug-in 2)

Bank A~D

EXT (External)

Bank A~H

PRE2 (Preset 2)

Bank A~H

PLG1 (Plug-in 1)

Bank A~D

INT (Internal)

Bank A~H

Details about selecting Voices using the [DATA]

knob or the [DEC/NO] and [INC/YES] keys are

given on Page 66.

You can also select Voices using a combination of BANK

and PROGRAM/PART keys, using the Quick Access

feature, or using the Category Search feature. Details

about selecting Voices are given on Pages 65, 67,68.

Using the Quick Access

Using Quick Access, you can quickly select

any of 12 types of Preset Voices and 4 types of

Internal Voices (at their factory default

settings) in each Bank according to their

Categories. The procedure is as follows.

Details about the Voices that can be selected

using Quick Access are given in the separate

Data List.

1 Press the [QUICK ACCESS] key in Voice

Mode. Its LED will light and Quick Access

will be enabled.

Press the key again or switch to another Mode

to disable Quick Access.

When you enable Quick Access, the Voice you

previously selected using Quick Access is

selected again.

If you enable Quick Access while editing a

Voice, the Voice is not changed until you

select another Voice via Quick Access.

You cannot use the MEMORY keys while

Quick Access is enabled.

Use BANK keys [A] to [H] to select the

Category. There are eight Categories, as

listed below. The Category names are

printed below the respective BANK keys.

Use PROGRAM keys [1] to [16] to select

the Voice within the specified Category. The

name of the Voice is displayed.

For each BANK [A] to [H], Preset Voices are

accessed using PROGRAM keys [1] to [12].

The remaining four keys (PROGRAM keys

[13] to [16]) are used to access each of four

internal Voices. Details about Voices are

given in the separate Data List. By selectively

assigning your own selected Voices to the

PROGRAM keys [13] to [16] in each BANK,

you can make use of the Quick Access feature

to quickly switch between them.

12345678

910111213141516

QUICK

ACCESS

A. PIANO E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

VCE Quick) INT:017(H01)[Pf:GrandPiano]

EQLow-G EQMid-G EQHi-G FLT-Frq ChoSend

Basics

Section

The Drum Voices are held in separate areas of

each Memory, and are accessed as follows.

• To access the Preset Drum Memories

(PRE:DR1 ~ DR8):

Press the MEMORY [PRE2] key while holding

down the MEMORY [PRE1] key.

• To access the User Drum Memories

(INT:DR1/2, EXT:DR1/2):

Press the MEMORY [EXT] key while holding

down the MEMORY [INT] key.

PRE1 and PRE2 (Preset 1 and 2) are stored in internal

Read Only Memory (ROM) and contain preset Voices

which are never overwritten. INT (internal) is stored

in Random Access Memory (RAM) and contains the

factory default Voices. These can be overwritten, but

can be recalled from the original factory settings at any

time if required.

EXT (external) is stored on a Memory Card inserted

in the CARD slot. If there is no Memory Card

inserted and you attempt to select an EXT Voice, “---

--” will be displayed and no sound will be produced.

With a Memory Card inserted, you can select and

play EXT Voices. PLG1 or PLG2 Voices can only be

selected if a Plug-in Board is installed.

3 Select a Voice Number

using the [DATA] knob or

the [INC/YES] and

[DEC/NO] keys

Turn the [DATA] knob clockwise or press the

[INC/YES] key to increment the Voice Number.

Turn it anti-clockwise or press the [DEC/NO] key

to decrement the Voice Number.

Now you can play a selected Voice when you play

the keyboard.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Play) PRE1:128(H16)[Pf:GrandPiano]

EQ Low EQ Mid EQ Hi Cutoff RevTime

To access Preset Drum Voices

(PRE:DR1 ~ DR8)

To access User Drum Voices

(INT:DR1/2, EXT:DR1/2)

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

Basics

Section

Playing a Performance

In Performance Play Mode, you can select and play any of 128 internal and 64 external (Memory

Card) Performances.

A Performance is a set of Voices used with the built-in (or an external) sequencer. Performances also

let you set the synthesizer up for multitimbral operation.

Each Performance can contain up to 16 Parts assigned to different Voices, plus extra Parts for A/D

INPUT and Plug-in Boards. If the Layer Switch (Page 123) parameter is switched on for any Parts,

those Parts can be play in unison. Also, you can assign multiple Parts to different MIDI channels so

that they can be played or be controlled individually using the built-in (or an external) sequencer. Up

to 128 Performances can be stored in the internal memory and up to 64 on Memory Card. These

Performance settings are available in Performance Edit Mode (Page 111). Here, we will show how to

get started with Performance Play after selecting a Performance.

1 [PERFORM] key

2 MEMORY key

PLG1EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1 PLG2

A. PIANO

STOREVOI CE

BYPAS S

ASTER

KEYBOARD

ODE

UTILITYEXIT

DATAPAG E

PAR T

ELEMENT

ABC12

SHIFT

ASSIGNABLE KNOB

DEC

NO INC

YES

ENTER

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

12345678

910111213141516

3 [DEC/NO] and [INC/YES] keys

3 [DATA] knob

Press the [PERFORM] key

The [PERFORM] key LED will light, showing

that you are now in Performance Play Mode. The

following appears in the display.

At this point, you can play the Performance

(named on the screen) via keyboard.

PFM Play) INT:001(A01)[--:Init Perf ]

EQ Low EQ Mid EQ Hi -1 +0

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

2 Press a MEMORY key

to select a Performance

Memory

There are two Performance Memories: INT

(internal) and EXT (External). INT consists of

128 Performances divided into eight Banks (A to

H). EXT consists of 64 Performances divided into

four Banks (A to D).

INT (internal) is stored in internal Random Access

Memory (RAM) and contains factory default

Performances. These can be overwritten but can

recalled at any time.

EXT (external) is stored on a Memory Card (RAM)

inserted in the CARD slot. If there is no Memory

Card inserted and you attempt to select an EXT

Performance, “-----” will be displayed and no sound

will be produced. With a Memory Card inserted,

you can select and play EXT Performances.

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

EXT (External)

Bank A~D

INT (Internal)

Bank A~H

1~16

Performance

1~16

Performance

Basics

Section

3 Select a Performance

Number using the [DATA]

knob or the [INC/YES]

and [DEC/NO] keys

Turn the [DATA] knob clockwise or press the

[INC/YES] key to increment the Performance

Number. Turn it anti-clockwise or press the

[DEC/NO] key to decrement the Performance

Number.

You can now play Parts in the Performance via

the keyboard. If the Layer Switch (Page 123)

parameter is switched on for any Parts, those

Parts can be play in unison. Now try selecting

other Performances.

Details about selecting Performances using the

[DATA] knob or the [DEC/NO] and [INC/YES] keys

are given on Page 66.

You can also select Performances using a

combination of BANK and PROGRAM/PART keys,

or using the Category Search feature. Details about

selecting Performances are given on Page 109.

On selection, a Performance may take a few seconds

to become ready since the settings for multiple Parts

are applied.

With some of the Performance presets (INT), you

can use Knob [2] to switch the Arpeggiator on/off.

Details are given in the separate Performance List.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

PFM Play) INT:001(A01)[--:Init Perf ]

EQLow-G EQMid-G EQHi-G ------- -------

Basics

Section

An Overview of the S80

In this section, an overview of the many features of the S80 is given.

The S80 hardware is made up of a number of sections, as shown in the following diagram.

Controller Section

This section consists of the keyboard, Pitch Bend and Modulation Wheels, Control Sliders, Assignable

knobs and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and

other information to the synthesizer’s tone generator section when you plays notes. The controllers

also send changes. Information from the keyboard and controllers can be transmitted to other

external MIDI devices through the MIDI OUT connector.

Sequencer Section

This section can be used to play back Standard MIDI Files held on Memory Card. The contents of

Tracks 1 to 16 correspond to MIDI channels and Parts in a Performance as shown in the following

illustration. The sequencer can play back songs with a different Voice assigned to each Part.

Sequencer

Tone Generator

(Performance Parts)

Track1 Piano Ch1

Track2 Bass Ch2

Track3

Strings

Piano

Bass

Strings

Percussion

Ch3

Track16

Percussion

Ch16

Ch1

Ch2

Ch3

Ch16

Controller Section

Tone Generator

Section

Effects Section

Sequencer

Section

Keyboard Controllers

Song File Playback

Arpeggiator

AWM2

Plug-in Board

Basics

Section

Tone Generator Section

This section plays back sounds according to information received from the keyboard and controllers.

The following example illustrates the path taken by the signal from an Element in Voice Mode.

About the Tone Generator

The tone generator section in the S80 consists of AWM2 and Plug-in units.

AWM2 (Advanced Wave Memory 2) is a synthesis system based on the use of sampled waveforms,

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.

AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up

percussive instruments (Drum Voices). Details about Normal and Drum Voices are given on Page 37.

Plug-in Boards add more features to the system. When installed, they combine perfectly with the

synthesizer’s built-in tone generator section.

The following types of Plug-in Board are available, and up to two boards can be installed in the

synthesizer. These boards are not simply a source of more Voices; they are also tone generators in

their own right and extend the system-level specifications such as maximum polyphony. You can play

Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (Page 98).

This synthesizer is compatible with the Modular Synthesis Plug-in System (see next page). 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

• 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)

A massive 16MB of waveform memory is dedicated to the reproduction of piano sounds using

AWM2 synthesis. This board offers 136 stereo sounds, including a number of acoustic and electric

pianos, and up to 64-note polyphony. You can even install two of these boards to double the

polyphony to 128 notes.

Tone Generator Section

To Effects Units

AMP

(Amplitude)

FILTERPITCH

OSC

(Oscillator)

Outputs the

waveform of

each Element.

Each Voice

consists of up to

four Elements.

Controls the

pitch of each

Element output

from OSC.

Changes the

tonal quality of

each Element

output from

PITCH.

Controls the

output level

(amplitude) of

each Element

output from

FILTER. The

signals are then

sent at this level

to the Effects

Units.

• Advanced DX/TX Plug-in Board (PLG150-DX)

The sounds of the DX7 are available on this Plug-in Board. Unlike with PCM-based solutions, this

does not use sampled waveforms. Instead, it uses the actual FM sound generator engine of the DX-

series synthesizers to give a completely faithful reproduction. 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 Breath Controller (BC3) or

MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind

instruments.

Effect Plug-in Boards

• 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 the synthesizer like a vocoder by connecting and using a

microphone while playing the keyboard.

Multi-Part Plug-in Board

• 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.

More Plug-in Boards will be available in future.

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 the latest and most sophisticated synthesizer

and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in

modern music production.

Maximum Polyphony

The maximum sonic polyphony is 64 for AWM2, plus the polyphony of the Plug-in Board (if

installed). The actual note polyphony will vary depending on the type of tone generator unit used,

the number of Elements in the Voice, and the note polyphony of the Plug-in Board.

In the case of AWM2 Voices, the polyphony figure of 64 is divided by the number of Elements in the

Voice. For instance, if a Voice consists of two Elements, the maximum note polyphony for the Voice is

32.

Basics

Section

Basics

Section

Effects Section

The effects can be used to change the sound of a Voice or Performance. There are two Insertion

Effect Units plus a Reverb Unit (with 12 types of reverb) and a Chorus Unit (with 23 types of

chorus). Each of the Insertion Effect units offers a variety of effects, and the units themselves can be

connected in parallel or in series.

In Voice/Performance Mode, different Effects settings can be assigned to each Voice/Performance,

though the way they are connected (series or parallel) varies slightly. As shown in the following

illustration, the two Insertion Effect units can be independently switched on or off for each Element

in a Voice. So basically, the Insertion Effects can be set on a per Element basis. After being passed

through the Insertion Effects, the signals from all individual Elements are mixed and sent to the

Reverb and Chorus Units. These Reverb and Chorus Units apply effects to the sound as a whole

before it is sent to the outputs, and are therefore known as System Effects.

In Performance Mode, the Insertion Effects can be set for two Parts: a Voice or A/D Input Part, plus a

Plug-in Part. However, the System Effects (Reverb and Chorus) are not applied to Parts, but to the

Performance as a whole.

Details about Effects are given on Page 55.

Voice Mode Performance Mode

Voice1~16

A/D Part

Plug-in 1/2 Board

Element

1~4

Element

1~4

Insertion

Effects

System Effects

Reverb

Chorus

Output

Insertion

Effects

1/2

Insertion

Effects

System Effects

Reverb

Chorus

Output

Basics

Section

About the Modes

The S80 has various Modes which you can select according to the task you wish to perform.

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

Performance Mode

Performance Play Mode

Performance Edit Mode

Performance Job Mode

Utility Job Mode

Card Mode

Utility Mode

Sequence Play Mode

Voice Mode

Voice Play Mode

Voice Edit Mode

Voice Job Mode

Voice Mode (Page 64)

Voice Play Mode

Normal Voices and Drum Voices

can be played in this Mode. You

can select from Preset Voices

(256 Normal Voices plus 8

Drum Kits), Internal (User)

Voices (128 Normal Voices plus

2 Drum Kits) and External

(Memory Card) Voices (128

Normal Voices plus 2 Drum

Kits). That is a choice of 512

Normal Voices and 12 Drum

Kits. The choice is extended

further still if you have an

optional Plug-in Board installed.

The MIDI settings for Voices are

set in Utility Mode.

Voice Edit Mode

Normal Voices and Drum Voices

can be created and edited in this

Mode. You can save up to 128

edited Normal Voices and 2

edited Drum Kits as User Voices

in internal memory. You can

also store them to Memory Card

as external memory.

Voice Job Mode

In this Mode, you can copy and

initialize Voices, and perform

other such operations (Jobs) on

them.

Performance Mode (Page 107)

Performance Play Mode

This Mode is used when

playing Performances. You can

layer multiple Voices (Parts) to

create rich sonic textures. You

can also create multitimbral

setups by assigning Parts to

different MIDI channels. You

can layer A/D Input and Plug-

in Parts, as well as AWM2-

based Voices.

Performance Edit Mode

In this Mode, you can edit and

create Performances. You can

save up to 128 Performances to

internal memory or up to 64 to

external memory (Memory Card).

Performance Job Mode

In this Mode, you can copy

and initialize Performances,

and perform other such

operations (Jobs) on them.

Sequence Play Mode (Page 132)

In this Mode, you can use the

sequencer to play back Song files

(Standard MIDI Files) held on

Memory Card. The Songs can be

played back individually or as a

chain. By switching Performance,

you can also change the sounds

associated with each track in a Song.

Utility Mode (Page 134)

Select this Mode when setting

parameters that apply to the

synthesizer system as a whole.

These include MIDI settings and

synthesizer setup parameters.

Utility Job Mode

In this Mode, you can restore the

synthesizer’s factory settings.

Card Mode (Page 142)

Insert a Memory Card into the

CARD slot and you can save

files to it, load files from it, and

do various other things with the

data on the card.

Basics

Section

Voices

A Voice is a sound created from the many parameters set in the synthesizer. In Voice Play Mode, you

can select and play any of these Voices. In Performance Play Mode, several different Voices (known as

Parts in this Mode) can be layered and played simultaneously via keyboard or a sequencer. Four

groups of Voices are available (Preset 1, Preset 2, Internal and External). Up to two further groups of

Voices are available if optional Plug-in Boards have been installed.

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

1~16

Voice

Preset1

(128 Preset Voices)

Banks A~H

Preset2

(128 Preset Voices)

Banks A~H

Internal

(128 User Voice)

Banks A~H

External

(128 User Voice)

Banks A~H

(2 User Drum

Voices)

(2 User Drum

Voices)

256 Normal +

8 Drum Voice (Preset)

Controllers

Controllers Sequencer

Song play

Tone Generator

Voice

Tone Generator

Performance

Playing a Voice Playing a Performance

Plug-in1

(64 Plug-in Voice)

Bank A~D

1~16

Voice

Plug-in2

(64 Plug-in Voice)

Bank A~D

Plug-in

Performance Play Mode

Voice Play Mode

Part

Voice

PRE1:

(A01)

PRE1:

(A02)

PRE1:

(A03)

PRE2:

(A01)

PRE2:

(A02)

PRE2:

(A03)

INT:

(A01)

EXT:

(A01)

PRE1:

(A16)

A/D

Part

Mic

etc.

Plug-in

Part 1

Plug-in

Part 2

Preset

(8 Preset Voices)

DR 1~8

Drum

Voice

256 Normal +

4 Drum Voice (User)

Basics

Section

An Overview of Voices/Waves

Each Voice consists of up of up to four Elements. Each Element itself uses a high-quality waveform.

Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly

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

Drum Voice assignments is known as a Drum Kit.

If you have installed an optional Plug-in Board, there will be more Voices for you to choose from.

These Voices are known as Plug-in Voices, and will vary depending on the Plug-in Board you have

installed (Page 32).

The Note Limit settings (Page 80) will also affect the allocation of sounds. But basically, Normal

Voices (of up to four Elements) are playable across the whole keyboard range whereas with Drum

Voices, any of 73 different Waves can be assigned to each Drum Key on the keyboard.

A total of eight Drum Voices (DR1 to DR8) are available as presets. You can also create your own Drum Voices

and save them to internal (User) memory or to external memoly (Memory Card), just as with Normal Voices.

Normal Voice Drum Voice

wave 1 wave 2 wave 3 wave 4 wave 5 wave 73

Voice

Element 1~4

Element

Wave form

AWM2: 553 Preset waveforms

Voice

Basics

Section

Waves

Waves are waveforms used as Elements that make up a Voice. 553 high quality preset Waves are

available. As shown in the following illustration, when creating a Voice, you can select the Wave to be

used as an Element and then set its level, pitch, tone and other parameters.

wave 1~553

Element1

Element2

Element3

Element4

C-2 G8

Voice

Basics

Section

Performances

A Performance consists of up to 19 Parts, each of which can a Normal Voice, Drum Voice, A/D Input

Part or Plug-in 1/2 Part. By switching on the Layer Switch parameter for different Parts (up to four),

you can play back rich layered sounds in Performance Play Mode. You can also create splits so that

different Parts are assigned to different areas of the keyboard. If you assign a different MIDI channel

number to each Part, each track of a sequencer can play back a different Part.

In Performance Mode, several different Voices (Parts) can be layered to create rich textures. However, this can

cause note response to become slower under some circumstances.

Multiple

Layered Voices

Sequencer

Song

MIDI CH

1~16

Part 1~16, A/D INPUT Part,

Plug-in 1/2 Part

Performance

Part 1~16, A/D INPUT Part,

Plug-in 1/2 Part

Performance

CH1

CH16

Different Voice

For Each part

Layer Switch set to on

Basics

Section

Ideal for Playing Live

Many features of this synthesizer make it ideal for live performances. These features are explained here.

The parameters for these features can be stored per Voice/Performance.

Rear Panel

1 Using the Arpeggiator (Page 41)

A wide variety of arpeggio patterns can be

created automatically by just holding down a

set of notes on the keyboard. You can specify

the sound and the note range within which the

arpeggiator is active, then use your left hand to

hold down the notes being arpeggiated while

using your right hand to play a melody line.

2 Using the Controllers (Page 43)

The Pitch Bend Wheel, Modulation Wheel and

Control Sliders can be freely assigned to control

various sound parameters in real time. By

connecting an optional Foot Controller or Foot

Switch, you can also use your feet to control

parameters, to change Program Number, and so

on (Page 48). Also, you can assign parameters to

Knobs [A], [B], [C], [1] and [2] on the front panel

below the LCD.

Basics

Section

1 Arpeggiator

The arpeggiator is particularly suited to

dance/techno music genres. You can assign any

of 128 Arpeggio Types to each Voice, Performance

and adjust the tempo. You can also set the

Arpeggio Mode (the way in which the arpeggio is

played back when you press a note) and Play

Effects to create your own original grooves.

Arpeggio information can be transmitted through

the MIDI Out.

Selecting and Playing Back

an Arpeggio Type

You can choose from 128 different Arpeggio Type

presets. You can also freely vary the Arpeggio

Tempo to suit the song. The Note Limit

parameter can be used to define the effective note

range of the arpeggio.

Each parameter applies to, and is stored with,

each Voice or Performance. By playing notes on

the keyboard and listening to the arpeggio, you

can adjust these parameters by ear.

The arpeggiator’s parameters are available in each

Edit Mode. In the following Voice Mode example,

the Arpeggio Type is set for a Drum Voice in

Preset Drum 1.

To select the Preset Drum, press the MEMORY

[PRE2] key while holding down the MEMORY

[PRE1] key and press a PROGRAM key. Here, we

will choose Preset Drum 1 so you should press the

PROGRAM [1] key.

If the Arpeggiator switch is already enabled for the

Voice/Performance, this means that the Arpeggiator

will be ready for use whenever you select the

Voice/Performance.

The on/off state of the Arpeggiator can be stored

(Pages 106, 131) for each Voice/Performance.

Selecting the Arpeggio Type

1Press the [EDIT] key in Voice Play Mode. You

will enter Voice Edit Mode at the screen where

you previously exited.

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

2Turn Knob [A] fully anti-clockwise until Common

is displayed on the bottom line. Voice Edit Mode

consists of two different Edit screens: Common

Edit (for parameters common to all Drum

keys/Elements) and Drum key/Element Edit. The

Arpeggiator parameters are found in the Common

Edit screens that you have now selected.

3Use the [PAGE] knob to switch to the ARP

Type (Arpeggio Type) screen.

If you use the [PAGE] knob while holding down the

[SHIFT] key, a menu will be displayed. You can

quickly jump to the ARP screen by using the

[PAGE] knob to move the cursor to the ARP item in

the menu, then releasing the [SHIFT] key(Page 70).

4Use Knob [B] to jump to the Type parameter.

Now use Knob [B], the [DATA] knob or the

[INC/YES] and [DEC/NO] keys to select the

desired Arpeggio Type. Let’s choose

“BigBeat2” here.

Arpeggio Types are divided into the four

following categories and applications are not

just limited to drum patterns. You can also

select Arpeggio Types for backing chords,

basslines and so on.

When setting the Arpeggio Category to Ct

(Control), you also need to set the Key Mode

parameter (two screens ahead) to “direct.”

Sq (Sequence):

Creates a general arpeggio phrase. Mainly octave

up/down phrases.

Ph (Phrase):

Creates more musical phrases than Sq. Starting

with “Techno,” there are phrases for a wide

variety of musical genres, and for creating

backing tracks for guitar, piano and other

instruments.

Dr (Drum Pattern):

Creates drum pattern-type phrases. Phrase genres

covered include rock and dance. This Type is ideal

for use with drum and percussion sounds.

Ct (Control):

Creates tonal changes. No note information is

created. The Key Mode parameter in Arpeggio

Mode must be set to “direct.”

Details about Arpeggio Types are given in the

separate Data List.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

ARPíType) Type Tempo Switch Hold

Common GateCut2:Ct 92 off off

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

GEN Name) Ctgry a-Z 0-? Cursor

Common [Dr:Rock Kit ]

Basics

Section

Using the Arpeggiator

Use Knob [1] to set the Arpeggiator Switch

parameter to “on.”

You can hold down multiple notes to create complex

arpeggio patterns.

When the arpeggiator is switched on, the notes

you play (and hold down) on the keyboard will be

arpeggiated using the currently selected Voice or

Performance, and according to the Arpeggio Type,

Tempo and Note Limit settings.

In Voice Mode, the currently selected Voice will be

arpeggiated.

In Performance Mode, the Voices of Parts for

which both the Layer and arpeggiator are

switched on, are arpeggiated (Page 123).

Only notes within the Note Limit range will be

arpeggiated. Therefore, if the notes you play are not

arpeggiated, they may be outside this range. Details

about the Note Limit settings are given later.

The Pitch Bend and Modulation Wheels can be used

while the arpeggiator is running.

Now try selecting other Arpeggio Types and

arepggiating different Voices.

You can use a Foot Switch (optional) to switch the

Arpeggiator on/off. Details about assigning parameters

to the Foot Switch are given on Pages 48, 136.

Setting the Tempo

You can use Knob [C] to adjust the tempo

between 25 and 300 BPM. This parameter setting

is used by the Arpeggiator. Use Knob [C] to jump

to the Tempo parameter. Now use Knob [C], the

[DATA] knob or the [INC/YES] and [DEC/NO]

keys to set the tempo. You can also set the tempo

using the [TEMPO] knob on the front panel.

Setting the Note Limit

Using the Note Limit parameter, let’s set up a

Normal Voice (say, Voice Program Number

098:G02 of Internal:champ) such that the

Arpeggiator is enabled in the lower part of the

keyboard but the upper part can be used to play

melody lines. You’ll need to have already set the

Arpeggio Type (say, MuteLine).

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

ARPíType) Type Tempo Switch Hold

C_ 1234 BigBeat2:Ct≥ 127 on off

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

ARPíType) Type Tempo Switch Hold

Common≥BigBeat2:Dr 92 on off

1The Note Limit parameters can be set in the

ARP Limit screen, which follows immediately

after the ARP Type screen mentioned in step

3 (earlier). Use the [PAGE] knob to switch to

the screen.

2Use Knob [2] to jump to the parameter for the

highest note in the range, and to set the note.

Alternatively, you can set this parameter by

pressing the note (say, E3) on the keyboard

while holding down the [SHIFT] key.

Similarly, the lowest note in the range can be

set using Knob [1], or by pressing the note

while holding down the [SHIFT] key.

Knobs [1] and [2] are used to set the Note Limits

of the keyboard range within which the

arpeggiator will play back. The cursor (≥)

immediately jumps to each respective parameter

when Knobs [1] and [2] are used. Once the

cursor is at the parameter, you can also use the

[DATA] knob or the [INC/YES] and [DEC/NO]

keys to enter settings.

Outside the Note Limit range, you can play the

keyboard normally without the notes being

arpeggiated. Therefore, you can use your left

hand to play block chords used by the Arpeggiator

and your right hand to play melody lines in the

upper part of the keyboard.

Combined with the OSC Limit parameter of the

Element Edit screen, the sound used in the lower

part of the keyboard can be different from that in

the upper part.

The Note Limit parameters in Performance Mode

are different to those in Voice Mode, and notes

outside the set range will not sound. The

Arpeggiator Switch parameter (Page 123) for each

Part should be set to “on,” except for the Part

which you wish to use to play the melody. Then,

if necessary, use the Note Limit parameter (Page

123) to restrict the keyboard range for that Part.

Arpeggiator Range Area for Playing Melody

Arp Note HighArp Note Low

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

ARPíLimit) Note Limit

C_ 1234 A -1 - E 3

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

ARPíLimit) Note Limit

C_ 1234 C -2 - G 8

Basics

Section

Following the example in this manual, if you

select Voice Program Number 098(G02) of INT,

Portamento is already set for this Voice. Use the

PORTAMENTO knob and [ON/OFF] keys to

change the portamento time and switch

portamento on/off (Page 74).

Using the Arpeggiator Hold

With Arpeggiator Hold switched on, the

arpeggiator will continue to play back, even after

you have released your fingers from the notes on

the keyboard. The same arpeggio pattern will be

played back until you press another set of notes

on the keyboard.

You can switch Arpeggiator Hold on/off by using

Knob [2] to change the Hold parameter of the

ARP Type screen.

With Arpeggio Hold switched on, the Arpeggiator

continues to play back after releasing the

keyboard, leaving your left hand free to perform

other tasks, such as adjusting the sliders.

ARPíType) Type Tempo Switch Hold

Common BigBeat2:Dr≥ 127 on on

Using Controllers

The S80 is equipped with Pitch Bend and

Modulation Wheels. Either of the S80 is

equipped with front panel Knobs [A], [B], [C], [1]

and [2], with which you can control many

different parameters.

Pitch Bend Wheel

This wheel’s prime function is to control pitch.

Roll the wheel upward/downward to bend the

pitch upward/downward. The effect can also be

reversed.

Pitch Bend Range can be set for each Voice. The

wheel can also be assigned other parameters (Page

74).

Even if a different parameter is assigned to the

wheel, Pitch Bend messages are still transmitted

through the MIDI Out when it is being used.

Modulation Wheel

The more you roll this wheel upwards, the greater

the modulation that is applied to the sound.

Modulation depth can also be set beforehand. Also,

the wheel can be assigned different parameters, such

as Volume or Pan (Page 74).

Pitch Bend

Wheel

Modulation

Wheel

Deeper

Pitch Bend

Wheel

Modulation

Wheel

Pitch Up

Pitch Down

Basics

Section

Knobs [A]/[B]/[C]/[1]/[2]

In Voice/Performance Play Mode, Knobs [A], [B],

[C], [1] and [2] can be used as real-time controllers.

Knobs [A], [B] and [C] are assigned to control the

equalizer gain of, respectively, EQ Low, EQ Mid

and EQ Hi. With Knobs [1] and [2], you are free to

assign different parameters per Voice.

If you turn any knob clockwise, the value assigned

to it is incremented. Conversely, the value is

decremented if you turn it the other way.

Common system parameters are assigned to Knobs

[A],[B] and [C] (Pages 46, 136). Voice-specific

parameters are assigned to Knobs [1] and [2] (Pages

47, 74).

A preset of suitable parameter settings is assigned to

each Voice. By using each knobs [1] and [2], you are

in effect adjusting these settings by a certain

amount. If these parameters are already preset at

their minimum or maximum settings, the settings

cannot be exceeded.

In any Edit Mode, Knobs [A], [B], [C], [1] and [2] are

used for entering parameter settings on screen (Page 24).

Control Sliders

In Performance Mode, if Master Keyboard Mode is

enabled, you can use the four Control Sliders to

control the functions assigned to each zone.

Details are given on Pages 61 and 129.

CONTROL SLIDER

1234

VOLUME

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Play) PRE1:128(H16)[Pf:GrandPiano]

EQ Low EQ Mid EQ Hi Cutoff RevTime

Foot Controller

An optional Foot Controller (such as the FC7),

connected to the FOOT CONTROLLER jack

(Page 18) on the rear panel, can be assigned a

number of controller parameters. By using a foot

controller for parameter control, both your hands

are left free to play the keyboard (or to operate

other controllers). This is very convenient if you

are playing live.

Foot Controller parameters can be set for each Voice.

Foot Switch

An optional Yamaha FC4 or FC5 Foot Switch

connected to the rear panel FOOT SWITCH jack

(Page 18) can be assigned to a range of

parameters. It is suited for a switch-type (on/off)

controls such as Portamento Switch,

increment/decrement of a Voice or Performance

Number, start/stop of the Sequencer, holding

Arpeggiator on or off. The Foot Switch is not

well suited for continuous control. You could also

use it to switch to between different Voices or

Performances

The parameter assigned to the Foot Switch is set in the

CTRL Other screen of Utility Mode (Pages 48, 136).

Sustain

With an optional Yamaha FC4 or FC5 Foot Switch

connected to the SUSTAIN jack (Page 18) on the

rear panel. This is useful when playing piano-

type sounds.

You cannot assign a function other than Sustain to

the SUSTAIN jack.

Foot Volume

Connect an optional Foot Controller (such as the

FC7) to the FOOT VOLUME jack of the rear

panel (Page 18). You can then use your foot to

control Main Volume or Expression parameters,

leaving your hands free to play the keyboard. This

is very useful if you are playing live.

The parameter assigned to the Foot Volume

controller is set in the CTRL Other screen of Utility

Mode (Page 136).

Breath Controller

You can connect an optional Breath Controller

(BC3) to the BREATH jack (Page 18) on the rear

panel . Then use it to control a large number of

the synthesizer’s parameters, particularly those

controlled by a wind player’s breath: dynamics,

timbre, pitch and so on. The Breath Controller is

ideally suited for realistic expression with wind

instrument type Voices.

Breath Controller parameters can be set for each

Voice.

Basics

Section

By creating Control Sets, you can change sounds

in a variety of ways.

For example, set the Src (Source) parameter of

Control Set 1 to MW (Modulation Wheel) and the

Dest (Destination) parameter to ELFO-PM

(Element LFO Pitch Modulation Depth). Then

set the Src parameter of Control Set 2 also to MW,

but set the Dest parameter to ELM PAN (Element

Pan). You will also need to specify the Element to

be controlled and also the depth (amount) of

control.

In this example, when you move the Modulation

Wheel upward, the amount of Pitch Modulation

increases accordingly, the Element is panned from

left to right. So in other words, you can assign

several Dest parameters to each Src controller.

Continuing from the example above, now create

another Control Set where Src is set to FC (Foot

Controller) and Dest is set to ELFO-PM (Element

LFO Pitch Modulation Depth). Again, specify the

Element to be controlled and also the depth of

control.

Now, Pitch Modulation is assigned to both the

Modulation Wheel and Foot Controller. In other

words, you can also assign several Src controllers

to each Dest parameter.

By assigning all six Control Sets, you will have a

stunning degree of real-time control over the

synthesizer’s sounds.

ELFO-PM

Dest

ELFO-PM

Dest

SET 1 SET 3

Src

(Modulation Wheel)

Src

(Foot Controller)

You can control the

pitch modulation effect

using either of

Modulation Wheel

(MW) and Foot

Controller (FC).

ELFO-PM

Dest Param

ELM PAN

Dest Param

SET 1 SET 2

Src Sw

(Modulation Wheel)

Src Sw

(Modulation Wheel)

Moving the Modulation

Wheel changes the amount

of Pitch Modulation plus the

pan position.

Aftertouch

Aftertouch lets you, for example, add vibrato to a

sound by applying further pressure to a note on the

keyboard while it is being held down. This allows

real-time expression and control. Aftertouch can

be used to control a wide variety of parameters

(Page 74).

Control Sets

Aside from their default parameters, keyboard

aftertouch, the controllers and some of the knobs

on the front panel can be assigned with various

parameters, as explained on Page 43. For

example, you could assign Resonance to the

Modulation Wheel and set aftertouch to apply

vibrato. You are free to assign parameters to suit

the kind of sound being played.

These controller assignments are known as Control

Sets. As the following illustration shows, you can

assign up to six different Control Sets per Voice.

Within each Control Set, the controller is known as

the Source (Src) and the parameter controlled by

the Source is known as the Destination (Dest).

There are various Dest parameters available; some

will apply to the Voice as a whole, while some will

be specific to each of its Elements. Details are

given in the Controls List of the separate Data List.

Details about the available Dest parameter settings

are given in the Destination Parameter List of the

separate Data List.

The Element Switches (Page 75) will be disabled if

the Dest parameter setting is not specific for

Elements (i.e., for settings 00 to 33).

Dest(Destination)

Control Parameters

Depth

Depth of control

Src(Source)

Voice

Control Sets

Controller

PB,MW,etc

ON/OFF ON/OFF ON/OFF ON/OFF

Elements 234

1~6

Control Sets and External MIDI Control

In a Control Set, the controllers are assigned to the

internal parameters of the synthesizer. However,

some controllers were originally designed for a

particular purpose, and send pre-defined MIDI

Control Change messages when used, regardless of

their Control Set allocations within the

synthesizer.

For example, the Pitch Bend Wheel, Modulation

Wheel and keyboard aftertouch were originally

designed to control pitch bend, modulation and

aftertouch. Therefore, when you use these

controllers, pitch bend, modulation and aftertouch

information is always sent to the MIDI Out.

Let’s say the Pan parameter is assigned to the

Pitch Bend Wheel in a Control Set. Now,

when you move the Pitch Bend Wheel, the

internal tone generator of the synthesizer will

pan the sound but at the same time, the

original pre-defined Pitch Bend messages will

still be sent to the MIDI Out.

The controllers can also send MIDI Control

Change messages to control the parameters of

external MIDI devices. These assignments are

found in the VOICE (Vce) CTRL Assign1/2

screen of Utility Mode.

As Pitch Bend Wheel, Modulation Wheel and

keyboard aftertouch is pre-defined with specific

MIDI controls, you cannot assign MIDI

Control Changes.

You can also set up a controller such that it

sends one kind of Control message to the

synthesizer’s internal tone generator yet

another kind to the MIDI Out.

For example, in a Control Set you could assign

resonance to Assignable Knob [1]. Then, in the

VOICE CTRL Assign2 screen of Utility Mode,

you could assign Control Change Number 1

(Modulation) to the same knob. Now, when

you turn the knob, resonance will be applied to

the sound of the internal tone generator but at

the same time, modulation information will be

sent to the external MIDI device connected to

the MIDI Out.

This aspect of the synthesizer makes it ideal for

use as a master controller for controlling external

MIDI devices. Add an optional Foot Controller

or Breath Controller for even more control.

OUT IN

Pitch

Tone Generator

LFO1 PAN

MIDI

MIDI Control

Pitch Bend

Wheel

Control Set

Basics

Section

Assigning Parameters to Knobs [A], [B] and [C]

The following procedure explains how you can

assign a desired parameter to Knob [A], [B] or [C].

You can assign any parameters that are common

throughout the system (for all Play Modes) and

any MIDI Control Change Numbers. In the

example, Knob [A] will be set up to control Reverb

Return.

1 Press the [UTILITY] key to enter Utility Mode.

2 Use the [PAGE] knob to switch to the CTRL

KnobA (System Control Knob A) screen.

3 Use Knob [2] to select REV-Rtn (Reverb

Return).

Now you can use Knob [A] for on-the-fly

control of the Reverb Return level in

Voice/Performance Play Mode. Note that you

can also send (by turning Knob [A]) or receive

Control Change messages with the Controller

Number set in the CC# parameter through

MIDI In and Out.

For assignable parameters, refer to “System

Controller Destination Parameters” in the

separate Data List.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTRL KnobA) CC# Dest

Sys 01[ModWheel] REV-Rtn

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTRL KnobA) CC# Dest

Sys 01[ModWheel] EQLow-G

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

5 Use Knob [C] to assign PCH-Crs

(Pitch:Coarse) to the Dest (Destination)

parameter.

6 Use Knob [1] and the [DATA] knob to specify

the Element to be controlled. Knob [1] moves

the cursor (blinking) and the [DATA] knob

displays the Element to be controlled.

7 Use Knob [2] to set the Depth parameter.

The larger the setting, the greater the depth

of control.

8 Store the edited Voice (Page 106).

Now you have Internal Voice 001 (A01)

assigned PCH-Crs (Pitch:Coarse) to Knob [1].

When you select and play this Voice in Voice

Play Mode, you can control the pitch of the

Voice if you turn Knob [1].

Details about the assignable control functions

are given in the Control Set Destination

Parameters in the separate Data List.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTLíSet1) Src Dest EL Sw Depth

C 1234 KN1(16) PCH-Crs 1234 +34

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTLíSet1) Src Dest EL Sw Depth

C 1234 KN1(16) PCH-Crs 1--4 +14

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTLíSet1) Src Dest EL Sw Depth

C 1234 KN1(16) PCH-Crs --34 +14

Basics

Section

Assigning Parameters to Knobs [1] and [2]

The following procedure explains how you can

assign a desired parameter to Knob [1] or [2].

You can assign controllers to each Voice (or

Part in a Performance). Control Settings can

be assigned as a Control Set, and a each

Controller can be used to control multiple

parameters (although this varies according to

the type of Voice). Here we introduce an

example of how to set up Control Set 1 for

Internal Voice 001 (A01) by assigning PCH-

Crs (Pitch: Coarse) to Knob [1].

You can also assign, separately, a different

MIDI Control Change Number to the same

knob in Voice Mode and Performance Mode.

Details are given on Page 139.

1 Press the [VOICE] key to enter Voice Play Mode.

2 Select Internal Voice 001 (A01) and press

the [EDIT] key to enter Voice Edit Mode.

3 Use the [PAGE] knob to switch to the CTL

Set1 (Control Set 1) screen.

4 Use Knob [B] to assign “KN1 (16)” (Knob

[1]) to the Src (Source) parameter.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTLíSet1) Src Dest EL Sw Depth

C 1234 KN1(16) FLT-Rez --34 +14

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTL Set1) Src Dest EL Sw Depth

C 1234 MW(01) FLT-Rez --34 +14

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

Basics

Section

Controlling Parameters by Foot Controller

By connecting an optional Foot Controller

(such as the FC7) to the FOOT

CONTROLLER jack on the rear panel of the

synthesizer, you can control various

parameters by foot without having to use your

hands. In the following example, we introduce

how to set up Foot Controller to work as

Modulation Wheel.

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

Assign2 (Voice Control Assign 2) screen.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

CTRL Assign2) FC RB

Vce [ off ] 00 22

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

FC7

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

1 R L MONO PHONES A D INPUT GAIN

3 Use Knob [C] to select “01:ModWheel”

(Modulation Wheel).

In Voice Mode, the foot controller can now be

used to control the same function as that

assigned to the Modulation Wheel.

If the current Voice has a Control Set with a

source (Src) assigned to Modulation Wheel

(MW) and receives a Control Change message

of Modulation Wheel, a destination (Dest)

parameter for the source (MW) will be

affected with that message.

The above procedure explains how to set up

the Foot Control to control Modulation in

Voice Mode. To create such a setup for

Performance Mode, the appropriate settings

are found at the CTL Assign2 screen in

Performance Edit Mode.

Switching Between Programs by Foot Switch

By connecting an optional Foot Switch (such

as the FC4 or FC5) to the FOOT SWITCH

jack on the rear panel of the synthesizer, you

can switch between Programs without having

to use your hands. For example, if you

consecutively arrange the Voices/Performances

in memory, you can switch between them

easily in a live performance. The following

procedure explains exactly how to a about this.

FC4

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

FOOT

VOLUME

INDIVIDUAL OUTPUT

OUTPUT

1 R L MONO PHONES A D INPUT GAIN

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTRL Assign2) FC RB

Vce [ModWheel] 01 22

1 Press the [UTILITY] key to enter Utility

Mode.

2 Use the [PAGE] knob to switch to the CTRL

Other (System Control Other) screen.

3 Use Knob [B] to select "099:PC Inc"

(Program Change Increment).

In Voice/Performance Mode, the Foot Switch

can now be used to switch between programs.

Alternatively, you can assign other functions

such as Arpeggio Switch (On/Off), Sequencer

(Play/Stop) and so on (Page 136).

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTRL Other) FS

Sys 099[PC Inc ]

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTRL Other) FS

Sys 088[ ------ ]

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

Basics

Section

1 Selecting a Voice to Edit

Enter Voice Play Mode by pressing a [VOICE] key.

Select the Voice Number of the Voice you wish to

edit (Page 65).

Before editing, first enter Voice Job Mode and copy

the Voice you wish to edit to internal user memory.

If you are creating a Voice from scratch, use the

Initialize function to initialize a Voice in internal

user memory. Details are given on Page 105.

2 Entering Voice Edit Mode

Voice creation/editing is carried out in Voice Edit

Mode.

To enter Voice Edit Mode, press the [EDIT] key

while in Voice Play Mode.

Common Edit and Element Edit

Each Voice consists of up to four Elements

(Page 37). The parameters common to all four

Elements are known as Common Edit

parameters. Voice Edit Mode consists of

Common Edit screens, plus screens for each

individual Element’s parameters.

In Voice Edit Mode, you can use Knob [A] to

switch between Common settings and settings

for Elements 1 to 4.

Common settings

Settings for Elements 1 to 4

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

OSC Wave) Number Ctgry

EL1234 001[Pf:Grand 1 ]

Element 1~4 Indicator

GEN Other) Mode Assign MicroTuning

C 1234 poly single 31:Indian

Common Indicator

STOREVOI CE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

STOREVOI CE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

Basics

Section

Voice Edit

There are 256 Normal Voice presets and 8 Drum

Voice presets. You can edit these to create new

Voices, or build completely new Voices from

scratch. You can then store up to 128 of these

new/edited Normal Voices and up to 2 new/edited

Drum Voices to internal user memory or external

Memory Card.

The following procedure gives a basic idea about

how to go about creating/editing Voices.

Of course, this is just one example; you are free to

set any parameters in any way you like. Details

about each parameter are given in the Reference

section of this manual.

All parameter settings are stored along with the

Voice itself.

1In Voice Play Mode, select the Voice you wish

to edit.

2Enter Voice Edit Mode.

3In the Common Edit screens, set the parameters

common to all Elements in the Voice (volume,

pitch, tone, etc.) You can also set parameters

related to the Arpeggiator, Controllers, Effects,

and so on.

4At the OSC (Oscillator) screens, select the

Waves used by the Elements in the Voice, plus

the volume, pan, note range and other basic

parameters.

5At the PCH (Pitch) and PEG (Pitch Envelope

Generator) screens, set the tuning and other

pitch-related parameters used by the Elements.

Also set the PEG parameters as necessary.

6At the FLT (Filter) and FEG (Filter Envelope

Generator) screens, adjust the parameters of

the filters used by the Elements. Also set the

FEG parameters as necessary.

7At the AMP (Amplitude) and AEG (Amplitude

Envelope Generator) screens, set the volume

and other output level-related parameters used

by the Elements. Also set the AEG parameters

as necessary.

8At the LFO (Low Frequency Oscillator)

screens, set the modulation-related parameters

used by the Elements.

9At the EQ (Equalizer) screens, adjust the

equalizer parameters affecting the tonal

characteristics of the Elements.

)Store the edited Voice.

Selecting Elements

In Voice Edit Mode, you can select the

Element to edit by pressing the respective

BANK key ([A] to [D]). When you select an

Element, the cursor moves to the respective

Element Number.

Example: When “Element 2” is selected

Switching Elements On/Off

In Voice Edit Mode, an Element can be

switched off when you press the respective

BANK key ([E] to [H]). This lets you

temporarily mute other Elements in the Voice

so that you can listen to the changes to the

Element that you are editing. A muted (off)

Element will be indicated as an asterisk (*) in

the display as illustrated below.

Example: When Elements 2 and 3 are

turned off

EQ Param)LoFreq LoGain HiFreq HiGain

EL1**4 274.2Hz +12 2.82kHz +22

off off

PLG1EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1 PLG2

A. PIANO E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

1234

ELEMENT SELECT ELEMENT ON

OFF

EQ Param)LoFreq LoGain HiFreq HiGain

EL12_34 274.2Hz +12 2.82kHz +22

Cursor

PLG1EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1 PLG2

A. PIANO E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

1234

ELEMENT SELECT ELEMENT ON

OFF

COMMON

Element1

Element2

Element3

Element4

Basics

Section

Switching Between Screens and Entering Settings

After selecting a Common Edit screen or a edit

screen for an Element (1 to 4), use the [PAGE]

knob to switch to other screens.

There are many parameters available within a

screen. To make editing easier, the knobs

below the LCD are assigned to each of the

parameters in the screen.

Menu Screen

If you use the [PAGE] knob while holding

down the [SHIFT] key, the settings menu will

be displayed. Use the [PAGE] knob to move

the cursor to an item and release the [SHIFT]

key to jump to the screen for that item.

You can also use other knobs and keys to enter

settings. The Compare featureallows you to compare

the sound being edited against the sound prior to

editing. Details are given on Pages 24, 69.

3 Common Edit Screens

Each Voice consists of up to four Elements. Here, the

parameters common to all Elements are explained.

• GEN (Common General)

Here, you can set general parameters in Common

Edit, such as the Voice Name.

GENíName) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF

C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ

Cursor

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4

EL12_34 + 0 + 0 - 21 - 35

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

AMP Scale)Ofst1 Ofst2 Pfst3 Ofst4

EL12_34 + 0 + 0 - 21 - 35

4 OSC (Oscillator) Screens

In these screens, you can mainly set the

parameters controlling the waveforms on which

the Voice is based. You can select the Wave used

for the Element, the volume and note range of

each Element and so on.

• OSC Wave

Select the waveform (Wave) used for each Element.

• OSC Out

• OSC Pan

Set the volume (output level) and stereo pan

position of each Element. The following

illustration shows the logic.

• OSC Limit

Set the note range for each Element (the range of

notes on the keyboard over which the Element

will sound) and also the velocity response (the

range of note velocities within which the Element

will sound). You can assign different settings for

each Element. With these parameters, you can

layer Elements and control their output.

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.

Mixer

Elements

Level

Pan(Stereo)

1 2 3 4

OSCíPan) Pan Alter Random Scale

EL1234 C L64 63 +63

OSCíOut) Level Delay InsEF

EL1234 96 0 ins2

OSCíWave) Number Ctgry

EL1234 001[Pf:Grand 1 ]

Basics

Section

• QED (Common Quick Edit)

These parameters mostly control the volume and

tone of the Voice and you can easily change the

overall sound.

• ARP (Common Arpeggio)

By setting these parameters, you can control how

the Voice is arpeggiated. Details about how to use

the Arpeggiator are given on Page 41.

• CTL (Common Controller)

You can assign various functions to the

controllers on the front/rear panel. For example,

you can assign parameters to the Pitch Bend

Wheel and a Foot Controller so that you can

change the tone of the Voice in real time. Details

about various different uses are given on Page 43.

• LFO (Common Low Frequency Oscillator)

These are the LFO parameters. The LFO uses a

low frequency waveform to vary the

pitch/filter/amplitude characteristics, and can be

used to create vibrato, wah, tremolo and other

effect (Page 75).

• EFF (Common Effect)

These are the Effects parameters for the Voice.

There are two Insertion Effects plus two System

Effects (Reverb and Chorus).

EFFíInsEF) InsEF Connect

C 1234 1=2

LFOíWave) Wave^ Speed KeyReset Phase

C 1234 trpzd 63 on 270

CTLíSet1) Src Dest EL Sw Depth

C 1234 FC(04) RevTime:EF1 1234 +63

ARPíType) Type Tempo Switch Hold

C 1234 Up&Down1:Sq 120 on on

QEDíLevel) Vol Pan RevSend ChoSend

C 1234 127 C 127 127

Basics

Section

5 PCH (Pitch) and PEG (Pitch EG)

Screens

Set the basic pitch parameters for each Element.

You can detune 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 a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Pitch Envelope consists of five

Time (transition speed) parameters and five Level

(pitch) parameters. This is useful for creating

automatic changes in pitch. Furthermore, different

PEG parameters can be set for each Element.

Details about PEG parameters are given on Page 81.

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Pitch

PEGíTime) Hold Attack Decay1 Decay2

EL1234 127 127 127 127

C-2

Element 1

Velocity

Element 4

Element 2

Element 3

OSCíLimit) Note Limit Vel Limit

EL1234 C-2 - G 8 1 - 127

6 FLT (Filter) and FEG (Filter EG)

Screens

You can use the filter to change the tonal

characteristics of each Element, by adjusting

overtones (harmonic tones) included in the

waveform from the Element. There are several

types of filters, but its basic idea is similar. As

illustrated below, the filter is used to pass overtones

at specific frequencies and cut off (does not pass)

others, to alter the harmonic factor of an original

waveform. You can determine such frequencies by

specifying a pointing or center frequency (cutoff

frequency). With some filters, you can adjust signal

levels at several frequency bands. You can also set

the Filter Envelope Generator (FEG) for time

variance of how the filter works, which results in a

dynamic change in tonal characteristics. Here we

introduce how FEG works.

Details about Filter Types are given on Page 83.

• FEG (Filter Envelope Generator)

Using the FEG, you can control the transition in

tone from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Filter Envelope consists of

five Time (transition speed) parameters and five

Level parameters (for the amount of filtering).

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

effects, for example. Furthermore, different FEG

parameters can be set for each Element.

Details about FEG parameters are given on Page 85.

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Level

FEGíTime) Hold Attack Decay1 Decay2

EL1234 127 127 127 127

Range passed

Time

Level

Cutoff range Cutoff range

Center frequency

Basics

Section

7 AMP (Amplitude) and AEG

(Amplitude EG) Screens

Set the volume of each Element after the OSC

(Oscillator), PITCH and FILT (Filter) parameters

have been applied, and also the final overall

volume of the signal sent to the outputs. The

signal of each Element is sent at the specified

volume to the next Effect Unit.

Also, by setting the AEG (Amplitude Envelope

Generator), you can control how the volume

changes over time.

The final volume for all Elements is set in the

Volume (Vol) parameter of the QED screen in

Common Edit.

• Amplitude EG (Envelope Generator)

Using the AEG, you can control the transition in

volume from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated below, the Amplitude Envelope consists

of five Time (transition speed) parameters and

five Level parameters (for the amount of

filtering). 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.

Details about AEG parameters are given on Page 88.

Release

Level

Attack

Level

Init

Level

Attack

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Level

AEGíTime) Attack Decay1 Decay2

EL1234 127 127 127

EffectAMPFILTPICTH

OSC

Element 1~4

PEG FEG

LFO AEG

8 LFO (Low Frequency

Oscillator) Screens

As its name suggests, the LFO creates waveforms of

a low frequency. These waveforms can be used to

vary the pitch, filter or amplitude of each Element

to create effects such as vibrato, wah and tremolo,

although the actual available LFO parameters will

vary according to the type of Element.

9 EQ (Equalizer) Screens

Specific frequency bands for each Element can be

attenuated or boosted using an equalizer. There

are many types of equalizers available. Details are

given on Page 91.

) Storing Edited Voices

Up to 128 new/edited Normal Voices and 2

new/edited Drum Voices can be stored to internal

user memory or external Memory Card.

The maximum number of Plug-in Voices that can be

stored to each internal memory (PLG1/2) is 64.

When storing a Voice, any existing data at the

storage location will be lost. You should always back

up important data to Memory Card, computer or

some other storage medium beforehand.

Details about storing Voices are given on Page 106.

INT

Normal Voice

(128)

Drum Voice

(2)

Normal Voice

(128)

Drum Voice

(2)

EXT

Voice

Store

EffectAMPFILTPICTH

OSC

Element

1~4

PEG FEG

AEGLFO

LFOíWave) Wave^ Speed KeySync

EL1234 tri 63 on

Basics

Section

Effects

In the final stages of programming, you can set

the effects parameters to further change the

sound’s character. To generalize, System Effects

apply to the overall sound, whether it is a Voice, a

Performance, a Song, etc. Insertion Effects, on the

other hand, can be applied individually to each

Voice. This synthesizer has two System Effect

Units (Reverb and Chorus) plus two Insertion

Effect Units. When using a Plug-in Board (PLG1

or PLG2) installed on the instrument, you can

also use a separate Insertion Effect Unit that is

dedicated for each Plug-in Part.

Different effects settings can be set per Voice (in

Voice Mode) and per Performance (in

Performance Mode), though the connection

between the Effect Units will vary in each case.

Reverb Unit

The Reverb Unit includes a selection of 12

different reverb-type effects, including realistic

simulations of the natural reverberation found in

various halls and rooms. In Voice Mode, Reverb

settings can be set for each Voice. In Performance

Mode, the Reverb settings will apply to the

Performance as a whole.

Chorus Unit

The Chorus Unit includes a selection of 23

chorus-type effects, including a flanger and

others. Most of these effects are ideal for adding

thickness to the sound.

In Voice Mode, Chorus settings can be set for each

Voice. In Performance Mode, the Chorus settings

will apply to the Performance as a whole.

Insertion Effects

The Insertion Effect 1 Unit includes 24 effects

including chorus, flanger and auto-wah. The

Insertion Effect 2 Unit offers delays, reverbs,

rotary speaker, amp simulation and other effects,

providing a total of 92 effects. If a Plug-in Board

has been installed, up to 24 Insertion Effects for

the Plug-in Voices will also be available.

Details about each Effect Type are given in the

Effect Type List in the separate Data List.

Effects in Voice Mode

In Voice Mode, you can set up the effect type and

its value for each Effect Unit (Reverb, Chorus and

Insertion Effects) and store them with each Voice.

Furthermore, you can determine that each Element

connects or bypasses the Insertion Effect Units.

When you connect an Element to Insertion Effects,

you can also specify the connecting way of two

Units (series or parallel, as illustrated below).

The combined signal from all Voice Elements —

after application of the Insertion Effects — is sent

to the Reverb and Chorus System Effect Units.

When you want to use Plug-in Voices from a Plug-

in Board attached, you can also set up a dedicated

Insertion Effect Unit for each Plug-in Voice. In

this case, a Plug-in Voice signals processed with

the Insertion Effect Unit will be then routed to

Reverb and Chorus Units.

Effects in Performance Mode

In Performance Mode, you can use an Insertion

Effects setting “borrowed” from ones respectively

stored with Voices (Parts) . For Plug-in Parts, you

can select and use an Insertion Effect setting

“borrowed” from ones respectively stored with Plug-

in Voices.

For Reverb and Chorus, you can create new

settings dedicated for an entire Performance,

without “borrowing” existing Reverb and Chorus

settings stored with a Voice.

In the following illustration, a mixer represents

the logic behind how the different effects are

applied to the sound in Performance Mode. Each

Part (1 to 16) is fed to the mixer through either

Insertion Effect 1 or Insertion Effect 2. The

signals for all Parts are summed in the mixer and

then the System Effects (Reverb and Chorus) are

applied to the mix as a whole.

OFF

THRU

Element 1~4

Voice

Insertion Effects

Connection

EP1➞EP2 EP2➞EP1EP1:EP2

Plug-in Voice

Chorus

Insertion Effects

Reverb

Basics

Section

Effect Bypass

You can temporarily switch effects off or on by

pressing the [EF BYPASS] key. To use this

function, you will need to specify the effect to

be bypassed in the MSTR EF Bypass screen of

Utility Mode (Page 135). You can also specify

more than one effect.

When you press the [EF BYPASS] key, its LED

will light and all Effects assigned to the

currently selected Voice/Performance will be

bypassed.

The Effect Bypass will also apply to Effects on

Plug-in Boards other than the PLG100 series.

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

Part 1~16

Mixer

Chorus

Reverb

System Effects

Insertion

Effect

1 2 3 4 5 6 16

1/2

Basics

Section

Using as a Master Keyboard

(Performance Mode)

2Select “Common” using the Knob [A], then

open the General Master Keyboard (GEN M.

Kbd) page using the [PAGE] knob.

Turning the [PAGE] knob while holding down the

[SHIFT] key enables you to scroll though

parameters in the Menu screens (page 111).

3Select “split” for the Mode parameter using the

Knob [B].

If Master Keyboard Mode is deactivated (without

the [MASTER KEYBOARD] key pressed), the

Mode parameter value will be shown in brackets

(like “(split)”).

4Select the value (split point) for the Point

parameter using the Knob [2], which determines

the key note that divide the keyboard into two

sections. Select “C3” for this example.

You can specify the split point by directly pressing

a specific key on the keyboard while holding

down the [SHIFT] key. In this example, press C3

while holding down the [SHIFT] key.

5Specify MIDI transmit channels respectively for

the lower and upper key ranges using the Knob

[C] (lower) and the Knob [1] (upper). These

settings can make MIDI-channel-based separate

controls of the internal tone generator or an

external MIDI devices from the keyboard, such

as using different Voice tones in the lower and

upper key ranges.

Select “ch01” for “Lower” and “ch02” for

“Upper” for this example.

You can also use the [PROGRAM/PART 1 to 16]

keys to select MIDI channels for the Lower and

Upper ranges. (Page 113)

6Select a Part for the lower range using the Knob

[A]. For this example, select “Part01”.

7Turn the [PAGE] knob and open the MIX Vce

(Mix Voice) page to select a Voice for

Arpeggiator performance.

8Turn the [PAGE] knob and open the LYR Mode

(Layer Mode) page. Set “on” for “Arp”

(Arpeggio switch). Select “1” for “RcvCh”

(MIDI Receive Channel).

LYRíMode) Mode Arp Layer RcvCh

Part01 poly on off 1

MIXíVce) Memory Number Ctgry Search

Part01 PRE1:001(A01)[Pf:StereoGrnd]

GENíM.Kbd) Mode Lower Upper Point

Common split ch01 ch02 C 3

As previously explained, your Synthesizer

provides several convenient features that you can

make use of in a live show or the like. Here we

introduce some examples to combine those

features to meet your specific purposes.

The S80 has special settings in Performance Mode so

that you can use the instrument as MIDI master

keyboard. You can activate the function (enable those

special settings) when you press the [MASTER

KEYBOARD] key on the panel (its LED will light).

Now your instrument can send performance on the

keyboard to an external tone generator, as well as the

internal tone generator, according to the master

keyboard settings in Performance Mode. If you divide

the keyboard into several (up to four) key ranges and

assign separate MIDI transmit channels, the keyboard

can control multiple parts (channels) from the

internal tone generator and external MIDI devices of

those channels at the same time.

There are three Master Keyboard Modes (how to

make key ranges) available: Split, 4 Zones, and Layer.

You can learn these Master Keyboard Modes and their

functional differences in the following examples.

Split

The illustration below shows an example of a Split

configuration. Split is a typical setting to divide a

keyboard into two key ranges (lower and upper) by

splitting at a specific key note (split point). The

following example is to split the keyboard at C3

note, enabling the lower range for automatic

performance with Arpeggiator and the upper range

for manual solo performance. You can make this

configuration in the following steps.

Edit and prepare Voices for Arpeggiator and manual

play in Voice Edit Mode before you set up a Split

setting in the following procedure (page 68).

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter

Performance Edit Mode. Then, press the

[MASTER KEYBOARD] key to activate Master

Keyboard Mode (its LED will light).

Ch1

Part1

Performance

by Arpeggiator

Ch2

Part2

Manual play

Lower Upper

Split point

(C3)

Basics

Section

9Turn the [PAGE] knob and open the ARP Type

(Arpeggio Type) page. Set “on” for “Switch.”

In steps 6 to 9, you now complete settings for

the lower range for Arpeggiator performance.

It will play in a Voice assigned to Part 1 based

on MIDI Receive channel 1.

Refer to page 72 for detailed settings of

Arpeggiator.

You can copy (reuse) the arpeggio settings that belong

to the Voice assigned to Part 1 (page 131).

)As in the same manner as in steps 6 to 8, make

settings for the upper range. So you can use the

Knob A and select “Part02”, select a Voice for solo

performance in the MIX Vce page, set “2” for

“RcvCh” in the LYR Mode page.

Now you are ready for solo performance within

the upper range. You can play in a Voice assigned

to Part 2 based on MIDI Receive channel 2.

If you set “on” to “Layer” in the LYR Mode page,

the RcvCh setting will be ignored.

For unwanted Parts in Split play, set their MIDI

Receive channels (RcvCh) to other than those

used for the lower and upper Parts. In the

example above, the “RcvCh” values for Part 3 to

16 must be set to any other than 1 and 2.

In Performance Edit Mode, you can make detailed

settings for every Part. In case that a Part does

not sound, make sure the volume setting for that

Part. For more information, refer to page 120.

!Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a

Performance, refer to page 131.

In Performance Play Mode, recall the Performance

you have just stored. Simply pressing the

[MASTER KEYBOARD] key activates or

deactivates the Split configuration you made above.

4 Zones

The illustration below shows an example of a 4-Zone

configuration. A zone refers to a specific key range on

the keyboard. You can logically divide a keyboard into

up to four key ranges with separate MIDI channels

and other associated settings so that you can control

multiple Parts at the same time. A Split setting can

divides the entire keyboard into two absolute sections

(key ranges). In a 4-zone setting, however, each

section can overlap to one another. You can even set a

section to cover or include other sections.

ARPíType) Type Tempo Switch Hold

Common UpOct1:Sq 120 on off

In the following example, Zone 1 is set up for

performance by the Arpeggiator, Zone 2 for bass

sound, Zone 3 manual solo performance, and Zone 4

for playing an external MIDI tone generator. Also in

this settings, Zones 3 and 4 overlap in the same range,

and entire performance in four all zones is output

from the MIDI OUT connector so that you can record

that performance on an external MIDI sequencer. You

can make this configuration in the following steps.

Before you set up a 4-Zone configuration in the

following procedure, edit and prepare necessary

Voices (for Arpeggiator and manual play) in their

associated Edit Modes.

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter

Performance Edit Mode. Then, press the

[MASTER KEYBOARD] key to activate Master

Keyboard Mode (the LED will light).

2Select “Common” using the Knob [A], then

open the GEN M. Kbd (General Master

Keyboard) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the

[SHIFT] key enables you to scroll though

parameters in the Menu screens (page 111).

3Select “4zone” for the Mode parameter using

the Knob [B].

If Master Keyboard Mode is deactivated (without

the [MASTER KEYBOARD] key pressed), the

Mode parameter value will be shown in brackets

(like “(4zone)”).

GENíM.Kbd) Mode Lower Upper Point

Common split ch01 ch02 C 3

ZONE2 ZONE3ZONE1

ZONE4

Ch1

Part1

Performance

with Arpeggiator

Ch2

Part2

Bass Sound

Performance

Ch3

Part3

Manual solo

performance

Ch4

An external

MIDI tone generator

Ch4

Performance with

an external MIDI

tone generator

Recording entire performance

in Zones 1 to 4

An external MIDI sequencer

MIDI OUT

MIDI IN

MIDI THRU

Basics

Section

4Select one of “Zone01” to “Zone04” using the

Knob [A]. As we have selected “4zone” for the

Mode parameter, you can now select setting

screens for four Zones. Select “Zone01” to get

started with the settings.

You can also use the BANK [A] to [D] keys to

respectively select “Zone01” to “Zone04.”

Selecting a Zone opens the MKB Transmit

page. You may want to select a sub screen to

set up a Zone using the [PAGE] knob. But you

first specify basic items in the MKB Transmit

page, such as MIDI transmit channel, enabling

or disabling MIDI output to the internal tone

generator and to the MIDI OUT connector.

5Set MIDI transmit channel (TrnsCh) to “Ch01”

using the Knob [C]. Set MIDI output to the

internal tone generator (TG) and MIDI OUT

(MIDI) both to “on.”

These settings can differentiate each Zone from

one another, to internally or externally output

performance made in each Zone using a

separate MIDI channel. Finally, you will

separately control sound tones from four zones.

To do this, set “Ch01” to “Ch04” respectively to

the “TrnsCh” parameters in the MKB Transmit

pages for Zones 1 to 4. For the “TG” and

“MIDI” parameters, set both “on” for Zones 1

to 3. For Zone 4, set “off” to “TG” and “on” to

“MIDI.” You can switch between multiple

MKB Transmit screens using the Knob [A].

Some of basic settings for four zones are now

complete.

6Select “Zone01” again using the Knob [A].

Open the MKB Note screen using the [PAGE]

knob. In this screen, you can specify a key

range for a Zone.

In the MKB Note page, you can also find other

parameters such as Note Limit, Transpose, etc.

Refer to page 128 for more information about

these parameters.

7Set “Note Limit” (zone key range) with the

lowest and highest notes using Knobs [1]

(lowest) and [2] (highest). For “Zone01”, select

“C-2” for the lowest note and “B1” for the

highest.

8Use the Knob [A] to switch to the MKB Note

page for “Zone02”. As in the same manner in

step 7, select “C2” for the lowest note and

“B2” for the highest.

MKBíNote)Octave Transpose Note Limit

Zone01 +1 +11 C-2 - G 8

MKBíTransmit) TrnsCh TG MIDI

Zone01 Ch01 on on

9Use again the Knob [A] to switch to the MKB

Note screen for “Zone03”. As in the same

manner in step 7, select “C3” for the lowest

note and “G8” for the highest.

)Use the Knob one more time [A] to switch to

the MKB Note page for “Zone04”. As in the

same manner in step 7, select “C3” for the

lowest note and “G8” for the highest. Note

that this key range setting will make a

overlapped range with Zone 3.

For detailed settings of a Zone, refer to page 127.

!Turn the Knob [A] and select a Part for a Zone.

In this example, we select Part 1 for Zone 1,

Part 2 and Part 3 respectively for Zone 2 and

Zone 3. We don’t select any internal Part for

Zone 4 since Zone 4 is set only to output

performance information via MIDI Out. First,

select Part 1 (Part01) for Zone 1.

You can also use the [MEMORY] or

PROGRAM/PART keys to select a Part for a

Zone (page 109).

@Use the [PAGE] knob and open the MIX Vce

screen, to set up a Voice for performance using

the Arpeggiator.

#Use the [PAGE] knob and open the Layer Mode

(LYR Mode) screen. Set the Arpeggiator

Switch (Arp) to “on,” Layer Switch (Layer) to

“off,” and MIDI receive channel (RcvCh) to

“1.” Finally in the Arpeggio type (ARP Type)

screen, set the Switch parameter to “on.”

Prepare basic Arpeggiator settings (Type, etc.) in

Voice Edit Mode before you set up a Zone setting

in Performance Edit Mode.

With settings made in steps ! to #, you can

now play the Arpeggiator with a Voice assigned

to “Part01” (Part 1) set to MIDI receive

channel 1 (RcvCh) when you play in the key

range of Zone 1.

$As in the same manner in steps ! to #, set up for

Zone 2. Turn the Knob [A] and select “Part02”.

Next go to the Mix Voice (MIX Vce) screen using

the [PAGE] knob, and select a Voice for the bass

sound. Then, use the [PAGE] knob to open the

Layer Mode (LYR Mode) screen and set MIDI

receive channel (RcvCh) to “2”.

With settings made here, you can now play with

the bass sound using a Voice assigned to

“Part02” set to MIDI receive channel 2 (RcvCh)

when you play in the key range of Zone 2.

LYRíMode) Mode Arp Layer RcvCh

Part01 Poly on off 1

MIXíVce) Memory Number Ctgry Search

Part01 PRE1:001(A01)[Pf:StereoGrnd]

Basics

Section

%As in the same manner in steps ! to #, set up

for Zone 3. Turn the Knob [A] and select

“Part03”. Next go to the Mix Voice (MIX Vce)

page using the [PAGE] knob, and select a Voice

for manual solo performance. Then, use the

[PAGE] knob to open the Layer Mode (LYR

Mode) page and set the MIDI receive channel

(RcvCh) to “3”.

With settings made here, you can now play solo

using a Voice assigned to “Part03” set to MIDI

receive channel 3 (RcvCh) when you play in

the key range of Zone 3.

You don’t need to make further settings for

Zone 4 since it is not intended for an internal

Part and has already been set to output

performance information via the MIDI OUT

connector in steps 5 to ). The key range of

Zone 4 matches to that of Zone 3 so that solo

performance made in that range will be sent on

MIDI channels 3 (from Zone 3) and 4 (from

Zone 4) via [MIDI OUT] to an external MIDI

device.

You can set additional Part settings in

Performance Edit Mode. If you have a trouble

possibly associated with these settings, such as no

sound from a specific Part, confirm any Part

settings related to volume, etc. Refer to page 120

for more information about Part settings.

^Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a

Performance, refer to page 131.

In Performance Play Mode, recall the

Performance you have just stored. Simply

pressing the [MASTER KEYBOARD] key

activates or deactivates the 4-Zone

configuration you made above.

Layer

The illustration below shows an example of a

Layer configuration. Layer refers to two separate

Parts with a overlapped key range, enabling to

play unison with these Parts. The following

example is to play unison with Voices selected for

Part 1 and Plug-in 1 Part. You can make this

configuration in the following steps.

Before you set up a Layer configuration in the

following procedure, edit and prepare necessary

Voices for layers in associated Edit Modes.

Plug-in Voices are available only when you attach

an optional Plug-in Board (page 98).

Layer (Upper)

Layer (Lower)

Part 1

Voice

Plug-in 1 Part

Plug-in Voice

1Press the [PERFORM] key, followed by the

[EDIT] key (each LED will light) to enter

Performance Edit Mode. Then, press the

[MASTER KEYBOARD] key to activate Master

Keyboard Mode (its LED will light).

2Select “Common” using the Knob [A], then

open the General Master Keyboard (GEN M.

Kbd) screen using the [PAGE] knob.

Turning the [PAGE] knob while holding down the

[SHIFT] key enables you to scroll though

parameters in the Menu screens (Page 111).

3Select “layer” for the Mode parameter using the

Knob [B].

If Master Keyboard Mode is deactivated (without

the [MASTER KEYBOARD] key pressed), the

Mode parameter value will be shown in brackets

(like “(layer)”).

4Use Knobs [C] and [1] to respectively set MIDI

transmit channels for the Lower and Upper

parameters. Note that Lower and Upper refer

to two Parts (Zones) to be layered together.

These channel settings can create and send

performance information on two separate

channels to the internal tone generator and an

external MIDI device via the MIDI OUT

connector. Here we set “Ch01” for “Lower”

and “Ch02” for “Upper.”

You can also use the PROGRAM/PART keys [1]

to [16] to select MIDI channels for the Lower and

Upper Parts (Page 113).

5Turn the Knob [A] and select a Part. First

select “Part01” for the Upper Part.

6Use the [PAGE] knob and open the Mix Voice

(MIX Vce) screen. Select a Voice for the Upper

Part.

7Use the [PAGE] knob to open the Layer Mode

(LYR Mode) screen. Set the Layer Switch

(Layer) to “off” and the MIDI Receiving

Channel (RcvCh) to “1.”

If other Parts’ MIDI receive channels (RcvCh) are

set to the same ones assigned to two Parts, those

Parts will also sound when you play on the

keyboard. This might be troublesome if you

simply need two layered Parts. To mute

unnecessary Parts while you play on the

keyboard, set “RcvCh” for those Parts to “off.”

You can only play Voices from layered Parts.

LYRíMode) Mode Arp Layer RcvCh

Part01 poly on off 1

MIXíVce) Memory Number Ctgry Search

Part01 PRE1:001(A01)[Pf:StereoGrnd]

GENíM.Kbd) Mode Lower Upper Point

Common split ch01 ch02 C 3

Basics

Section

8As in the same manner in steps 5 to 7, set up

for the Upper Part. Select “PartP1” for the

Lower Part, go to the Mix Voice (MIX Vce)

page using the [PAGE] knob, and select another

Voice (Plug-in Voice) for the Lower Part. Also,

go to the Layer Mode (LYR Mode) page to set

the Layer Switch (Layer) to “off” and the MIDI

Receiving Channel (RcvCh) to “2.”

You can set additional Part settings in

Performance Edit Mode. If you have a trouble

possibly associated with these settings, such as no

sound from a specific Part, confirm any Part

settings related to volume, etc. Refer to page 120

for more information about Part settings.

9Before exiting Performance Edit Mode, store

above settings in a Performance. For storing a

Performance, refer to page 131.

In Performance Play Mode, recall the

Performance you have just saved. Simply

pressing the [MASTER KEYBOARD] key

activates or deactivates the Layer configuration

you made above.

Besides the Layer/Zone configuration in Master

Keyboard Modes, you can use the Layer Switch

(Layer) for each Part to make a Layer

configuration that consists of up to four Parts

(Page 123).

Sometimes, depending on the settings for each Part

of the source Performance, the desired effect may not

be achieved when editing. In this case, check the

following:

• Whether the Note Limit parameters at each Part’s

LYR Limit screen (Page 123) are set to a valid

range

• That the Output parameter at each Part’s LYR Out

screen (Page 123) has been set to “L&R”

If you’ve checked the above but still can’t resolve the

problem, initialize the Performance (Page 130) and

apply the settings again.

About Note Limit (Key Range)

Note Limit setups are provided for setting

Master Keyboard Mode, Part , and Voice. They

are associated to one another as follows.

While using in Master Keyboard Mode, you

can control the internal tone generator (or an

external MIDI device) according to “Note

Limit” in the MKB Note screen. If you limit a

Zone’s key range to two octaves, it is as if you

connect an external two-octaves keyboard

controller to play with the tone generator.

Meanwhile, the key range (playable range) of

an entire Voice is determined by “Note Limit”

in the LYR Limit screen (page 123) for a Part

assigned with that Voice. Such a playable

range of each Element of a Voice is determined

by “Note Limit” in the OSC Limit screen (page

80) available in Voice Edit Mode.

About the Control Sliders

While Master Keyboard Mode is turned on,

the Control Sliders [1] to [4] on the front panel

are respectively linked to Zones 1 to 4. When

these Sliders, for instance, are set to control

volumes for their corresponding Zones, you

can use them like a mixer’s channel faders to

balance volumes of Zones. These Sliders can

separately work so that you can assign a

different control function to each of them

(volume for Zone 1, pan for Zone 2, etc.).

You can make such assignments in the MKB

Assign screen (Page 129) in Performance Edit

Mode.

CONTROL SLIDER

1234

VOLUME

Zone1

Tone generator

Parts

Key range for each Zone

Key range for an assigned Voice

LYR Limit

Part

MKB Note

OSC Limit

Element 1

Element 2

Element 3

Element 4

Basics

Section

Using as a Multitimbral Tone

Generator (Performance Mode)

4Next, use the [PAGE] knob to switch to the

Mix Level screen, then set the volume for the

piano Part as well as, if necessary, its pan

position, chorus and reverb Send levels. Details

are given on Page 120.

5Continue using the [PAGE] knob and switch to

the LYR Mode (Layer Mode) screen. Set the

Mode parameter to “poly” (polyphonic), the

Layer parameter to “off,” and the RcvCh

parameter (MIDI receive channel) to 2.

For Parts that do not require polyphony, the

Mode parameter can be set to “mono”

(monophonic).

By following steps 2 to 5 above, when you

play back a song file in the sequencer, the piano

track is transmitted through MIDI channel 2.

The MIDI data is received by the synthesizer

which then plays the Voice for the Part

assigned to MIDI channel 2.

6Repeat steps 2 to 5 above, but set up Part 3

for bass and to receive on MIDI channel 3.

7Repeat steps 2 to 5 again, setting up Part 10

for drums and to receive on MIDI channel 10.

To avoid situations where the Voices of unused

Parts are suddenly played back, you should set the

MIDI receive channels for unused Parts to “off.”

There are many other Part-specific parameters in

Performance Edit Mode. Details are given on

Page 111.

8Before exiting Performance Edit Mode, you

need to store the settings for the Performance.

Details about storing Performances are given on

Page 131.

Now, when you select this Performance in

Performance Play Mode, you can play back the

song file on computer (sequencer) or internal

sequencer, and the piano, bass and drum Parts

will be played back according to each track’s

MIDI channel.

LYRíMode) Mode Arp Layer RcvCh

Part02 poly on off 2

Performance Mode lets you use your synthesizer as a

multitimbral tone generator for use with computer-

based music software or external sequencers. If each

track in a song file uses a different MIDI channel,

then the Parts in a Performance can be each assigned

to those MIDI channels correspondingly. Therefore,

you can play back a song file on an external

sequencer and have different Voices playing on

different tracks simultaneously.

In the following example, we will create a

Performance suited to playing back a song file

consisting of three Parts: piano, bass and drums. The

piano track is assigned to MIDI channel 2, the bass

track to channel 3, and the drums to channel 10.

The synthesizer’s internal sequencer can be used to

play back the song file. The included XGworks lite

computer sequencer software can also be used for

this, though you need to make sure that the

computer has been connected to your synthesizer

correctly (Page 16).

1After pressing the [PERFORM] key, press the

[EDIT] key (the respective LEDs will light).

You are now in Performance Edit Mode.

Before entering Performance Edit Mode, you need to

select a Performance for editing. Also make sure

that the [MASTER KEYBOARD] key LED is not lit.

2Use Knob [A] to select Parts. Here, you can

select Part 2 for the piano, Part 3 for bass and

Part 10 for drums. First, we will select Part 02.

3Use the [PAGE] knob to switch to the MIX Vce

(Mix Voice) screen, then specify the Voice to be

used as the piano Part.

MIXíVce) Memory Number Ctgry Search

Part02 PRE1:128(H16)[Pf:GrandPiano]

Computer

(sequencer software)

Sequence

player

S80

Tone generator

section

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch. 2

Transmit Ch. 3

Transmit Ch. 10

Part 2

Part 3

Part 10

Piano-type Voice

Bass-type Voice

Drum Voice

Receive Ch. 2

Receive Ch. 3

Receive Ch. 10

Song File Performance

IBM

Personal System/V

PS/V

Personal System/V

Basics

Section

Performing Live while

Playing Back a Song File

While playing back the song file with the piano,

bass and drum Parts assigned earlier, you can set

up the Performance so that you can also play

another Part live.

This is the same as the Performance created

earlier, but with the addition of another Part for

live playback. Regarding settings, the important

points are as follows.

• In the Performance created earlier, Parts 2, 3

and 10 were being used. As an example, we

will now assign another Part (Part 1) to a solo-

type Voice.

• At the LYR Mode screen, set the Layer

parameter for Part 1 to “on,” and make sure it

is set to "off" for Parts 2, 3 and 10.

If you want to manually play multiple (up to

four) Parts using some Voices from Parts 4 to 9,

11 to 16 and Plug-in Parts, set those Parts’ Layer

Switch parameters to “on.”

• At the GEN MIDI screen, set the LayerCh

(Layer Channel) parameter to BasicCh.

The Voice for Part 1 can now be played live

using the keyboard.

Using the A/D Input Part

If you have external sources (such as a microphone

or other audio equipment) connected to the

synthesizer’s A/D INPUT jack, you can use them

as Parts in a Performance.

Continuing with our example, you can add another

Part for vocals by assigning the A/D Input Part.

Therefore, while the song is playing back the piano,

bass and drums, you simultaneously play a solo live

and sing into the microphone. Effects such as

reverb can be added to the A/D Input Part (Pages

119 and 127), so you can assign an effect suited to

the vocals for the song. These effect settings will

also be saved with the Performance.

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch. 2

Transmit Ch. 3

Transmit Ch. 10

Part 1

Part 2

Part 3

Solo-type Voice

Piano-type Voice

Bass-type Voice

Layer=on

Receive Ch. 2

Receive Ch. 3

Part 10

Drum Voice Receive Ch. 10

Song File

Performance

Playback using

keyboard

* You need to set the receive channel to control the A/D

Input Part parameters via MIDI. However, this is not

vital in this example.

Regarding settings, the important points are as

follows.

• Switch to the PartAD (A/D Input Part)

parameters and set the external input source

and template at the MIX Template screen.

There are 13 templates available already with a

variety of gain and effects settings for you to

select from according to the input source. Here,

we will be using the A/D Input Part for vocals

so let’s set the Src (Source) parameter to "mic"

and the Number (Template Number) parameter

to “Karaoke1.”

If you choose the wrong type of input source, you

may possibly damage your hearing and/or any

connected audio equipment. Make sure you set this

parameter correctly.

• Turn the GAIN knob (Page 11) all the way

down, then connect a microphone to the A/D

INPUT jack (MIC/LINE2 jack).

• Turn the GAIN knob back slowly while

singing/talking into the microphone until you

reach an ideal volume level.

There are other settings for controlling the A/D

Input Part via MIDI. Details are given on Page 122.

When you play a song file bearing the XG/GM logo

(available in the market), you may want to install an

optional XG Plug-in Board on the instrument, to enjoy

a best playback quality with a wide variety of Voices

and Effects. Note that you can install an additional XG

Plug-in Board to double polyphonic notes and Effects.

In such cases, you do not only enjoy the playback of a

song, but also can mute a specific Part from the song

file for a “minus-one” setting, which is convenient for

practice of solo performance or karaoke.

If you install the optional Effect Plug-in Board

(PLG100-VH), you can create harmonies of up to

three notes for your vocals. By assigning the

harmony channel to the keyboard’s MIDI transmit

channel, you can create vocoder-like effects. Or you

could play back a harmony line using a sequencer to

create a backing chorus for your vocals.

MIXíTemplate)Src Number

PartAD mic ≥05[Karaoke1 ]

Track 1

Track 2

Track 3

Piano

Bass

Drums

Transmit Ch. 2

Transmit Ch. 3

Transmit Ch. 10

Part 1

Part 2

Part 3

Solo-type Voice

Piano-type Voice

Bass-type Voice

Layer=on

Receive Ch. 2

Receive Ch. 3

Part 10

Drum Voice Receive Ch. 10

A/D Input

Part

Source (mic)

Template (karaoke1)

Song File

Performance

External

mic input

Playback using

keyboard

Voice Mode

Voice Play

This mode is used for playing individual voices stored

as 256 on-board presets, as well as the Internal (User)

Voices, External Voices on Memory Card, and Plug-in

Board Voices (optional). This section explains how to

select and play voices.

Details about the Voice types and the Voice Memories are

given on Page 36.

Voice Play Mode Display

The LCD will display the following in Voice Play Mode.

Voice Play Mode consists of 2 screens and the [PAGE]

knob can be used to switch to the Voice Search screen.

The contents of each screen are as follows. See page 67

for details about the Voice search screen.

Details about how to enter Voice Play Mode are given on

Page 21.

Voice Play Mode

2nd Screen : Voice Search

1.Screen Title

This shows that you are currently in Voice Play Mode.

2.Voice Memory/Number (Bank/Number) Display

Shows the Memory/Voice Program Number (001 to

128) or Bank ([A] to [H])/Program Number ([1] to

[16]). For example, in the display shown above,

“PRE1:128(H16)” means that the Memory is Preset

1, the voice Program Number is 128, the Bank is H

and the Program Number within the Bank is 16.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Srch) PRE1:128(H16)[Pf:GrandPiano]

Memory Number Ctgry Search

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Play) PRE1:128(H16)[Pf:GrandPiano]

EQ Low EQ Mid EQ Hi Cutoff RevTime

1 2 3

Memory/Voice Program Number

PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset

Drums, INT to Internal, EXT to External, PLG1 to Plug-

in Board 1 and PLG2 to Plug-in Board 2. All voice

Program Numbers within each memory fall in the range

001 to 128. Drum Voices are DR1 to DR8.

Details about Voice Memories are given on Page 36.

Bank/Program Number

Voice Program Numbers 001 to 128 correspond with

Banks A to H and Program Numbers 01 to 16. Therefore,

you can cycle through Voice Program Numbers 001 to 128

sequentially, or you can select them randomly using a

combination of BANK and PROGRAM keys. The

relationship between Banks/Program Numbers and Voice

Program Numbers is given below.

Voice

Program

Number

Bank

Program

Number

Voice

Program

Number

Bank

Program

Number

001 A 1 065 E 1

002 A 2 066 E 2

003 A 3 067 E 3

004 A 4 068 E 4

005 A 5 069 E 5

006 A 6 070 E 6

007 A 7 071 E 7

008 A 8 072 E 8

009 A 9 073 E 9

010 A 10 074 E 10

011 A 11 075 E 11

012 A 12 076 E 12

013 A 13 077 E 13

014 A 14 078 E 14

015 A 15 079 E 15

016 A 16 080 E 16

017 B 1 081 F 1

018 B 2 082 F 2

019 B 3 083 F 3

020 B 4 084 F 4

021 B 5 085 F 5

022 B 6 086 F 6

023 B 7 087 F 7

024 B 8 088 F 8

025 B 9 089 F 9

026 B 10 090 F 10

027 B 11 091 F 11

028 B 12 092 F 12

029 B 13 093 F 13

030 B 14 094 F 14

031 B 15 095 F 15

032 B 16 096 F 16

033 C 1 097 G 1

034 C 2 098 G 2

035 C 3 099 G 3

036 C 4 100 G 4

037 C 5 101 G 5

038 C 6 102 G 6

039 C 7 103 G 7

040 C 8 104 G 8

041 C 9 105 G 9

042 C 10 106 G 10

043 C 11 107 G 11

044 C 12 108 G 12

045 C 13 109 G 13

046 C 14 110 G 14

047 C 15 111 G 15

048 C 16 112 G 16

049 D 1 113 H 1

050 D 2 114 H 2

051 D 3 115 H 3

052 D 4 116 H 4

053 D 5 117 H 5

054 D 6 118 H 6

055 D 7 119 H 7

056 D 8 120 H 8

057 D 9 121 H 9

058 D 10 122 H 10

059 D 11 123 H 11

060 D 12 124 H 12

061 D 13 125 H 13

062 D 14 126 H 14

063 D 15 127 H 15

064 D 16 128 H 16

Reference Section

Voice Mode

3.Voice Category/Name

Voice Category

The two characters to the left of the Voice Name denote the

category of instrument or sound to which the voice belongs.

Details about Category names are given on Page 70.

Voice Name

This consists of up to 10 characters.

4.Knob Parameter Display

This shows the function assigned to each knob ([A] to

[C] and [1]/[2]).

Knobs [1]/[2] may be assigned with several parameters

(destinations) from multiple control sets. In this case,

the display will show the parameter (destination) from

a control set of the smallest number.

Knob Parameter Settings

In Voice Play Mode, each knob ([A] to [C] and

[1]/[2]) can be used to adjust the parameter assigned

to it. The parameter value is displayed briefly when

you move each knob.

Details about assigning parameters to Knobs [A] to

[C] are given on Page 46, 136. Details about

assigning parameters to Knobs [1]/[2] are given on

Page 47, 74.

Octave and MIDI Transmit Channel Settings

In Voice Play Mode, the Octave and MIDI Transmit

Channel are shown when pressing the [SHIFT] key.

This lets you set the MIDI Transmit Channel by

turning Knob [A] and holding down the [SHIFT]

key. The settings for Voice Play Mode are

transmitted on this MIDI channel.

The MIDI Transmit Channel can also be set in the

MIDI Ch. screen of Utility Mode (Page 137).

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

(Oct= +3) PRE1:128(H16)[Pf:GrandPiano]

(Tch= 1)

Octave MIDI Transmit Channel

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Play) PRE1:128(H16)[Pf:GrandPiano]

+63 EQ Mid EQ Hi Cutoff RevTime

Voice Program Selection

There are four ways in which you can choose a Voice.

• Using the BANK/PROGRAM keys

• Using the [DEC/NO] and [INC/YES] keys

• Using the [DATA] knob

• Using the Category Search

Using the BANK/PROGRAM Keys

1Press a MEMORY key to select a Voice Memory.

The Voice Memory indicator in the LCD will blink.

Details about Voice Memories are given on Pages 27, 36.

2Press a BANK key ([A] to [H]) to select a Bank. The

Bank indicator in the LCD will blink.

If you press the [EXIT] key here, the Voice selection

process is canceled and the original Voice is reinstated.

If the Bank has already been selected, this step is not

required. Details about Banks are given on Pages 27, 36.

3Press a PROGRAM key ([1] to [16]) to select a

Program Number.

Voices can be selected by setting the Memory, Bank

and Program Number as explained in the three steps

given above. The LCD also displays the selected

voice.

12345678

910111213141516

VCE Play) PRE1:128(H16)[Pf:GrandPiano]

EQ Low EQ Mid EQ Hi Cutoff RevTime

PLG1EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1 PLG2

A. PIANO E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

12345678

910111213141516

VCE Play) PRE1:128(H16)[Pf:GrandPiano]

EQ Low EQ Mid EQ Hi Cutoff RevTime

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

Voice Mode

Using [INC/YES] and [DEC/NO] Keys

Press the [INC/YES] key to select the next Voice and

the [DEC/NO] key to select the previous one.

The voice is selected by pressing just the [INC/YES] or

[DEC/NO] key. This method is useful when selecting a

Voice that is located near the currently selected Voice.

The method can also be used to switch to the next or

previous Bank. For example, if the current Voice is

A16, Voice B01 is selected by pressing the [INC/YES]

key. Similarly, if the current Voice is H01, Voice G16 is

selected by pressing the [DEC/NO] key.

Using the Data Knob

Turn the [DATA] knob clockwise to increment the

currently selected Voice number, or anti-clockwise to

decrement it.

The Voice is selected directly and sequentially.

Just as with the [INC/YES] and [DEC/NO] keys, this

method can be used to switch to the next or previous

Bank.

Selecting Drum Voices

The procedure for selecting a Drum Voice is different

to that for selecting a Normal Voice.

Selecting Preset Drums (PRE:DR1~DR8)

• Press the MEMORY [PRE2] key while holding down

the MEMORY [PRE1] key (or vice versa) to select

the Preset (PRE) Memory of the Drum Voice. Then

press PROGRAM key [1] to [8] to select Drum Voice

PRE:DR1 (Preset Drum 1) to DR8 (Preset Drum 8).

DATAC12

Decrement

Number

Increment

Number

DEC

NO INC

YES

Previous Number Next Number

• Press the MEMORY [PRE2] key while holding down

the MEMORY [PRE1] key (or vice versa) to select

the Preset (PRE) Memory of the Drum Voice. Then

use the [INC/YES] or [DEC/NO] keys to select the

Drum Voice.

• Press the MEMORY [PRE2] key while holding down

the MEMORY [PRE1] key (or vice versa) to select

the Preset (PRE) Memory of the Drum Voice. Then

use the [DATA] knob to select the Drum Voice.

Once you have selected one Drum Voice, you can easily

switch to another by simply using PROGRAM keys [1]

to [8], the [INC/YES] and [DEC/NO] keys or the

[DATA] knob.

Selecting User Drums (INT:DR1/2 and EXT:DR1/2)

• Press the MEMORY [EXT] key while holding down

the MEMORY [INT] key (or vice versa) to select the

Internal/External (INT/EXT) Memory of the User

Drum Voice. Then press PROGRAM keys [1] to [4]

to select, respectively, User Drum Voice INT:DR1

(Internal Drum 1), INT:DR2 (Internal Drum 2),

EXT:DR1 (External Drum 1) and EXT:DR2

(External Drum 2).

User Drum Voices on external memory must be loaded

from Memory Card.

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

VCE Play) PRE:001(A01)[Sq:Generation]

EQLow-G EQMid-G EQHi-G FLT-Rez HPF

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

DEC

NO INC

YES

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

12345678

910111213141516

Voice Mode

• Press the MEMORY [EXT] key while holding down

the MEMORY [INT] key (or vice versa) to select the

Internal/External (INT/EXT) Memory of the User

Drum Voice. Then use the [INC/YES] or [DEC/NO]

keys to select the Drum Voice.

• Press the MEMORY [EXT] key while holding down

the MEMORY [INT] key (or vice versa) to select the

Internal/External (INT/EXT) Memory of the User

Drum Voice. Then use the [DATA] knob to select

the User Drum Voice.

Once you have one User Drum Voice, you can easily

switch to another by simply using PROGRAM keys [1]

to [8], the [INC/YES] and [DEC/NO] keys or the

[DATA] knob.

Using the Voice Category Search

With the Voice Category Search, you can quickly find

Voices within a specified Voice Category. For example,

if you specify the “Pf” (piano) Voice Category and use

the Voice Category Search, you can select from all the

voices which fall into the “Pf” Voice Category.

To start the Voice Category Search, first turn the PAGE

knob to switch to the Voice Search screen.

If a Plug-In board Voice is currently selected in Voice Play

Mode, there is no Voice Search screen available.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Play) INT:001(A01)[Sq:Generation]

EQLow-G EQMid-G EQHi-G FLT-Rez HPF

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

DEC

NO INC

YES

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

12345678

910111213141516

1Turn Knob [B] to select a Voice Memory. You can

select Voice Memories other than those on PLG1/2.

2Turn Knob 1 to select a Voice Category. The Voice

Category in the LCD will blink.

The different Voice Categories are listed on Page 70.

3Use Knob [2], the [INC/YES] and [DEC/NO] keys,

the [DATA] knob and Knob [C] to search for a Voice.

The selected voices are called up using each knob

and key. The functions of knobs and keys are given

below.

Knob [2]:

Use this to switch between Voices in the selected

Category. Turn the knob clockwise to increment the

voice number and anti-clockwise to decrement it.

[DATA] knob (or [INC/YES] or [DEC/NO] key)

You can scroll through Voices in the specified Category

across the Memories. Turning the [DATA] knob

clockwise (or press the [INC/YES] key) jumps to the

next Voice number in the same Category, in ascending

order. Similarly, turning the [DATA] knob anti-

clockwise (or press the [DEC/NO] key) jumps to the

next Voice number in the same Category, in descending

order. When you reach to the last (first) Voice in a

Memory, you can select the first (last) Voice in that

Category in the next (previous) Memory by

continuously turning the knob clockwise (anti-

clockwise) or pressing the [INC/YES] ([DEC/NO]) key.

Knob [C]:

Using the Knob [C], you can select a Voice one by one

in the current Memory, likewise for normal Voice

selection. Turning the knob clockwise jumps to the

next Voice number. Turning the knob anti-clockwise

jumps to the previous Voice number.

If the Voice within the selected Category cannot be found

DEC

NO INC

YES

EXIT ENTER

BYPASS

MASTER

KEYBOARD

rch) PRE1:128(H16)[Pf:GrandPiano]

Memory Number Ctgry Search

DATABC1 2

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Srch) PRE1:128(H16)[Pf:GrandPiano]

Memory Number Ctgry Search

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

VCE Srch) PRE1:128(H16)[Pf:GrandPiano]

Memory Number Ctgry Search

Select a

Voice Memory

Select a

Program Number

Set a

Voice Category

Voice Mode

within the current Voice Memory, [------] is displayed in the

LCD and you will not be able to use Knob [2].

Press the [ENTER] key to start searching in the next

Memory.

Using the Quick Access

Using Quick Access, you can quickly select any of 12

types of Preset Voices and 4 types of Internal Voices (at

their factory default settings) in each Bank according to

their Categories. The procedure is as follows.

Details about the Voices that can be selected using Quick

Access are given in the separate Data List.

1Press the [QUICK ACCESS] key in Voice Mode. Its

LED will light and Quick Access will be enabled.

Press the key again or switch to another Mode to

disable Quick Access.

When you enable Quick Access, the Voice you

previously selected using Quick Access is selected again.

If you enable Quick Access while editing a Voice, the

Voice is not changed until you select another Voice via

Quick Access.

You cannot use the MEMORY keys while Quick Access

is enabled.

Use BANK keys [A] to [H] to select the Category.

There are eight Categories, as listed below. The

Category names are printed below the respective

BANK keys.

Use PROGRAM keys [1] to [16] to select the Voice

within the specified Category. The name of the

Voice is displayed.

For each BANK [A] to [H], Preset Voices are accessed

using PROGRAM keys [1] to [12]. The remaining four

keys (PROGRAM keys [13] to [16]) are used to access

each of four internal Voices. Details about Voices are

given in the separate Data List. By selectively assigning

your own selected Voices to the PROGRAM keys [13] to

[16] in each BANK, you can make use of the Quick

Access feature to quickly switch between them.

12345678

910111213141516

QUICK

ACCESS

A. PIANO E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

VCE Quick) INT:017(H01)[Pf:GrandPiano]

EQLow-G EQMid-G EQHi-G FLT-Frq ChoSend

Voice Edit

There are three kinds of Voices: Normal Voices, Drum

Voices and Plug-in Voices (if a Plug-in board has been

installed). The following is an explanation of the

parameters used to edit each kind of Voice.

Details about Voices are given on Page 36.

The following is displayed when you enter Voice Edit

Mode. The displayed screens will vary according to the

type of Voice being edited, but basically the [PAGE]

knob is used to switch between screens and the

parameters on each screen are altered using Knobs [A],

[B], [C], [1] and [2]. The [DATA] knob and the

[INC/YES] and [DEC/NO] keys can be used to alter

parameters in small increments.

While holding down the [SHIFT] key, you can use

Knobs [A], [B], [C], [1] or [2] to move the cursor to the

respective parameter without changing it’s value. You

can also move the cursor using the [DATA] knob or the

[INC/YES] and [DEC/NO] keys while holding down the

[SHIFT] key.

You need to select the Voice before entering Voice Edit Mode

(Page 65). All parameters can be set and stored per Voice.

See page 21 on how to enter Voice Edit mode.

Common Edit and editing each Element

Voices can consist of up to four Elements (Page 37). Use

Common Edit to edit the settings common to all four

Elements. Voice Edit Mode can be divided into screens

for Common Edit and those for editing each Element.

In Voice Edit Mode, Knob [A] is used to switch

between the Common Edit screens and the screens

for editing each Element.

Common Edit screens

Element 1~4 Edit Screens

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

OSC Wave) Number Ctgry

EL1234 001[Pf:Grand 1 ]

Elements 1~4 Indicator

GEN Other) Mode Assign MicroTuning

C 1234 poly single 31:Indian

Common Indicator

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

GEN Name) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

Choose Common or

Elements 1 to 4

Change pages Set the value

Voice Mode

The í Indicator

If you alter any parameters in Voice Edit Mode, the

í indicator will be displayed in the top left of the

screen. This gives a quick indication that the

current voice has been modified but not yet stored.

Even if you exit to Voice Play Mode, the edited

settings for the current Voice will not be lost so long

as you do not select another Voice.

The í indicator will also be displayed in Voice Play

Mode, and if any Assignable knobs are used.

The “Compare” Function

Use this to listen to the difference between the Voice with

your edited settings and the same Voice prior to editing.

1 Press the [COMPARE (EDIT)] key while in Voice

Edit Mode. The í indicator at the top left of the

screen will change to the î indicator and the Voice

settings prior to editing will temporarily be

reinstated for comparison purposes.

While the “Compare” function is enabled, editing will

not be possible using knobs [A] to [C] or knob [1]/[2].

2 Press the [EDIT] key again to disable the

“Compare” function and restore the settings for

your edited Voice.

The ELEMENT ON/OFF Function

Use this to mute individual Elements within a Voice.

For example, you could mute all Elements other

than that which you are editing. Thus, you can

hear how the edited settings affect just that

Element. Details are given on Page 51.

GENîName) Ctgry

Compare indicator

GEN Name) Ctgry

Edit indicator

COMMON

Element1

Element2

Element3

Element4

Voice Store

The edited settings for the current Voice will be lost

if you select another Voice or Mode. To avoid losing

important data, you should always use Voice Store

to store your edited Voice. Details about the Voice

Store procedure are given on Page 106.

When creating a new Voice from scratch, it can be

useful, prior to editing, to clear the settings for the

current Voice using the Initialize Voice function in

Voice Job Mode (Page 105).

Normal Voice

When editing Normal Voices, there are 12 settings

consisting of six Common Edit settings (common to all

four Elements) and six Element-specific settings.

Voice Edit Mode

Common

Common General 70

GEN Name (General Name) 70

GEN Other (General Other) 71

Common Quick Edit 71

QED Level (Quick Edit Level) 71

QED EffectCtrl (Quick Edit Effect Control) 71

QED Filter (Quick Edit Filter) 72

QED EG (Quick Edit Envelope Generator) 72

Common Arpeggio 72

ARP Type (Arpeggio Type) 72

ARP Limit (Arpeggio Note Limit) 73

ARP Mode (Arpeggio Mode) 73

ARP PlayEF (Arpeggio Play Effect) 73

Common Controller 74

CTL Portamento 74

CTL Bend (Pitch Bend) 74

CTL Set1 (Control Set 1) 74

CTL Set2 (Control Set 2) 74

CTL Set3 (Control Set 3) 74

CTL Set4 (Control Set 4) 74

CTL Set5 (Control Set 5) 74

CTL Set6 (Control Set 6) 74

Common LFO (Low Frequency Oscillator) 75

LFO Wave 75

LFO Fade 77

LFO Dest1 (LFO Destination 1) 77

LFO Dest2 (LFO Destination 2) 77

Common Effect 78

EFF InsEF (Insertion Effect) 78

EFF EF1 (Insertion Effect 1) 78

EFF EF2 (Insertion Effect 2) 78

EFF Rev (Reverb) 79

EFF Cho (Chorus) 79

Element

Element OSC (Oscillator) 79

OSC Wave (Oscillator Wave) 79

OSC Out (Oscillator Out) 79

OSC Pan (Oscillator Pan) 80

OSC Limit (Oscillator Limit) 80

Element Pitch 80

PCH Tune (Pitch Tune) 80

PEG VelSens (PEG Velocity Sensitivity) 81

PEG Time 81

PEG Level 81

PEG Release 81

PCH Scale (Pitch Scale) 82

Element Filter 83

FLT Type (Filter Type) 83

FLT HPF (High Pass Filter) 85

GEN Name (General Name)

You can set a Voice Name consisting of up to 10

characters. You can also select the Category Name to

the left of the Voice Name.

Setting the Voice Name

1 Use Knob [2] to move the cursor to the position of

the first character. The selected character will blink.

2 Use Knob [C] to enter an alphabetic character or

Knob [1] to enter a numeric character/symbol.

3 Use Knob [2] to move the cursor to the position of

the next character.

4 Repeat Steps 2 and 3 until all the characters have

been set for your Voice Name.

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

keys or the [DATA] knob to enter alphabetic and

numeric characters as well as symbols.

5 Use Knob [B] to set the Category Name if

necessary.

By setting the Category Name, it will be easier to

identify the Voice later. The Category Search

function (Page 67) can also be used to search for

it. If you do not wish to set a Category Name, the

Category will be shown as two hyphens.

Settings for alphabetic and numeric

characters and Category Names :

LCD

Category

Synth Pad

Synth Sound Effects

Ethnic

Percussive

Sound Effects

Drums

Synth Comping

Vocal

Combination

Material Wave

Sequence

a b c d e f g h i j k l m n o p q r s

t u v w x y z B C D E F G H I J K L

M N O P Q R S T U V W X Y Z 1 2 3 4

5 6 7 8 9 ! " # $ % & ' ( ) * + , -

. / : ; < = > ? @ [ ¥ ] ^ _ ` { | }

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

GENíName) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

Choose numeric

characters and symbols

Choose alphabetic

characters

Move the cursor

position

Choose

a Category

Category Name Voice Name

Voice Mode

Menu Display

You will see the following if you use the [PAGE]

knob while holding down the [SHIFT] key. Use the

[PAGE] knob to move the cursor to the parameter

you wish to edit, then release the [SHIFT] key to

jump to the screen you were previously at.

Selecting a Menu

On the S80 in Voice Edit Mode, you can directly

select a Menu using the PROGRAM/PART keys, [1]

to [6] and [9] to [15]. Each key has an associated

Menu name shown below it.

Common General

You can set the Voice Name, Voice output settings and other

general parameters in the Common Edit screens. The

following two screens are available for general settings.

GEN Name (General Name)

GEN Other (General Other)

12345678

910111213141516

GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT

OSC PITCH FILTER AMPLITUDE LFO EQ PLG

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF

C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ

Cursor

FLT Sens (Filter Sensitivity) 85

FEG VelSens (FEG Velocity Sensitivity) 85

FEG Time 86

FEG Level 86

FEG Release 86

FLT KeyFlw (Filter Key Follow) 86

FLT Scale (Filter Scale Break Point) 87

FLT Scale (Filter Scale Offset) 87

Element Amplitude 88

AEG VelSens (AEG Velocity Sensitivity) 88

AEG Time 88

AEG Level 88

AEG Release 88

AMP KeyFlw (AMP Key Follow) 89

AMP Scale (AMP Scale Break Point) 90

AMP Scale (AMP Scale Offset) 90

Element LFO (Low Frequency Oscillator) 90

LFO Wave 90

LFO Depth 91

Element EQ (Equalizer) 91

EQ Type 91

EQ Param (EQ Parameter) 91

Voice Mode

GEN Other (General Other)

There are various parameters for Micro Tuning and for

controlling how the generated sound is output.

■ Mode

Select monophonic or polyphonic playback.

Select whether the Voice is played back

monophonically (single notes only) or

polyphonically (multiple simultaneous notes).

❏Settings: mono, poly

■ Assign

If you set Key Assign to “single,” the doubled

playback of the same note is prevented. The

synthesizer will terminate a note when the same

note is received again. If you select “multi,” the

synthesizer will consecutively assign each instance

of the same received note to a separate channel,

making multiple part tone generation possible.

❏Settings: single, multi

■ MicroTuning

Set the Micro Tuning (tuning system, or temperament) used

for the Voice. Normally you would use “Equal Temperament”

but there are also 31 other tuning systems available.

❏Settings: (see the following list)

Type Key Comments

Equal temperament

No.

00 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 equal

ease. However, none of the intervals are

perfectly in tune.

1/4 shifted28 This is the normal equal tempered scale

shifted up 50 cents.

Twenty–four equally spaced notes per

octave. (Play twenty–four notes to move one

octave.)

Werckmeister25

Kirnberger26

Vallotti & Young27

Pure major C~B01~12

Pure minor A~G# The same as Pure Major, but designed for

the minor scale.

Andreas Werckmeister, a contemporary of

Bach, designed this tuning so that keyboard

instruments could be played in any key.

Each key has a unique character.

Francescantonio Vallotti and Thomas Young

(both mid–1700s) divised this adjustment to

the Pythagorean tuning in which the first six

fifths are lower by the same amount.

Johan Philipp Kirnberber was also

concerned with tempering the scale to allow

performances in any key.

13~24

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.

1/4 tone29

Forty–eight equally spaced notes per octave.

(Play forty–eight notes to move one octave.)

1/8 tone30

Indian C~B31 Usually observed in the Indian music (white

keys [C~B] only).

GENíOther) Mode Assign MicroTuning

C 1234 poly single 31:Indian

Common Quick Edit

Various parameters control the sonic properties of the

Voice. There are four screens.

QED Level (Quick Edit Level)

QED EffectCtrl (Quick Edit Effect)

QED Filter (Quick Edit Filter)

QED EG (Quick Edit Envelope Generator)

QED Level (Quick Edit Level)

These parameters control the output level (volume)

and pan position of the Voice.

■ Vol (Volume)

Set the output level of the Voice.

❏Settings: 0 ~ 127

■ Pan

Set the stereo pan position of the Voice.

❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

■ RevSend (Reverb Send)

Set the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Reverb

effect.

❏Settings: 0 ~ 127

■ ChoSend (Chorus Send)

Set the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Chorus

effect.

❏Settings: 0 ~ 127

QED EffectCtrl (Quick Edit Effect)

Set the amount of Chorus applied to the entire Voice.

■ Chorus

Set an offset value for the parameters used by each

type of Chorus.

❏Settings: -64 ~ 0 ~ +63

QEDíEffectCtrl) Chorus

C 1234 +63

QEDíLevel) Vol Pan RevSend ChoSend

C 1234 127 C 127 127

Voice Mode

QED Filter (Quick Edit Filter)

These parameters control filters which affect the tonal

quality of the Voice. If you are using LPF (Low Pass

Filter) and HPF (High Pass Filter) combined together,

the parameters in the QED Filter page only affects LPF.

■ Cutoff

Set the cutoff frequency. The frequency set here will be

a center frequency for signals to be filtered when they

pass through each filter.

❏Settings: -64 ~ 0~ +63

■ Reso (Resonance)

Set the amount of Resonance (harmonic boost)

applied to the signal around the Cutoff frequency.

This is a useful way of adding further character to the

sound.

❏Settings: -64 ~ 0~ +63

QED EG (Quick Edit Envelope Generator)

These four parameters control the change in the output

level of a Voice over the time that a note is played.

■ Attack

Set the transition time from the moment a key on

the keyboard is pressed to the point at which the

level of the Voice reaches its peak.

❏Settings: -64 ~ 0~ +63

■ Decay

Set the transition time from the point at which the

level of the Voice reaches its peak to the point at

which it levels off.

❏Settings: -64 ~ 0 ~ +63

Key on Key off

Attack

Time

Release

Time

Decay

Time

Level

Sustain

Level

QEDíEG) Attack Decay Sustain Release

C 1234 +63 +63 +63 +63

QEDíFilter) Cutoff Reso

C 1234 +63 +63

■ Sustain

Set the level of the Voice maintained while the note

on the keyboard is being held down.

❏Settings: -64 ~ 0 ~ +63

■ Release

Set the transition time from the point at which the

note on the keyboard is released to the point at

which the level of the Voice reaches zero.

❏Settings: -64 ~ 0~ +63

Common Arpeggio

The following four parameters control the behavior of

the Arpeggiator.

ARP Type (Arpeggio Type)

ARP Limit (Arpeggio Note Limit)

ARP Mode (Arpeggio Mode)

ARP PlayEF (Arpeggio Play Effect)

ARP Type (Arpeggio Type)

These are the basic parameters of the Arpeggiator.

■ Type

Set the Arpeggio Type.

❏Settings: (see the separate Data List)

Sq (Sequence):

Creates a general arpeggio phrase. Mainly octave up/down phrases.

Ph (Phrase):

Creates more musical phrases than Sq. Starting with

“Techno,” there are phrases for a wide variety of musical

genres, and for creating backing tracks for guitar, piano and

other instruments.

Dr (Drum Pattern):

Creates drum pattern-type phrases. Phrase genres covered

include rock and dance. This Type is ideal for use with

drum and percussion sounds.

Ct (Control):

Creates tonal changes. No note information is created. The Key

Mode parameter in Arpeggio Mode must be set to “direct.”

■ Tempo

Set the Arpeggio Tempo.

❏Settings: 25 ~ 300

[MIDI] is displayed here and the parameter cannot be

altered if MIDI sync is enabled (Page 138).

ARPíType) Type Tempo Switch Hold

C 1234 UpOct1:Sq 120 on on

Voice Mode

■ Switch

Switch the Arpeggiator on or off.

❏Settings: off, on

■ Hold

Switch the Arpeggiator Hold on or off.

❏Settings: syncoff (see below), off, on

syncoff

The first time you press a key, the first note of the

arpeggiator pattern is played. From the second and

subsequent key presses, the arpeggiator note that is played

back will depend on the arpeggiator tempo and the timing

of the arpeggio pattern. For example, in the case of a 1-bar

arpeggio pattern, if the second key press falls on the third

beat of the bar, the arpeggio pattern plays back from the

third beat onward. In other words, the first key press is

used to start the arpeggio pattern and thereafter you can

use the key to “mute” or “un-mute” the pattern by,

respectively, holding it down or releasing it. This is

particularly useful when the arpeggiator is being used to

generate drum patterns.

Details about this are given on Page 43.

ARP Limit (Arpeggio Note Limit)

■ Note Limit

Set the lowest and highest notes in the Arpeggiator’s

note range.

❏Settings: C-2 ~ G8 (lowest and highest set separately)

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.”

You can set the lowest and highest notes in the range by

pressing notes on the keyboard while holding down the

[SHIFT] key.

ARP Mode (Arpeggio Mode)

These parameters control the way in which notes are

played back by the Arpeggiator.

■ Key Mode

Set how the Arpeggio is played back when keys on

the keyboard are pressed. There are 3 modes.

❏Settings:

sort:

Plays back notes in ascending order from the lowest key

pressed to the highest.

thru:

Plays back notes in the order in which the keys are pressed.

direct:

Plays back the notes exactly as you play them. If changes

to Voice parameters (such as Pan or Cutoff frequency) are

included in the Arpeggio sequence data, they will be

applied and reproduced whenever the Arpeggio plays back.

ARPíMode) Key Mode Vel Mode

C 1234 sort thru

ARPíLimit) Note Limit

C 1234 C-2 - G 8

If the Arpeggio Category is set to Ct, you will not hear

any sounds unless you select “direct” here.

With the “sort” and “thru” settings, the order in which

notes are played back will depend on the Arpeggio

sequence data.

■ Vel Mode (Velocity Mode)

Set the playback velocity of the Arpeggio. There are

2 modes.

❏Settings:

original:

Preset velocities are used in the Arpeggio sequence.

thru:

Velocities of the notes you play are used in the Arpeggio

sequence.

ARP PlayEF (Arpeggio Play Effects)

You can set Play Effects for the Arpeggio. Play Effects

can be used to temporarily adjust the timing and

velocity of MIDI notes, thus affecting the groove of the

Arpeggio pattern.

■ Unit

Adjust the Arpeggio playback time. For example, if

you set a value of 200%, the playback time will be

doubled and the tempo halved. Alternatively, if you

set a value of 50%, the playback time will be halved

and the tempo doubled. Normal playback time is

100%.

❏Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%

■ Vel (Velocity)

Set the Velocity offset value (the strength at which

the keyboard is played). This determines how the

original Velocities are increased or decreased during

Arpeggio playback. 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%

If the Velocity value falls below 1, it will be limited to 1.

If it exceeds 127, it will be limited to 127.

■ Gate (Gate Time)

Set the Gate Time Rate value (the length of a note).

This determines how the original Gate Times are

increased or decreased during Arpeggio playback. 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%

If the Gate Time value falls below 1, it will be limited to 1.

ARPíPlayEF) Unit Vel Gate

C 1234 50% 200% 200%

Voice Mode

Common Controller

There are eight Control Settings. You can set the

Controller parameters for Portamento, the Pitch Bend

Wheel, and for each Element in a Voice.

CTL Portamento

CTL Bend (Pitch Bend)

CTL Set1 (Control Set 1)

CTL Set2 (Control Set 2)

CTL Set3 (Control Set 3)

CTL Set4 (Control Set 4)

CTL Set5 (Control Set 5)

CTL Set6 (Control Set 6)

CTL Portamento

Set the Portamento parameters. Portamento will create

a smooth transition in pitch from the first note played

to the next.

■ Switch

Switch Portamento on or off.

❏Settings: off, on

■ Time

Set the pitch transition time. Higher values mean

longer transition times.

❏Settings: 0 ~ 127

■ Mode

Set the Portamento mode. The behavior of the

Portamento varies depending on whether Mode in

GEN Other is set to “mono” or “poly.”

❏Settings: fingered, fulltime

If the Mode in GEN Other is set to “mono”:

fingered:

Portamento is only applied when you play legato (playing

the next note before releasing the previous one).

fulltime:

Portamento is always applied.

If the Mode in GEN Other is set to “poly”:

This is the same as for “mono,” except that Portamento is

applied to multiple notes.

CTLíPortamento) Switch Time Mode

C 1234 on 127 fulltime

CTL Bend (Pitch Bend)

You can set the amount by which the Pitch Bend

Wheel changes the pitch of the Voice.

■ Lower

Set the amount (in semitones) by which the Voice

pitch changes when the Pitch Bend Wheel is moved

downwards. For example, a value of -12 means that

the pitch of the Voice drops by up to an octave when

the Pitch Bend Wheel is moved downwards.

❏Settings: -48 ~ 0~ +24

■ Upper

Set the amount (in semitones) by which the Voice

pitch changes when the Pitch Bend Wheel is moved

upwards. For example, a value of +12 means that

the pitch of the Voice rises by up to an octave when

the Pitch Bend Wheel is moved upwards.

❏Settings: -48 ~ 0~ +24

CTL Set1 (Control Set 1) to CTL Set6

(Control Set 6)

The controllers and knobs on the front panel, the

keyboard, and so on can be assigned a variety of uses.

For example, keyboard aftertouch can be used to

control vibrato and the Modulation Wheel could be

used to control Resonance. They can even be used to

control parameters within individual Elements. These

control assignments are called “Control Sets.” You can

assign up to six different Control Sets per Voice. Thus

there are six screens, each for a separate controller:

CTL Set1 to CTL Set6.

■ Src (Source)

Set the Controller used to control the function chosen

in Dest. The following nine controllers are available.

❏Settings: PB (Pitch Bend Wheel), MW (Modulation

Wheel), AT (Aftertouch), FC (Foot Controller),

FS (Foot Switch), RB (Ribbon Controller), BC

(Breath Controller), KN1/2 (Knobs 1/2)

Control Set 1~6 Element

Keys

Modulation Wheel

Knobs

etc.

Controller

Set 1

CTLíSet1) Src Dest EL Sw Depth

C 1234 FC(04) ELFOSpd 1234 +63

CTLíPitchBend) Lower Upper

C 1234 -12 +12

Voice Mode

■ Dest (Destination)

Set the parameter to be controlled by the Control Set

in Src.

❏Settings: (see the separate “Controls” list)

■ ElemSw (Element Switch)

Select whether the Controller will affect each individual

Element. Move the cursor (blinking) using Knob [1] and

use the [DATA] knob or the [INC/YES] and [DEC/NO]

keys to enable/disable the Elements which the Controller

will affect. Affected Elements are shown by number.

❏Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or

disabled (“-” displayed)

This is disabled if the Dest parameter is set to 00 to 33.

■ Depth

Set the amount by which the parameter selected in

Dest can be controlled.

❏Settings: -64 ~ 0 ~ +63

Example of Control Set Assignment

Using Control Sets 1 to 6, you can assign individual

Src (Source) controllers to multiple Dest

(Destination) parameters, or multiple Src controllers

to individual Dest parameters.

Ex.1:Use a single Src controller to control multiple

Dest parameters.

Ex.2:Use multiple Src controllers to control a single

Dest parameter.

Details about Control Set Assignments are given in

the Basics Section of this manual (Page 45).

SET1

KN1

(Assignable Knob 1)

Src

PAN

Dest

SET2

KN2

(Assignable Knob 2)

Src

PAN

Dest

Use either

Assignable Knob [1]

or [2] to change the

pan parameter

SET1

Src

PAN

Dest

SET2

Src

LFO

Speed

Dest

(Modulation Wheel)

Use the Modulation

Wheel to change

both the Pan and

LFO speed

parameters

simultaneously.

Common LFO (Low Frequency Oscillator)

There are various settings for the LFO. The LFO is

used to generate low frequency signals and can be used

to create vibrato, wah, tremolo and other effects when

applied to pitch/filter/amplitude/etc. parameters. For

example, variations can be simultaneously applied to

both pitch and filter parameters, and to parameters

specific to individual Elements. The following four

settings are available.

LFO Wave

LFO Fade

LFO Dest1 (LFO Destination 1)

LFO Dest2 (LFO Destination 2)

LFO Wave

■ Wave

Select the LFO Wave. Depending on the Wave

selected, you can create different kinds of modulated

sounds. The following 12 LFO waveforms are

available.

❏Settings: tri, tri+, saw up, saw dw, squ1/4, squ1/3, squ,

squ2/3, squ3/4, trpzd, S/H 1, S/H 2

tri

saw up

saw dw

squ

LFOíWave) Wave^ Speed KeyReset Phase

C 1234 trpzd 63 on 270

Voice Mode

trpzd

S/H 1

S/H 2

■ Speed

Set the speed of the LFO Wave modulation. Higher

values mean faster modulation speeds.

❏Settings: 0 ~ 63, 16th (16th note), 16th/3 (16th note-

triplet), 16th. (16th dot-note), 8th (8th note),

8th/3 (8th note-triplet), 8th. (8th dot-note), 4th

(4th note), 4th/3 (4th note-triplet), 4th. (4th dot-

note), 2nd (half note), 2nd/3 (half note-triplet),

2nd. (half dot-note), 4thx4 (whole note), 4thx5

(5x4th notes), 4thx6 (6x4th notes), 4thx7 (7x4th

notes), 4thx8 (8x4th notes)

Speed = Slow

Speed = Fast

The length of the note depends on the internal or external

MIDI tempo setting.

Time

■ KeyReset (Key on Reset)

Set whether 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 is self-running (no synchronization) and starts a

waveform at any phase when you play on the keyboard.

each-on

The LFO resets with each note you play and starts a waveform

at the phase specified by the Phase parameter (see below).

1st-on

The LFO resets with every note you play and starts the

waveform at the phase specified by the Phase parameter

(Show below). If you play a second note while the first

note is being played (Note Off has not been received), the

LFO does not reset to the specified phase (no

synchronization) with the second note and after.

■ Phase

Set the phase at which the LFO Wave starts

whenever a note is played. Phases of

0/90/120/180/240/270 degrees are available.

❏Settings: 0, 90, 120, 180, 240, 270

Time

Phase

Key on (Second Note)

Time

Key on (First Note)

Time

Key on (Second Note)Key on (First Note)

Key on

Time

Voice Mode

LFO Fade

■ Delay

Set the delay time before the LFO comes into effect.

A higher value means a longer delay time.

❏Settings: 0 ~ 127

Short delay

Long delay

■ FadeIn (Fade-In)

Set the time taken for the LFO effect to be faded in

(after the Delay time has elapsed). A higher value

means a slower fade-in.

❏Settings: 0 ~ 127

Low FadeIn value

Faster fade-in

High FadeIn value

Slower fade-in

FadeIn

Delay

Time

Key on

Max

FadeIn

Delay

Time

Key on

Max

Key on

LFOíFade) Delay FadeIn Hold FadeOut

C 1234 127 127 127 127

■ Hold

Set the length of time during which the LFO is held

at its maximum level. A higher value means a longer

Hold time.

❏Settings: 0 ~ 127

■ FadeOut (Fade-Out)

Set the time taken for the LFO effect to be faded out

(after the Hold time has elapsed). A higher value

means a slower fade-out.

❏Settings: 0 ~ 127

Low FadeOut value

Faster fade-out

High FadeOut value

Slower fade-out

LFO Dest1 (LFO Destination 1)

LFO Dest2 (LFO Destination 2)

You can assign parameters to be controlled by the LFO

Wave and set the LFO Wave Depth (amplitude). Two

Destinations can be assigned, and you can choose from

several parameters per Destination.

LFOíDest1) Dest ElemSw Depth

C 1234 AMD 1234 127

FadeOut

Time

Key on

Hold

Max

FadeOutHold

Max

Time

Key on

Hold

Time

Max

Voice Mode

■ Ctgry (Effect Category)

Set the Category of the Effect. Select a desired

Category and press the [ENTER] key. The first Effect

Type in that Category will automatically be recalled.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Type (Effect Type)

Set the type of Effect. While the Category indicator

is blinking in the display, you can press the

[ENTER] key to recall the first Effect Type in that

Category.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Dry/Wet

Set the mix level of the wet signal (which has been

passed through the Effects Unit) and the dry signal

(which has not been passed through the Effects

Unit). This may be unavailable, depending on the

selected Effect Type.

❏Settings: D63>W ~ D=W ~ D<W63

Effect Parameter Settings

These parameters are available when you press the

[ENTER] key for certain Effect Types.

Use the [PAGE] knob to switch between screens,

and use the other knobs and the [INC/YES] and

[DEC/NO] keys to set each parameter.

When you press the [EXIT] key, you will be

returned to the Effect Type selection screen.

The number of Parameters and the contents of each

screen will vary depending on the selected Effect

Type. Details are given in the Effect Type

List/Effect Parameter List of the separate Data List.

EXIT ENTER

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

EFFíEF2) TimeL TimeR TimeC Dry/Wet

DelayLCR 333.3m 166.7m 500.0m D<W63

EFFíEF2) Ctgry Type Dry/Wet [ENTER]

C 123- DLY:DelayLCR D<W63 to Edit

Effect Type selection screen

Parameter settings screen

EFFíEF2) Ctgry Type Dry/Wet [ENTER]

C 123- DLY:DelayLCR D<W63 to Edit

■ Dest (Destination)

Set the parameters which will be controlled

(modulated) by the LFO Wave.

❏Settings: AMD, PMD, FMD, RESO (Resonance), PAN,

ELFOSpd (Element LFO Speed)

■ ElemSw (Element Switch)

Select whether to allow variations in the LFO Wave

for each Element. Move the cursor (blinking) using

Knob [1] and use the [DATA] knob or the

[INC/YES] and [DEC/NO] keys to enable/disable

LFO Wave variations for Elements 1 to 4. Enabled

Elements are shown by number.

❏Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or

disabled (“-” displayed)

■ Depth

Set the LFO Wave Depth (amplitude).

❏Settings: 0 ~ 127

Common Effect

You can set two types of Insertion Effects, plus two

System Effects (Reverb and Chorus). The following

five screens are available.

EFF InsEF (Insertion Effect)

EFF EF1 (Insertion Effect 1)

EFF EF2 (Insertion Effect 2)

EFF Rev (Reverb)

EFF Cho (Chorus)

EFF InsEF (Insertion Effect)

■ InsEF Connect (Insertion Effect Connect)

Set up the connection between Insertion Effects 1

and 2. If you change this setting, the symbol

denoting the signal routing (to the left of the setting)

also changes to reflect the new signal flow.

Signal routing symbols

❏Settings: 1=2 (parallel), 1➞2 (Insertion Effect 1 to 2),

2➞1 (Insertion Effect 2 to 1)

EFF EF1/2 (Insertion Effect 1/2)

You can select the Effect Category for Insertion Effect

1/2 with the Ctgry parameter and the Effect Type with

the Type parameter. After selecting the Effect Type,

you can set its parameters by pressing the [ENTER] key.

EFFíInsEF) InsEF Connect

C 1234 1=2

1=2 (parallel)

1➞2 (serial)

2➞1 (serial)

Voice Mode

EFF Rev (Reverb)

You can select the Reverb Effect Type, then press the

[ENTER] key to set its parameters.

■ Type (Reverb Effect Type)

Set the Reverb Effect Type.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Return

Set the Return level of the Reverb Effect.

❏Settings: 0 ~ 127

EFF Cho (Chorus)

You can select the Chorus Effect Type, then press the

[ENTER] key to set its parameters.

■ Type (Chorus Effect Type)

Set the Chorus Effect Type.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ toRev (To Reverb)

Set the Send level of the signal sent from the Chorus

Effect to the Reverb Effect.

❏Settings: 0 ~ 127

■ Return

Set the Return level of the Chorus Effect.

❏Settings: 0 ~ 127

EFFíCho) Type toRev Return [ENTER]

C 1234 Chorus1 127 127 to Edit

EFFíRev) Type Return [ENTER]

C 1234 Basement 127 to Edit

Element OSC (Oscillator)

You can set the parameters for the Elements (Waves)

which make up the Voice. Each Voice can consist of up

to four Elements, and the following four screens are

available for each.

OSC Wave (Oscillator Wave)

OSC Out (Oscillator Out)

OSC Pan (Oscillator Pan)

OSC Limit (Oscillator Limit)

OSC Wave (Oscillator Wave)

You can use Knob [A] to select each Element and Knob

[C] to assign a Wave to it.

■ Number (Wave Number)

Select the Wave Number. The Category and Wave

Name are displayed to the right of the selected Wave

Number. You can assign a different Wave Number

to each of the Elements.

❏Settings: 000 (off) ~ 553 (Details about each Wave are

given in the separate Data List.)

■ Ctgry (Category)

Select the Category containing the Wave you wish to

use. Specify a desired Category and press the

[ENTER] key. The first Wave in that Category will

automatically be selected.

❏Settings: Details about Wave Categories are given on Page

70.

OSC Out (Oscillator Out)

You can set the following output parameters for each

Element of a Voice.

■ Level

Set the output level of each Element.

❏Settings: 0 ~ 127

■ Delay (Key On Delay)

Set 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

Short Delay

Key on

OSCíOut) Level Delay InsEF

EL1234 96 0 ins2

OSCíWave) Number Ctgry

EL1234 001[Pf:Grand 1 ]

Voice Mode

Long Delay

■ InsEF (Insertion Effect)

Set the Insertion Effect to which the output signal

from each Element is sent. The Insertion Effect is

bypassed if you select Thru.

❏Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion

Effect 2)

OSC Pan (Oscillator Pan)

You can set the following Pan parameters for each

Element in the Voice.

■ Pan

Set the stereo Pan position for each Element (Wave).

This will also be used as the basic Pan position for

the Alternate, Random and Scale settings.

❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

■ Alter (Alternate)

Set the amount by which the sound is panned

alternately left and right for each note you press.

The Pan setting is used as the basic Pan position.

❏Settings: L64 ~ 0 ~ R63

■ Random

Set the amount by which the sound is panned

randomly left and right for each note you press. The

Pan setting is used as the basic Pan position.

❏Settings: 0 ~ 127

■ Scale

Set the amount by which the sound is panned left

and right according to the position of the note on the

keyboard. The Pan setting is used as the basic Pan

position at note C3.

❏Settings: -64 ~ 0 ~ +63

OSCíPan) Pan Alter Random Scale

EL1234 C L64 63 +63

Key on

OSC Limit (Oscillator Limit)

You can set parameters controlling the note range of

each Element and the velocity.

■ Note Limit

Set the lowest and highest notes of the keyboard

range for each Element. Each Element will only

sound for notes played within its specified range.

❏Settings: C-2 ~ G8 (for the lowest and highest notes)

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.”

You can set the lowest and highest notes in the range by

pressing notes on the keyboard while holding down the

[SHIFT] key.

■ Vel Limit (Velocity Limit)

Set 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.

❏Settings: 1 ~ 127 (for the minimum and maximum values)

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.”

Element Pitch

You can set parameters governing the pitch of each

Element. The Pitch Envelope Generator (PEG) controls

the change in pitch from the moment a note is pressed on

the keyboard to the point at which the sound has faded out

completely. The following six screens are available.

PCH Tune (Pitch Tune)

PEG VelSens (PEG Velocity Sensitivity)

PEG Time (PEG Time)

PEG Level (PEG Level)

PEG Release (PEG Release)

PCH Scale (Pitch Scale)

PCH Tune (Pitch Tune)

You can set the tuning parameters and the effectiveness

of the Envelope Generator (EG) for each Element.

■ EGDepth

Set the amount of change applied by the PEG. A

setting of zero means the original pitch is not

changed.

❏Settings: -64 ~ 0 ~ +63

PCHíTune)EGDepth Coarse Fine Random

EL1234 +63 + 0 + 0 +7

OSCíLimit) Note Limit Vel Limit

EL1234 C-2 - G 8 1 - 127

Voice Mode

■ Hold (Hold Time)

Set the Hold Time.

❏Settings: 0 ~ 127

■ Attack (Attack Time)

Set the Attack Time.

❏Settings: 0 ~ 127

■ Decay1 (Decay 1 Time)

Set the Decay 1 Time.

❏Settings: 0 ~ 127

■ Decay2 (Decay 2 Time)

Set the Decay 2 Time.

❏Settings: 0 ~ 127

PEG Level

You can set various Level parameters for the Pitch

Envelope Generator (PEG). Combined with the PEG

Time and PEG Release settings, these can be used control

the change in sound from the moment a note is pressed

on the keyboard to the moment it is released (Page 82).

You can set different values for each Element.

■ Hold (Hold Level)

Set the Hold Level.

❏Settings: -128 ~ 0 ~ +127

(-4800 cents ~ 0 ~ +4800 cents)

■ Attack (Attack Level)

Set the Attack Level.

❏Settings: -128 ~ 0 ~ +127

(-4800 cents ~ 0 ~ +4800 cents)

■ Decay1 (Decay 1 Level)

Set the Decay 1 Level.

❏Settings: -128 ~ 0 ~ +127

(-4800 cents ~ 0 ~ +4800 cents)

■ Sustain (Sustain Level)

Set the Sustain Level.

❏Settings: -128 ~ 0 ~ +127

(-4800 cents ~ 0 ~ +4800 cents)

PEG Release

You can set Release Time and Release Level parameters for

the Pitch Envelope Generator (PEG). Combined with the

PEG Time and PEG Level settings, these can be used

control the change in sound from the moment a note is

released. You can set different values for each Element.

PEGíRelease) Time Level

EL1234 127 +127

PEGíLevel) Hold Attack Decay1 Sustain

EL1234 +127 -128 +127 + 0

■ Coarse

Adjust the pitch of each Element in semitones.

❏Settings: -48 ~ 0 ~ +48

■ Fine

Fine-tune the pitch of each Element.

❏Settings: -64 ~ 0 ~ +63

■ Random

Set the amount by which the pitch of each Element

is varied at random for each note you press. A

setting of zero means the original pitch is not

changed.

❏Settings: 0 ~ 127

PEG VelSens (PEG Velocity Sensitivity)

You can determine how the Pitch Envelope Generator

(PEG) responds to note velocity.

■ Level

Set the velocity sensitivity of the PEG Level.

Positive settings will cause the level to rise the

harder you play the keyboard, and negative values

will cause it to fall.

❏Settings: -64 ~ 0 ~ +63

■ Time-Segment

Set the velocity sensitivity of the PEG’s Time

parameters. Use Knob [2] to select the Segment,

then use Knob [1] to set its Time parameter. Positive

Time settings will play back the specified Segment

faster and negative values will play it back slower.

❏Settings (Time): -64 ~ 0 ~ +63

❏Settings (Segment):

attack:Affects the Hold Time/Attack Time/Decay 1 Time

all: Affects all PEG Time parameters

PEG Time

You can set various Time parameters for the Pitch

Envelope Generator (PEG). Combined with the PEG

Level and PEG Release settings, these can be used

control the change in sound from the moment a note is

pressed on the keyboard to the moment it is released

(Page 82). You can set different values for each

Element.

PEGíTime) Hold Attack Decay1 Decay2

EL1234 127 127 127 127

PEGíVelSens) Level Time-Segment

EL1234 +63 +63 attack

Voice Mode

■ Center (Center Key)

Set the basic pitch used by the Pitch parameter.

❏Settings: C-2 ~ G8

You can also set this parameter by pressing the

respective note on the keyboard while holding down the

[SHIFT] key.

■ EGTime

The EGTime parameter controls the PEG Times for

each Element according to the positions of the notes

on the keyboard. The Center 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

■ Center (Center Key)

Set the basic pitch used by the EGTime parameter.

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 EGTime settings.

❏Settings: C-2 ~ G8

You can also set this parameter by pressing the

respective note on the keyboard while holding down the

[SHIFT] key.

Basic pitch

Higher range

Lower range

Basic pitch

Higher range

Lower range

–

Speed of PEG

pitch change

Speed of PEG

pitch change

Positive value

Negative value

–

Center (Basic Pitch)

Higher range

Lower range

Large

Small

—

Speed of

pitch change

■ Time (Release Time)

Set the Release Time.

❏Settings: 0 ~ 127

■ Level (Release Level)

Set the Release Level.

❏Settings:

-128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents)

Pitch Envelope Generator Settings

There are five Time settings (controlling the speed

of changes to the sound) and five Level settings

(controlling the pitch). The pitch of a note is held

at the Hold Level for the length of time defined by

the Hold Time. After the Hold Time has elapsed,

the pitch changes in accordance with the Attack

Time/Level, Decay 1/2 Time and the Decay 1 Level,

then settles at the Sustain Level. When the note is

released, the change in pitch is governed by the

Release Time/Level settings.

Velocity Sensitivity and other parameters can also

be set if required.

PCH Scale (Pitch Scale)

You can set the Pitch Scaling for each Element. Pitch

Scaling is used to vary the Element pitch, PEG Levels

and PEG Times according to the positions of the notes

on the keyboard.

■ Pitch

Adjust the sensitivity of the Pitch Scaling for each

Element according to the position of the note on the

keyboard. The Center parameter is used as the basic

pitch for this parameter.

A positive setting will cause the pitch of lower notes

to change less and that of higher notes to change

more. Negative values will have the opposite effect.

❏Settings: -200% ~ 0 ~ +200% (At +100%,

neighboring notes are pitched one semitone (100

cents) apart.)

PCHíKeyFlw)Pitch-Center EGTime--Center

EL1234 100% C 3 +7 C 3

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Pitch

Voice Mode

Element Filter

You can set Filter parameters to change the tonal

characteristics of each Element. The following ten

screens are available.

FLT Type (Filter Type)

FLT HPF (High Pass Filter)

FLT Sens (Filter Sensitivity)

FEG VelSens (FEG Velocity Sensitivity)

FEG Time

FEG Level

FEG Release

FLT KeyFlw (Filter Key Follow)

FLT Scale (Filter Scale Break Point)

FLT Scale (Filter Scale Offset)

FLT Type (Filter Type)

■ Type

Set the Filter Type. Parameters will vary according

to the Type.

❏Settings:

LPF12+HPF (Low Pass Filter 12dB/oct + High Pass Filter),

LPF24D (Low Pass Filter 24dB/oct Digital),

LPF24A (Low Pass Filter 24dB/oct Analog),

LPF18 (Low Pass Filter 18dB/oct),

LPF18S (Low Pass Filter 18dB/oct Staggered),

LPF6+HPF (Low Pass Filter 6dB/oct + High Pass Filter),

HPF24D (High Pass Filter 24dB/oct Digital),

HPF12 (High Pass Filter 12dB/oct),

BPF6 (Band Pass Filter 6dB/oct),

BPF12D (Band Pass Filter 12dB/oct Digital),

BPFW (Band Pass Filter Wide),

BEF6 (Band Elimination Filter 6dB/oct)

THRU (Bypass)

Filters

To generalize, there are basically four types of filter: an LPF

(Low Pass Filter), an HPF (High Pass Filter), a BPF (Band

Pass Filter) and a BEF (Band Elimination Filter). Each

available filter has a different frequency response. There

are also combinations of LPF and HPF.

• LPF (Low Pass Filter):

This only passes signals below the Cutoff frequency. You

can then use the Reso (Resonance) parameter to add further

character to the sound. Six types of LPF are available.

FrequencyCutoff

Level

-6db/oct

-12db/oct

-18db/oct

-24db/oct

FLTíType) Type Gain Cutoff Reso

EL1234 LPF12+HPF 255 255 31

LPF24D (Low Pass Filter 24dB/oct Digital)

A 4-pole (-24db/oct) dynamic LPF with a strong Resonance.

LPF24A (Low Pass Filter 24dB/oct Analog)

A 4-pole (-24db/oct) dynamic LPF with a character similar

to those found on analog synthesizers.

LPF18 (Low Pass Filter 18dB/oct)

A 3-pole (-18db/oct) dynamic LPF.

LPF18S (Low Pass Filter 18dB/oct Staggered)

Also a 3-pole (-18db/oct) dynamic LPF, but with a

shallower frequency curve.

LPF12 (Low Pass Filter 12dB/oct)

A 2-pole (-12db/oct) dynamic LPF, designed to be used in

combination with an HPF (High Pass Filter).

LPF6 (Low Pass Filter 6dB/oct)

A 1-pole (-6db/oct) dynamic LPF with no Resonance,

designed to be used in combination with an HPF (High

Pass Filter).

Resonance

LPF18

LPF18S

Resonance

Voice Mode

• HPF (High Pass Filter)

This only passes signals above the Cutoff frequency.

You can then use the Reso (Resonance) parameter

to add further character to the sound. Two types of

HPF are available.

HPF24D (High Pass Filter 24dB/oct Digital),

A 4-pole (-24db/oct) dynamic HPF with a strong

Resonance.

HPF12(High Pass Filter 12dB/oct),

A 2-pole (-12db/oct) dynamic HPF.

• BPF (Band Pass Filter)

This only passes a band of signals around the Cutoff

frequency. The width of this band can be varied. Three

types of BPF are available.

Range passed

Frequency

Level

Cutoff range Cutoff range

Center frequency

Resonance

FrequencyCutoff

Level

12db/oct

24db/oct

BPF6 (Band Pass Filter 6dB/oct)

The combination of a -6dB/oct HPF and LPF.

BPF12D (Band Pass Filter 12dB/oct Digital)

The combination of a -12dB/oct HPF and LPF.

BPFW (Band Pass Filter Wide)

Also the combination of a –12dB/oct HPF and LPF, but can

have a wider frequency band than the BPF12D filter.

• BEF (Band Elimination Filter)

This attenuates a band of signals around the Cutoff

frequency, but passes everything else.

BEF6 (Band Elimination Filter 6dB/oct)

• THRU

The filters are bypassed and the entire signal is

unaffected.

■ Gain

Set the Gain (the amount of boost applied to the

signal sent to the Filter Unit).

❏Settings: 0 ~ 255

Cutoff range

Frequency

Level

Range passed Range passed

Center frequency

Range passed

Frequency

Level

Cutoff range Cutoff range

width can be increased

Range passed

Frequency

Level

Cutoff Range Cutoff Range

-12db/oct

Range passed

Frequency

Level

Cutoff range Cutoff range

-6db/oct

Voice Mode

■ Cutoff

Set the Cutoff frequency. This is used as the basic

frequency for the selected Filter Type.

❏Settings: 0 ~ 255

■ Reso (Resonance)/Band/Width

This parameter’s function varies according to the

selected Filter Type. If an LPF or HPF has been

selected, this parameter is used to set the Resonance.

For the BPF (excluding the BPFW) and the BEF, it is

used to select the Band. For the BPFW, it is used to

adjust the Width of the band.

With the LPF and HPF, the Reso parameter 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.

With the BPF, the Band parameter is used to set the

range (band) of signal frequencies passed by the filter.

With the BEF, it is used to set the band of signal

frequencies attenuated by the filter. In both cases, the

Cutoff frequency is the center frequency of the band.

With the BPFW, the Width parameter is used to

adjust the width of the band of signal frequencies

passed by the filter.

❏Settings: 0 ~ 31

FLT HPF (High Pass Filter)

You can set the Key Follow parameters for the High

Pass Filter. This screen is available only when you

have one of the “LPF+HPF” settings for the Type

parameter in the Filter Type (FLT Type) screen.

■ Cutoff

Set the center frequency of the Key Follow

parameter.

❏Settings: 0 ~ 255

■ KeyFlw (Key Follow)

Set the Key Follow for the HPF Cutoff. 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.

❏Settings: -200% ~ 0 ~ +200%

FLT Sens (Filter Sensitivity)

You can set Filter Sensitivity parameters for each

Element.

FLTíSens)EGDepth VelCutoff VelReso

EL1234 +63 +7 +7

FLTíHPF) Cutoff KeyFlw

EL1234 255 +200%

■ EGDepth

Set the sensitivity of the Filter to note velocity. A

positive setting will produce large filter changes for

notes played harder, and a setting of zero will

produce no filter changes at all. With a negative

setting, the EG envelope will be inverted.

❏Settings: -64 ~ 0 ~ +63

■ VelCutoff (Velocity Cutoff)

Set the sensitivity of the Cutoff frequency to note

velocity. A positive setting will raise the Cutoff

frequency for notes played harder, and lower it for

notes played more softly. A negative setting will

have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

■ VelReso (Velocity Resonance)

Set the sensitivity of the selected Resonance

parameter to note velocity. A positive setting will

produce large Resonance changes for notes played

harder, and smaller changes for notes played more

softly. A negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

FEG VelSens (FEG Velocity Sensitivity)

You can set parameters controlling the sensitivity of the

Filter Envelope Generator (FEG) to note velocity.

■ Level

Set the sensitivity of the FEG’s Level (its

effectiveness) to note velocity. A positive setting will

cause larger tonal changes for notes played harder

and smaller changes for notes played more softly. A

negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~ +63

■ Time-Segment

Set the velocity sensitivity of the FEG’s Time

parameters. Use Knob [2] to select the Segment,

then use Knob [1] to set its Time parameter. Positive

Time settings will play back the specified Segment

faster and negative values will play it back slower.

❏Settings (Time): -64 ~ +63

❏Settings (Segment):

attack:

Affects the Hold Time/Attack Time/Decay 1 Time

all:

Affects all FEG Time parameters

FEGíVelSens) Level Time-Segment

EL1234 +63 +63 attack

Voice Mode

FEG Release

You can set Release Time and Release Level parameters

for the Filter Envelope Generator (FEG). Combined

with the FEG Time and FEG Level settings, these can

be used control the change in sound from the moment

a note is released.

■ Time (Release Time)

Set the Release Time.

❏Settings: 0 ~ 127

■ Level (Release Level)

Set the Release Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents)

Filter Envelope Generator Settings

There are five Time settings (controlling the speed

of changes to the sound) and five Level settings

(controlling the amount of filtering applied). The

tone of a note is held at the Hold Level for the

length of time defined by the Hold Time. After the

Hold Time has elapsed, the tone changes in

accordance with the Attack Time/Level, Decay 1/2

Time and the Decay 1 Level, then settles at the

Sustain Level. When the note is released, the

change in tone is governed by the Release

Time/Level settings.

Velocity Sensitivity and other parameters can also

be set if required.

FLT KeyFlw (Filter Key Follow)

You can set Filter Key Follow parameters for each

Element. This parameter controls the Filter Cutoff and

FEG behavior according to the position of the notes

played on the keyboard.

The availability of the Filter Key Follow parameter

depends on the Break Point and Offset settings in the FLT

Scale screen.

FLTíKeyFlw)Cutoff-Center EGTime--Center

EL1234 +200% (C 3) 63 C 3

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Level

FEGíRelease) Time Level

EL1234 127 +127

FEG Time

You can set various Time parameters for the Filter

Envelope Generator (FEG). Combined with the FEG

Level and FEG Release settings, these can be used

control the change in sound from the moment a note is

pressed on the keyboard to the moment it is released.

You can set different values for each Element.

■ Hold (Hold Time)

Set the Hold Time.

❏Settings: 0 ~ 127

■ Attack (Attack Time)

Set the Attack Time.

❏Settings: 0 ~ 127

■ Decay1 (Decay 1 Time)

Set the Decay 1 Time.

❏Settings: 0 ~ 127

■ Decay2 (Decay 2 Time)

Set the Decay 2 Time.

❏Settings: 0 ~ 127

FEG Level

You can set a Level parameter for the Filter Envelope

Generator (FEG). Combined with the FEG Time and

FEG Release settings, these can be used control the

change in sound from the moment a note is pressed on

the keyboard to the moment it is released. You can set

different values for each Element.

■ Hold (Hold Level)

Set the Hold Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents)

■ Attack (Attack Level)

Set the Attack Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents)

■ Decay1 (Decay 1 Level)

Set the Decay 1 Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents)

■ Sustain (Sustain Level)

Set the Sustain Level.

❏Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents)

FEGíLevel) Hold Attack Decay1 Sustain

EL1234 +127 -128 +127 + 0

FEGíTime) Hold Attack Decay1 Decay2

EL1234 127 127 127 127

Voice Mode

FLT Scale (Filter Scale Break Point)

You can set four Filter Scaling Break Points for each

Element. Filter Scaling controls the filter cutoff

frequency according to the positions of the notes on the

keyboard. There are four Break Points used to divide

and assign different settings across the keyboard. The

Levels (Offsets) at each of Break Point are set in the

FLT Scale screen.

Details about Filter Scaling are given later in the section

“Filter Scaling Settings.”

■ BP1/BP2/BP3/BP4 (Break Point 1/2/3/4)

Set the Break Points for each Element. BP1 to BP4

will be automatically be arranged in ascending order

across the keyboard.

❏Settings: BP1 to BP4: C-2 ~ G8

FLT Scale (Filter Scale Offset)

■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4)

Set the Filter Scaling Offset Levels. These Offsets

are used by the Break Points (BP1/BP2/BP3/BP4).

Details about Filter Scaling are given below in the

section “Filter Scaling Settings.”

❏Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127

Filter Scaling Settings

By way of example, you could set the Levels

(Offsets) and Break Points (BP1 to BP4) as follows.

Here, the current Cutoff setting is 64. The Offsets are

–4 at BP1 (set to note E1), +10 at BP2 (set to note

B2), +17 at BP3 (set to note G4) and +4 at BP4 (set

to A5). That is, the Cutoff frequencies at each Break

Point are 60, 74, 81 and 68, respectively. For other

notes, the Cutoff frequencies will be on the straight

line connecting the two adjacent Break Points.

The Break Points are automatically arranged in

ascending order across the keyboard. For example,

BP2 cannot be set to a lower note than that of BP1.

The Break Point Levels are Offsets used to increase or

decrease the current Cutoff setting at the specified

notes. Regardless of the size of these Offsets, the

minimum and maximum Cutoff limits (values of 0

and 127, respectively) cannot be exceeded.

A note set below the BP1 will become the BP1 Level.

A note set above BP4 will become the BP4 Level.

FLTíScale) BP1 BP2 BP3 BP4

EL1234 E 1 B 2 G 4 A 5

FLTíScale)Ofst1 Ofst2 Ofst3 Ofst4

EL1234 - 4 + 10 + 17 + 4

FLTíScale)Ofst1 Ofst2 Ofst3 Ofst4

EL1234 + 0 +127 -128 + 0

FLTíScale) BP1 BP2 BP3 BP4

EL1234 C-2 C 3 C#5 G 8

■ Cutoff

Set the Filter Key Follow ratio (the amount by which

the Filter Cutoff varies according to note position)

for each Element. A Center Key setting 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%

■ Center (Center Key)

This shows that the basic Level is at note C3. At

this note, the tone remains unchanged. For other

notes, the tone varies according to the Level settings.

The Center setting cannot be changed. This

parameter is for information only.

■ EGTime

Set the Time Scale (the speed of change in the FEG

over the range of the keyboard) for each Element.

The basic speed of change for the FEG is at the note

specified in the Center 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

■ Center (Center Key)

Set the basic note used by the EGTime parameter.

When the Center Key note is played, the FEG

behaves according to its actual settings. The pitch

change characteristics for other notes will vary in

proportion to the EGTime settings.

❏Settings: C-2 ~ G8

You can also set this parameter by pressing the

respective note on the keyboard while holding down the

[SHIFT] key.

Basic Pitch

Higher range

Lower range

Basic Pitch

Higher range

Lower range

—

Speed of FEG

level change

Speed of FEG

level change

Positive value

Negative value

—

Center (Basic Pitch)

Higher range

Lower range

Large

Small

Speed of cutoff

frequency change

Voice Mode

■ Attack (Attack Time)

Set the Attack Time.

❏Settings: 0 ~ 127

■ Decay1 (Decay 1 Time)

Set the Decay 1 Time.

❏Settings: 0 ~ 127

■ Decay2 (Decay 2 Time)

Set the Decay 2 Time.

❏Settings: 0 ~ 127

AEG Level

You can set various Level parameters for the Amplitude

Envelope Generator (AEG). Combined with the AEG

Time and AEG Release settings, these can be used

control the change in output level from the moment a

note is pressed on the keyboard to the moment it is

released. You can set different values for each Element.

■ Init (Initial Level)

Set the Initial Level. (The Level when a key is

pressed.)

❏Settings: 0 ~ 127

■ Attack (Attack Level)

This shows the Attack Level. (Fixed at 127.)

■ Decay1 (Decay 1 Level)

Set the Decay 1 Level.

❏Settings: 0 ~ 127

■ Sustain (Sustain Level)

Set the Sustain Level.

❏Settings: 0 ~ 127

AEG Release

You can set Release Time and Release Level parameters

for the Amplitude Envelope Generator (AEG).

Combined with the AEG Time and AEG Level settings,

these can be used control the change in output level

from the moment a note is released. You can set

different values for each Element.

■ Time (Release Time)

Set the Release Time.

❏Settings: 0 ~ 127

AEGíRelease) Time Level

EL1234 127 (0)

AEGíLevel) Init Attack Decay1 Sustain

EL1234 127 (127) 127 0

Element Amplitude

You can set Amplitude parameters to affect the output

level of each Element. The following seven screens are

available.

AEG VelSens (AEG Velocity Sensitivity)

AEG Time

AEG Level

AEG Release

AMP KeyFlw (AMP Key Follow)

AMP Scale (AMP Scale Break Point)

AMP Scale (AMP Scale Offset)

AEG VelSens (AEG Velocity Sensitivity)

You can set the sensitivity of the Amplitude Envelope

Generator (AEG) to note velocity.

■ Level

Set the sensitivity of the AEG’s Level (its

effectiveness) to note velocity. A positive setting will

cause larger output level changes for notes played

harder and smaller changes for notes played more

softly. A negative setting will have the opposite effect.

❏Settings: -64 ~ 0 ~+63

■ Time-Segment

Set the velocity sensitivity of the AEG’s Time

parameters. Use Knob [2] to select the Segment,

then use Knob [1] to set its Time parameter. Positive

Time settings will play back the specified Segment

faster and negative values will play it back slower.

❏Settings (Time): -64 ~ 0 ~ +63

❏Settings (Segment):

attack:

Affects the Hold Time/Attack Time/Decay 1 Time

all:

Affects all AEG Time parameters

AEG Time

You can set various Time parameters for the Amplitude

Envelope Generator (AEG). Combined with the AEG

Level and AEG Release settings, these can be used

control the change in output level from the moment a

note is pressed on the keyboard to the moment it is

released. You can set different values for each Element.

AEGíTime) Attack Decay1 Decay2

EL1234 127 127 127

AEGíVelSens) Level Time-Segment

EL1234 +7 +63 attack

Voice Mode

■ Level (Release Level)

This shows the Release Level. (Fixed at zero.)

Amplitude Envelope Generator Settings

There are four Time settings (controlling the speed

of changes in output level) and five Level settings

(controlling the output level). The output level

changes from the Initial Level to the Attack Level

(127) within the Attack Time. It then changes in

accordance with the Decay 1/2 Time and the Decay

1 Level, and settles at the Sustain Level. When the

note is released, the output level falls to the Release

Level (zero) within the Release Time.

Velocity Sensitivity and other parameters can also

be set if required.

AMP KeyFlw (AMP Key Follow)

You can set Amplitude Key Follow parameters for each

Element. This parameter controls the AEG behavior

according to the positions of notes on the keyboard.

The availability of the Amplitude Key Follow parameter

depends on the Break Point and Offset settings in the AEG

Scale screen.

■ Level

Set the Amplitude Key Follow ratio (the amount by

which the output level varies according to note

position) for each Element. A Center 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%

AMPíKeyFlw)Level-Center EGTime--Center

EL1234 +200% (C 3) +63 C 3

Release

Level

Attack

Level

Init

Level

Attack

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level Key off

Time

Level

■ Center (Center Key)

This shows that the basic Level is at note C3. At this

note, the output level remains unchanged. For other

notes, the output levels vary according to the Level

settings. The Center setting cannot be changed.

■ EGTime

The EGTime parameter controls the AEG Times for

each Element according to the positions of the notes on

the keyboard. The Center 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

■ Center (Center Key)

Set the basic pitch used by the EGTime parameter.

When the Center note 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

You can also set this parameter by pressing the

respective note on the keyboard while holding down the

[SHIFT] key.

Speed of AEG

level change

Speed of AEG

level change

Positive value

Negative value

Center(Basic Pitch)

Higher range

Lower range

Center(Basic Pitch)

Higher range

Lower range

Center(Basic Pitch)

Higher range

Lower range

Large

Small

Speed of AEG

level change

Voice Mode

AMP Scale (AMP Scaling Break Point)

You can set four Amplitude Scaling Break Points for each

Element. Amplitude Scaling controls the amplitude

according to the positions of the notes on the keyboard.

There are four Break Points used to divide and assign

different settings across the keyboard. The Levels (Offsets)

at each of Break Point are set in the AMP Scale screen.

Details about Amplitude Scaling are given later in the

section “Amplitude Scaling Settings.”

The Levels of the Elements themselves are set in the OSC

Out screen (Page 79).

■ BP1/BP2/BP3/BP4 (Break Point1/2/3/4)

Set the Break Points for each Element. BP1 to BP4

will automatically be arranged in ascending order

across the keyboard.

❏Settings: BP1 to BP4: C-2 ~ G8

You can also set each Break Point by pressing the

respective note on the keyboard while holding down the

[SHIFT] key.

AMP Scale (AMP Scaling Offset)

■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4)

Set the Amplitude Scaling Offset Levels. These

Offsets are used by the Break Points

(BP1/BP2/BP3/BP4).

Details about Amplitude Scaling are given later in the

section “Amplitude Scaling Settings.”

❏ Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127

Amplitude Scaling Settings

By way of example, you could set the Levels

(Offsets) and Break Points (BP1 to 4) as follows.

Here, the current amplitude is 80. The Offsets are

–4 at BP1 (set to note E1), +10 at BP2 (set to note

B2), +17 at BP3 (set to note G4) and +4 at BP4

(set to A5). That is, the amplitudes at each Break

Point are 76, 90, 97 and 84, respectively. For other

notes, the amplitudes will be on the straight line

connecting the two adjacent Break Points.

The Break Points are automatically arranged in

ascending order across the keyboard. For example,

BP2 cannot be set to a lower note than that of BP1.

AMPíScale) BP1 BP2 BP3 BP4

EL1234 E 1 B 2 G 4 A 5

AMPíScale)Ofst1 Ofst2 Ofst3 Ofst4

EL1234 - 4 + 10 + 17 + 4

AMPíScale)Ofst1 Ofst2 Ofst3 Ofst4

EL1234 + 0 +127 -128 + 0

AMPíScale) BP1 BP2 BP3 BP4

EL1234 C-2 C 3 C#5 G 8

The Break Point Levels are Offsets used to increase

or decrease the current amplitude at the specified

notes. Regardless of the size of these Offsets, the

minimum and maximum amplitude limits (values of

0 and 127, respectively) cannot be breached.

A note set below the BP1 will become the BP1 Level.

A note set above BP4 will become the BP4 Level.

Element LFO (Low Frequency Oscillator)

There are various settings for the LFO. The LFO is

used to generate low frequency signals and can be used

to create vibrato/wah/tremolo/etc. effects when applied

to pitch/filter/amplitude parameters. Different LFO

parameters can be set for each Element. The following

two screens are available.

LFO Wave

LFO Depth

LFO Wave

You can set various parameters controlling the LFO

waveform. Select the waveform used by the LFO and

set the speed of change.

■ Wave

Select the LFO waveform used to vary the sound.

There are three waveforms available.

❏Settings: saw, tri, squ

saw (sawtooth wave)

tri (triangle wave)

squ (square wave)

LFOíWave) Wave^ Speed KeySync

EL1234 tri 63 on

Voice Mode

■ AMod (Amplitude Modulation Depth)

Set the amount (depth) by which the LFO waveform

varies (modulates) the amplitude of the sound. A

larger setting means a larger modulation depth.

❏Settings: 0 ~ 127

Element EQ (Equalizer)

You can set the following two Equalizer parameters for

each Element.

EQ Type

EQ Param (EQ Parameter)

EQ Type

■ Type

Select the Equalizer Type. Various Equalizers are

available which can be used not just for altering

existing sounds, but also in generating completely

new sounds.

Some items in the following EQ Param (EQ

Parameter) screen may or may not be available,

depending on the selected Equalizer Type

❏Settings: EQ L/H (EQ Low/High), P.EQ (Parametric EQ),

Boost6 (Boost 6dB), Boost12 (Boost 12dB),

Boost18 (Boost 18dB), thru

The parameters for the Filter Type are as follows.

• EQ L/H (EQ Low/High)

This is a Shelving Equalizer which combines a High

Frequency and Low Frequency Band to adjust the

signal Level. If you select this Filter, the EQ

Parameter screen will be available with the following

parameters.

Frequency

Low Freq High Freq

EQíParam)LoFreq LoGain HiFreq HiGain

EL1-3* 257.OHz +32 6.25kHz +32

EQíType) Type

EL1-3* EQ L/H

■ Speed

Set the speed of the LFO waveform. A larger setting

means a faster speed.

❏Settings: 0 ~ 63

Speed = Fast

Speed = Slow

■ KeySync

Switch Key Sync on or off. When switched on, the

LFO waveform is reset every time a note is played.

❏Settings: off, on

LFO Depth

Set the amount by which the LFO waveform controls

changes in Pitch/Filter/Amp settings.

■ PMod (Pitch Modulation Depth)

Set the amount (depth) by which the LFO waveform

varies (modulates) the pitch of the sound. A larger

setting means a larger modulation depth.

❏Settings: 0 ~ 127

■ FMod (Filter Modulation Depth)

Set the amount (depth) by which the LFO waveform

varies (modulates) the Filter Cutoff frequency. A

larger setting means a larger modulation depth.

❏Settings: 0 ~ 127

LFOíDepth) PMod FMod AMod

EL1234 127 127 127

Time

Key on

Time

Key on

Sync onSync off

Time

Voice Mode

■ LoFreq (Low Frequency)

Set the low frequency of the Shelving filter.

Frequencies below this point are attenuated or

boosted by the Low Gain parameter.

❏Settings: 50.1Hz ~ 2.00kHz

■ LoGain (Low Gain)

Set the amount by which the frequencies below the

Low Frequency setting are attenuated or boosted.

❏Settings: -32 ~ 0 ~ +32

■ HiFreq (High Frequency)

Set the high frequency of the Shelving filter.

Frequencies above this point are attenuated or

boosted by the High Gain parameter.

❏Settings: 503.8Hz ~ 10.1kHz

■ HiGain (High Gain)

Set the amount by which the frequencies above the

High Frequency setting are attenuated or boosted.

❏Settings: -32 ~ 0 ~ +32

• P.EQ (Parametric EQ)

The Parametric EQ is used to attenuate or boost

signal levels around the Frequency setting by the

amount specified in the Gain setting. 32 different

Frequency Characteristics are available. The

following parameters are available for this type of

Equalizer.

EQ Param (EQ Parameter)

■ Freq (Frequency)

Set the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏Settings: 139.7Hz ~ 12.9kHz

■ Gain

Set the Gain. This attenuates or boosts frequencies

around the Frequency setting.

❏Settings: -32 ~ 0 ~ +32

Frequency

Gain

EQíParam) Freq Gain Q

EL1-3* 255 +32 31

■ Q (Frequency Characteristic)

Set the Q (Frequency Characteristic). 32 different

Characteristics are available.

❏Settings: 0 ~ 31

• 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. The EQ

Parameters will be unavailable.

• thru

If you select this, the equalizers are bypassed and the

entire signal is unaffected.

Drum Voices

With Drum Voices, different drum and percussion

Waves or Normal Voices are assigned to notes across

the keyboard (from C0 to C6) forming an entire drum

kit. For editing Drum Voices, there are five Common

Edit screens (affecting all the Drum Voices together)

and the five Drum Key screens.

When you select a Drum Voice and enter Voice Edit

Mode, you will see the Drum Voice Edit screen at

which you were previously editing.

An overview of the Drum Voices is given on Page 37.

Most parameters have already been explained for Normal

Voices. (The gray items in the tree diagram.) Those

parameters not previously covered are explained here.

Details about the functions common to both Drum Voices

and Normal Voices are given in the section “Normal

Voices” (Page 69).

Voice Edit (Drum)

Drum Common

Drum Common General 70

GEN Name (General Name) 70

Drum Common Quick Edit 71

QED Level (Quick Edit Level) 71

QED EffectCtrl (Quick Edit Effect) 71

QED Filter (Quick Edit Filter) 72

QED EG (Quick Edit Envelope Generator) 93

Drum Common Arpeggio 72

ARP Type (Arpeggio Type) 72

ARP Limit (Arpeggio Note Limit) 73

ARP Mode (Arpeggio Mode) 73

ARP PlayEF (Arpeggio Play Effects) 73

Drum Common Controllers 74

CTL Bend (Pitch Bend) 74

CTL Set1 (Control Set 1) 74

CTL Set2 (Control Set 2) 74

CTL Set3 (Control Set 3) 74

CTL Set4 (Control Set 4) 74

CTL Set5 (Control Set 5) 74

CTL Set6 (Control Set 6) 74

Drum Common Effects 78

EFF InsEF (Insertion Effects) 78

EFF EF1 (Insertion Effect 1) 78

EFF EF2 (Insertion Effect 2) 78

EFF Rev (Reverb) 79

EFF Cho (Chorus) 79

Drum Key

Drum Key OSC (Oscillator) 94

OSC Wave (Oscillator Wave) 94

OSC Out (Oscillator Out) 95

OSC Pan (Oscillator Pan) 95

OSC Other (Oscillator Other) 95

D K Pi h 96

Voice Mode

Drum Common Edit and Drum Key Edit

Each Drum Voice consists of multiple Waves or

Normal Voices assigned to notes across the keyboard

(C0 to C6) (Page 37). You can use Drum Common

Edit for settings that apply to all Drum Keys in the

Drum Voice. For individual Waves or Normal Voices

settings, Drum Key Edit consists of Edit screens for

each Wave or Normal Voice. With Drum Voice Edit,

you can use Knob [A] to switch between the Drum

Common Edit and Drum Key Edit screens.

Menu Display

The following is displayed if you turn the [PAGE]

knob while holding down the [SHIFT] key. The

menus for the settings are shown below. Use the

[PAGE] knob to move the cursor to the item you are

looking for. Then release the [SHIFT] key to jump

to the screen at which you were previously editing

the item.

The [PROGRAM/PART] keys on the S80 can directly

select Menus associated to them (Page 70).

EFFíEF1) Com:>GEN≥QED>ARP>CTL >EFF

Common Key:>OSC>PCH>FLT>AMP >EQ

SHIFT PAGE DATAABC1 2

Cursor

VCE*Play) PRE1:128(H16)[Pf:GrandPiano]

+63 EQ Mid EQ Hi Cutoff RevTime

QEDíEG) Attack Decay

Common +63 +63

OSCíWave) Number Ctgry Type

Key=C 3 001[PF:Grand 1 ] wave

Drum Common settings

Drum Key settings

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

Drum Key Indicator

Common Indicatior

Drum Key Pitch 96

PCH Tune (Pitch Tune) 96

Drum Key Filter 96

FLT Cutoff (Filter Cutoff) 96

Drum Key Amplitude 96

AMP AEG (Amplitude Envelope Generator) 97

AMP VelSens (Amplitude Velocity Sensitivity) 97

Drum Key EQ (Equalizer) 91

EQ Type (EQ Type) 91

EQ Param (EQ Parameter) 91

Drum Common General

For Drum Voices, there is only the one type of

Common General shown below. The parameters and

settings are the same as for Normal Voices. Details are

given on Page 70.

GEN Name (General Name)

Drum Common Quick Edit

The following four screens are available for Drum

Voice output level and timbre parameters.

QED Level (Quick Edit Level)

QED EffectCtrl (Quick Edit Effect)

QED Filter (Quick Edit Filter)

QED EG (Quick Edit Envelope Generator)

QED Level (Quick Edit Level)

Most parameters and settings have already been explained

for Normal Voices. Details are given on Page 71.

QED EffectCtrl (Quick Edit Effect)

Most parameters and settings have already been explained

for Normal Voices. Details are given on Page 71.

QED Filter (Quick Edit Filter)

Most parameters and settings have already been explained

for Normal Voices. Details are given on Page 72.

QED EG (Quick Edit Envelope Generator)

The EG (Envelope Generator) can be used to set the

transition in the Drum Voice output level over time.

The EG has two parameters determining how the

output level of the sound changes from the point at

which a note is pressed to the point at which the sound

has completely faded out.

Attack Decay

QEDíEG) Attack Decay

Common +63 +63

Voice Mode

■ Attack

Set the Attack time (the time from the moment the

note is pressed to the point at which the maximum

sound output level is reached).

❏Settings: -64 ~ 0 ~ +63

■ Decay

Set the Decay time (the time from the point of

maximum sound output level to the point at which it

has completely faded out).

❏Settings: -64 ~ 0 ~ +63

Drum Common Arpeggio

The following four screens are available for Drum

Voice arpeggio parameters. The parameters and

settings are the same as for Normal Voices. Details are

given on Page 72.

ARP Type (Arpeggio Type)

ARP Limit (Arpeggio Note Limit)

ARP Mode (Arpeggio Mode)

ARP PlayEF (Arpeggio Play Effect)

Drum Common Controllers

Set your Control Settings here. Up to six controllers plus

the Pitch Bend wheel can be assigned to each Drum Voice.

The following seven screens are available. (The

parameter names for all Control Set screens are the same.)

CTL Bend (Pitch Bend)

CTL Set1 (Control Set 1)

CTL Set2 (Control Set 2)

CTL Set3 (Control Set 3)

CTL Set4 (Control Set 4)

CTL Set5 (Control Set 5)

CTL Set6 (Control Set 6)

The parameters are the same as for Normal Voices.

Details are given on Page 74. (The Elem Sw parameter

is only available for Normal Voices.)

Drum Common Effects

For Drum Voice Effects, there are two Insertion

Effects, plus System Effects (Reverb and Chorus). The

following five screens are available. The parameters

and settings are the same as for Normal Voices. Details

are given on Page 78.

EFF InsEF (Insertion Effect)

EFF EF1 (Insertion Effect 1)

EFF EF2 (Insertion Effect 2)

EFF Rev (Reverb)

EFF Cho (Chorus)

Drum Key OSC (Oscillator)

You can change your Drum Voice waveform settings.

Each Drum Voice can consist of up to 73 Drum Keys

(Page 37), assigned to notes spread across the keyboard

(C0 to C6). You can assign waveforms to Drum Keys

and set their parameters. The following four screens

are available.

OSC Wave (Oscillator Wave)

OSC Out (Oscillator Out)

OSC Pan (Oscillator Pan)

OSC Other (Oscillator Other)

OSC Wave (Oscillator Wave)

Assign a Wave/Normal Voice to each Drum Key. Use

Knob [A] (or press a note on the keyboard) to select

the Drum Key, and use Knob [C] to select the

Wave/Normal Voice assigned to it.

■ Mem (Memory)

This is displayed when you have selected “vce”

(Normal Voice) as the Type parameter. Select the

Voice Memory for the Normal Voice.

❏Settings: PRE1, PRE2, INT, EXT

You cannot select Plug-in Voices.

■ Number (Wave Number)

Select a Wave/Normal Voice Number. The Category

and Name are shown to the right of the selected

Wave/Normal Voice Number. The selection of

Waves/Normal Voices varies according to the Type.

❏Settings: 000(off) ~ 553 for wave, 001~ 128 for Normal

Voice (Details about each Wave/Normal Voice

are given in the separate Data List).

If you choose “off,” no Wave/Normal Voice will be

assigned to the Drum Key.

■ Ctgry (Category)

Select the Category of the Wave/Normal Voice. If

you switch to another Category, the first

Wave/Normal Voice in that Category will be selected.

❏Settings: Details about the Categories are given as a list on

Page 70.

■ Type

Select Wave or Normal Voice as the Type. With the

Number and Ctgry parameters (above), you can

specify the waveform or Normal Voice used by the

Type.

❏Settings: wave, vce (Normal Voice)

OSCíWave) Mem Number Ctgry Type

Key=C 3 PRE1 001[PF:Grand 1 ] vce

Voice Mode

OSC Out (Oscillator Out)

Set the Wave or Normal Voice output settings for each

Drum Key.

■ Level

Set the output level for each Wave or Normal Voice.

This can be used to adjust the output of each Drum

Key.

❏Settings: 0 ~ 127

■ InsEF (Insertion Effect)

Select the Insertion Effect to which the output of

each Drum Key will be sent. If Thru is selected, the

Insertion Effects are bypassed.

❏Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion

Effect 2)

■ RevSend (Reverb Send)

Set the Send level of the Drum Key signal sent from

Insertion Effect 1/2 (or the bypassed signal) to the

Reverb effect.

❏Settings: 0 ~ 127

This setting plus the Reverb Send level set in the QED

Level screen (Page 71) are the final Reverb Send level

settings.

Details about the Effects are given on Page 55.

■ ChoSend (Chorus Send)

Set the Send level of the Drum Key signal sent from

Insertion Effect 1/2 (or the bypassed signal) to the

Chorus effect.

❏Settings: 0 ~ 127

This setting plus the Chorus Send level set in the QED

Level screen (Page 71) are the final Chorus Send level

settings.

For a Drum Key with the Insertion Effect set to other

than Thru, the Chorus Send level will be determined by

the QED Level screen.

Details about the Effects are given on Page 55.

OSC Pan (Oscillator Pan)

Assign Pan settings for each Drum Key in the Drum

Voice. Different Pan types are available.

The Pan, Alter (Alternate) and Random settings will be

ignored if you set the output to “ind1” to “ind6.”

OSCíPan) Pan Alter Random Output

Key=C 3 C L63 63 L&R

OSCíOut) Level InsEF RevSend ChoSend

Key=C 3 127 thru 64 127

■ Pan

Set the Pan position for each sound in a Drum Voice

(Drum Kit). This will also be used as the basic Pan

position for the Alternate and Random settings.

❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

■ Alter (Alternate)

Set the amount by which the sound is panned

alternately left and right for each note you press.

The Pan setting is used as the basic Pan position.

❏Settings: L64 (Left) ~ 0 (Center) ~ R63 (Right)

This parameter is only available if the Type parameter

in the OSC Wave screen is set to “wave.” If set to “vce”

(Normal Voice), this parameter is unavailable.

■ Random

Set the amount by which the sound is panned

randomly left and right for each note you press. The

Pan setting is used as the basic Pan position.

❏Settings: 0 ~ 127

This parameter is only available if the Type parameter

in the OSC Wave screen is set to “wave.”

■ Output

Assign each Drum Key to an output.

❏Settings: L&R (OUTPUT L & R), ind1&2 (INDIVIDUAL

OUTPUT 1 & 2), ind1 (INDIVIDUAL OUTPUT

1), ind2, ind3, ind4, ind5, ind6

Settings “ind3” to “ind6” are for future expansion

purposes and are currently not available.

For example, if you choose “ind1&2,” the left channel

will be output through INDIVIDUAL OUTPUT1 and

the right channel will be output through INDIVIDUAL

OUTPUT2.

OSC Other (Oscillator Other)

You can set parameters which govern the sound of each

Drum Key making up the Drum Voice.

■ Assign

Set Key Assign to “single” to prevent the doubled

playback of the same received notes. Select “multi”

to consecutively assign each instance of the same

received note to a separate channel.

❏Settings: single, multi

When the Alternate Group (AltGrp) parameter is set to

other than “off,” you cannot set this parameter (shown

as “----”).

OSCíOther) Assign RcvNtOff AltGrp

Key=C 3 single on off

Voice Mode

■ RcvNtOff (Receive Note Off)

Select whether MIDI Note Off messages are received

by each Drum Key.

❏Settings: off, on

This parameter depends on the Type of Drum Key

Wave chosen in the OSC Wave screen.

■ AltGrp (Alternate Group)

Set the Alternate Group to which the Wave 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 Waves 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

Drum Key Pitch

Set the pitch of each Drum Key. The tunings and Pitch

EG parameters can be set for each Drum Key.

PCH Tune (Pitch Tune)

■ Coarse

Adjust the pitch of each Drum Key Wave (or Normal

Voice) in semitones.

❏Settings: -48 ~ +48

For a Normal Voice, this parameter adjusts the position

of its note (not its pitch) relative to note C3. For

example, let’s assume the original Voice consists of a

two-Element piano-like sound up to note C3 and a two-

Element string-like sound from note C#3 upwards.

Adjusting this Coarse setting by +1 would not change

the pitch of the piano-like sound to C#3. Instead, note

C#3 of the original Voice (i.e., the string-like sound)

would be used.

■ Fine

Fine-tune the pitch of each Drum Key Wave (or

Normal Voice).

❏Settings: -64 ~ +63

■ VelSens (Velocity Sensitivity)

Set the velocity sensitivity of the pitch. Positive

settings will cause the pitch to rise the harder you

play the keyboard and negative settings will cause it

to fall.

❏Settings: -64 ~ 0 ~ +63

This parameter is only available if the Type parameter

in the OSC Wave screen is set to “wave.”

PCHíTune) Coarse Fine VelSens

Key=C 3 + 0 + 0 +63

Drum Key Filter

You can apply filter settings to the Drum Voice. A Low

Pass Filter and High Pass Filter can be applied per

Wave to change its tonal characteristics.

This parameter is only available if the Type parameter in

the OSC Wave screen is set to “wave.”

FLT Cutoff (Filter Cutoff)

■ LPF (Low Pass Filter)

Set the Cutoff frequency of the Low Pass Filter.

Only frequencies below this point are passed. You

can then use the Reso (Resonance) parameter to add

further character to the sound.

❏Settings: 0 ~ 255

Details about the Low Pass Filter are given on Page 83.

■ VelSens (Velocity Sensitivity)

Set the velocity sensitivity of the Low Pass Filter

Cutoff frequency. Positive settings will cause the

cutoff frequency to rise the harder you play the

keyboard and negative settings will cause it to fall.

❏Settings: -64 ~ 0 ~ +63

■ Reso (Resonance)

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 of the Low Pass Filter to add further

character to the sound.

❏Settings: 0 ~ 31

Details about Resonance are given on Page 85.

■ HPF (High Pass Filter)

Set the Cutoff frequency of the High Pass Filter.

Only frequencies above this point are passed.

❏Settings: 0 ~ 255

Details about the High Pass Filter are given on Page 84.

Drum Key Amplitude

You can set amplitude (output level) parameters for

each Drum Key. The following two parameters are

available.

This parameter is only available if the Type parameter in

the OSC Wave screen is set to “wave.”

AMP AEG (Amplitude Envelope Generator)

AMP VelSens (Amplitude Velocity Sensitivity)

FLTíCutoff) LPF VelSens Reso HPF

Key=C 3 255 +63 31 0

Voice Mode

AMP AEG (Amplitude Envelope

Generator)

The Amplitude Envelope Generator controls the

change in amplitude from the moment a note in

pressed on the keyboard to the moment it is released.

By setting the Attack Time, Decay 1 Time and the

Decay 1/2 Level, you can determine how fast the sound

reaches its peak amplitude and how it fades out.

Parameters can be set for each Drum Key.

This parameter is only available if the Type parameter in

the OSC Wave screen is set to “wave.”

■ Attack (Attack Time)

Set the Attack Time.

❏Settings: 0 ~ 127

■ Decay1 (Decay 1 Time)

Set the Decay Time.

❏Settings: 0 ~ 127

■ Level (Decay 1 Level)

Set the Decay 1 Level.

❏Settings: 0 ~ 127

■ Decay2 (Decay 2 Time)

Set the Decay 2 Time.

If you select “hold,” the level amplitude will be held

until you release the note.

❏Settings: 0 ~ 126, hold

AMP VelSens (Amplitude Velocity

Sensitivity)

You can define how the amplitude (output level) varies

according to the velocity of the received notes.

■ Level

Set 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

AMPíVelSens) Level

Key=C 3 +63

AMPíAEG) Attack Decay1---Level Decay2

Key=C 3 127 127 127 126

Amplitude Envelope Generator Settings

The Amplitude Envelope Generator has three Time

parameters and one Level parameter. These govern the

transitions between output levels for the duration of a

note. The Attack Time is the time taken for the sound to

reach its peak output level from the moment a note is

played on the keyboard. The Decay 1/2 Time and the

Decay 1 Level parameters are used to set the behavior of

the remainder (between the sound’s peak output level and

the point at which it fades to zero). Furthermore, you can

set these parameters to be sensitive to note velocity.

The Attack Level is fixed at its maximum value.

Decay2=hold

Drum Key EQ (Equalizer)

You can set Equalizer parameters for each Drum Key.

The following two screens are available. These

parameters are the same as for Normal Voices; details

are given on Page 91.

EQ Type

EQ Param (EQ Parameter)

This parameter is only available if the Type parameter in

the OSC Wave screen is set to “wave.”

Attack

Level

Key on

Attack

Time

Decay1

Time

Decay2

Time

Decay1

Level

Time

Level

Attack

Level

Key on

Attack

Time

Decay1

Time

Decay2

Time

Decay1

Level

Time

Level

Voice Mode

Plug-in Voices

The Voices held on Plug-in Boards (Single Part) are

known as Board Voices. A Plug-in Voice is a Board Voice

that has been processed in the synthesizer in Voice Edit

Mode. There are six Common Edit screens and four

screens for editing the Element of a Plug-in Voice. You

can save up to 64 edited Plug-in Voices in Banks A to D of

Memory PLG1/2.

After selecting the Plug-in Voice you wish to edit (in

Banks A to D of Memory PLG1/2), when you enter

Voice Edit Mode, you will see the Voice Edit Mode

screen that you had exited from previously.

Monitoring Board Voices

You can monitor Board Voices without having to

enter Edit Mode. Also, if you press the [EDIT] key

while monitoring, you will enter Edit Mode with

the oscillators of the Board Voice already assigned.

1 While holding down the [PLG1] or [PLG2] key, use

Knob [C] to select the Board Voice’s Bank. “PLG

INT” is the Bank of the Plug-in Voice (Plug-in

Internal) stored in Memory PLG1/2.

2 Release the [PLG1] or [PLG2] key. Select the

Board Voice using the BANK/PROGRAM keys or

[DATA] knob as in the same way to select a Voice

from another memory.

If there is no Voice at the Program Number

corresponding with the selected Bank, no sound will

be produced.

To edit the Board Voices on the Plug-in Board, you need

to use a computer and the included editor software.

Details about Plug-in Voices and Board Voices are

given on Pages 32, 104.

Many parameters are the same as for Normal Voices

(the gray items in the tree diagram). Only those items

that differ are explained here.

Details about the other parameters are given in the Normal

Voice explanation on Page 69.

Plug-in Voices

Plug-in Common

Plug-in Common General 70

GEN Name (General Name) 70

GEN Other (General Other) 99

Plug-in Common Quick Edit 71

QED Level (Quick Edit Level) 71

QED EffectCtrl (Quick Edit Effect) 71

QED Filter (Quick Edit Filter) 72

QED EG (Quick Edit Envelope Generator) 99

Plug-in Common Arpeggio 72

ARP Type (Arpeggio Type) 72

ARP Limit (Arpeggio Note Limit) 73

ARP Mode (Arpeggio Mode) 73

ARP PlayEF (Arpeggio Play Effect) 73

Plug-in Common Controller 100

CTL Pitch (Pitch Bend) 100

CTL Set1 (Control Set 1) 100

CTL Set2 (Control Set 2) 100

CTL MW Control (MW Control Depth) 100

CTL MW Modulation (MW Modulation Depth) 100

CTL AT Control (AT Control Depth) 100

CTL AT Modulation (AT Modulation Depth) 101

CTL AC Control (AC Control Depth) 101

Plug-in Common Edit and Editing Each Element

There are two edit screens for a Plug-in Voice. One is

for general Voice settings called Plug-in Common, and

the other is for element settings called Plug-in

Element. There is only one element available for a

Plug-in Voice, but you can make access to parameters

in Plug-in Common and Element screens, which are

similar to ones for a normal Voice.

In Plug-in Voice editing, you can switch between the

Common and Element screens using the Knob [A].

Menu Display

When you use the [PAGE] knob while holding down

the [SHIFT] key, you will see the following Menu

Display. Then use the [PAGE] knob to move the

cursor to the desired item and release the [SHIFT]

key to jump to the Edit screen for the selected item.

The [PROGRAM/PART] keys on the S80 can directly

select Menus associated to them (page 70).

SHIFT PAGE

PART

ELEMENT

DATAABC1 2

NTVíPrm1) Com:>GEN≥QED>ARP>CTL>LFO>EFF

Common Elem:>OSC>PCH>EQ>PLG-NATIVE

Cursor

VCE*Play) PRE1:128(H16)[Pf:GrandPiano]

+63 EQ Mid EQ Hi Cutoff RevTime

GENíOther) Mode Assign

Common poly single

OSCíAssign) Bank Number

Elem NORM/001 128[GndPiano]

Plug-in Common Edit Screens

Plug-in Element Edit Screens

SHIFT PAGE

PART

ELEMENT

DATAABC12

Plug-in Element Indicator

Common Indicator

()

CTL AC Modulation (AC Modulation Depth) 101

Plug-in Common LFO (Low Frequency Oscillator) 101

LFO Param (LFO Parameter) 101

Plug-in Common Effect 78

EFF InsEF1 (Insertion Effect) 78

EFF Rev (Reverb) 79

EFF Cho (Chorus) 79

Plug-in Element

Plug-in Element OSC (Oscillator) 102

OSC Assign (Oscillator Assign) 102

OSC Velocity (Oscillator Velocity) 102

Plug-in Element Pitch 102

PCH PEG (Pitch Envelope Generator) 103

Plug-in Element EQ (Equalizer) 103

EQ Param (EQ Parameter) 103

Plug-in Element Native 103

PLG-NATIVE (Plug-in Native) 103

Voice Mode

Plug-in Common General

The General parameters are shown in the following

two screens.

GEN Name (General Name)

GEN Other (General Other)

GEN Name (General Name)

The parameters and settings are the same as for

Normal Voices. See Page 70 for further details.

GEN Other (General Other)

There are parameters available for Plug-in Board.

■ Mode

Select monophonic or polyphonic playback.

Select whether the Voice is played back

monophonically (single notes only) or

polyphonically (multiple simultaneous notes).

❏Settings: mono, poly

■ Assign

If you set Key Assign to “single,” the doubled

playback of the same note is prevented. The

synthesizer will terminate a note when the same

note is received again. If you select “multi,” the

synthesizer will consecutively assign each instance

of the same received note to a separate channel,

making multiple part tone generation possible.

❏Settings: single, multi

Plug-in Common Quick Edit

The parameters here are primarily for Plug-in Voice

volume and tone. The following four screens are

available.

QED Level (Quick Edit Level)

QED EffectCtrl (Quick Edit Effect)

QED Filter (Quick Edit Filter)

QED EG (Quick Edit Envelope Generator)

QED Level (Quick Edit Level)

The parameters and settings are the same as for

Normal Voices. Details are given on Page 71.

QED EffectCtrl (Quick Edit Effect)

The parameters and settings are the same as for

Normal Voices. Details are given on Page 71.

GENíOther) Mode Assign

Common poly single

QED Filter (Quick Edit Filter)

The parameters and settings are the same as for

Normal Voices. Details are given on Page 72.

QED EG (Quick Edit Envelope

Generator)

The EG (Envelope Generator) can be used to control

the change in Plug-in Voice volume over time. There

are three parameters for this EG, controlling the

change in volume from the moment a note is pressed

on the keyboard to the moment it is released, or to the

point where it has faded to zero.

■ Attack

Set the Attack Time (the time taken for the volume

to reach its peak after a note is pressed on the

keyboard).

❏Settings: -64 ~ 0 ~ +63

■ Decay

Set the Decay Time (the time taken for the volume

to change from its peak to a steady level).

❏Settings: -64 ~ 0 ~ +63

■ Release

Set the Release Time (the time taken for the volume

to fade to zero after the note is released).

❏Settings: -64 ~ 0 ~ +63

Plug-in Common Arpeggio

In the following four screens, you can set parameters

for the Arpeggiator used by the Plug-in Voice. The

parameters are the same as for Normal Voices. Details

are given on Page 72.

ARP Type (Arpeggio Type)

ARP Limit (Arpeggio Note Limit)

ARP Mode (Arpeggio Mode)

ARP PlayEF (Arpeggio Play Effect)

Key on Key off

Attack

Time

Release

Time

Decay

Time

Level

QEDíEG) Attack Decay Release

Common +63 +63 +63

100

Voice Mode

Plug-in Common Controller

You can set Pitch Bend Wheel, Modulation Wheel and

other Controller parameters for the Plug-in Voices in

the following nine screens.

CTL Pitch (Pitch Bend)

CTL Set1 (Control Set 1)

CTL Set2 (Control Set 2)

CTL MW Control (MW Control Depth)

CTL MW Modulation (MW Modulation Depth)

CTL AT Control (AT Control Depth)

CTL AT Modulation (AT Modulation Depth)

CTL AC Control (AC Control Depth)

CTL AC Modulation (AC Modulation Depth)

CTL Pitch (Pitch Bend)

You can set the Pitch Bend Range and Portamento for

the Plug-in Voice here. Portamento creates a smooth

transition from the pitch of the first note played to the

pitch of the next.

■ Pitch Bend

Set the amount (in semitones) by which the pitch of

the note is varied when you move the Pitch Bend

Wheel up/down. For example, if you set a value of

+12, the pitch will change up by up to an octave

when you move the wheel up. Conversely, if you set a

negative value, the pitch falls when you move the

wheel down.

❏Settings: -24 ~ 0 ~ +24

■ Portamento

Switch Portamento on or off.

❏Settings: off, on

■ Time

Set the Portamento Time, which is the speed of the

transition in pitch from the first note to the next.

❏Settings: 0 ~ 127

CTL Set1 (Control Set 1)

CTL Set2 (Control Set 2)

These parameters are the same as for Normal Voices.

Details are given on Page 74 (The Elem SW parameter

is only available for Normal Voices).

CTLíPitch) Pitch Bend Portamento Time

Common -24 on 127

CTL MW Control (MW Control Depth)

Here, you can set the depth of control the Modulation

Wheel has over the filter.

■ Filter

Set the depth of control of the Modulation Wheel

over the filter cutoff frequency.

❏Settings: -64 ~ 0 ~ +63

CTL MW Modulation

(MW Modulation Depth)

Here, you can set the depth of control the Modulation

Wheel has over the pitch, filter and amplitude

modulation of the Plug-in Voice.

■ PMod (Pitch Modulation Depth)

Set the depth of control the Modulation Wheel has

over the pitch modulation. The larger the setting,

the greater the depth of control.

❏Settings: 0 ~ 127

■ FMod (Filter Modulation Depth)

Set the depth of control the Modulation Wheel has

over the filter cutoff modulation. The larger the

setting, the greater the depth of control.

❏Settings: 0 ~ 127

■ AMod (Amplitude Modulation Depth)

Set the depth of control the Modulation Wheel has

over the amplitude modulation. The larger the

setting, the greater the depth of control.

❏Settings: 0 ~ 127

CTL AT Control (AT Control Depth)

Here, you can set the depth of control keyboard

aftertouch has over the pitch and filter of the Plug-in

Voice.

■ Pitch

Set the depth of control of keyboard aftertouch over

the pitch. You can set a value (in semitones) of up

to two octaves.

❏Settings: -24 ~ 0 ~ +24

■ Filter

Set the depth of control of keyboard aftertouch over

the filter cutoff frequency.

❏Settings: -64 ~ 0 ~ +63

CTLíAT Control) Pitch Filter

Common +24 -64

CTLíMW Modulation) PMod FMod AMod

Common 127 127 127

CTLíMW Control) Filter

Common -64

101

Voice Mode

CTL AT Modulation

(AT Modulation Depth)

Here, you can set the depth of control that keyboard

aftertouch has over the pitch, filter and amplitude

modulation of the Plug-in Voice.

■ PMod (Pitch Modulation Depth)

Set the depth of control that keyboard aftertouch has

over the filter pitch modulation. The larger the

setting, the greater the depth of control.

❏Settings: 0 ~ 127

■ FMod (Filter Modulation Depth)

Set the depth of control that keyboard aftertouch has

over the filter cutoff modulation. The larger the

setting, the greater the depth of control.

❏Settings: 0 ~ 127

■ AMod (Amplitude Modulation Depth)

Set the depth of control that keyboard aftertouch has

over the amplitude modulation. The larger the

setting, the greater the depth of control.

❏Settings: 0 ~ 127

CTL AC Control (AC Control Depth)

You can set the depth of control the Control Change

messages (Assignable Control) have over the filter of

the Plug-in Voice.

■ Source

Set the MIDI Control Change number used to

control the filter.

❏Settings: 0 ~ 95

■ Filter

Set the depth of the filter cutoff frequency controlled

by the Control Change set above.

❏Settings: -64 ~ 0 ~ +63

CTL AC Modulation

(AC Modulation Depth)

Here, you can set the depth of control the Control

Change messages (Assignable Control) have over the

pitch, filter and amplitude of the Plug-in Voice.

CTLíAC Modulation) PMod FMod AMod

Common 127 127 127

CTLíAC Control) Source Filter

Common 04[FootCtrl] -64

CTLíAT Modulation) PMod FMod AMod

Common 127 127 127

■ PMod (Pitch Modulation Depth)

Set the depth of control the Control Change messages

(selected in the Source parameter) have over the

pitch modulation. The larger the setting, the greater

the depth of control.

❏Settings: 0 ~ 127

■ FMod (Filter Modulation Depth)

Set the depth of control the Control Change messages

(selected in the Source parameter) have over the

filter cutoff modulation. The larger the setting, the

greater the depth of control.

❏Settings: 0 ~ 127

■ AMod (Amplitude Modulation Depth)

Set the depth of control the Control Change messages

(selected in the Source parameter) have over the

amplitude modulation. The larger the setting, the

greater the depth of control.

❏Settings: 0 ~ 127

Plug-in Common LFO (Low Frequency Oscillator)

You can set the LFO parameters here. The LFO uses a

low-frequency waveform to vary (modulate) the pitch

of the sound. The vibrato effect, for example, makes

use of the LFO.

LFO Param (LFO Parameter)

■ Speed

Set the speed of the LFO waveform. A positive

setting will increase the speed and a negative setting

will reduce it.

❏Settings: -64 ~ 0 ~ +63

Speed = Slow

Speed = Fast

Time

LFO Param) Speed Delay PMod

Common +63 -64 +63

102

Voice Mode

OSC Assign (Oscillator Assign)

You can select the Board Voice that make up the

Element in a Plug-in Voice. Use Knob [C] to select the

Bank and Knob [1] to select the Board Voice.

■ Bank

Select the Board Voice Bank of the Plug-in Voice.

❏Settings: (Depends on the Plug-in Board. Refer to the

Owner’s Manual for your Plug-in Board.)

■ Number

Select the Board Voice Number. The Board Voice

Name is displayed to the right of this number.

❏Settings: (Depends on the Plug-in Board. Refer to the

Owner’s Manual for your Plug-in Board.)

OSC Velocity (Oscillator Velocity)

Here, you can set the velocity and note shift for the

Board Voice.

■ Depth

Set the velocity sensitivity of the Board Voice. If you

set a larger value, the volume increase will be greater

the harder you play the keyboard.

❏Settings: 0 ~ 127

■ Offset

Set an offset value for the velocity sensitivity of the

Board Voice. When you press a note on the keyboard,

this offset value is added to the note velocity.

❏Settings: 0 ~ 127

■ NoteSft (Note Shift)

Set the amount (in semitones) by which the pitch of

the Board Voice is shifted. You can set a value of up

to 2 octaves.

❏Settings: -24 ~ 0 ~ +24

Plug-in Element Pitch

You can set the Pitch Envelope Generator parameters

for the Board Voice. The Pitch Envelope Generator

controls the change in pitch from the moment a note is

pressed on the keyboard to the moment it is released.

OSCíVelocity) Depth Offset NoteSft

Elem 127 0 -24

OSCíAssign) Bank Number

Elem NORM/001 128[GndPiano]

■ Delay

Set the delay time between the moment you press a

note on the keyboard and the moment the LFO

comes into effect. As shown in the illustration, a

positive setting will lengthen the delay and a

negative setting will shorten it.

❏Settings: -64 ~ 0 ~ +63

Short Delay

Long Delay

■ PMod (Pitch Modulation Depth)

Set the amount by which the LFO waveform controls

the pitch. A positive setting will increase the

amount and a negative value will decrease it.

❏Settings: -64 ~ 0 ~ +63

Plug-in Common Effect

In the following three screens, you can set the

parameters for the Insertion and System Effects used

by the Plug-in Voice. The parameters are the same as

for Normal Voices. The EFF EF1 (Insertion Effect)

parameter is the same as the EFF EF1 (Insertion Effect

1) parameter of the Normal Voices. Details are given

on Page 78.

EFF EF1 (Insertion Effect)

EFF Rev (Reverb)

EFF Cho (Chorus)

Plug-in Element OSC (Oscillator)

Here, you can set the Element-related parameters for

the Plug-in Voice. In the following two screens, you

can select the Element’s waveform, then it’s velocity

parameters.

OSC Assign (Oscillator Assign)

OSC Velocity (Oscillator Velocity)

Key on

103

Voice Mode

PCH PEG (Pitch Envelope Generator)

■ InitLvl (Initial Level)

Set the Initial Level.

❏Settings: -64 ~ 0 ~ +63

■ Attack

Set the Attack Time.

❏Settings: -64 ~ 0 ~ +63

■ Release

Set the Release Time.

❏Settings: -64 ~ 0 ~ +63

■ Level

Set the Release Level.

❏Settings: -64 ~ 0 ~ +63

Pitch Envelope Generator Settings

You can set two time (speed) parameters and two level

(pitch) parameters controlling the change in pitch from

the moment you press a note on the keyboard to the

moment you release it. When you press a note on the

keyboard, the initial pitch is defined by the InitLvl

parameter setting. The pitch then changes from the

InitLvl value to the peak pitch within the time set in

the Attack parameter. Thereafter, the pitch change is

defined by the Release Time/Level settings.

Plug-in Element EQ (Equalizer)

You can set the equalizer settings for the Wave. This is

a shelving equalizer with two bands; one for high

frequencies and another for low frequencies.

Release

Level

Peak

Level

InitLvl

Attack

Time

Release

Time

Key off

Time

Pitch

PCHíPEG)InitLvl Attack Release---Level

Elem +63 +63 +63 -64

EQ Param (EQ Parameter)

■ LoFreq (Low Frequency)

Set the shelving point for the low frequencies. The

levels of signals below this frequency will be

boosted/attenuated by the amount set in the LoGain

parameter.

❏Settings: 32Hz ~ 2.0kHz

■ LoGain (Low Gain)

Set the amount by which signals below the LoFreq

frequency will be boosted/attenuated.

❏Settings: -64 ~ 0 ~ +63

■ HiFreq (High Frequency)

Set the shelving point for the high frequencies. The

levels of signals above this frequency will be

boosted/attenuated by the amount set in the HiGain

parameter.

❏Settings: 500Hz ~ 16.0kHz

■ HiGain (High Gain)

Set the amount by which signals above the HiFreq

frequency will be boosted/attenuated.

❏Settings: -64 ~ 0 ~ +63

Plug-in Element Native

With a Plug-in Board installed, you have native and

unique parameters to set up a Board Voice from the

Plug-in Board.

PLG-NATIVE (Plug-in Native)

Native Part Parameters are displayed. Use the [PAGE]

knob to switch to the screen for the desired parameter,

then use Knob [C] and Knob [2] to enter the settings.

The parameters and number of screens 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.

Frequency

Low Freq High Freq

EQíParam)LoFreq LoGain HiFreq HiGain

Elem 2.0k +12 16.0k -12

104

Voice Mode

Editing Plug-in Board Voices

Plug-in Voices are based on Board Voices. However, the

Board Voices themselves can be edited via computer,

using the included editor software. Different editors

are available for different Plug-in Boards.

When using the editor while the synthesizer is in

Voice Mode, set the “Part No.” in the editor to “1.”

Also, make sure the synthesizer’s Basic Receive

channel is the same as that set in the editor’s MIDI

channel.

Your edits made to a Board Voice will be retained in

the Custom Bank until you turn off the instrument.

Note that the Custom Bank is a temporary memory so

that edits in the Bank will be erased when you turn off

the instrument. Therefore, it may be necessary to save

Board Voice data using a computer.

Details about how to use the editor are given in the

on-line help.

When bulk-dumping Board Voice data, the edited

Board Voices is received in the Custom Bank

according to the Bank Select Message (MSB/LSB)

unique to each Plug-in Board. Therefore, to play

back these Board Voices, you need to select the

appropriate Banks in the synthesizer.

1 In Voice Play Mode, select any Voice in a Plug-in

Memory (PLG1 or PLG2).

2 The Board Voice you have edited can now be

played back if a Custom Bank has been selected at

this screen.

For details about Custom Banks, Bank Select

Numbers (MSB/LSB) and Board Voices, refer to the

Owner’s Manual or the on-line help that came with

your Plug-in Board.

Once you have transmitted the edited Board Voice

data to the synthesizer and saved it to Memory Card

as a “plugin” file type, you can load the file without

having to connect the computer.

Computer

(Editor)

Bulk Dump/

Edit

Save

PS/V

Board

Voice

Plug-in

Voice

Custom Bank

Plug-in Board

S80

Plug-in Memory

(PLG 1/2)

If a Board Voice in the Custom Bank has been edited

in Voice Edit Mode, you can store it as a Plug-in

Voice in Memory Bank A to D of PLG1 or PLG2.

Up to 64 can be stored in each Bank.

However, only the Voice Edit parameters can be

stored. The edited Board Voice parameters cannot

be stored. Therefore, you will lose all Board Voice

edits when you switch your synthesizer off.

To avoid this situation, you should save your Board

Voice edits to Memory Card and then load the data

as a Plug-in Voice.

After loading Board Voice data, if you select Plug-in

Voice Memories (PLG1/PLG2) A to D, the stored

sound (the edited Plug-in Voice based on the Board

Voice) is loaded.

The “all” setting is not available when saving Board

Voice data; it is saved as a “plugin” file type. If the

file name is set such that the file loads automatically

(Page 143), the Board Voice data can also be loaded

up when the synthesizer is switched on.

It may take a while to save or load the Board Voice

data using Memory Card.

Details about saving/loading data to/from Memory

Card are given on Page 144.

The editor for Plug-in Board is a plug-in program for

XGworks(lite). You will need to be running

Windows and XGworks(lite) in order to use it.

XGworks lite is included on the CD-ROM included

with this synthesizer.

105

Voice Mode

VCE Initialize

You can reset (initialize) all parameters of a Voice to

their default settings. You can also selectively initialize

certain parameters, such as Common settings, settings

for each Element/Drum Key, and so on. Note that this

does not return the Voice to its original state prior to

editing. Instead, it is useful when building a

completely new Voice from scratch.

■ Select type of parameter to Initialize

Use Knob [C], the [DATA] knob or the [DEC/NO]

and [INC/YES] keys to select the parameter to be

initialized. The parameters available for

initialization will vary depending on the type of

Voice currently selected (Normal/Drum/Plug-in).

❏Settings:

normal Voice:

Current Voice, Current Common, Current Element 1 ~ 4

Drum Voice:

Current Voice, Current Common (data common to all Drum

Keys), Current Key C0 ~ C6 (Drum Key C0 ~ C6)

Plug-in Voice:

Current Voice, Current Common, Current Element

VCE Edit Recall

If you are editing a Voice but you do not store it before

switching to another Voice, the edits you have made

will be cleared. In such a situation, you can use the

Recall function to reinstate the edits for the Voice.

VCE Copy

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.

This function is not used for copying whole Voices from

one location to another. It is used for copying parameter

settings from an existing Voice to the current Voice you are

editing.

VCE Copy) [Pf:GrandPiano] Current

Job PRE1:128(H16) EL1 > EL1

1 2 3 4

VCE Edit Recall)

Job

VCE Initialize)

Job Current Voice

Voice Job Mode

You can perform various operations (Jobs) in Voice Job

Mode. For example, you can “Initialize” Voices (including

those currently being edited) or “Recall” previous edits.

When you enter Voice Job Mode, you will first see the

Initialize screen. The following four screens are

available for each Voice Job.

Before entering Voice Job Mode and using the Initialize or

Recall function, you must select the Voice you wish to

operate on (Page 65).

1st screen: VCE Initialize

2nd screen: VCE Edit Recall

3rd screen: VCE Copy

4th screen: VCE Bulk Dump

Details about how to enter Voice Job Mode are given on Page 22.

Performing a Job

1In Voice Play Mode, select the Voice Number you

wish to perform the Job on.

2Press the [JOB] key to enter Voice Job Mode.

3Use the [PAGE] knob and switch to the screen

showing the Job you wish to perform.

4Use Knobs [B]/[C] and Knobs [1]/[2] to select the

parameter you wish to perform the Job on.

(Alternatively, use the [DATA] knob and the

[DEC/NO] and [INC/YES] keys.)

This step is not applicable for Recall and Bulk Dump

Jobs.

5When you press the [ENTER] key, you will be

prompted for confirmation.

6Press the [INC/YES] key to confirm. The message

“Completed.” will be displayed when the Job has

completed, and you will be returned to the original screen.

Press the [DEC/NO] key to cancel the Job.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you

switch off the power to your synthesizer while this

message is displayed, you risk corrupting your data.

7Press the [VOICE] key to exit Voice Job Mode and

return to Voice Play Mode.

VCE Initialize)

<< Are You sure? [YES]/[NO] >>

VCE Initialize)

Job Current Voice

106

Voice Mode

■ 1 Source Voice Memory

Select the Voice Memory containing the Voice

(source) from which you will copy parameter settings.

❏Settings: PRE1/2 (Preset 1/2), INT (Internal Normal),

EXT (External Normal), PLG1/2 (Plug-in 1/2),

PRE (Preset Drum), INT (Internal Drum), EXT

(External Drum)

■ 2 Source Voice Number

Select the Voice Number of the source Voice. The

Voice Name is shown in the top line of the display.

❏Settings: 001 ~ 128 (for Preset/Internal/External

Normal), 1 ~ 64 (for Plug-in 1/2), DR1 ~ DR8

(for Preset Drum), DR1 ~ DR2 (for

Internal/External Drum)

■ 3 Source Voice Parameter

Select the parameter of the source Voice. You can

copy parameter settings common to all Elements or

those used by individual Elements.

❏Settings:

normal Voice:

Common (all Elements), EL1 ~ EL4

Drum Voice:

Common (all Drum Keys), C0 ~ C6

Plug-in Voice:

Common, EL (Element)

If the parameters of the source Voice

(Normal/Drum/Plug-in) differ from those of the

Voice you are currently editing (destination), you

will only be able to copy Common parameters.

■ 4 Destination Element/Drum Key

Set the Element/Drum Key of the destination Voice.

If the source is a Normal or Drum Voice, you can

only choose a destination if the Element/Drum Key

has been set.

❏Settings:

normal Voice:

EL1 ~ EL4

Drum Voice:

C0 ~ C6

If you choose to copy Common parameters from the

source, this screen will change to “Common.”

VCE Bulk Dump

You can send all the parameter settings for the current

Voice to your computer or some other external MIDI

device using Bulk Dump.

You must set the correct MIDI Device Number in order to

perform a Bulk Dump. Details are given on Page 137.

VCE Bulk Dump)

Job Current Voice

Voice Store

You can store (save) the parameter settings for up to

128 Voices to each of your synthesizer’s Memories

(INT: Internal) or to its Memory Card (EXT:

External). The procedure is as follows.

Up to 64 plug-in vioces can be stored in Banks A to D of

PLG 1/2.

When you perform this, the settings for the destination

Voice will be overwritten. Important data should always

be backed up to computer, a separate Memory Card or

some other storage device.

1Press the [STORE] key after editing a Voice.

You will see the Voice Store screen.

2Use Knob [1] to select the destination Voice Memory

(INT or EXT).

This is fixed to PLG 1/2 when storing a Plug-in Voice.

3Use Knob [2] to select the destination Voice Number

This will set the Voice Memory/Number to which

your Voice will be stored.

You can also use the [DATA] knob or [DEC/NO] and

[INC/YES] keys to perform this operation.

4When you press the [ENTER] key, you will be

prompted for confirmation.

5Press the [INC/YES] key to confirm. The message

“Executing…” will be displayed while the Job is

being processed. When it has completed, you will

see the message “Completed.” and you will be

returned to Voice Play Mode.

You can press the [DEC/NO] key to cancel the Job.

This will return you to the original screen.

VCEí [Pf:GrandPiano] >[Pf:Init Voice]

<< Are You sure? [YES]/[NO] >>

VCEí [Pf:GrandPiano] >[Pf:Init Voice]

Store EXT:128(H16)

107

Performance Mode

In the 3rd to 7th screens, you can set the output levels,

stereo pan position and other general parameters for each

Part (Multi Part Edit). These are useful when using the

synthesizer with a sequencer. Details are given on Page 109.

3rd screen: PFM Mlt) Volume

(Performance Multi: Volume)

4th screen: PFM Mlt) Pan

(Performance Multi: Pan)

5th screen: PFM Mlt)

RevSend

(Performance Multi: Reverb Send)

6th screen: PFM Mlt)

ChoSend

(Performance Multi: Chorus Send)

7th screen: PFM Mlt)

NoteSft

(Performance Multi: Note Shift)

1st Screen: PFM Play

(Performance Play)

1. Screen Title

This shows that you are currently in Performance Play

Mode.

2. Performance Memory/Number (Bank/Number)

The Memory/Performance Program Number (001 to 128)

and Bank ([A] to [H])/Program Number ([1] to [16]) are

shown for the selected Performance. For example, “INT:

128(H16)” shows that the Memory is “Internal,” the

Performance/Program Number is “128,” the Bank is “H,”

and the Bank’s Program Number is “16.”

Memory/Performance Program Number

Internal Memories are shown as “INT” and External

Memories are shown as “EXT.” Each Voice within a

Memory is assigned a Performance Program Number of

001 to 128.

Details about Performance Memories are given on Page 29.

Bank/Program Number

Performance Program Numbers 001 to 128 are related

to Banks A to H and Program Numbers 1 to 16 (for the

Bank) as explained below. For example, you can select

a Performance either directly by its Performance

Program Number or by using a combination of Bank

and Program keys.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

PFM Play) INT:128(H16)[Pf:Init Perf ]

EQ Low EQ Mid EQ Hi - 1 + 0

1 2 3

Performance Play

In Performance Play Mode, multiple Voices (up to four

Parts) can be layered to create thick sounds which you

can play in real-time or using a sequencer.

In Performance Mode, up to 19 Parts can be combined in

a single Performance, including Voices for the 16 Parts

plus A/D Input and Plug-in 1/2 Parts.

Depending on the Performance Edit settings (Page 111),

you can assign a Normal Voice or Drum Voice (Drum Kit)

to each Part. Multiple Parts can be assigned to the same

MIDI channel for real-time playback. Alternatively, you

can assign each Part to a different MIDI channel for

playback using an external sequencer or the synthesizer’s

internal sequencer (in Sequence Play Mode). The

synthesizer can hold up to 192 Performances, consisting

of 128 Internal Performances plus another 64 External

Performances on Memory Card.

The displayed screens, the method of selecting

Performances and the Multi Part Edit process in

Performance Play Mode are explained here.

If a multitimbral Plug-in board is installed, up to 34 Parts

can be combined in a single Performance. However, the

settings for the Plug-in Parts cannot be stored in memory.

An overview of Performances is given on Page 39.

Performance Play Mode Display

You will see the following screen when you enter

Performance Play Mode. There are seven Performance

Play Mode screens, as explained below. Use the

[PAGE] knob to switch between screens.

Details about how to enter Performance Play Mode are

given on Page 21.

1st screen: PFM Play (Performance Play)

Main Performance screen

2nd screen: PFM Srch (Performance Search)

You can quickly search for a Performance

by specifying the Performance Memory

and Category.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

PFM Play) INT:128(H16)[Pf:Init Perf ]

EQ Low EQ Mid EQ Hi - 1 + 0

108

Performance Mode

3. Performance Category/Name

Performance Category

A two-letter abbreviation of the Performance Category

is shown to the left of the Performance Name. This

gives you a rough idea of the Performance’s sound.

Performance Name

The name of a Performance can consist of up to 10

characters.

Performance

Number

Performance

Number

Bank Bank

Program

Number

Program

Number

001 A 1 065 E 1

002 A 2 066 E 2

003 A 3 067 E 3

004 A 4 068 E 4

005 A 5 069 E 5

006 A 6 070 E 6

007 A 7 071 E 7

008 A 8 072 E 8

009 A 9 073 E 9

010 A 10 074 E 10

011 A 11 075 E 11

012 A 12 076 E 12

013 A 13 077 E 13

014 A 14 078 E 14

015 A 15 079 E 15

016 A 16 080 E 16

017 B 1 081 F 1

018 B 2 082 F 2

019 B 3 083 F 3

020 B 4 084 F 4

021 B 5 085 F 5

022 B 6 086 F 6

023 B 7 087 F 7

024 B 8 088 F 8

025 B 9 089 F 9

026 B 10 090 F 10

027 B 11 091 F 11

028 B 12 092 F 12

029 B 13 093 F 13

030 B 14 094 F 14

031 B 15 095 F 15

032 B 16 096 F 16

033 C 1 097 G 1

034 C 2 098 G 2

035 C 3 099 G 3

036 C 4 100 G 4

037 C 5 101 G 5

038 C 6 102 G 6

039 C 7 103 G 7

040 C 8 104 G 8

041 C 9 105 G 9

042 C 10 106 G 10

043 C 11 107 G 11

044 C 12 108 G 12

045 C 13 109 G 13

046 C 14 110 G 14

047 C 15 111 G 15

048 C 16 112 G 16

049 D 1 113 H 1

050 D 2 114 H 2

051 D 3 115 H 3

052 D 4 116 H 4

053 D 5 117 H 5

054 D 6 118 H 6

055 D 7 119 H 7

056 D 8 120 H 8

057 D 9 121 H 9

058 D 10 122 H 10

059 D 11 123 H 11

060 D 12 124 H 12

061 D 13 125 H 13

062 D 14 126 H 14

063 D 15 127 H 15

064 D 16 128 H 16

4. Knob Parameter Display

This shows the function/Parameter value assigned to

each knob ([A] to [C] and [1]/[2]).

Setting/Viewing Knob Parameters

In Performance Play Mode, you can use Knobs [A]

to [C] and Knob [1]/[2] to adjust parameters

assigned to them. When you use each knob, the

value of its assigned parameter is displayed briefly

([knob [A] to [C]).

Details about assigning parameters to Knobs [A] to

[C] are given on Pages 46, 136. Details about

assigning parameters to Knob [1]/[2] are given on

Pages 47, 74.

Setting/Viewing Octave and MIDI Transmit Channel Parameters

In Performance Play Mode, the current Octave and MIDI

Transmit Channel settings are shown while you hold

down the [SHIFT] key. The display varies, depending on

whether Master Keyboard Mode is on or off.

Details about Master Keyboard Mode are given on Page 113.

Master Keyboard Mode is off

Use Knob [A] while holding down the [SHIFT] key

to select the MIDI Transmit Channel (1 to 16).

Master Keyboard Mode is on

Use Knob [B]/[C]/[1]/[2] while holding down the [SHIFT]

key to select the MIDI Transmit Channel (1 to 16).

The notes you play in Performance Play Mode will

be transmitted on this MIDI channel.

When the master keyboard mode is turned off, you

can use the MIDI Ch screen in Utility Mode to set

MIDI transmission channels (Page 137).

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

(Oct= +3) INT:128(H16)[Pf:Init Perf ]

(Tch=MKB 1:ch01 2:ch01 3:ch03 4:off)

Octave

Zone 1 to 4

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

(Oct= +3) INT:128(H16)[Pf:Init Perf ]

(Tch= 1)

Octave MIDI Transmit Channel

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

PFM Play) INT:128(H16)[Pf:Init Perf ]

+63 EQ Mid EQ Hi -1 +0

109

Performance Mode

Performance Program Selection

There are four ways in which you can select a

Performance.

Using the BANK/PROGRAM keys

Using the [DEC/NO] and [INC/YES] keys

Using the [DATA] knob

Using the Category Search

Using the [INC/YES] and [DEC/NO] keys, the [DATA]

knob or the Category Search function is the same as

selecting the Voice directly in Voice Play Mode. Refer

to Page 65, replacing the word “Voice” with

“Performance.”

Using the BANK/PROGRAM Keys

1Press the MEMORY [INT] or [EXT] key and select

the Performance Memory. The selected Performance

Memory indicator in the display will blink.

Details about Performance Memories are given on Page 29.

2Press a BANK key ([A] to [H]) to select a Bank.

The Bank indicator in the display will blink.

Press Bank keys [A] to [D] when selecting an EXT

Performance.

If you press the [EXIT] key here, the Performance selection

process is canceled and the original Performance is

reinstated.

If the Bank has already been selected, this step is not

required.

Details about Banks are given on Page 29.

PFM Play) INT:128(H16)[Pf:Init Perf ]

EQ Low EQ Mid EQ Hi -1 +0

PLG1EXT

DRUMDRUM

QUICK

ACCESS

INTPRE 2PRE1 PLG2

A. PIANO E. PIANO ORGAN GTR

BASS STRINGS BRASS SYNTH OTHER

CDEFGH

12345678

910111213141516

PFM Play) INT:128(H16)[Pf:Init Perf ]

EQ Low EQ Mid EQ Hi -1 +0

PLG1EXT

DRUMDRUM

INTPRE 2PRE1 PLG2

3Press a PROGRAM key ([1] to [16]) to select a

Program Number.

Performances can be selected by setting the Memory,

Bank and Program Number as explained in the three

steps given above. The display also shows the

selected Performance.

Multi Edit

(Volume, Pan, Reverb/Chorus

Send, Note Shift)

You can set the output level (volume), stereo pan and

other parameters for each Part using the graphic editors

on screens 3 to 7. You can, for example, adjust each

Part’s Volume and Pan parameters in real-time while

using the synthesizer as a multitimbral tone generator

with a sequencer.

Method of Setting Up

The same procedure applies to screens 3 to 7.

1Use the [PAGE] knob to select the screen.

2Use Knob [A] to select the Part. You can choose

from, PartAD (A/D Input Part), PartP1 (Plug-in 1

Part), PartP2 (Plug-in 2 Part), Part01 to Part16

(Voice Part 1 to 16). Apart from the 7th screen

(Note Shift), the Common (Layer Common)

parameters are the same for all Layer Parts.

The parameter settings for each Part are shown as a

bar graph, giving you an idea of the overall sound

balance.

You can also use the MEMORY and PART keys on

the front panel to select each Part. The keys relate to

each Part as follows.

[PRE1/2] key ......................Common (Layer Common)

[EXT] key ............................PartAD (A/D Input Part)

[PLG1] key ..........................PartP1 (Plug-in 1 Part)

[PLG2] key ..........................PartP2 (Plug-in 2 Part)

PART keys [1] to [16]

................

Part01 to Part16 (Voice Parts 1 to 16)

3Use Knob [B] or the [DATA] knob or the [DEC/NO]

and [INC/YES] keys to adjust the parameter settings

for each Part.

SHIFT PAGE

PART

ELEMENT

DATAABC12

PFM Mlt) Volume L

Part01 127 Ä ÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇ›

231

12345678

910111213141516

110

Performance Mode

4Repeat steps 2 and 3 for each of the other Parts.

To avoid losing the settings, make sure you store the

Performance before exiting to another Mode or selecting

another Performance. Details about how to store

Performances are given on Page 131.

Reading the Displayed Settings

Screens 3 to 7 have the following functions.

1 Parameter: shows the parameter settings

2 Part: shows the currently selected Part

3 Value: shows the setting for the currently

selected Part

4 Bar graph: shows the settings for each Part as a

bar graph

Common (Layer Common)

PartAD (A/D Input Part)

PartP1 (Plug-in 1 Part)

PartP2 (Plug-in 2 Part)

Part01 ~ Part16 (Voice Parts 1 ~ 16)

5 Layer Switch on/off: displays a “L” mark above

the bar graph for Parts which have their Layer

Switch set to “on.”

6 Mute on/off: displays a “*” mark above the bar

graph for Parts which are muted. Press the

[ENTER] key to switch mute on/off for the

currently selected Part.

If a multitimbral Plug-in board is installed in Plug-in

Slot 2, PartP2 (Plug-in 2 Part) will no longer be

available. However, you will now be able to select

Part17 to Part32 (Voice Parts 17 to 32). A “

›” mark

is displayed to the right of the bar graph, indicating

that there are more Parts available. If you select

Part17 to Part32, the bar graph shows the settings

for those Parts.

PFM Mlt) Volume L *

Part01 127 ›

PFM Mlt) Volume

Part17 127

Part17~Part32

PFM Mlt)NoteSft L *

Part01 + 0 -__-_-_______________

PFM Mlt)ChoSend L *

Part01 127 -__-_-_______________

PFM Mlt)RevSend L *

Part01 127 -__-_-_______________

PFM Mlt) Pan L *

Part01 L63 -__-_-_______________

PFM Mlt) Volume L *

Part01 127____ ___________ ›

2 3 41

Common

PartAD

PartP1

PartP2 PartP01 ~ 16

■ 3rd Screen: PFM Mlt) Volume (Performance

Multi: Volume)

Set the output level (volume) of each Part.

❏Settings: 0 ~ 127

■ 4th Screen: PFM Mlt) Pan (Performance Multi: Pan)

Set the stereo pan position for each Part.

❏Settings: L63 ~ C ~ R63

■ 5th Screen: PFM Mlt) RevSend (Performance

Multi: Reverb Send)

For each Part, set the Send level of the signal sent

from Insertion Effect 1/2 (or the bypassed signal) to

the Reverb effect.

❏Settings: 0 ~ 127

■ 6th Screen: PFM Mlt) ChoSend (Performance

Multi: Chorus Send)

For each Part, set the Send level of the signal sent

from Insertion Effect 1/2 (or the bypassed signal) to

the Chorus effect.

❏Settings: 0 ~ 127

■ 7th Screen: PFM Mlt) NoteSft (Performance

Multi: Note Shift)

Set the amount (in semitones) by which the pitch of

each Part is offset. You can adjust the offset up or

down by up to two octaves.

❏Settings: -24 ~ 0 ~ +24

PFM Mlt)NoteSft L *

Part01 + 0 ›

PFM Mlt)ChoSend L *

Part01 127 ›

PFM Mlt)RevSend L *

Part01 127 ›

PFM Mlt) Pan L *

Part01 L63 ›

PFM*Mlt) Volume L *

Part01 127 ›

111

Performance Mode

Performance Edit

You can set Performance Edit parameters. These can

roughly be divided into Common parameters, which

apply to all Parts, and Part-specific parameters. Also,

there are various zone settings for Master Keyboard

Mode (Page 113).

When you enter Performance Edit Mode, you will see

the following screen. The actual display (number of

screens) will vary depending on the Part selected.

Basically, Knob [A] is used to select the type of

parameter you wish to edit (Common/Part/Zone), the

[PAGE] knob is used to switch between the parameter

screens, and Knobs [B], [C], [1] and [2] are used to

enter parameter settings. Alternatively, you can use

the [DATA] knob, and [DEC/NO] and [INC/YES] keys

to enter settings.

You can use Knobs [A] to [C] and Knob [1]/[2] while

holding down the [SHIFT] key to move the cursor to

each respective parameter. The cursor can also be

moved using the [DATA] knob or the [DEC/NO] and

[INC/YES] keys while holding down the [SHIFT] key.

You must select the Performance you wish to edit before

entering Performance Edit Mode (Page 109). All

parameter settings for each Performance can be stored.

If a multitimbral Plug-in Board has been installed, the

parameters for its Parts will not be stored.

Details about how to enter Performance Edit Mode are

given on Page 21.

Menu Display

When you use the [PAGE] knob while holding down

the [SHIFT] key, the following menu will be

displayed. Use the [PAGE] knob to move the cursor

between items, then release the [SHIFT] key to

jump to the selected item.

Common/Part/Zone Edit

A Performance can consist of 16 Voice Parts, an

A/D Input Part or a Plug-in Part 1/2 (Page 39). The

parameters common to all Parts are known as a

Common Edit. The Performance Edit Mode screens

can be divided into the Common Edit screen and

screens for editing each Part individually.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

MIX Level) Com:>GEN≥QED>ARP>CTL>MEQ>EFF

Part01 Part:>MIX>TON>LYR>RCV >MKB

Cursor

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

Select Common/Part/Zone

Switch between

screens

Enter setting

GEN Name) Ctgry a-Z 0-? Cursor

Common [--:Init Perf ]

When editing individual Parts, the screens you see

will vary depending on the Part selected. If the

synthesizer is in Master Keyboard Mode (Pages 8,

57), you will be able to set parameters for each

Zone.

In Performance Edit Mode, use Knob [A] to switch

between the screens for Common, Part and Zone

settings.

Common settings

Part settings

Zone settings

Master Keyboard/Tone Generator Mode

In Performance Mode, the connection with the S80’s

internal tone generator (the signal flow) can be changed

by pressing the [MASTER KEYBOARD] key on the

front panel. If the [MASTER KEYBOARD] key LED is

on, the S80 enters Master Keyboard Mode and becomes

useful for controlling external tone generators. If the

LED is off, the S80 exits Master Keyboard Mode and

becomes useful for controlling its internal Parts from the

internal tone generator. The signal flow for each Mode

is as follows.

Master Keyboard Mode: [MASTER

KEYBOARD] key LED on

Zone

Split

Layer

ARP

MIDI OUT

Part 1 to 16 Part AD

Part P1

Part P2

MIDI IN

MIDI channel

Octave

Transpose

Note Limit etc.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

MKB Transmit) TrnsCh TG MIDI

Zone01 1 on on

Zone indicator

MIX Level) Vol Pan RevSend ChoSend

Part01 127 C 64 0

Part indicator

QED Level) Vol Pan RevSend ChoSend

Common 127 C +63 -63

Common indicator

112

Performance Mode

Tone Generator Mode: [MASTER KEYBOARD]

key LED off

The í Indicator

If you alter any parameters in Performance Edit Mode,

the í indicator will be displayed in the top left of the

screen. This gives a quick indication that the current

Performance has been modified but not yet stored.

Even if you exit to Performance Play Mode, the edited

settings for the current Performance will not be lost so

long as you do not select another Performance.

The í indicator will also be displayed in

Performance Play Mode.

The

í indicator will also be displayed in Voice Play

Mode if any Assignable knobs are used.

MIXíLevel) Com:>GE

Part01 Part:>MI

Edit indicator

ARP

MIDI OUT

Part 1 to 16 Part AD

Part P1

Part P2

MIDI IN

MIDI channel

Octave

Transpose

Note Limit etc.

The “Compare” Function

Use this to listen to the difference between the

Performance with your edited settings and the same

Performance prior to editing.

1 Press the [EDIT/COMPARE] key while in

Performance Edit Mode. The í indicator at the

top left of the screen will change to the î indicator

and the [EDIT/COMPARE] key LED will blink.

The Performance settings prior to editing will

temporarily be reinstated for comparison purposes.

Editing will not be possible while the “Compare”

function is enabled.

2 Press the [EDIT] key again to disable the

“Compare” function and restore the settings for

your edited Performance.

Performance Store

The edited settings for the current Performance will

be lost if you exit to Performance Play Mode and then

select another Performance or Mode. To avoid losing

important data, you should always use Performance

Store to store your edited Performances after exiting

Performance Edit Mode. Details about the

Performance Store procedure are given on Page 131.

When creating a new Performance from scratch, it is

useful, prior to editing, to clear the settings for the

current Performance using the Initialize Performance

function in Performance Job Mode (Page 130).

Common (Settings for all Parts)

Here we explain how to edit common settings for all

Parts in a Performance. There are six Menus available,

each of which consists of multiple pages.

• Common General

• Common Quick Edit

• Common Arpeggio

• Common Controller

• Common Master EQ

• Common Effect

MIXîLevel) Com:>GE

Part01 Part:>MI

“Compare” indicator

113

Performance Mode

Common General

You can set the Performance Name, MIDI channel and

other general parameters in the Common Edit screens. The

following three screens are available for general settings.

GEN Name (General Name)

GEN MIDI (General MIDI)

GEN M.Kbd (General Master Keyboard)

GEN Name (General Name)

You can set a Performance Name consisting of up to 10

characters (alphabetic or numeric) and/or symbols.

You can also select the Category Name to the left of the

Performance Name.

The method of setting the Performance Name is the same

as for the Voice Name. Details are given on Page 70.

GEN MIDI (General MIDI)

You can set the MIDI In/Out channel parameters for

the Performance.

■ ArpOut (Arpeggio Out)

Switch the Arpeggiator phrase MIDI output on or off.

❏Settings: off, on

■ ArpCh (Arpeggio Channel)

Set the Arpeggiator’s MIDI Channel. The arpeggio

will play to Parts and Voices set to this MIDI

Channel. If you choose kbd-ch (Keyboard Channel),

the Arpeggiator will use the MIDI Transmit Channel

set in Utility Mode (Page 137).

❏Settings: 1 ~ 16, kbdCh (Keyboard Channel)

■ LayerCh (Layer Channel)

Set the MIDI Channel of the Layer Part. All Layer

Parts (up to four) will use the same MIDI Channel

set here. If you choose BasicCh (Basic Receive

Channel), all Layer Parts will use the Basic Receive

Channel set in Utility Mode (Page 137).

❏Settings: 1 ~ 16, BasicCh (Basic Receive Channel)

GENíMIDI) ArpOut ArpCh LayerCh

Common on 1 BasicCh

GENíName) Ctgry a-Z 0-? Cursor

C 1234 [Pf:Init Voice]

Category Name Performance Name

GEN M.Kbd (General Master Keyboard)

You can set keyboard splits and layers when using a

Performance in Master Keyboard Mode.

■ Mode

Set the keyboard Mode. The following three Modes

are available. If the [MASTER KEYBOARD] key

LED on the front panel is off, these Modes are not

available and brackets are shown in the display.

❏Settings: split, 4zone, layer

split:

Splits the keyboard into a left-hand (lower) section and a

right-hand (upper) section, assigning a different MIDI

channel and Part to each section.

4zone:

Splits the keyboard into a maximum of four zones,

assigning a different MIDI channel and Part to each zone.

Parameters can be set separately for each zone (Page 127)

when you press the [ENTER] key.

layer:

Layers up to two Zone (Part) over the keyboard. This is

useful for creating rich and thick sounds.

■ Lower

When the Mode (see above) has been set to “split,”

this sets the MIDI channel assigned to notes at and

below the split point. The Part or Voice set to this

MIDI channel will be played when you press notes

at and below the split point. When the Mode is set

to “layer,” the MIDI channel for one layered Zone

(Part) is set here.

❏Settings: ch01 ~ ch16

You can also quickly set the Upper/Lower MIDI channels

using the PART keys [1] to [16]. Press and hold one

PART key, then press another. The number of the first

key is set as the Upper MIDI channel while the number

of the second key is set as the Lower MIDI channel.

■ Upper

When the Mode (see above) has been set to “split,” this

sets the MIDI channel assigned to notes above the split

point. The Part or Voice set to this MIDI channel will

be played when you press notes above the split point.

When the Mode is set to “layer,” the MIDI channel for

the other layered Zone (Part) is set here.

❏Settings: ch01 ~ ch16

You can also quickly set the Upper/Lower MIDI channels

using the PART keys [1] to [16]. Press and hold one

PART key, then press another. The number of the first

key is set as the Upper MIDI channel while the number

of the second key is set as the Lower MIDI channel.

GENíM.Kbd) Mode Lower Upper Point

Common (split) ch01 ch02 C 3

114

Performance Mode

■ Point

When the Mode (see earlier) has been set to “split,”

this sets the split point. The actual note of the split

point will be assigned to the upper section.

You can also select the split point by pressing the note

while holding down the [SHIFT] key.

❏Settings: C-2 ~ G8

Master keyboard setting list (on split/layer)

For more information about the master keyboard mode,

refer to page 57 in Basics Section.

Common Quick Edit

You can set various parameters governing the sonic

properties of the Layer Part, The following four

screens are only available when the Layer switch (Page

123) for each Part is set to on.

QED Level (Quick Edit Level)

QED EF (Quick Edit Effect)

QED Filter (Quick Edit Filter)

QED EG (Quick Edit Envelope Generator)

Split Layer

Prameter Name

TrnsCh

MIDI

Octave

Transpose

Note Limit Low

Note Limit High

Transmit Switch PB

Transmit Switch MW

Transmit Switch KnobA-C

Transmit Switch Knob1/2

Transmit Switch RB

Transmit Switch FC

Transmit Switch BC

Transmit Switch AT

Transmit Switch FS

Transmit Switch Sus

Transmit Switch Vol/FV

Transmit Switch Pan

Transmit Switch Bank Select

Transmit Switch Program Change

Transmit Preset Volume

Transmit Preset Pan

Transmit Preset Bank MSB

Transmit Preset Bank LSB

Transmit Preset PC

CS Control Number Assign

Zone1

C-2

off

100

Zone2

ch+1

off

100

Zone3

off

C-2

off

100

Zone4

off

C-2

off

100

Zone1

C-2

off

100

Zone2

ch+1

C-2

off

100

Zone3

off

C-2

off

100

Zone4

off

C-2

off

100

ch: Keyboard transmit channel

p: split point

Details about each parameter are given on page 127

QED Level (Quick Edit Level)

You can set output level and pan parameters for each

Layer Part. The settings are also available in the Part

Edit screens.

■ Vol (Volume)

Set the output level of the Layer Part.

❏Settings: 0 ~ 127

■ Pan

Set the stereo pan position of the Layer Part.

❏Settings: L63 (Left) ~ C (Center) ~ R63(Right)

■ RevSend (Reverb Send)

Set the Send level of the signal sent from Insertion

Effect 1/2 (or the by-passed signal) to the Reverb

effect.

❏Settings: 0 ~ 127

■ ChoSend (Chorus Send)

Set the Send level of the signal sent from Insertion

Effect 1/2 (or the by-passed signal) to the Chorus

effect.

❏Settings: 0 ~ 127

QED EF (Quick Edit Effect)

You can set the amount of Chorus applied to the Layer

Part, as well as Portamento settings.

■ Chorus

Set the Return level of the Chorus effect as an offset

value.

❏Settings: -64 ~ 0 ~ +63

■ Portamento

Switch Portamento on or off.

❏Settings: off, on

■ Time

Set the pitch transition time. Higher values mean

longer transition times.

❏Settings: -64 ~ 0 ~ +63

QEDíEF) Chorus Portamento-Time

Common -63 off 127

QEDíLevel) Vol Pan RevSend ChoSend

Common 127 C 63 63

115

Performance Mode

QED Filter (Quick Edit Filter)

These parameters control filters which govern the tonal

quality of the Voice. If you are using LPF (Low Pass

Filter) and HPF (High Pass Filter) combined together, the

parameters in the QED Filter screen only affects LPF.

■ Cutoff

Raise or lower the Cutoff frequency for each Voice of

a Layer Part.

❏Settings: -64 ~ 0 ~ +63

■ Reso (Resonance)

Set the amount of Resonance (harmonic emphasis)

applied to the signal at the Cutoff frequency.

❏Settings: -64 ~ 0 ~ +63

QED EG (Quick Edit Envelope Generator)

The EG (Envelope Generator) controls the transition in

output level over time for each Voice in a Layer Part.

There are four parameters governing the transition in

output level from the moment a note is pressed on the

keyboard to the moment it is released or the point at

which the output level has faded to zero. These Layer

Part settings make use the each of the Part Edit settings.

Key on Key off

Attack

Time

Release

Time

Decay

Time

Level

Sustain

Level

QEDíEG) Attack Decay Sustain Release

Common +63 +63 +63 +63

QEDíFilter) Cutoff Reso

Common +63 +63

■ Attack

Set the transition time from the moment a key on

the keyboard is pressed to the point at which the

output level of the Layer Part reaches its peak.

❏Settings: -64 ~ 0 ~ +63

■ Decay

Set the transition time from the point at which the

output level of the Layer Part reaches its peak to the

point at which it levels off.

❏Settings: -64 ~ 0 ~ +63

■ Sustain

Set the output level of the Layer Part maintained

while the key on the keyboard is being held down.

❏Settings: -64 ~ 0 ~ +63

■ Release

Set the transition time from the point at which the

key on the keyboard is released to the point at which

the output level of the Layer Part reaches zero.

❏Settings: -64 ~ 0 ~ +63

Common Arpeggio

The following four screens govern the behavior of the

Arpeggiator. The parameters are the same as those

used in Voice Edit Mode. Details are given on Page 72.

To use the Arpeggiator in Performance Mode, the Arpeggio

and Layer Switches (Page 123) must be set to “on.”

The Note Limit parameters in Performance Mode are

different to those in Voice Mode, and notes outside the set

range will not sound. The Arpeggiator Switch parameter

(Page 123) for each Part should be set to “on,” except for

the Part which you wish to use to play the melody. Then,

if necessary, use the Note Limit parameter (Page 123) to

restrict the keyboard range for that Part.

ARP Type (Arpeggio Type)

ARP Limit (Arpeggio Note Limit)

ARP Mode (Arpeggio Mode)

ARP PlayEF (Arpeggio Play Effect)

Common Controller

You can assign MIDI Control Change Numbers to the

controls and front panel knobs. For example, Knob

[1]/[2] can be set to control the amount of effect

applied to a sound and the Foot Controller can be set to

control modulation. You can set different Control Set

assignments for each Performance.

The following two Control Set screens are available.

CTL Assign1 (Controller Assign 1)

CTL Assign2 (Controller Assign 2)

116

Performance Mode

CTL Assign1(Controller Assign 1)

Use Knobs [C], [1] and [2] to assign Control Numbers

to the Breath Controller, Knob [1] and Knob [2],

respectively. The selected function is shown on the left

of the display.

■ BC (Breath Controller)

Set Control Change Number assigned to the Breath

Controller. The Breath Controller is connected to

the BREATH jack (Page 18).

❏Settings: Details are given in the separate Control List.

■ Knob1/2

Set Control Change Numbers assigned to Knobs [1]

and [2] on the front panel.

CTL Assign2 (Controller Assign 2)

Use Knobs [C] and [1] to assign Control Change

Numbers to the Foot Controller and Ribbon Controller,

respectively. The selected function is shown on the left

of the display.

■ FC (Foot Controller)

Assign a Controller Change Number to the Foot

Controller. The Foot Controller is connected to the

FOOT CONTROLLER jack on the rear panel (Page 18).

❏Settings: Details are given in the separate Control List.

■ RB (Ribbon Controller)

Assign a Control Change Number to the Ribbon

Controller.

❏Settings: Details are given in the separate Control List.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTLíAssign2) FC RB

Common [FootCtrl] 04 22

Control Change Name

Control Change

Number

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

CTLíAssign1) BC Knob1 Knob2

Common [FootCtrl] 02 16 17

Control Change Name Control Change Numbers

Common EQ (Equalizer)

You can assign any of five different Equalizer bands to

the entire Performance. The following five screens are

available.

EQ Low

EQ LowMid (Low-Middle Range)

EQ Mid (Middle Range)

EQ HighMid (High-Middle Range)

EQ High

EQ Low

This Equalizer covers low frequencies. You can adjust

the signal level at the specified frequency. You can also

select different Equalizer types (Shapes).

■ Shape

Select either a Shelving or Peaking equalizer. 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.

❏Settings: shelv (Shelving), peak (Peaking)

shelv (Shelving)

Frequency

—

EQ Low

Freq1

EQ Low

Freq2

MEQíLow) Shape Gain Freq Q

Common peak +12dB 50Hz 12.0

Q (Frequency Characteristic)

Gain

Freq (Frequency)

117

Performance Mode

peak (Peaking)

■ Gain

Set the Gain. This attenuates or boosts frequencies

around the Frequency setting.

❏Settings: -12dB ~ 0dB ~ +12dB

■ Freq (Frequency)

Set the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏Settings: 32Hz ~ 2.0kHz

■ Q (Frequency Characteristic)

This varies the signal level at the Frequency setting

to create various frequency curve characteristics.

❏Settings: 0.1 ~ 12.0

EQ LowMid (Low-Middle Range)

EQ Mid (Middle Range)

EQ HighMid (High-Middle Range)

These Equalizers cover low-to-middle, middle and high-

to-middle frequency ranges. They can be used to adjust

the signal level around the specified frequency.

■ Gain

Set the Gain. This attenuates or boosts frequencies

around the Frequency setting.

❏Settings: -12dB ~ 0dB ~ +12dB

MEQíLowMid) Gain Freq Q

Common +12dB 100Hz 12.0

MEQíMid) Gain Freq Q

Common +12dB 100Hz 12.0

MEQíHighMid) Gain Freq Q

Common +12dB 100Hz 12.0

Low Mid

Mid

High Mid

—

0.1

12.0

Frequency

Freq

Frequency

Freq

Gain

—

■ Freq (Frequency)

Set the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏Settings: 100Hz ~ 10.0kHz

■ Q (Frequency Characteristic)

This varies the signal level at the Frequency setting

to create various frequency curve characteristics.

❏Settings: 0.1 ~ 12.0

EQ High

This Equalizer covers high frequencies. You can adjust

the signal level at the specified frequency. You can also

select different Equalizer types (Shapes).

■ Shape

Select either a Shelving or Peaking equalizer. 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.

❏Settings: shelv (Shelving), peak (Peaking)

■ Gain

Set the Gain. This attenuates or boosts frequencies

around the Frequency setting.

❏Settings: -12dB ~ 0dB ~ +12dB

■ Freq (Frequency)

Set the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏Settings: 500Hz ~ 16.0kHz

■ Q (Frequency Characteristic)

This varies the signal level at the Frequency setting

to create various frequency curve characteristics.

❏Settings: 0.1 ~ 12.0

Common Effect

You can set two types of Insertion Effects, plus two

System Effects (Reverb and Chorus). The following

three screens are available.

EFF Part

EFF Rev (Reverb)

EFF Cho (Chorus)

EFF Part

EFFíPart) ---- InsEF ---- PLG-EF

Common part16 partP1 part10

MEQíHigh) Shape Gain Freq Q

Common peak +12dB 0.5kHz 12.0

118

Performance Mode

■ InsEF (Insertion Effect)

Assign a Part to an Insertion Effect. Select “off” if

you do not wish to assign the Part to an Insertion

Effect. Furthermore, if Plug-in Boards have been

installed, they will also be selectable as Plug-in Parts

1 and 2.

❏Settings:

normal Part:

Part01 ~ Part16, PartAD (A/D Input Part), off

Plug-in Part (if installed):

PartP1 (Plug-in Part 1), PartP2 (Plug-in Part 2), off

■ PLG-EF (Plug-in Effect)

Assign a Part to the Plug-in Effect. Select “off” if

you do not wish to assign the Part to a Plug-in

Effect. These parameters are only available if an

Insertion Effect Plug-in board has been installed.

❏Settings:

normal Part:

Part01 ~ Part16, PartAD (A/D Input Part), off

EFF Rev (Reverb)

You can select the Reverb Effect Type and set its

parameters by pressing the [ENTER] key.

■ Type (Reverb Effect Type)

Set the Reverb Effect Type.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Return

Set the Return level of the Reverb Effect.

❏Settings: 0 ~ 127

EFF Cho (Chorus)

You can select the Chorus Effect Type and set its

parameters by pressing the [ENTER] key.

EFFíCho) Type toRev Return [ENTER]

Common Chorus1 127 127 to Edit

EFFíRev) Type Return [ENTER]

Common Basement 127 to Edit

■ Type (Chorus Effect Type)

Set the Chorus Effect Type.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ toRev (To Reverb)

Set the Send level of the signal sent from the Chorus

Effect to the Reverb Effect.

❏Settings: 0 ~ 127

■ Return

Set the Return level of the Chorus Effect.

❏Settings: 0 ~ 127

If an Insertion Effect Plug-in Board has been installed,

you will see the EFF Plg (Plug-in) screen following the

EFF Cho (Chorus) screen.

Effect Parameter Settings

The EFF Rev and EFF Cho parameter screens are

available when you select the Effect and press the

[ENTER] key. If an Insertion Effect Plug-in Board

has been installed, you can enter the parameters for

the Plug-in Effect at the EFF Plg (Plug-in) screen.

Use the [PAGE] knob to switch between screens,

and use the other knobs and the [INC/YES] and

[DEC/NO] keys to set each parameter.

When you press the [EXIT] key, you will be

returned to the Effect Type selection screen.

The number of Parameters and the contents of each

screen will vary depending on the selected Effect

Type. Details are given in the Effect Type

List/Effect Parameter List of the separate Data List.

EXIT ENTER

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

EFFíRev)RevTime InitDly RevDly Pan

Basement 0.6s 4.8ms 5.05ms C

EFFíRev) Type Return [ENTER]

Common Basement 127 to Edit

119

Performance Mode

Part (Settings for each Part)

You can edit each Part in a Performance. Use Knob [A]

to select the Part, then set its parameters. The

following six screens are available, though their

contents will vary according to the Part selected.

• Part Mixer

• Part Tone

• Part Layer

• Part Receive switch

• Part Controller

• Part Insertion Effect

Part Mixer

You can set various Voice output parameters for each

Part. The following two screens are available.

MIX Vce (Mix Voice)

MIX Level

The MIX Vce (Mix Voice) screen will change to the Mix

Template screen if PartAD (A/D Input Part) has been

selected.

MIX Vce/Template

(Mix Voice/Template)

You can assign a Voice/Template to each Part. Use

Knob [A] to select the Part, then set its Voice/Template

parameters. The display will vary as follows according

to the Part selected.

• If Part01 to Part16 has been selected

You can use the same method as the Category Search

(Page 67) to set the Voice.

■ Memory (Voice Memory)

❏Settings:

PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal Normal),

EXT (External Normal), PRE (Preset Drum), INT

(Internal Drum), EXT (External Drum)

■ Number (Program Number)

❏Settings:

1 ~ 128 (for Normal Voices), DR1 ~ DR8 (for Preset

Drum), DR1 ~ DR2 (for Internal/External Drum)

Details about Categories are given in the Category List

on Page 70.

• If PartP1/PartP2 (Plug-in 1/2)

has been selected

Set the Voice for the Plug-in 1/2 Part. This screen is

only displayed if a Plug-in Board has been installed.

Use Knob [B] to select PLG1/2INT (internal memory)

MIXíVce) Memory Number Ctgry Search

Part01 PRE1:128(H16)[Pf:GrandPiano]

and the MSB/LSB (Plug-in Board’s Bank), and use

Knob [C] to select the Program Number.

■ Bank

❏Settings:

PartP1/P2 (Plug-in 1/2): PLG1/2 INT (Plug-in 1/2

Internal), MSB/LSB (Plug-in Bank)

For details about Plug-in Banks (Bank Select

MSB/LSB), refer to the Owner’s Manual that came with

your Plug-in Board.

■ Number (Program Number)

❏Settings:

PLG1/2 INT (Plug-in 1/2 Internal): 1 ~ 64

MSB/LSB (Plug-in Bank): 1 ~ 128

There may be a delay when changing programs for Plug-in

Parts (since voice data and default settings need to be sent).

To change Voices for Plug-in Parts in a song, you should

insert the Program Changes in the less data-intensive areas

of the song. When selecting a Plug-in Board Voice, you

should use the Program Number of the Parameter Change

(multi-part). Details are given in the Owner’s Manual that

comes with the Plug-in Board.

In Performance Mode, the Part assignments for Plug-in

Boards are fixed at “16” for PLG1 and “15” for PLG2.

For details about Plug-in Voices, refer to the Owner’s

Manual that came with your Plug-in Board.

• If Part17 to Part32 has been selected

You can set Voices for Parts 17 to 32 if you have a

multitimbral Plug-in board installed. Use Knob [B] to

select the Voice Bank and Knob [C] to select the

Program Number.

■ Bank/Number (Bank/Program Number)

❏Settings: Refer to the Owner’s Manual that came with the

Plug-in board.

This setting is only held temporarily and cannot be

stored with the Performance.

• If PartAD (A/D Input Part) has

been selected

An audio source connected to the A/D INPUT jack can

be used as a Part. There are 13 different templates for

Effect Type and Gain settings. Select the A/D Input

Part source and the template.

MIXíTemplate)Src Number

PartAD keybaord --[InsEF off ]

MIXíVce) Bank Number

Part17 NORM/001:001(A01)[Pf:GrandPno]

MIXíVce) Bank Number Ctgry Search

PartP1 NORM/001:128(H16)[Pf:GrandPiano]

120

Performance Mode

■ Src (Source)

Select the source connected to the A/D INPUT jack.

❏Settings: mic (microphone), guitar, keyboard, audio

■ Number (Template Number)

Select the Template Number. You can choose from

13 templates for each source.

❏Settings: 0 ~ 12

If you attempt to select a Number from within “5” to “12”

while you have a setting other than “PartAD” for the

Insert Effect (Ins EF) parameter in the Effect Part (EFF

Part) page, it will be disabled with “InsEF off” shown for

the Number parameter.

MIX Level

You can set output level, pan, effect send and other

parameters for each Part. This is useful when setting

up the levels of each Part in a mix.

■ Vol (Volume)

Set the output level of the Part.

❏Settings: 0 ~ 127

■ Pan

Set the stereo pan position of the Part.

❏Settings: L63 (Left) ~ C (Center) ~ R63 (Right)

MIXíLevel) Vol Pan RevSend ChoSend

Part01 127 C 64 0

MIC

GUITAR

KEYBOARD

AUDIO

PresetName

InputGain

VariType

PresetName

InputGain

VariType

PresetName

InputGain

VariType

PresetName

InputGain

VariType

Off

mic

Off

mic

Off

line

Off

line

Mic

mic

Guitar

mic

Keyboard

line

Audio

line

Reverb

mic

Reverb

mic

Reverb

line

Reverb

line

Chorus

mic

Chorus

mic

Chorus

line

Chorus

line

Cho+Rev

mic

Cho+Rev

mic

Cho+Rev

line

Cho+Rev

line

Karaoke1

mic

Karaoke1

Tube

mic

AmpSim.

PhaserEP

line

Phaser1

Audio

line

Karaoke2

mic

Karaoke2

Stack

mic

AmpSim.

PanEP

line

AutoPan

Audio

line

MIC

GUITAR

KEYBOARD

AUDIO

PresetName

InputGain

VariType

PresetName

InputGain

VariType

PresetName

InputGain

VariType

PresetName

InputGain

VariType

Karaoke3

mic

Karaoke3

FlangGtr

mic

Flanger1

WahClavi

line

TouchWah1

Audio

line

Echo

mic

Echo

CleanGtr

mic

Celeste3

RotaryOrg

line

RotarySp.

Audio

line

Vocal

mic

Stage1

FuncGtr

mic

TouchWah2

SynthStr

line

Symphonic

Audio

line

Studio

mic

Exciter

Tremolo

mic

Tremolo

SynthPad

line

Flanger2

Audio

line

OctUp

mic

PitChange1

Phaser

mic

Phaser1

SynthLead

line

DelayLCR

Audio

line

OctDown

mic

PitChange1

5thGuitar

mic

PitChange1

SFX

line

PitChange1

Audio

line

Number

Src

Number

Src

■ RevSend (Reverb Send)

Set the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Reverb

effect.

❏Settings: 0 ~ 127

■ ChoSend (Chorus Send)

Set the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Chorus

effect.

❏Settings: 0 ~ 127

Part Tone

You can set Filter, Envelope Generator and other

parameters controlling the tonal characteristics of each

Part. The following four screens are available.

TON Filter (Tone Filter)

TON EG (Tone Envelope Generator)

TON Portamento (Tone Portamento)

TON Other (Tone Other)

TON Filter (Tone Filter)

You can use filters to adjust the tone of each Part. If

the filter is an LPF and HPF combination, the Cutoff

parameter applies to the LPF. These parameters are

also available in the Common Quick Edit screens.

This screen is not available for the A/D Input Part.

Details about the Filter are given on Page 83.

■ Cutoff

Raise or lower the Cutoff frequency for each

Element of a Part.

For each Element, if a combined Low Pass and High

Pass Filter is being used, this parameter adjusts the

Cutoff frequency of the Low Pass Filter.

❏Settings: -64 ~ 0 ~ +63

■ Reso (Resonance)

Set the amount of Resonance (harmonic emphasis)

applied to the signal at the Cutoff frequency. This

adds further character to the sound.

❏Settings: -64 ~ 0 ~ +63

TONíFilter) Cutoff Reso

Part01 +63 +63

121

Performance Mode

TON EG (Tone Envelope Generator)

You can set EG (Envelope Generator) parameters for

each Part. There are four parameters governing the

transition in output level from the moment a note is

pressed on the keyboard to the moment it is released or

the point at which the output level has faded to zero.

This screen is not available for the A/D Input Part.

For more information, refer to a diagram that illustrate the

concept of Envelope Generator, which you can find in Voice

Edit Mode sections.

Part 1 to 16

Plug-in 1/2 Part

Multi Plug-in Part

Drum Voice Part

■ Attack

Set the transition time from the moment a key on

the keyboard is pressed to the point at which the

output level of the Part reaches its peak. A positive

value will lengthen the transition time and a

negative value will shorten it.

❏Settings: -64 ~ 0 ~ +63

■ Decay

Set the transition time from the point at which the

output level of the Part reaches its peak to the point at

which it levels off. A positive value will lengthen the

transition time and a negative value will shorten it.

❏Settings: -64 ~ 0~ +63

■ Sustain

Set the output level of the Part maintained while the

key on the keyboard is being held down.

This parameter is not available for Plug-in or Drum

Voice Parts.

❏Settings: -64 ~ 0 ~ +63

■ Release

Set the transition time from the point at which the

note on the keyboard is released to the point at

which the output level of the Part reaches zero. A

positive value will lengthen the transition time and a

negative value will shorten it.

This parameter is not available for Drum Voice Parts.

❏Settings: -64 ~ 0 ~ +63

TONíEG) Attack Decay

Part10 + 0 + 0

TONíEG) Attack Decay Release

PartP1 + 0 + 0 + 0

TONíEG) Attack Decay Sustain Release

Part01 + 0 + 0 + 0 + 0

TON Portamento (Tone Portamento)

You can set the following three Portamento parameters

for each Part.

This screen is not available for A/D Input or Drum Voice

Parts.

Part 1 to 16

Plug-in 1/2 Part

Multi Plug-in Part

■ Switch (Portamento switch)

Switch Portamento on or off. With Portamento

switched on, there will be a smooth transition in

pitch from the first note played to the next note.

❏Settings: off, on

■ Time (Portamento Time)

Set the pitch transition time. Higher values mean

longer transition times.

❏Settings: 0 ~ 127

■ Mode (Portamento Mode)

Select the Portamento Mode. The Portamento Mode

behavior varies according to the Part Mode (mono/poly)

setting in the LYR Mode screen (Page 123).

This parameter is not available for Plug-in 1/2 and

Multi Plug-in Parts.

❏Settings: fingered, fulltime

If Part Mode is set to “mono”:

fingered:

Portamento is applied when the keyboard is played legato (a

note is played before the previous note is released).

full:

Portamento is applied for all playing styles.

If Part Mode is set to “poly”:

Portamento is applied to multiple notes.

TONíPortamento) Switch Time

Part17 on 127

TONíPortamento) Switch Time Mode

Part01 on 127 fulltime

122

Performance Mode

TON Other (Tone Other)

You can set Pitch Bend Range and Velocity Sensitivity

parameters for each Part.

These screens are not available for the A/D Input Part.

Part 1 to 16

Plug-in 1/2 Part

Multi Plug-in Part

Drum Voice Part

■ Pitch Bend

Set the amount (in semitones) by which the Voice

pitch changes when the Pitch Bend Wheel is moved.

For example, a Lower setting of -12 means that the

pitch of the Voice drops by up to an octave when the

Pitch Bend Wheel is moved downwards. An Upper

setting of +12 means that the pitch of the Voice

rises by up to an octave when the Pitch Bend Wheel

is moved upwards.

The Lower parameter is only available for Normal

Voice Parts (Parts 1 to 16).

❏Settings:

Lower (Left):

-48 ~ 0 ~ +24

Upper (Right):

-48 ~ 0 ~ +24 (or –24 ~ 0 ~ +24 for Plug-in 1/2 and

Multi Plug-in Parts)

■ VelDepth-Offset (Velocity Sensitivity Depth/Offset)

Set the velocity sensitivity and velocity offset for

each Part.

❏Settings:

VelDepth (Velocity Sensitivity): 0 ~ 127

offset (Velocity Offset): 0 ~ 127

VelDepth (Velocity Sensitivity Depth)

As illustrated below, a large setting will cause large changes

in velocity when you play the keyboard.

Changes to velocity curve according to VelDepth

(with offset set to 64)

Offset=64

Received Velocity

Velocity at

tone generator

Depth=64

Offset=64

Depth=32

Offset=64

Depth=0

Offset=64

Depth=127

Offset=64

TONíOther) Pitch Bend VelDepth-Offset

PartP1 +12 127 64

TONíOther) Pitch Bend VelDepth-Offset

Part01 -12 - +12 127 64

offset (Velocity Offset)

As illustrated below, the velocity will be increased by

the specified amount.

Changes to velocity curve according to VelDepth

(with offset set to 64)

Part Layer

You can set various MIDI parameters for each Part,

including MIDI Receive Channel, Arpeggiator switch,

note limit and velocity. These parameters are largely

used when layering multiple Parts. The following four

screens are available.

LYR Mode (Layer Mode)

LYR Limit (Layer Limit)

LYR Tune (Layer Tune)

LYR Out (Layer Out)

LYR Mode (Layer Mode)

You can set the method by which each Part is output.

The parameters will vary according to the Part selected.

Part 1 to 16

Plug-in 1/2 Part

Drum Voice Part

A/D Input Part

Multi Plug-in Part

LYRíMode) RcvCh

PartAD 1

LYRíMode) Arp Layer RcvCh

Part01 on off 1

LYRíMode) Mode Arp Layer RcvCh

Part01 poly on off 1

Offset=96

Offset=-32

Offset=127

Offset=64

Velocity=1

Received

Velocity

Velocity at

tone generator

Depth=64

Offset=64

Depth=64

Offset=32

Depth=64

Offset=96

Depends on

offset

Depends on

offset

123

Performance Mode

■ Mode

Select whether each Part is played back

monophonically (single notes only) or

polyphonically (multiple simultaneous notes).

This parameter is only available for Normal Voice Parts

1 to 16 and Plug-in 1/2 Parts.

❏Settings: mono, poly

■ Arp (Arpeggio switch)

Switch the Arpeggiator for the currently selected

Part on or off.

This parameter is not available for A/D Input and Multi

Plug-in Parts.

❏Settings: off, on

■ Layer (Layer switch)

When switched on, you can layer up to four Parts.

This parameter is not available for A/D Input and Multi

Plug-in Parts.

❏Settings: off, on

You can also set the overall output level and stereo pan

position of the Layer when this is switched on (Page 109).

Layers may be slow to sound, depending on their

component Parts.

If you turn five or more Layer Switches “on”, only four

Parts are enabled for the layer. These four Parts are

determined in the priority of Part01 to Part16, PartAD,

PartP1, then PartP2. For disabled Parts, their Layer switch

values will be shown in brackets like “(on).”

■ RcvCh (MIDI Receive Channel)

Set the MIDI Receive Channel for each Part. Select

“off” for Parts that you do not want to respond to

MIDI.

❏Settings: 1 ~ 16, off

LYR Limit (Layer Limit)

You can set note ranges and velocity limits for each Part.

These parameters are not available for the A/D Input Part.

■ Note Limit

Set 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 (for the lowest and highest notes)

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.”

You can set the lowest and highest notes in the range by

pressing notes on the keyboard while holding down the

[SHIFT] key.

LYRíLimit) Note Limit Vel Limit

Part01 C-2 - G 8 1 - 127

■ Vel Limit

Set 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 (for the minimum and maximum values)

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.”

LYR Tune (Layer Tune)

You can set note shift and tuning parameters for each

Part.

These parameters are not available for the A/D Input Part.

■ NoteShift

Adjust the pitch of each Part in semitones.

❏Settings: -24 ~ +24

■ Detune

Offset (detune) the pitch of each Part by a very small

amount.

❏Settings: -12.8Hz ~ +12.7Hz

LYR Out (Layer Out)

You can select outputs for each Part.

■ Output

Assign each Part to an output.

❏Settings: L&R (Left and Right outputs), ind 1&2

(Individual Output 1&2) ind1 (Individual

Output 1), ind2, ind3, ind4, ind5, ind6, drum

For example, if you choose “L&R,” the left channel will

be output through OUTPUT L and the right channel

will be output through OUTPUT R. Alternatively, if

you choose “ind1,” the left and right signals will be

merged and output monaurally through INDIVIDUAL

OUTPUT 1.

Settings “ind3 to “ind6” are for future expansion

purposes and are currently not available.

You can select “drum” for Drum Voice Parts. If you

select “drum” for a Drum Voice Part, the output settings

for each Drum Key (Page 95) are used.

LYRíOut) Output InsEF

Part01 L&R (off)

LYRíTune) NoteShift Detune

Part01 +24 +12.7

124

Performance Mode

■ InsEF (Insertion Effect)

Shows the on/off status of the Insertion Effects. If

“on” is displayed, this means that the Part’s signal is

being sent to the Insertion Effect Unit.

Insertion Effect switches for each Part are set in the

EFF Part screen (Page 117).

Part Receive Switch

Each Part can be set to receive Control Change and

Program Change messages. The following four screens

are available.

RCV Sw1 (Receive Switch 1)

RCV Sw2 (Receive Switch 2)

RCV Sw3 (Receive Switch 3)

RCV Sw4 (Receive Switch 4)

RCV Sw1 (Receive Switch 1)

When set to “on,” each Voice in each Part will receive

Control Settings (PB, MW, RB,AT) and Control Change

messages. The Controller parameters will vary

according to the Part selected.

This screen is not available for the A/D Input Part.

Parts 1 to 16

Drum Voice Part

Plug-in 1/2 Part

Multi Plug-in Part

❏Settings:

PB (Pitch Bend Wheel): off, on

MW (Modulation Wheel): off, on

RB (Ribbon Controller): off, on

AT (Aftertouch): off, on

RCV Sw2 (Receive Switch 2)

When set to “on,” each Voice in each Part will receive

messages from Knob [1]/[2], plus Breath Controller,

Foot Controller and Control Change messages.

This screen is only available for Parts 1 to 16 (including

Drum Voice Parts).

RCVíSw1) PB MW AT

PartP1 on off off

RCVíSw1) PB MW RB AT

Part01 on off on off

Parts 1 to 16

Drum Voice Part

❏Settings:

Knob1 (Knob [1]): off, on

Knob2 (Knob [2]): off, on

BC (Breath Controller): off, on

FC (Foot Controller): off, on

RCV Sw3 (Receive Switch 3)

When set to “on,” each Voice in each Part will receive

volume, pan, sustain pedal, foot switch and Control

Change messages.

Parts 1 to 16

Plug-in 1/2 Part

Multi Plug-in Part

Drum Voice Part

A/D Input Part

❏Settings:

Vol (Volume): off, on

Pan: off, on

Sus (Sustain): off, on

FS (Foot Switch): off, on

RCV Sw4 (Receive Switch 4)

When set to “on,” each Voice in each Part will receive

Program Change and Control Change messages when

you change Performance Bank/Program.

❏Settings:

BankSel (Bank Select): off, on

PgmChng (Program Change): off, on

CtrChng (Control Change): off, on

RCVíSw4) BankSel PgmChng CtrChng

Part01 off on off

RCVíSw3) Vol Pan FS

PartAD on off off

RCVíSw3) Vol Pan Sus

Part01 on off on

RCVíSw3) Vol Pan Sus FS

Part01 on off on off

RCVíSw2) Knob1 Knob2 BC FC

Part01 on off on off

125

Performance Mode

Part Controller

You can set various Controller parameters for the A/D

Input Part and Multi Plug-in Parts 17 to 32. The

following two screens for A/D Input Part parameters

and six screens for the Multi Plug-in Part parameters

are available.

CTL Set1 (Controller Set 1) (A/D Input Part only)

CTL Set2 (Controller Set 2) (A/D Input Part only)

CTL MW Control (MW Control Depth) (Multi Plug-in

Parts only)

CTL MW Modulation (MW Modulation Depth) (Multi

Plug-in Parts only)

CTL AT Control (AT Control Depth) (Multi Plug-in

Parts only)

CTL AT Modulation (AT Modulation Depth) (Multi

Plug-in Parts only)

CTL AC Control (AC Control Depth) (Multi Plug-in

Parts only)

CTL AC Modulation (AC Modulation Depth) (Multi

Plug-in Parts only)

CTL Set1/CTL Set2 (Control Set 1/2)

(A/D Input Part only)

The controllers and knobs on the front panel, the

keyboard, and so on can be assigned a variety of uses.

For example, keyboard aftertouch can be used to

control vibrato and the Modulation Wheel could be

used to control Resonance. These control assignments

are called “Control Sets.” You can assign up to two

different Control Sets to the A/D Input Part. Thus

there are two screens, each for a separate controller:

CTL Set1 and CTL Set2.

■ Src (Source)

Set the Controller used to control the parameter

specified in Dest. The following controllers are

available.

❏Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel

), AT (Aftertouch), FC (Foot Controller), FS

(Foot Switch), RB (Ribbon Controller), BC

(Breath Controller), KN1/2 (Knob [1]/[2])

RevSend

Dest

ChoSend

Dest

SET 1

A/D Input

SET 2

Src

(Modulation Wheel)

Src

KN1

(Knob 1)

CTLíSet1) Src Dest Depth

PartAD FC(04) off +63

■ Dest (Destination)

Set the parameter to be controlled by the Controller

specified in Src.

❏Settings: see the separate Control List.

■ Depth (Depth)

Set the amount by which the parameter selected in

Dest can be controlled.

❏Settings: -64 ~ 0 ~ +63

Using Voice Control Sets 1 and 2, you can assign

individual Src (Source) controllers to multiple Dest

(Destination) parameters, or multiple Src controllers to

individual Dest parameters. Details are given on Page 75.

CTL MW Control (MW Control Depth)

(Multi Plug-in Parts only)

The Modulation Wheel can be used to control Filter and

Amp parameters for each Multi Plug-in Part (17 to 32).

■ Filter

Set the amount by which the Modulation Wheel can

be used to adjust the filter’s Cutoff frequency.

❏Settings: -64 ~ +63

■ Amp

Set the amount by which the Modulation Wheel can

be used to adjust the output level (amplitude).

❏Settings: -64 ~ +63

CTL MW Modulation

(MW Modulation Depth)

(Multi Plug-in Parts only)

The Modulation Wheel can be used to control the

amount of pitch/filter/amplitude modulation applied to

each Multi Plug-in Part (17 to 32).

■ PMod (Pitch Modulation Depth)

Set the amount by which the pitch modulation

changes when the Modulation Wheel is used.

❏Settings: 0 ~ 127

CTLíMW Modulation) PMod FMod AMod

Part17 127 127 127

CTLíMW Control) Filter Amp

Part17 +63 +63

126

Performance Mode

■ FMod (Filter Modulation Depth)

Set the amount by which the filter Cutoff frequency

changes when the Modulation Wheel is used.

❏Settings: 0 ~ 127

■ AMod (Amplitude Modulation Depth)

Set the amount by which the amplitude modulation

changes when the Modulation Wheel is used.

❏Settings: 0 ~ 127

CTL AT Control (AT Control Depth)

(Multi Plug-in Parts only)

Keyboard aftertouch can be used to control the

pitch/filter/amplitude parameters for each Multi Plug-

in Part (17 to 32).

■ Pitch

Set the amount (in semitones) by which the pitch

changes when aftertouch is applied.

❏Settings: -24 ~ +24

■ Filter

Set the amount by which the filter Cutoff frequency

changes when aftertouch is applied.

❏Settings: -64 ~ +63

■ Amp

Set the amount by which the output level

(amplitude) changes when aftertouch is applied.

❏Settings: -64 ~ +63

CTL AT Modulation (AT Modulation

Depth) (Multi Plug-in Parts only)

Keyboard aftertouch can be used to control the amount

of pitch/filter/amplitude modulation applied to each

Multi Plug-in Part (17 to 32).

■ PMod (Pitch Modulation Depth)

Set the amount by which the pitch modulation

changes when aftertouch is used.

❏Settings: 0 ~ 127

CTLíAT Modulation) PMod FMod AMod

Part17 127 127 127

CTLíAT Control) Pitch Filter Amp

Part17 +24 +63 +63

■ FMod (Filter Modulation Depth)

Set the amount by which the filter Cutoff frequency

changes when aftertouch is used.

❏Settings: 0 ~ 127

■ AMod (Amplitude Modulation Depth)

Set the amount by which the amplitude modulation

changes when aftertouch is used.

❏Settings: 0 ~ 127

CTL AC Control (AC Control Depth)

(Multi Plug-in Parts only)

Control Changes (Assignable Controllers) can be used

to control the filter/amplitude parameters for each

Multi Plug-in Part (17 to 32).

■ Source

Set the MIDI Control Change number used to

control the Filter/Amp parameters.

❏Settings: off, 1 ~ 95

■ Filter

Set the amount by which the filter Cutoff frequency

changes when the controller (Source) is used.

❏Settings: -64 ~ +63

■ Amp

Set the amount by which the output level

(amplitude) changes when the controller (Source) is

used.

❏Settings: -64 ~ +63

CTL AC Modulation (AC Modulation

Depth) (Multi Plug-in Parts only)

Control Changes (Assignable Controllers) can be used

to control the amount of pitch/filter/amplitude applied

to each Multi Plug-in Part (17 to 32).

■ PMod (Pitch Modulation Depth)

Set the amount by which the pitch modulation

changes when the controller (Source) is used.

❏Settings: 0 ~ 127

CTLíAC Modulation) PMod FMod AMod

Part17 127 127 127

CTLíAC Control) Source Filter Amp

Part17 04[FootCtrl] +63 +63

127

Performance Mode

■ FMod (Filter Modulation Depth)

Set the amount by which the filter Cutoff frequency

changes when the controller (Source) is used.

❏Settings: 0 ~ 127

■ AMod (Amplitude Modulation Depth)

Set the amount by which the amplitude modulation

changes when the controller (Source) is used.

❏Settings: 0 ~ 127

Part Insertion Effect (A/D Input Part only)

You can set parameters for the Insertion Effects used

by the A/D Input Part. If you have selected the A/D

Input Part, as the InsEF (Insertion Effect) in the EFF

Part screen, the following screens will be available.

EFF EF1/2 (Insertion Effect 1/2)

Choose the type of effect used for the A/D Input Part.

You can select the Effect Category for Insertion Effect 1/2

with the Ctgry parameter and the Effect Type with the

Type parameter. After selecting the Effect Type, you can

start setting its parameters by pressing the [ENTER] key.

The connection between Insertion Effects 1 and 2 is fixed

as 1 ➝ 2 (Serial).

■ Ctgry (Effect Category)

Set the Category of the Effect. The first Effect Type

of the selected Category will blink.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Type (Effect Type)

Set the type of Effect. This depends on the selected

Category. For certain Categories, the Effect Type will

blink. In this case, you can press the [ENTER] key

to set the Effect Type.

❏Settings: Details are given in the Effect Types list of the

separate Data List.

■ Dry/Wet

Set the mix level of the wet signal (which has been

passed through the Effects Unit) and the dry signal

(which has not been passed through the Effects

Unit). This may be unavailable, depending on the

selected Effect Type.

❏Settings: D63>W ~ D=W ~ D<W63

EFFíEF1) Ctgry Type Dry/Wet [ENTER]

PartAD DLY:DelayLCR D<W63 to Edit

Effect Parameter Settings

These parameters are available when you press the

[ENTER] key for certain Effect Types.

Use the [PAGE] knob to switch between screens,

and use the other knobs and the [INC/YES] and

[DEC/NO] keys to set each parameter.

When you press the [EXIT] key, you will be

returned to the Effect Type selection screen.

The number of parameters and the contents of each

screen will vary depending on the selected Effect

Type. Details are given in the Effect Type list of the

separate Data List.

Zones

You can edit the zones used by Performances in Master

Keyboard Mode. Use Knob [A] (or BANK [A]~[D]

keys) to select the zone (1 to 4), then set the zone’s

parameters. The following eight screens are available

for Master Keyboard parameters.

You can choose zones if “4zone” has been selected as

the Mode at the GEN M.Kbd screen (Page 113), and if

the [MASTER KEYBOARD] key LED is lit.

• Master keyboard

MKB Transmit (Master Keyboard Transmit)

MKB Note (Master Keyboard Note)

MKB TxSw1 (Master Keyboard Transmit Switch 1)

MKB TxSw2 (Master Keyboard Transmit Switch 2)

MKB TxSw3 (Master Keyboard Transmit Switch 3)

MKB TxSw4 (Master Keyboard Transmit Switch 4)

MKB TxPreset1 (Master Keyboard Transmit Preset 1)

MKB TxPreset2 (Master Keyboard Transmit Preset 2)

MKB Assign (Master Keyboard Assign)

EXIT ENTER

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

EFFíEF1) Delay Lch Cch Rch

PartAD 333.3 500.0 500.0 166.7

EFFíEF1) Ctgry Type Dry/Wet [ENTER]

PartAD DLY:DelayLCR D<W63 to Edit

Select Effect Type

Parameters

128

Performance Mode

Master keyboard

MKB Transmit (Master Keyboard Transmit)

You can set parameters for transmitting keyboard data

when in Master Keyboard Mode.

■ TrnsCh (Transmit Channel)

Set the MIDI Transmit Channel for each zone.

❏Settings: 1 ~ 16

■ TG (Tone Generator)

Select whether or not to transmit MIDI messages for

each zone to each Part’s tone generator.

❏Settings: off, on

■ MIDI (MIDI Transmit)

Select whether or not to transmit MIDI messages to

each zone’s MIDI Out port.

❏Settings: off, on

MKB Note (Master Keyboard Note)

You can set Octave, Transpose, Note Limit (key range)

for each zone in Master Keyboard Mode.

■ Octave

Shift the note range of each zone up or down (in

octaves).

❏Settings: -3 ~ 0 (Default) ~ +3

■ Transpose

Transpose the note range of each zone up or down

(in semitones).

❏Settings: -11 ~ 0 (Default) ~ +11

■ Note Limit

Set the upper and lower notes in each zone’s note

range.

❏Settings: C-2 ~ G8 (for both upper and lower notes)

You can also select this parameter by pressing each note

while holding down the [SHIFT] key.

MKBíNote)Octave Transpose Note Limit

Zone01 +1 +11 C-2 - G 8

MKBíTransmit) TrnsCh TG MIDI

Zone01 1 on on

MKB TxSw1 (Master Keyboard

Transmit Switch 1)

For each zone, you can enable/disable the transmission

of messages for the Pitch Bend Wheel, Modulation

Wheel, Knobs [A] to [C] and Knob [1]/[2].

❏Settings:

PB (Pitch Bend Wheel): off, on

MW (Modulation Wheel): off, on

KnobA-C (Knobs [A] to [C]): off, on

Knob1/2 (Knob [1]/[2]): off, on

MKB TxSw2 (Master Keyboard

Transmit Switch 2)

For each zone, you can enable/disable the transmission

of messages for the Ribbon Controller, Foot Controller,

Breath Controller and Aftertouch.

❏Settings:

RB (Ribbon Controller): off, on

FC (Foot Controller): off, on

BC (Breath Controller): off, on

AT (Aftertouch): off, on

MKB TxSw3 (Master Keyboard

Transmit Switch 3)

For each zone, you can enable/disable the transmission

of messages for the Sustain Pedal, Foot Switch,

Volume/Foot Volume and Pan.

❏Settings:

Sus (Sustain): off, on

FS (Foot Switch): off, on

Vol/FV (Volume/Foot Volume): off, on

Pan: off, on

MKB TxSW4 (Master keyboard

Transmit Switch 4)

For each zone, you can enable or disable the transmission

of Bank Select and Program Change messages when you

switch Performance Banks or Programs.

❏Settings:

Bank (Bank Select): off, on

PC (Program Change): off, on

MKBíTxSw4) Bank PC

Zone01 on on

MKBíTxSw3) Sus FS Vol/FV Pan

Zone01 on on on on

MKBíTxSw2) RB FC BC AT

Zone01 on on on on

MKBíTxSw1) PB MW KnobA-C Knob1-2

Zone01 off on on on

129

Performance Mode

MKB TxPreset1 (Master Keyboard

Transmit Preset 1)

You can set each zone’s initial volume and stereo pan

settings when changing Performance Bank/Program.

■ Vol (Volume)

Set the output level of the zone.

❏Settings: 0 ~ 127

This setting is not transmitted if the Vol/FV

(Volume/Foot Volume) parameter of the MKB TxSw3

screen has been set to “off.”

■ Pan

Set the stereo pan position of the zone.

❏Settings: L64 (Left) ~ C (Center) ~ R63 (Right)

This setting is not transmitted if the Pan parameter at

the MKB TxSw3 screen has been set to “off.”

MKB TxPreset2 (Master Keyboard

Transmit Preset 2)

For each zone, you can set the Bank Select and

Program Change parameters transmitted when

changing Bank/Program in a Performance.

■ BankMSB (MIDI Bank Select MSB)

Set the Bank Select MSB transmitted when changing

Bank/Program.

❏Settings: 0 ~ 127

■ BankLSB (MIDI Bank Select LSB)

Set the Bank Select LSB transmitted when changing

Bank/Program.

❏Settings: 0 ~ 127

“Bank Select” is a type of MIDI message transmitted

when changing Voice Bank. Control Change MSB and

LSB messages are combined to form Bank Select

messages, which are used to specify the Voice Bank.

These message values will vary according to

synthesizer. For more details, refer to the

documentation that came with your synthesizer.

This setting is not transmitted if the Bank (Bank Select)

parameter at the MKB TxSw4 screen has been set to

“off.”

MKBíTxPreset2) BankMSB BankLSB PC

Zone01 127 127 1

MKBíTxPreset1) Volume Pan

Zone01 127 C

■ PC (MIDI Program Change)

Set the Program Number transmitted when changing

Bank/Program.

❏Settings: 1 ~ 128

Program Numbers 001 to 128 directly relate to MIDI

Program Change Numbers 000 to 127. That is,

Program Numbers and Program Change Numbers differ

by a value of 1. Remember to take this into

consideration.

This setting is not transmitted if the PC (Program

Change) parameter at the MKB TxSw4 screen has been

set to “off.”

MKB Assign (Master Keyboard Assign)

You can assign a different Control Slider function

(Control Change) to each zone.

❏Settings: off, 1 ~ 95

MKBíAssign) ControlSlider

Zone01 07[Main Vol]

130

Performance Mode

Performance Job Mode

You can execute various actions (Jobs) in Performance

Job Mode. For example, you can “Initialize”

Performances (including those currently being edited)

or “Recall” previous edits.

When you enter Performance Job Mode, you will first

see the Initialize screen. The following four screens

are available for each Performance Job.

Before entering Performance Job Mode and using the

Initialize or Recall function, you must select the

Performance you wish to operate on (Page 109).

1st screen: PFM Initialize

2nd screen: PFM Edit Recall

3rd screen: PFM Copy

4th screen: PFM Bulk Dump

Details about how to enter Performance Job Mode are

given on Page 22.

Executing a Job

1In Performance Play Mode, select the Performance

Number on which you will execute the Job.

2Press the [JOB] key to enter Performance Job Mode.

3Use the [PAGE] knob and switch to the screen

showing the Job you wish to execute.

4Use Knobs [B]/[C] and Knobs [1]/[2] to select the

parameter on which you will execute the Job.

(Alternatively, use the [DATA] knob and the

[DEC/NO] and [INC/YES] keys.)

This step is not applicable for Recall and Bulk Dump Jobs.

5When you press the [ENTER] key, you will be

prompted for confirmation.

6Press the [INC/YES] key to confirm. The message

“Completed.” will be displayed when the Job has

completed, and you will be returned to the original

screen.

Press the [DEC/NO] key to cancel the Job.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you

switch off the power to your synthesizer while this

message is displayed, you risk corrupting your data.

7Press the [PERFORM] key to exit Performance Job

Mode and return to Performance Play Mode.

PFM Bulk Dump)

<< Are you sure? [YES]/[NO] >>

PFM Initialize)

Job Current Perform

PFM Initialize

You can reset (initialize) all parameters of a

Performance to their default settings. You can also

selectively initialize certain parameters, such as

Common settings, settings for each Part, and so on.

Note that this is not the same as editing an existing

Performance. Instead, it is useful when building a

completely new Performance from scratch.

■ Select type of parameter to Initialize

Use Knob [B], the [DATA] knob or the [DEC/NO]

and [INC/YES] keys to select the parameter to be

initialized.

❏Settings: Current Perform, Current Common (Common

Data: Data common to all Layer Parts), Current

Part01 to Part16, Current PartAD (A/D Input

Part), Current PartP1/P2 (Plug-in Part 1/2),

Zone1 to Zone4

PFM Edit Recall

If you are editing a Performance but you do not store it

before switching to another Performance, the edits you

have made will be cleared. In such a situation, you can

use the Recall function to reinstate the edits for the

Performance.

PFM Copy

You can copy each Part’s parameters and Effects

parameters from any Performance to the Performance

you are editing. This is useful if you are creating a

Performance and wish to use some parameter settings

from another Performance.

This function is not used for copying whole Performances

from one location to another. It is used for copying

parameter settings from an existing Performance to the

current Performance you are editing.

1Source Performance Memory

Select the Performance Memory containing the

Performance (source) from which you will copy

parameter settings.

❏Settings: INT (Internal), EXT (External)

PFM Copy) [Pf:GrandPiano] Current

Job INT:128(H16) Part10 > Part16

1 2 3 4

PFM Edit Recall)

Job

PFM Initialize)

Job Current Perform

131

Performance Mode

2Source Performance Number

Select the Performance Number of the source

Performance. The Performance Name is shown in

the top line of the display.

❏Settings: 001 ~ 128 (INT), 001 ~ 064(EXT)

When copying, you can set the current Performance

number (destination) for the source Performance

number. In this case, if you have edited several settings

of the current Performance, you will copy those recent

settings, not stored ones (before editing). Therefore,

you can edit a Part and copy all edits to another Part.

3Source Performance Part

Select the Part of the source Performance.

❏Settings: Part01 to Part16, PartAD (A/D Input Part),

PartP1/P2 (Plug-in Part 1/2)

The Memory, Bank Select and Program Number

settings cannot be copied if you have set the source or

destination to something other than Part01 to Part16.

4Destination Part

Set the Part of the destination Performance.

❏Settings: Part01 to Part16, Arp (Arpeggio), Effect,

PartAD (A/D Input Part), PartP1/P2 (Plug-in

Part 1/2)

If you choose Arp (Arpeggio) or Effect, the Arpeggio

and Effect settings for the Voice assigned to the source

Part will be copied.

The Memory, Bank Select and Program Number

settings cannot be copied if you have set the source or

destination to something other than Part01 to Part16.

PFM Bulk Dump

You can send all the parameter settings for the current

Performance to your computer or some other external

MIDI device using Bulk Dump.

You must set the correct MIDI Device Number in order to

execute a Bulk Dump. Details are given on Page 137.

PFM Bulk Dump)

Job Current Perform

Performance Store

You can store the parameter settings for up to 128

Performances to each of your synthesizer’s Memories

(INT: Internal) or up to 64 Performances to Memory

Card (EXT: External). The procedure is as follows.

When you execute this, the settings for the destination

Performance will be overwritten. Important data should

always be backed up to computer, a separate Memory Card

or some other storage device.

1Press the [STORE] key after editing a Performance.

You will see the Performance Store display.

2Use Knob [1] to select the destination Performance

Memory (INT or EXT).

3Use Knob [2] to select the destination Performance

Number.

This will set the Performance Memory/Number to

which your Performance will be stored.

You can also use the [DATA] knob or [DEC/NO] and

[INC/YES] keys to execute this operation.

4When you press the [ENTER] key, you will be

prompted for confirmation.

5Press the [INC/YES] key to confirm. The message

“Executing…” will be displayed while the Job is

being processed. When it has completed, you will

see the message “Completed.” and you will be

returned to Performance Play Mode.

You can press the [DEC/NO] key to cancel the Job.

This will return you to the original screen.

PFMí [Pf:GrandPiano] >[Pf:Init Perf ]

<< Are you sure? [YES]/[NO] >>

PFMí [Pf:GrandPiano] >[Pf:Init Perf ]

Store INT:128(H16)

132

Sequence Play Mode

The Demo Songs contain preset tempos by default.

When you switch to another Demo Song, its preset

tempo will be used. You can change the playback

tempo. To restore the default tempo, select “***” as the

tempo setting.

3Press the [PLAY/STOP] key to play back the selected

Demo Song from the beginning.

4Press the [PLAY/STOP] key again to stop the Demo

Song playback.

If you press the [PLAY/STOP] key once again, playback

will resume from the current position.

Demo Songs will playback continuously until stopped.

SEQ (Sequence Chain)

You can set up to 100 Steps in a Chain here. Each Chain

Step is assigned a Song file and a Performance (Voices for

each Part used in the Song). You can play back one

particular Chain Step or multiple Chain Steps end-to-end.

Chain settings can be saved to Memory Card.

■ Chain Step Number

Change each Chain Step. If you choose a Step

Number here, the screen for the selected Chain Step

will be displayed.

❏ Settings: 00 ~ 99

You can jump to the next Chain Step screen and change

the Chain settings in advance, even while a Song is

being played back.

A “ë” indicator is displayed to the right of the Chain

Step Number at the Chain Step screen of the Song file

currently being played back.

SEQ) File:[ ] Perf

Chain00 001 ⁄= 120 Meas=001 INT:128

Song File Name

Chain Step Number Playback tempo

Measure Performance

Bank/Number

Chain Step Number 1~100

Song File Performance

Sequence Track

Plug-in Part 1

Plug-in Part 2

A/D Input Part

PartMIDI CH

MIDI CH

In this Mode, you can play back the built-in demo

songs and Song files stored on Memory Card. Up to

100 Song files can be played back end-to-end by using

the Chain Step feature. This Chain Step data can also

be saved to Memory Card.

A Memory Card containing Song files must already be

slotted in the Card Slot.

Basic details about the sequencer are given on Page 31.

When you enter Sequence Play Mode, you will see the

1st screen (Demo Song). The following two screens

are available.

1st screen: SEQ Demo (Sequence Demo)

2nd screen: SEQ (Sequence Chain)

If you load Sequence Chain data in Card Mode (Page 145)

or using the Auto Loading feature (Page 143), the 2nd

screen will be displayed first.

Details about how to enter Sequence Play Mode are given

on Page 22.

SEQ Demo (Sequence Demo)

The Demo Song data is contained in internal memory.

When you attempt to enter the SEQ Demo (Sequence

Demo) screen, you will have an alert screen shown

below, since you lose your data for System, internal

Voices by loading the demo song.

Press the [YES] key to accept the alert and proceed to

the SEQ Demo screen. You can play the demo song in

this screen.

■ Playback Tempo

❏ Settings: *** (default tempo), 25 ~ 300

1Use Knob [B] and the [ENTER] key to select the

Demo Song Number.

2Set the tempo (if necessary).

SEQ Demo) Song:[DEMOSONG]

≥ 001 ⁄= 120

Demo Song Name

Demo Song Number Playback tempo

SEQ Demo)<< Are you sure? [YES]/[NO] >>

System,IntVoice will be changed.

133

Sequence Play Mode

■ Song File Number

Assign a Song file to the Chain Step. Any Song files

with the “.MID” extension can be selected. When

you select a file Number here, the file name is shown

in the top line of the display.

For continuous (chained) playback of multiple Chain

Steps, you can specify how to play this Chain Step

after playback of a previous one by selecting an

option from among “skip,” “end” and “stop.”

If you select “skip,” the Chain Step is skipped and

playback will jump to the next Chain Step. If you

choose to skip the 99th Chain Step, playback will

jump back to the first Chain Step after the 98th

Chain Step.

If you select “end,” when the Song reaches this

Chain Step, chained playback is stopped and you are

returned to the first Chain Step.

If you select “stop,” the Song stops when it reaches

this Chain Step. When the Song playback is

resumed, it starts at the next Chain Step.

❏ Settings: skip, end, stop, 001 ~ 997

■ Playback Tempo

Set the playback tempo of the Chain Step. When

you start playback of the song, it is normal that a

tempo value contained in the song file is

automatically set to this parameter. If necessary, you

can change the playback tempo here. To restore the

Song’s own playback tempo, select “***.”

❏ Settings: *** (default tempo), 25 ~ 300

When playing back a Song file using its own tempo

data, the tempo setting is shown in brackets. These

brackets disappear when you change the tempo.

■ Meas (Measure)

The Song measure in the current Chain Step is shown

during playback. If you stop playback, you can use

Knob [1] to enter a measure number and press the

[ENTER] key to resume playback at that measure.

❏ Settings: 001 ~ 999

■ Performance Bank/Number

Set the Performance (Bank/Program Number) to be

used in the Chain Step. The Voices of each Part in

the selected Performance will be used when playing

back the Song file.

Use Knob [2], the MEMORY [INT]/[EXT] keys,

BANK keys [A] to [H] and PROGRAM keys [1] to

[16] to select the Memory Bank and Program

Number of the Performance.

❏ Settings: *** (not set), INT/EXT (Bank), 1 ~ 128

(Program Number)

If no Performance changes are contained within a Song

file, “***” is displayed as the Bank/Number when the

Song File is selected. In this case, the Song file will use

the Program set in the currently selected Mode (Voice

Mode/Performance Mode).

Performances can be changed while Songs are playing or

have been stopped. However, it does not change in real

time during playback if you specify a Chain Step other

than the current one. In stead, it changes when playback

reaches the song at the specified Chain Step.

Song File Playback

1Use Knob [B] to select the Song file you wish to play

back.

When playing back a single Song, you do not need to

select a Chain Step Number (You can have any Chain

Step screen open).

You need to enter Card Mode beforehand and specify

the directory containing the song files you wish to play

back. Details about how to change directory are given in

the section “File Directories” on Page 144.

Regarding the types of files that can be played back,

details are given in the section “SMF (Standard MIDI

Files)” on Page 143.

2Set the tempo (if necessary).

3Set the starting point (measure) for the Song (if

necessary).

4Select the Performance Bank/Number (if necessary).

5Press the [PLAY/STOP] key to playback the Song

from the set position (or from the beginning).

6Press the [PLAY/STOP] key again to stop the Song

playback.

Chained Playback

1Use Knob [A] to select the Chain Step Number of the

first Song you wish to play back.

You need to enter Card Mode beforehand and specify

the directory containing the song files you wish to play

back. Details about how to change directory are given in

the section “File Directories” on Page 144.

Regarding the types of files that can be played back,

details are given in the section “SMF (Standard MIDI

Files)” on Page 143.

2Set the tempo (if necessary).

3Set the starting point (measure) for the Song (if

necessary).

4Select the Performance Bank/Number (if necessary).

5Press the [PLAY/STOP] key to play back the Song

from the set position (or from the beginning).

When the Chain Step playback has finished, the

Song of the next Chain Step Number will

automatically be started. Songs can be played back

continuously this way.

6Press the [PLAY/STOP] key again to stop the

chained playback.

Also, if an “end” or “stop” Chain Step is reached,

playback will stop.

134

Utility Mode

MSTR (System Master)

You can set the overall parameters, including volume and

pitch, which mainly relate to the synthesizer’s tone

generator section. The following four screens are available.

MSTR TG (Master Tone Generator)

MSTR Kbd (Master Keyboard)

MSTR EF Bypass (Master Effect By-pass)

MSTR Other (Master Other)

MSTR TG (Master Tone Generator)

Set the parameters which control the synthesizer’s tone

generator section.

■ Vol (Master Volume)

Set the synthesizer’s overall volume.

❏Settings: 0 ~ 127

■ NoteShift (Master Note Shift)

Set the amount (in semitones) by which the note

pitch is shifted. This parameter only affects the

synthesizer’s internal tone generator. It does not

affect information transmitted via MIDI.

❏Settings: -24 ~ 0 ~ +24

■ Tune (Master Tune)

Adjust the keyboard tuning (in 0.1 cent steps).

❏Settings: -102.4 ~ +102.3

MSTR Kbd (Master Keyboard)

Set the parameters related to the keyboard.

■ Oct (Master Octave Shift)

Shift the octave range of the keyboard up or down.

❏Settings: -3 ~ 0 ~ +3

■ Trnspose (Master Transpose)

Transpose the pitch of the keyboard up or down (in

semitones). This affects information transmitted via

MIDI.

❏Settings: -11 ~ +11

If you transpose beyond the note range limits (C-2 and G8), the

notes will be wrapped over.

MSTR Kbd) Oct Trnspose Vel

Sys +3 +11 fixed = 127

MSTR TG) Vol NoteShift Tune

Sys 127 +24 +102.3c

The parameters in Utility Mode are explained here.

Utility Mode can roughly be divided into a screen for

settings common to the entire system, a screen for Voice

Mode settings and a screen for Plug-in Board settings.

You will first see the following screen when you enter

Utility Mode. Each of the three Utility Mode screens

contain further sub-screens. Basically the [PAGE] knob

is used to switch between parameter screens and Knobs

[B], [C] and [1]/[2] are used to set the values for each

parameter. You can also use the [DATA] knob or the

[DEC/NO] and [INC/YES] keys to enter values.

Sys (System): System settings

• Master

• Control

• MIDI

Vce (Voice): Voice Mode settings

• Master Equalizer

• Control

Plg (Plug-in): Plug-in Settings

• Plug-in Board Status

• Plug-in Board 1 System

• Plug-in Board 2 System

Details about how to enter Utility Mode are given on

Page 22.

Menu Display

When you use the [PAGE] knob while holding down

the [SHIFT] key, the following menu will be

displayed. Use the [PAGE] knob to move the cursor

(≥) between items, then release the [SHIFT] key to

jump to the selected item.

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

MSTR TG) Sys:>MSTR≥CTRL>MIDI

Sys Vce:>M.EQ>CTRL Plg:>PLG>1>2

Cursor

PLG Status) PLG1:PLG100-VH Expand

Plugin PLG2:PLG150-AN part

M.EQ Low) Shape Gain Freq Q

Vce peak +12dB 50Hz 12.0

MSTR TG) Vol NoteShift Tune

Sys 127 +24 +102.3c

135

Utility Mode

■ Vel (Keyboard Velocity Curve)

Set the Velocity Curve determining how the strength

of the notes played will affect the sound output.

❏Settings: norm, soft, hard, wide, fixed

norm (Normal)

The velocity is in proportion to the strength.

soft

A softer playing style increases the volume level.

hard

A stronger playing style increases the volume level.

wide

A softer playing style lowers the volume level and a

stronger playing style increases the volume level. As a

result, you feel a wider dynamic range.

fixed

Select this curve when you want the tone generator to

respond (sound) in a specific volume, tone or the like.

With this setting, any velocity value will be changed into a

fixed one you specify with the Fixed (Keyboard Fixed

Velocity) parameter below.

■ Fixed (Keyboard Fixed Velocity)

The velocity is fixed at the Vel setting. The sound

output is always the same, regardless of how hard or

gently you play the keyboard. The Vel parameter is

only available if you select the “fixed” Velocity Curve.

❏Settings: 1 ~ 127 (Only available if Vel is set to “fixed” )

Keyboard Playing Strength

Volume

Keyboard Playing Strength

Volume

Keyboard Playing Strength

Volume

Keyboard Playing Strength

Volume

Keyboard Playing Strength

Volume

MSTR EF Bypass (Master Effect By-pass)

Set the parameters related to the [EF BYPASS] key on

the front panel.

■ Insert (Insertion), Reverb, Chorus

When the [EF BYPASS] key is pressed (its LED is

lit), various effects can be bypassed.

❏Settings: off, on (for Insert (Insertion), Reverb and Chorus

effects)

Plug-in Board Variations (Variation Effects) will be

bypassed according to the Insert setting.

MSTR Other (Other Setup)

Set other parameters common throughout the system.

■ PowerOnMode

Select the Mode entered when you switch the synthesizer on.

❏Settings:

Performance:

Performance Play Mode is entered and the first Program

Number (INT: 001) is selected automatically.

Voice (INT):

Voice Play Mode is entered and the first Program Number of

the Internal Memory (INT: 001) is selected automatically.

Quick Access:

Voice Play Mode is entered with Quick Access enabled, and the

first Program Number (A.PIANO) is automatically selected.

last:

The Voice/Performance Program selected before you switched

the power off is recalled.

■ Ctrl (Controller)

Select whether or not the controller (Modulation Wheel,

Aftertouch, Foot Controller, Breath Controller, Knobs)

state/position is maintained (hold) or reset when you

switch between Voices.

❏Settings: hold, reset

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

MSTR Other) PowerOnMode Ctrl BCCurve

Sys Voice(INT) hold thru

MSTR EF Bypass) Insert Reverb Chorus

Sys off on on

136

Utility Mode

■ BCCurve (TG Breath Curve)

Set the Breath Curve determining how the strength

with which you blow into the Breath Controller will

affect the sound output.

❏Settings: thru, soft, hard, wide

CTRL (System Controller)

In Voice Mode, you can set parameters for Controllers.

The following four screens are available.

CTRL KnobA (Control Knob [A])

CTRL KnobB (Control Knob [B])

CTRL KnobC (Control Knob [C])

CTRL Other (Control Other)

CTRL Knobs [A] to [C]

You can assign various control functions to Assignable

Knobs [A] to [C] on the front panel.

CTRL KnobA) CC# Dest

Sys 67[--------] EQLow-G

wide

Adjusted Breath Control

Received Breath Control

hard

Adjusted Breath Control

Received Breath Control

soft

Adjusted Breath Control

Received Breath Control

thru

Adjusted Breath Control

Received Breath Control

■ CC# (Control Number)

Assign MIDI Control Change Numbers to Assignable

Knobs [A] to [C].

❏Settings: 000 ~ 095 (see the separate Data List for

details)

■ Dest (Control Destination)

Set the function to be controlled by Assignable

Knobs [A] to [C].

❏Settings: see the separate Data List for details

The positions of Knobs [A]/[B]/[C] can be memorized

for each Voice, Performance.

If a Master Equalizer parameter is selected as the

destination, the M.EQ settings of “vce” (in Utility

Mode) are increased/decreased Using Knobs

[A]/[B]/[C].

CTRL Other (Controller Other)

Set the Foot Switch and Foot Volume parameters.

■ FS (Foot Switch)

Assign a Control Change message to the Foot Switch.

❏Settings: 000 ~ 100 (000/032 = off, 096 = Arp Sw, 097

= Arpeggio Hold, 098 = Sequence PLAY/STOP,

099/100 = Program Change INC/DEC)

Details about Control Numbers and Control Changes

are given in the separate Data List.

■ FV (Foot Volume)

Select whether Foot Volume controls the Main

Volume or Expression parameter.

❏Settings: volume (Main Volume), expression

Details about the Main Volume and Expression

parameters are given in the separate Data List.

CTRL Other) FS FV

Sys 65[Porta Sw] volume

137

Utility Mode

MIDI (System MIDI)

You can set overall MIDI parameters for the system.

The following five screens are available.

MIDI Ch (MIDI Channel)

MIDI Arp (MIDI Arpeggio)

MIDI Sw (MIDI Receive Switch)

MIDI Other

MIDI GM/XG Receive

MIDI Ch (MIDI Channel)

Set the MIDI Channel parameters.

■ Recv (Basic Receive Channel)

Set the MIDI Receive channel for using the

synthesizer with an external sequencer, computer

and so on, and for using it as a MIDI tone generator.

❏Settings: 1 ~ 16, omni (all channels), off

■ Trans (Keyboard Transmit Channel)

Set the MIDI Transmit channel for transmitting

MIDI from the keyboard, controllers and so on.

❏Settings: Ch1 ~ Ch16, off

■ Local (Local On/Off)

If you set Local to “off,” the keyboard and controllers

are internally disconnected from the synthesizer’s

tone generator section so that no sound is output

when you play the keyboard or use the controllers.

However, the data will be transmitted through the

MIDI OUT. Also, the tone generator section will

respond to messages received at the MIDI IN.

❏Settings: off on,

■ DevNo (Device Number)

Set the MIDI Device Number. This number must

match the Device Number of the external MIDI device

when transmitting/receiving bulk data, parameter

changes or other system exclusive messages to/from it.

❏Settings: 1 ~ 16, all, off

MIDI Arp (MIDI Arpeggio)

Set the arpeggiator’s MIDI parameters.

MIDI Arp) Switch Hold Out(Vce)Ch(Vce)

Sys[ ] 67 68 off 16

MIDI Ch) Recv Trans Local DevNo

Sys omni 1 on all

■ Switch

Select the Control Change Number used to control

the ARPEGGIO [ON/OFF] key.

❏Settings: 000 ~ 095 (000, 032 = off)

■ Hold

Select the Control Change Number used to control

the ARPEGGIO [HOLD] key.

❏Settings: 000 ~ 095 (000/032 = off)

■ Out (Vce)

Enable/disable the output or Arpeggiator data to

external MIDI devices through the MIDI Out.

❏Settings: off (disabled), on (enabled)

■ Ch (Vce) (Arpeggio Transmit Channel)

Select the MIDI channel through which Arpeggio

data will be sent.

❏Settings: 1 ~ 16

MIDI Sw (MIDI Receive Switch)

Set the MIDI Receive parameters.

■ RcvBulk (Receive Bulk)

Select whether or not Bulk Dump data can be received.

❏Settings: protect (off), on

■ BankSel (Bank Select)

Set to enable or disable transmission and reception

of Bank Select messages between the instrument and

an external MIDI device. With any setting other

than “off,” the instrument can receive a Bank Select

massage coming in, and it can also send a Bank

Select massage out to an external MIDI device when

you select a Bank using a MEMORY key or the like

on its front panel.

❏Settings: off, all, part, perform

off:

Ignores (does not receive) a Bank Select message. The

instrument does not send this message, either.

all:

Receives all Bank Select messages coming in. When the

instrument receives only a Program Change message in

Performance Mode, that message selects a Part’s Voice.

part:

Receives only Bank Select messages for selecting a Voice

Bank, whichever mode you are working in.

perform:

Receives only Bank Select messages for selecting a

Performance Bank when you are working in Performance

Mode. When you are working in Voice Mode, the instrument

only receives Bank Select messages for selecting a Voice Bank.

MIDI Sw)RcvBulk BankSel PgmChng Control

Sys on perform off mode1

138

Utility Mode

MIDI GM/XG Receive (if a Multi-Part

Plug-in Board has been installed)

Set GM On and XG Reset Receive parameters. This

screen is only available if a Multi-Part XG Plug-in

Board has been installed.

■ Sw (Receive Switch)

Select whether or not to receive GM On and XG Reset

messages. The XG Plug-in Board will receive GM On

and XG Reset messages if you set this to “on.”

❏Settings: off, on

■ InternalPart

The sound for each of the synthesizer’s Parts can be

output in the following three ways. when a GM

On/XG Reset message is received. Whichever setting

you choose, the Parts of the XG Plug-in Board will

always be output.

❏Settings:

all part:

All Parts of the synthesizer and the Plug-in Board will be

output when MIDI messages are received.

layer part:

Parts which have their Layer Switch parameters set to “on”

and all XG Plug-in Board Parts will be output when MIDI

messages are received.

all off:

No Parts of the synthesizer will be output but all XG Plug-

in Board Parts will be output when MIDI messages are

received.

By default the Sw parameter is set to “on” and the

InternalPart parameter is set to “all off.” If you play a

song file containing a GM On message, the XG Plug-in

Board will be used to play back the song.

M.EQ (Voice Master Equalizer)

You can assign any of five different Equalizer bands in

Voice Mode. The following five screens are available.

M.EQ Low

M.EQ LowMid (Low-Middle)

M.EQ Mid (Middle)

M.EQ HighMid (High-Middle)

M.EQ High

Q (Frequency Characteristic)

Gain

Freq (Frequency)

MIDI GM/XG Receive) Sw InternalPart

Sys on layer-part

■ PgmChng (Program Change)

Set to enable or disable reception of a Program

Change message coming in. With this parameter set

to “on,” the instrument can receive a Program

Change massage coming in, and it can also send a

Program Change out to an external MIDI device

when you select a Voice or Performance (using a

[PROGRAM/PART] key, etc.) on its front panel.

❏Settings: off (disable), on (enable)

■ Control

Set the MIDI transmit/receive parameters controlling

the Sustain parameter of the QED EG.

❏Settings: mode1, mode2

mode1:

Messages are received as Parameter Change messages.

mode2:

Messages are receives as Control Change messages.

MIDI Other

Set other MIDI parameters.

■ In (MIDI Input)

Select whether to use the MIDI In/Out/Thru

connectors or other (future) connectors. At present,

you can only select “MIDI.”

❏Settings: MIDI

■ ThruPort

You can connect your synthesizer to a computer via a

dedicated serial cable on the TO HOST connector. In

which case, MIDI messages received via the TO HOST

connector can be passed through the MIDI OUT

connector of the synthesizer. Set the port number here.

❏Settings: 1 ~ 8

■ Sync

To synchronize playback with an external MIDI device,

you can use either the synthesizer’s internal clock (int)

or MIDI clock signals from the external device (midi).

Select “int” if you are using the synthesizer as the master,

or if you have no other MIDI devices connected to it.

Select “MIDI” when slaving your synthesizer to another

MIDI Clock source connected to the MIDI IN connector.

❏Settings: MIDI, int (internal)

■ SeqCtrl (Sequencer Control)

Select whether or not to transmit/receive Song Start, Stop

and Continue messages via MIDI. This also switches the

transmission of MIDI Clock messages on and off.

❏Settings: off, on

MIDI Other) In ThruPort Sync SeqCtrl

Sys MIDI 1 int on

139

Utility Mode

M.EQ Low (Master EQ Low)

This Equalizer covers low frequencies. You can adjust

the signal level at the specified frequency. You can also

select different Equalizer types (Shapes).

■ Shape

Select either a Shelving or Peaking equalizer. 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.

❏Settings: shelv (Shelving), peak (Peaking)

Details about the shapes of the Shelving and Peaking

Types are given on Page 116.

■ Gain

Set the Gain. This attenuates or boosts frequencies

around the Frequency setting.

❏Settings: -12dB ~ 0dB ~ +12dB

■ Freq (Frequency)

Set the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏Settings: 32Hz ~ 2.0kHz

■ Q (Frequency Characteristic)

This varies the signal level at the Frequency setting

to create various frequency curve characteristics.

❏Settings: 0.1 ~ 12.0

M.EQ LowMid

(Master EQ Low-Middle Range)

M.EQ Mid (Master EQ Middle Range)

M.EQ HighMid

(Master EQ High-Middle Range)

These Equalizers cover low-to-middle, middle and high-

to-middle frequency ranges. They can be used to adjust

the signal level around the specified frequency.

M.EQ HighMid) Gain Freq Q

Vce +12dB 100Hz 12.0

M.EQ Mid) Gain Freq Q

Vce +12dB 100Hz 12.0

M.EQ LowMid) Gain Freq Q

Vce +12dB 100Hz 12.0

M.EQ Low) Shape Gain Freq Q

Vce peak +12dB 50Hz 12.0

■ Gain

Set the Gain. This attenuates or boosts frequencies

around the Frequency setting.

❏Settings: -12dB ~ 0dB ~ +12dB

■ Freq (Frequency)

Set the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏Settings: 100Hz ~ 10kHz

■ Q (Frequency Characteristic)

This varies the signal level at the Frequency setting

to create various frequency curve characteristics.

❏Settings: 0.1 ~ 12.0

M.EQ High (Master EQ High)

This Equalizer covers high frequencies. You can adjust

the signal level at the specified frequency. You can also

select different Equalizer types (Shapes).

■ Shape

Select either a Shelving or Peaking equalizer. 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.

❏Settings: shelv (Shelving), peak (Peaking)

■ Gain

Set the Gain. This attenuates or boosts frequencies

around the Frequency setting.

❏Settings: -12dB ~ 0dB ~ +12dB

■ Freq (Frequency)

Set the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏Settings: 500Hz ~ 16kHz

■ Q (Frequency Characteristic)

This varies the signal level at the Frequency setting

to create various frequency curve characteristics.

❏Settings: 0.1 ~ 12.0

CTRL (Voice Controller)

You can assign MIDI Control Change Numbers to the

controllers and front panel knobs. For example, Knob

[1]/[2] can be set to control the amount of effect

applied to a sound and the Foot Controller can be set to

control modulation. These Control Change Number

assignments are known as “Controller Assign.” The

following two screens are available.

CTRL Assign1 (Controller Assign 1)

CTRL Assign2 (Controller Assign 2)

M.EQ High)Shape Gain Freq Q

Vce peak +12dB 0.5kHz 12.0

140

Utility Mode

CTRL Assign1 (Controller Assign 1)

Use Knobs [C], [1] and [2] to assign Control Change

Numbers to the Breath Controller, Knob [1] and Knob

[2], respectively. The selected Control Change Name is

shown on the left of the display.

■ BC (Breath Controller)

Assign Control Change Number to the Breath

Controller. The Breath Controller is connected to

the BREATH connector (Page 18) on the rear panel.

When the Breath Controller is used, this Control

Change Number is transmitted. Also, if this Control

Change Number is received, the destination

parameter of the Breath Controller is controlled.

❏Settings: 00 ~ 95 (see the separate Data List for details)

■ Knob1/2 (Knob [1]/[2])

Assign Control Change Numbers to Knobs [1] and

[2] on the front panel.

❏Settings: 00 ~ 95 (see the separate Data List for details)

CTRL Assign2 (Controller Assign 2)

Use Knobs [C] and [1] to assign Control Change

Numbers to the Foot Controller and Ribbon Controller,

respectively. The selected function is shown on the left

of the display. Use Knob [2] to select the Ribbon

Controller Mode.

■ FC (Foot Controller)

Assign a Control Change Number to the Foot Controller.

The Foot Controller is connected to the FOOT

CONTROLLER connector on the rear panel (Page 18).

❏Settings: 00 ~ 95 (see the separate Data List for details)

CTRL Assign2) FC RB

Vce [--------] 04 22

Control Change

Number

Control Change Name

CTRL Assign1) BC Knob1 Knob2

Vce [FootCtrl] 02 16 17

Control

Change Number

Control

Change Name

■ RB (Ribbon Controller)

Assign a Control Change Number to the Ribbon

Controller.

❏Settings: 00 ~ 95 (see the separate Data List for details)

Details about Controller Assign settings in Performance

Mode are given on Page 116.

PLG (Plug-in) (if a Plug-in Board has been installed)

If you have a Plug-in Board installed, the following three

screens are available for setting its parameters.

However, the number of sub-screens and parameters will

vary depending on the type of Plug-in Board installed.

PLG Status (Plug-in Status)

PLG1/2 MIDI (Plug-in 1/2 MIDI)

PLG1/2 System (Plug-in 1/2 System)

PLG Status (Plug-in Status)

The name of the Plug-in Board is displayed.

■ PLG1 (Plug-in 1)

The name of the Plug-in Board in the Plug-in 1 slot

is displayed.

■ PLG2 (Plug-in 2)

The name of the Plug-in Board in the Plug-in 2 slot

is displayed.

Nothing is displayed for vacant Plug-in slots.

■ Expand

This parameter is accessible only when you have two

identical Plug-in boards installed on the instrument.

The “part” setting enables two boards to work

separately (you can select them in two different

Parts). The “poly” setting enables two boards to work

together to double polyphonic notes (you can only use

them in a single Part with double polyphony).

❏Settings: part, poly

PLG1 MIDI (Plug-in 1 MIDI)

PLG2 MIDI (Plug-in 2 MIDI)

Set the MIDI parameters of the Plug-in Board.

PLG2 MIDI) Clock DevNo

PLG150-AN on all

PLG Status) PLG1:PLG100-VH Expand

Plugin PLG2:PLG150-AN ----

141

Utility Mode

■ Clock

Select whether or not to transmit MIDI Clock

messages to the Plug-in Board.

❏Settings: off, on

■ DevNo (Device Number)

Set 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 to/from it.

❏Settings: 1 ~ 16, all, off

PLG1/2 System (Plug-in 1/2 System)

Set the system parameters for each Plug-in Board. Use

Knob [C]/[2] to change the parameter. The number of

screens and parameters will vary depending on the type

of Plug-in Board installed. In the following example, a

PLG150-AN Plug-in Board has been installed in the

Plug-in 2 slot.

The system settings for the PLG100-VH Plug Board

(Harmony Channel and Melody Channel) are set in

Performance Mode. Select an effect type using knob [1] in

the EFF plg screen of Common Effect. Then press the

[ENTER] key to enter the settings screen.

Part Assign (assignment) for a Single-Part Plug-in Board is

fixed as follows:

• Voice Mode: 1

• Performance Mode: PLG1:16

PLG2:15

Synchronize the tempo settings of the S80 and

the Plug-in Board.

If you are using a Plug-in Board capable of

generating arpeggio patterns, you can synchronize

its tempo with that of the S80.

1 Enter Utility Mode and select either PLG1 MIDI

screen or the PLG2 MIDI screen for the respective

Plug-in Board. Then use the appropriate knob to

set the Clock parameter to “on.”

2 Enter Voice Mode, select the Plug-in Voice of the

respective Plug-in Memory, then enter Voice Edit Mode.

3 Use knob [A] to select “Elem,” as shown at the

bottom left of the screen.

4 Use the [PAGE] knob to select the name of the

Plug-in Board, as shown at the bottom left of the

screen. Then enter the Plug-in native part

parameter screen.

5 Use the [PAGE] knob to select the Plug-in native

part parameter for the tempo. Then use the

appropriate knob to select MIDI (midi).

PLG2 System) Vel Curve Mrph CtrlNo

norm off

Now, the tempo of the Plug-in Board is

synchronized with the MIDI clock signal received

from the S80.

To synchronize with an external MIDI clock source,

enter Utility Mode and set the Sync parameter of the

MIDI Other screen to “MIDI.”

Utility Job Mode

In Utility Job Mode, you can restore your synthesizer’s

factory default settings (Factory Set). There is only

one screen in this Mode.

Factory Set (Restore Factory

Defaults)

You can restore the synthesizer’s default Internal

Voices and Performances, as well as its System and

other settings.

Once you edit any settings, their factory defaults will

be overwritten and lost.

You can restore the factory default settings as follows.

When you restore the factory default settings, all the

current settings for the all the Internal Voices and

Performances will be overwritten with the factory defaults.

Make sure you are not overwriting any important data.

You should back up any important data to Memory Card,

or to some external device beforehand.

1Press the [JOB] key in Utility Mode. You will see the

Factory Set screen.

2When you press the [ENTER] key, you will see a

confirmation message.

3Press the [INC/YES] key to execute the Factory Set

job. You will see the “Completed.” message

displayed after the job has completed. You can

cancel a job while it is being executed by pressing

the [DEC/NO] key.

4Press the [EXIT] key to return to Utility Mode.

UTIL Factory Set)

Job

STOREVOICE

ODE

UTILITY

EDIT JOB

PLAY

STOP

CARD

SEQ

PLAY

PERFORM

COMPARE

■ Formatting Memory Cards

Before using a Memory Card with your instrument it

must first be formatted. Once it is formatted all data on

it will be erased. Be sure to check if the data is

unnecessary for you or not, beforehand.

The Memory Cards formatted with this instrument may

become unusable with other instruments.

■ About the Memory Cards

• To handle Memory Cards with care:

There are times when static electricity affects Memory

Cards. Before you handle Memory Cards, to reduce the

possibility of static electricity, touch the metal parts such as

a door knob and aluminum sash.

Be sure to remove the Memory Card from the Memory Card

slot when it is not in use for a long time.

Do not expose the Memory Card to direct sunlight,

extremely high or low temperatures, or excessive

humidity, dust or liquids.

Do not place heavy objects on a Memory Card or bend or

apply pressure to the Memory Card in any way.

Do not touch the metal part (gold) of the Memory Card

or put any metallic plate onto the metal part.

Do not expose the Memory Card to magnetic fields, such

as those produced by televisions, speakers, motors, etc.,

since magnetic fields can partially or completely erase

data on the Memory Card, rendering it unreadable.

Do not attach anything other than the provided labels to

a Memory Card. Also make sure that labels are attached

in the proper location.

• To protect your data (Write-protect):

To prevent inadvertent erasure of important data, stick

the write-protect seal (provided in the Memory Card

package) onto the designated area (within a circle) of

the Memory Card.

Conversely speaking, to save data on the Memory Card,

make sure to remove the write-protect seal from the Card.

Do not reuse the seal that is peeled off.

■ Data Backup

For maximum data security Yamaha recommends that

you keep two copies of important data on separate

Memory Cards. This gives you a backup if one Memory

Card is lost or damaged.

■ Burglarproof Lock

This instrument is equipped with a burglarproof lock

for the Memory Card. If necessity arises, mount the

burglarproof lock onto the instrument.

To mount the burglarproof lock:

1 Remove the metallic part using a Phillips screwdriver.

2 Turn the metallic part upside down and then

mount it again.

142

Card Mode

In Card Mode, you can use Memory Card, a SmartMedia™ card

available at a consumer electronics shop, etc., to save or load

data from/to the instrument or perform other data exchange

operations between memories on the instrument and the Card.

Using the included Card Filer software, you can use a computer

to manage data on Memory Card. You can also use it to

exchange data between the computer and Memory Card.

Handling the Memory Card(SmartMedia™*)

Be sure to handle Memory Cards with care. Follow the

important precautions below.

* SmartMedia is a trademark of Toshiba Corporation.

■ Compatible Memory Card Type

3.3V(3V) Memory Cards can be used. 5V type Memory

Cards are not compatible with this instrument.

■ Memory Capacity

There are five types of Memory Cards:

2MB/4MB/8MB/16MB/32MB. A Memory Card with the

memory capacity exceeding 32MB can also be used if it

conforms to the standards of SSFDC (Solid State Memory

Card Card: another name of SmartMedia) Forum.

■ Inserting/Removing Memory Cards

• To insert a Memory Card:

Hold the Memory Card so that the connector section

(gold) of the Memory Card is facing downward and

forward, towards the Memory Card slot. Carefully insert

the Memory Card into the slot, slowly pushing it all the

way in until it is fitted in place.

- Don’t insert the Memory Card in wrong direction.

- Don’t insert anything other than a Memory Card in

the slot.

• To remove a Memory Card:

Make sure to turn the instrument off and pull the Memory

Card out of the slot.

Always the instrument must be turned off before

removing the Memory Card.

However, if the Memory Card's memory is full and you

want to exchange it with a new one to save your

currently edited data, follow the following procedure:

Before removing the Memory Card, be sure to confirm

that the Memory Card is not in use, or it is not being

accessed by the instrument. Then pull the Memory Card

out slowly by hand. If the Memory Card is being

accessed*, a message indicating that it is in use appears on

the instrument's display.

* It includes saving, loading, formatting, deleting and

making directory. Also, be aware that the instrument will

automatically access the Memory Card to check the media

type when it is inserted while the instrument is turned on.

Never attempt to remove the Memory Card or turn

the power off during accessing. Doing so can

damage the data on the instrument/Memory Card

and possibly the Memory Card itself.

Card Mode

143

Card Mode

■ SMF (Standard MIDI Files)

Format 0 Standard MIDI Files (SMFs) can be played

back in Song Mode. However, they cannot be saved.

❏ Extension: “.MID”

The SMF is a standardized sequence file format used by

musical instrument manufacturers, computer software

companies and other parties. An SMF can easily be

exchanged between SMF-compatible sequencers,

regardless of the manufacturer. The following two

types of SMF exist, though this synthesizer will only

play back Format 0 SMFs.

• Format 0:

Data for multiple MIDI channels is contained within a

single track.

• Format 1:

Data for multiple MIDI channels is contained within

multiple tracks.

If the SMF you wish to play back is in Format 1, use the

included Card Filer software to convert to Format 0 via

computer. Details of how to convert SMFs are given in

the Card Filer documentation (in PDF format). Details

about installing the Card Filer software are given in the

separate Installation Guide.

Automatically Loading Files

The synthesizer can automatically load certain files

(All/Plug-in data) when you switch it on.

Name the file to be loaded automatically as follows,

then save it to the highest directory of the Memory

Card. Insert the card into the CARD slot before

switching the synthesizer on.

Data will be loaded automatically and any existing

data in memory will be overwritten. Therefore, you

should save important data to Memory Card (or

other media) beforehand.

To prevent the automatic loading of files, hold down

the [EXIT] key when powering up the synthesizer.

Release the key when the “Now checking plug-in

board.” message is displayed.

■ All (all data):

Name the file “AUTOLOAD.S2A” to automatically

load all data.

■ Plugin (Plug-in data):

Name the file “AUTOLD1.S2B” to automatically load

Plug-in 1 Board data, or “AUTOLD2.S2B” for Plug-in

2 Board data.

You will see the 1st screen (Status) when you enter

Card Mode. The following seven screens are available,

each for a different operation.

1st screen: Status

2nd screen: Save

3rd screen: Load

4th screen: Rename

5th screen: Delete

6th screen: MkDir (Make Directory)

7th screen: Format

Details about how to enter Card Mode are given on Page 22.

File Types

You can handle the following five types of files to your

synthesizer.

■ all (All Data)

All data in the synthesizer and in External Memory

data are treated as a single file, and can be

saved/loaded as such.

❏ Extension: “.S2A”

Plug-in Board data cannot be saved.

System, Performance and Plug-in voice data can only be

saved in this format.

■ all-voice (All Voice Data)

All Voice data in the synthesizer (128 Normal Voices

+ 2 Drum Voices) and in External Memory (128

Normal Voices + 2 Drum Voices) are treated as a

single file, and can be saved/loaded as such. Plug-in

Voice data is not included.

❏ Extension: “.S2V”

■ plugin

All Plug-in Board data is treated as a single file, and

can be saved/loaded as such. Data for Plug-in Voice

settings are not included.

❏ Extension: “.S2B”

■ chain (Sequence Chain)

Chain data for Standard MIDI Files (SMFs) are

treated as a single file, and can be saved/loaded as

such. This data is used for playing back multiple

songs in succession.

❏ Extension: “.S2C”

144

Card Mode

Card Mode Operations

1Insert the Memory Card into the CARD slot.

2Press the [CARD] key to enter Card Mode.

3Use the [PAGE] knob to switch to the screen for the

operation you wish to perform.

In the first “Status” screen, you don’t need any further

operation described in step 2 and after.

4Use Knobs [B], [C], [1] and [2] to set each parameter.

Alternatively, you can use the [DATA] knob and the

[DEC/NO] and [INC/YES] keys.

To save, load, rename or delete a file, use Knob [B] to

select the File Type and Knob [C] to select the File

Number.

File Directories

Directories are denoted by “DIR” next to the

directory name. To open a directory, use Knob [C]

to move the cursor to it and press the [ENTER] key.

All the files in the directory are displayed. If you

select File Number 000, “up dir” will be displayed.

By pressing the [ENTER] key, you will be returned

to the parent directory (i.e., moved up one directory

level).

When saving or renameing, the directory for the

currently selected file is displayed if you press the

[SHIFT] key.

5When you press the [ENTER] key, you will see a

confirmation message.

6Press the [INC/YES] key to execute the operation.

The message “Completed.” will be displayed after it

has executed, and you will be returned to the

previous screen.

The operation will be canceled if you press the

[DEC/NO] key during execution.

If the operation takes some time to execute, you will see

the message “Executing...” If you switch the power off

in this state, the data may be damaged.

The steps in the procedure may vary slightly, depending

on the operation being performed. Refer to the

explanation of each operation for details.

Load) Type File:/VOICEDIR/SUBDIR-1/

<< Are you sure? [YES]/[NO] >>

SHIFT PAGE

PA RT

ELEMENT

DATAABC1 2

Save) Type File A-? Cursor

Card all ***[NEWFILE .S2A]

Status

You can view the amount of free and used on the

Memory Card. There are no settings.

■ Used

Shows the amount of Memory Card memory used.

The amount is shown as a percentage in parentheses.

■ Free

Shows the amount of free memory on the Memory

Card.

Save

You can save files to Memory Card as follows.

■ Type (File Type)

❏ Settings: all (all data), all-voice, chain (Sequence Chain),

plugin1, plugin2

Details about each File Type are given on Page 143.

The Memory Card must be formatted before you can

save data to it (Page 147).

1Use Knob [B] to select the File Type to which the

data will be saved.

2To overwrite an existing file, use Knob [C] to select

the File Number.

To save a file with a new name, use Knob [2] to

move the cursor. Then use Knob [1] or the [DATA]

knob or [DEC/NO] and [INC/YES] keys to enter the

new file name (see next Page).

If you press the [SHIFT] key, the directory for the

currently selected file is displayed. Further details are

given in the section “Card Mode Operations”.

3When you press the [ENTER] key, the file will be

saved. If an existing file will be overwritten when

saving, a confirmation message will be displayed and

the following step will be necessary.

Save) Type File:/VOICEDIR/SUBDIR-1/

Card all 001[NEWFILE .S2A]

Data to be saved

(File Type)

File number of

file to be saved

New file name

Status) Used Free

Card 2.9MB(70%) 1.1MB

145

Card Mode

4Press the [INC/YES] key to save the file. The

message “Completed.” will be displayed after it has

been saved, and you will be returned to the previous

screen.

The save operation will be canceled if you press the

[DEC/NO] key during execution.

When saving a file, the “Card full” message will be

displayed if the space left on the Memory Card is

insufficient. Free up space by deleting unwanted data

and so on, then try saving the file again.

If you enter the name of a file that already exists, you

will see the “Overwrite? Are you sure?” confirmation

message before saving.

Take care not to overwrite important data held on

Memory Card.

File Name Settings

The procedure for renaming files is basically the

same as for renaming Voices. However, you cannot

use symbols or lower case characters, and the name

can only be up to eight characters in length. Details

about renaming Voices are given on Page 70.

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.

Load

You can load files from Memory Card to the

synthesizer is as follows.

■ Type (File Type)

❏ Settings: all (all data), perf (Performance), all-voice, voice,

chain (Sequence Chain), plugin1, plugin2,

Load) Type File:/VOICEDIR/SUBDIR-1/

Card all-voice 001[NEWFILE .S2V]

File Number of

file to be loaded

Data to be loaded

(File Type)

1Use Knob [B] to select the File Type of the data to be

loaded.

2Use Knob [C] to select the File Number.

3When you press the [ENTER] key, the following will

be displayed, depending on the selected File Type.

• If you have selected a File Type other than

“perf” or “voice”:

A confirmation message is displayed before loading.

The synthesizer will automatically select an appropriate

location in its internal memory, according to the file type

being loaded.

• If you have selected “perf” or “voice” as the File

Type:

You will further have to specify the type of data and

the location to which the file will be loaded.

Use Knobs [B], [C], [1] and [2] to select the file and

the location to which it will be loaded.

Alternatively, you can use the [DATA] knob and the

[DEC/NO] and [INC/YES] keys.

When you press the [ENTER] key, you will see a

confirmation message.

The types of data that you can select for each File

Type, and the locations to which they will be loaded,

are as follows.

perf (Performance)

❏ Settings:

Source Performance Memory:

INT (Internal), EXT (External)

Source Performance Number:

all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT)

Target Performance Memory:

INT (Internal), EXT (External)

Target Performance Number:

all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT)

If you set the source Performance Number to “all,” the

target Performance Number will also be set to “all.”

Load) [Pf:Init Perf ] [Pf:Init Perf ]

Card EXT:064(D16) > INT:128(H16)

Performance Number

of file to be loaded (source)

Performance Number to

which file will be loaded (target)

Performance Memory

of file to be loaded (source)

Performance Memory to

which file will be loaded (target)

Load) Type File:/VOICEDIR/SUBDIR-1/

<< Are you sure? [YES]/[NO] >>

146

Card Mode

voice

❏ Settings:

Source Voice Memory:

INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2

(Plug-in 2)

Source Voice Number:

all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64

(PLG1/PLG2)

Target Voice Memory:

INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2

(Plug-in 2)

Target Voice Number:

all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64

(PLG1/PLG2)

If you select PLG1/PLG2 as the source (or target) Voice

Memory, the target (or source) Voice Memory will also

be set to PLG1/PLG2.

If you set the source Voice Number to “all,” the target

Voice Number will also be set to “all.”

4Press the [INC/YES] key to load the file. The message

“Completed.” will be displayed after it has been loaded,

and you will be returned to the previous screen.

The load operation will be canceled if you press the

[DEC/NO] key during execution.

The synthesizer can automatically load files when you

switch it on. (You will need to insert the card into the

CARD slot before switching the synthesizer on.)

Details are given in the section “Automatically Loading

Files” (Page 143).

If there is already data in the synthesizer, it will be

completely lost when you load a file.

Take care not to erase important data when performing

operations.

When loading a file, the “Memory full!” message will be

displayed if the space left in your synthesizer’s internal

memory is insufficient. Free up space by deleting

unwanted data and so on, then try loading the file

again.

When loading a file, the “File not found!” message will

be displayed if the File Type you have selected does not

exist on the Memory Card.

Rename

You can rename files using up to eight alphabetic and

numeric characters.

Rename) Type File: A-? Cursor

Card all 001[NEWFILE .S2A]

File Type File NameFile Number

Load) [Pf:Init Voice] [Pf:Init Voice]

Card EXT:064(D16) > INT:128(H16)

Voice Number of file

to be loaded (source)

Voice Number to which

file will be loaded (target)

Voice Memory of

file to be loaded (source)

Voice Memory to

which file will be loaded (target)

■ Type (File Type)

❏ Settings: all (all data), all-voice, chain (Sequence Chain),

plugin, other

Details about File Types are given on Page 143.

1Use Knob [B] to select the File Type and Knob [C] to

select the File Number.

If you press the [SHIFT] key, the directory for the

currently selected file is displayed. Further details are

given in the section “Card Mode Operations” (Page 144).

2To rename the file, use Knob [2] to move the cursor.

Then use Knob [1] or the [DATA] knob and [DEC/NO]

and [INC/YES] keys to enter the new file name.

The procedure for renaming files is basically the

same as for renaming Voices. However, you cannot

use symbols or lower case characters, and the name

can only be up to eight characters in length. Details

about renaming Voices are given on Page 70.

3Press the [ENTER] key to rename the file. The

message “Completed.” will be displayed after it has

been renamed, and you will be returned to the

previous screen.

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.

Delete

You can delete files saved on Memory Card.

■ Type (File Type)

❏ Settings: all (all data), all-vioce, chain (Sequence Chain),

plugin, other

To delete a directory, delete any files within that

directoryand then delete the directory itself.

Details about File Types are given on Page 143.

1Use Knob [B] to select the File Type and Knob [C] to

select the File Number.

2When you press the [ENTER] key, you will see a

confirmation message.

3Press the [INC/YES] key to delete the file. The message

“Completed.” will be displayed after it has been deleted,

and you will be returned to the previous screen.

The delete operation will be canceled if you press the

[DEC/NO] key during execution.

Delete) Type File:/VOICEDIR/SUBDIR-1/

Card all 001[NEWFILE .S2A]

File Type File NameFile Number

147

Card Mode

MkDir (Make Directory)

You can create new directories and subdirectories (new

directories within existing ones). This allows you to

store files in separate directories according to File Type.

The directory hierarchy can have up to 27 levels.

You cannot create a directory with the same name as one

that already exists.

The hierarchy display (directory path) will not be shown if

the Memory Card has no directory other than the “root”

directory.

1Use Knob [C] to select an existing directory and

repeat until you have reached the level in the

hierarchy at which you wish to create a new

directory.

2To create a new directory, use Knob [2] to move the

cursor. Then use Knob [1] or the [DATA] knob and

[DEC/NO] and [INC/YES] keys to enter the new

directory name.

The procedure for renaming files is basically the

same as for renaming Voices. However, you cannot

use symbols or lower case characters. Details about

renaming Voices are given on Page 70. Directory

names can only be up to 8 characters long.

3Press the [ENTER] key to create the directory. The

message “Completed” will be displayed after it has

been created, and you will be returned to the

previous screen.

Directories are denoted by “Dir” next to the directory

name. To open a subdirectory, use Knob [C] to move

the cursor to it and press the [ENTER] key. All the

files in the subdirectory are displayed. If you select File

Number 000, “up dir” will be displayed. By pressing

the [ENTER] key, you will be returned to the parent

directory (i.e., moved up one directory level).

MkDir) /VOICEDIR/SUBDIR-1/ A-? Cursor

Card Dir:***[NEWDIR-3]

Directory Name

Format

Before you can use a new Memory Card with the

synthesizer, you will need to format it.

Insert a new Memory Card into the CARD slot. When

you press the [ENTER] key, you will see a

confirmation message. Press the [INC/YES] key to

start formatting the Card. You will see the

“Executing...” message while the Card is being

formatted.

If there is already data on the Memory Card, it will

be completely lost when you format it.

Do not remove the Memory Card while it is being

formatted, since this could result in damage to the

synthesizer and the card.

After formatting, an EXT Memory file will

automatically be created. During this process, the

message “Now saving...” will be displayed.

Format) Press

Card [ENTER]

148

Appendix

How to Install the

Optional Plug-in Board

1 Turn the keyboard power off, and disconnect the power

cord. Also, if the keyboard is connected with other

external device(s), disconnect the device(s).

2 Move to a position facing the rear panel of the keyboard,

and remove the screws from the Plug-in board cover at

the bottom center side with a coin or a Phillips

screwdriver (three SILVER screws only). Do not remove

the other screws.

n Keep the removed screws in a safe place. They will be used when

attaching the Plug-in board cover to the keyboard again.

3 Remove the Plug-in board cover by pulling it to your side.

The plate incorporated with the Plug-in board cover will

appear. The plate can accommodate two Plug-in boards,

on its top and bottom: PLG1 (top) and PLG2 (bottom).

Those two can be identified by the color of the connector

cable.

PLG1: One of the cables is ORANGE and the

others are blue.

PLG2: One of the cables is YELLOW and the

others are blue.

Available slot (PLG1, PLG2) differs depending on the type

of the Plug-in boards. For details, refer to the table above in

the left column.

When installing the optional Plug-in board (from when you

remove the cover to when the cover is replaced securely)

all operations must be done with the AC power cord

disconnected.

Top (PLG1)

Bottom (PLG2)

A variety of optional Plug-in boards sold separately let you

expand the voice library of your instrument. The following

types of Plug-in boards can be used with your instrument.

● PLG150-AN

● PLG150-PF

● PLG100-XG

● PLG150-VL

● PLG150-DX

● PLG100-VH

n See page 32 for detailed explanations for each board.

Available slot (PLG1, PLG2) differs depending on the type of

the Plug-in boards. Please take it into consideration before

installation.

n Although the PLG100-VL and PLG100-DX can also be installed,

some of the functions are not available.

Precautions When Installing

the Optional Boards

Remember the following precautions and install the Plug-in

boards properly by following the steps as written.

• Handle the Plug-in boards with care. Dropping or

subjecting the Plug-in board to any kind of shock may

cause damage or result in a malfunction.

• Be careful of static electricity. There are times when static

electricity affects the IC chips on the Plug-in board.

Before you lift 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.

• Before starting installation, be sure that you have a coin

or a Phillips screwdriver at hand.

• 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.

• When inserting Plug-in boards and connecting cables,

make sure that you check that they are inserted and

connected properly. Improperly inserted Plug-in boards

and cables may cause faulty contacts and an electrical

short circuit which may cause damage or result in a

malfunction.

• After mounting the Plug-in board be sure to tighten the

screws as directed so it is completely stable and does not

move in any way.

PLG1/PLG2

PLG1 only

PLG2 only

Single-part Plug-in Boards (PLG150-AN, PLG150-PF,

PLG150-VL, PLG150-DX)

Effect Plug-in Board (PLG100-VH)

Multi-part Plug-in Board (PLG100-XG)

About the Plug-in Boards (Optional)

4 Remove the tape which is used to fasten the cable to the

plate.

5 Take out the Plug-in board from the anti-static bag.

When installing the board, the side with a connector and

ICs must be on top.

6 Mount the Plug-in board onto the plate as detailed in the

following steps.

6-1 Insert one side of the Plug-in board (the side

opposite to the connector) into the hooks 1 as

shown in the illustration.

-2 Press down the other side until it is securely

settled on the hooks 2.

Hooks 2

Hooks 1

tape

6-3 Carefully plug the cable connector into the Plug-in

board connector until the two notches on the

cable connector lock into the sockets on the board.

Removing the Plug-in board from the keyboard

1 Pull out the cable connector from the Plug-in board

connector.

2 Press down the hooks 2 in the direction as shown in the

illustration and take the board out from the hooks 2 by

lifting up the one side.

3 Pull out the other side of the board from the hooks 1.

149

Appendix

150

Appendix

7 Insert the plate into the keyboard.

8 Replace the Plug-in board cover by fastening the three

SILVER screws you removed in the step 2 above.

151

Appendix

Failed to process the MIDI data because too much data was received at once.

Error occurred when receiving MIDI data.

Error occurred when receiving bulk data.

Internal backup battery needs to be replaced.

No more available memory on the Memory Card.

Can t find the specified type of file.

Memory Card is faulty.

Memory Card has not been inserted, or an incompatible card (5V type) has been inserted.

Memory Card has not been formatted.

Memory Card is write protected.

Memory Card has been wrongly formatted.

File with the same name already exists.

Data in the file is corrupted and cannot be used.

The specified file name is not in MS-DOS format.

File is a read-only type, and cannot be deleted, renamed or saved.

A file could not be created on the Memory Card.

No further directories can be created.

Directory cannot be entered because it is too deep.

File format is not recognized.

Bulk data cannot be received because protection is enabled.

Bulk data cannot be transmitted/received because the device number is set to "off."

Bulk data cannot be transmitted/received because the device numbers don t match.

Cannot be used because Slot 1 contains a Multi-Part Plug-in Board.

Cannot be used because Slot 2 contains a Effect Plug-in Board.

Plug-in Board in Slot 1 is not working properly.

Plug-in Board in Slot 2 is not working properly.

Sound requires a different Plug-in Board to that inserted in Slot 1.

Sound requires a different Plug-in Board to that inserted in Slot 2.

When used with a PLG100 series Plug-in Board, a data file of which File Type

is plugin cannot be stored on a Memory Card.

Operation is being executed.

Memory Card operation is being executed.

File is being loaded from Memory Card.

File is being saved to Memory Card.

Plug-in Board(s) is/are being checked (after powering up the synthesizer).

MIDI Bulk data is being received.

MIDI Bulk data is being transmitted.

Sound has been stored.

Operation has completed.

Final confirmation.

There is a file already stored with the same name. Replace it with a newer

one with that name?

Meaning

<< ! MIDI buffer full. >>

<< ! MIDI data error. >> 

<< ! MIDI checksum error. >>

<< ! Change internal battery. >>

<< ! Card full. >>

<< ! File not found. >>

<< ! Bad card. >>

<< ! Card not ready. >>

<< ! Card unformatted. >>

<< ! Card write protected. >>

<< ! Illegal card. >>

<< ! File already exists. >>

<< ! Illegal file. >>

<< ! Illegal file name. >>

<< ! Read only file. >>

<< ! Can't make "EXT" file. >>

<< ! Can't make directory. >>

<< ! Too deep directory. >>

<< ! Unknown file format. >>

<< ! Bulk protected. >>

<< ! Device number is off. >>

<< ! Device number mismatch. >>

<< ! Multi plugin in slot 1. >>

<< ! Effect plugin in slot 2. >>

<< ! Plugin1 communication error. >>

<< ! Plugin2 communication error. >>

<< ! Plugin1 type mismatch. >>

<< ! Plugin2 type mismatch. >>

<< ! PLG100 not supported. >>



<< Executing... >>

<< Now working... >>

<< Now loading... >>

<< Now saving... >>

<< Now checking plug-in board. >>

<< MIDI bulk receiving... >>

<< MIDI bulk transmitting... >>

<< C 3:128[ ] Stored. >>

<< Completed. >>

<< Are you sure ? [YES]/[NO] >>

<< Overwrite? [YES]/[NO] >>



Message

Display Messages

152

Appendix

Troubleshooting

The following table provides troubleshooting hints and page references for some common problems. Most problems may be

simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if

you can find and correct the cause of the problem.

No sound.

• Is the volume set appropriately? (Pages 6 and 20)

• With the S80, if a Foot Controller has been connected to the FOOT VOLUME jack, has it been fully depressed? (Page 18)

• Is the Vol (volume) parameter of the QED Level screen of Voice Edit Common sufficiently high? (Page 71)

• Has the WaveNumber parameter of the OSC Wave screen of Voice Edit Element been set to 000 (off)? (Page 79)

• Is the Level parameter of the OSC Out screen in Voice Edit Element sufficiently high? (Page 79)

• Have the note range/velocity (note) range of the ZONE, OSC screen in Voice Edit been set appropriately? (Page 80)

• Are any of the Elements muted? (Page 51)

• Have the Element filters been set to cut almost all the sound? (Page 83)

• Have the effects parameters been set appropriately? (Pages 71, 78, 79, 117, 120)

• Have the MIDI receive channels been set correctly? (Pages 123 and 137)

• Has the audio equipment been connected correctly? (Page 13)

• Has the Local switch been set to OFF? (Page 137)

• Have the Velocity Sensitivity, Note Limit and Velocity Limit parameters been set appropriately? (Pages 80, 102, 123 and 128)

• When playing back a song using the internal sequencer or an external MIDI device, have the volume and expression

parameters been set appropriately?

• When playing performances using the internal sequencer or an external MIDI device, have the transmit channels for each

sequencer track and the receive channels for each Part in the Performance, been set correctly? (Page 123)

• For Performances, is the volume of each Part sufficiently high? (Page 120)

• For Performances, has the output for each Part been set correctly? (Page 123)

• Have you selected EXT Memory without having inserted a Memory Card? (Page 28)

• With the Arpeggiator enabled, has the Arpeggio Category parameter been set to “Ct” and the Key Mode parameter set to

something other than “direct”? (Page 72)

There is no arpeggiator sound.

• Has the Arpeggiator’s note range been set appropriately? (Page 73)

• In Performance Mode, have the Layer Switch and Arpeggio Switch parameters for the Part(s) been set to ON? (Page 123)

• Has the Tempo parameter in the ARP Type screen been set to “MIDI,” despite no MIDI clock signals being received?

Arpeggiator settings (On/Off, Hold, Tempo) cannot be

changed.

• Plug-in Boards feature their own built-in arpeggio pattern generators. Details are given on Page 141, and also in the Owner’s

Manual that comes with each Plug-in Board. (For the PLG150-AN Plug-in Board the settings are found in the Arp/SEQ Sw

screen. Details are given on Page 29 of the PLG150-AN Owner’s Manual.)

Sounds are distorted sounds.

• Have the effects been set appropriately? (Pages 71, 78, 79, 117, 120)

• Has the volume been set too high? (Pages 6 and 20)

• Has the GAIN knob of the A/D INPUT been turned up too high? (Page 11)

153

Appendix

Sound is very quiet.

• Has the MIDI volume or MIDI expression been set too low?

• Has the filter cutoff frequency been set too high/low? (Pages 72, 96, 115, 120)

The pitch is wrong.

• Have the NoteShift and Tune parameters in the MSTR TG screen of Utility Mode been set correctly? (Page 134)

• Have the Oct and Trnspose parameters in the MSTR Kbd screen of Utility Mode been set appropriately? (Page 134)

• Have the pitch related parameters in PITCH menu (Voice Edit) been set appropriately? (Page 80)

• Has the Micro Tuning parameter in Voice Edit Mode been set to an unconventional scale? (Page 71)

• Has the Pitch Modulation Depth in the LFO screen (Voice Edit Mode) been set too high? (Page 91)

• For Performances, has the Note Shift parameter in the LYR (Layer) screen been set to a value other than 0? (Page 123)

• For Performances, has the Detune parameter for each Part been set to a value other than 0? (Page 123)

Sound is choppy and intermittent.

• Has the maximum polyphony been exceeded? (Page 33)

Only one note sounds at a time.

• Has the Mode parameter in the GEN Other screen of Voice Edit Common been set to “mono”? (Page 71)

• In Performance Mode, has the Mode parameter in the LYR Mode screen been set to “mono” for each Part? (Page 122)

No effects are applied.

• Has the [EF BYPASS] key been set to OFF? (Page 56)

• Has the Insertion Effect Element Switch parameter in the EFF screen of Voice Edit been set to ON? Also in this Mode, has

the effect type been set to something other than “thru” or “off”? (Page 78)

• For Performances, have the Insertion Effect Parts been specified? (Page 117)

• For Reverb and Chorus, have the effect types in the Common Edit screens been set to ON? (Pages 79, 118)

• If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance been set

to something other than OFF? (Page 117)

• If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance been set to something

other than “THRU”? (Page 118)

The Element switches do not work for the Control Set

• Have Element-specific parameters been selected as Dest (Destination)? (Page 75)

The Plug-in Board does not work.

• Has the Effect Plug-in Board been installed in PLG2? (Page 148)

• Has the Multi-Part-type Plug-in Board been installed in PLG1? (Page 148)

• If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance’s

Common Effect been set to something other than “off”? (Page 118)

• If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance’s Common Effect been

set to something other than “THRU”? (Page 118)

154

Appendix

Cannot find the Drum Voice.

• Drum Voices are selected differently to Normal Voices (Page 66).

Cannot enter small values.

• Have you only tried entering values using Assignable Knobs [A] to [C] or Knob [1]/[2]? (Page 24)

Cannot move the cursor without the settings being affected.

• Hold down the [SHIFT] key while using Knobs [A] to [C], Knob [1]/[2], and the [DATA] knob or the [INC/YES] and

[DEC/NO] keys (Page 24).

You selected another mode, Voice, or Performance without

storing, and have inadvertently erased the data.

• If you’ve selected another mode, Voice, or Performance without storing the edited Voice or Performance, you can use the

Recall function (in the Job mode) to restore the last edited data (Pages 105, 130).

The Quick Access function doesn’t work.

• When a program change message is received from a connected MIDI device (such as a computer or MIDI keyboard), the

Quick Access function is automatically disabled. When using the Quick Access function, set Program Change (PgmChng) to

“off” in the MIDI Receive Switch (MIDI Sw) parameter in the Utility mode (Page 138).

Cannot receive bulk data.

• When using the S80 Voice Editor, have you set a sufficient Dump Interval? The Dump Interval in the Voice Editor Setup

dialog must be set to 10ms or greater.

Macintosh users: Card Filer for Macintosh does not work

correctly.

• Are you using MIDI Time Piece?

Card Filer is not compatible with MIDI Time Piece. You need to disable the use of MIDI Time Piece on the Macintosh.

Specifications

Initial touch, After touch

AWM2, Modular Synthesis Plug-in System

Normal voices (256 Presets, 128 Internals [Users], 128 Externals [Memory Cards]),

Drum voices (8 presets, 2 Internals [Users], 2 Externals [Memory Cards]), Plug-in voices (64 x 2 Plug-in Boards [If installed])

24 MByte

19 (16 Voice Parts, A/D Input Part, Plug-in 1/2 Parts)

128 Internals, 64 Externals

4 Zones

24 (Insertion 1), 92 (Insertion 2), 24 (Insertion for Plug-in Voices)

SMF Format 0 (Direct Play only), Sequence Chain (Load/Save)

100 Steps (100 Songs)

128

All Data, All Voice, Plug-in, Sequence Chain, SMF

Save, Load, Rename, Delete, Make Directory, Format

Volume Slider, 4 Control Sliders, Pitch, Modulation, Shift, Page, Knob A/B/C/1/2, Data, Effect Bypass, Master Keyboard, Exit,

Enter, Dec/No, Inc/Yes, 7 Mode Keys, Sequence Play, Sequence PLAY/STOP, 6 Memory Keys, Quick Access, 8 Bank Keys,

16 Program/Part Keys, Power, Card Slot, Gain, Host Select

MIDI In, Out, Thru, To Host, Breath, Footswitch, Sustain, Foot Controller, Foot Volume, Individual Output 1, 2,

Output L/Mono R, Phones, A/D Input, AC Inlet, 2 Connectors for Plug-in Boards

40 x 2 (Backlit)

Owners Manual, Data List, CD-ROM, AC Power Cord

PLG150 Plug-in Boards Series, PLG100 Plug-in Boards Series, FC4/5 Footswitch, FC7 Foot Controller, BC3 Breath Controller

16W

Output: +18.1 –2dbm (10k ohms), Phones: +17.2 –2dbm (33 ohms)

1329(W) x 371(D) x 157(H) mm

24.3 kg

KEYBOARD Number of Keys

Touch

TONE GENERATION SYSTEM

Tone Generators

Polyphony

VOICE Number of Voice

Wave ROM

PERFORMANCE Multi-Timbres

Number of Performance

Master Keyboard Mode

EFFECT Reverb

Chorus

Insertion

Master EQ

SEQUENCE PLAY Format

Number of Sequence Chains

ARPEGGIATOR Number of Arpeggios

Card File Type

Functions

CONTROLS

CONNECTORS & TERMINALS

DISPLAY

INCLUDED ACCESSORIES

OPTIONAL ACCESSORIES

POWER CONSUMPTION

OUTPUT IMPEDANCE

DIMENSIONS

WEIGHT

* 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.

155

Appendix

156
Appendix
Index
0~9
4 Zones.......................................................................................................58
A
A/D INPUT jack .......................................................................................11
About Memory Cards .......................................................................20, 142
About Modular Sysnthesis Plug-in System .............................................33
About Note Limit (Key Range) ................................................................61
About the Modes.......................................................................................35
About the Plug-in Boards (Optional) ..............................................32, 148
About the Tone Generator .......................................................................32
AC Control Depth ...........................................................................101, 126
AC INLET terminal ..................................................................................10
AC Modulation Depth ....................................................................101, 126
AEG Level..................................................................................................88
AEG Release..............................................................................................88
AEG Time .................................................................................................88
AEG VelSens (AEG Velocity Sensitivity)................................................88
Aftertouch .................................................................................................45
AMP AEG (Amplitude Envelope Generator).........................................97
AMP KeyFlw (AMP Key Follow) ............................................................89
AMP Scale (AMP Scaling Break Point)...................................................90
AMP Scale (AMP Scaling Offset) ............................................................90
AMP VelSens (Amplitude Velocity Sensitivity)......................................97
An Overview of the S80  ..........................................................................31
An Overview of Voices/Waves .................................................................37
ARP Limit (Arpeggio Note Limit)...........................................................73
ARP Mode (Arpeggio Mode) ...................................................................73
ARP PlayEF (Arpeggio Play Effects).......................................................73
ARP Type (Arpeggio Type) .....................................................................72
Arpeggiator ................................................................................................41
Assigning Parameters to Knobs [1] and [2] ............................................47
Assigning Parameters to Knobs [A], [B] and [C]  ...................................46
AT Control Depth...........................................................................100, 126
AT Modulation Depth ....................................................................101, 126
Automatically Loading Files...................................................................143
B
BANK [A] to [H] keys ................................................................................9
Bank/Program Number ....................................................................64, 107
Breath Controller.......................................................................................44
BREATH jack............................................................................................11
C
Card Mode...................................................................................22, 35, 142
CARD slot..................................................................................................10
Chained Playback....................................................................................133
Chorus Unit.................................................................................55, 79, 118
Common (Settings for all Parts).............................................................112
Common Arpeggio ............................................................................72, 115
Common Controller  .........................................................................74, 115
Common Edit and editing each Element...........................................50, 68
Common Effect..................................................................................78, 117
Common EQ (Equalizer) ........................................................................116
Common General ..............................................................................70, 115
Common LFO (Low Frequency Oscillator).............................................75
Common Quick Edit .........................................................................71, 114
Common/Part/Zone Edit   ......................................................................111
Connecting a Microphone or Other Audio Equipment..........................14
Connecting External MIDI Equipment ...................................................15
Connecting to a Mixer ..............................................................................13
Connecting to a Personal Computer ........................................................16
Connecting to External Audio Equipment..............................................13
Connecting Various Controllers ...............................................................18
Connections...............................................................................................13
Control Sets ...............................................................................................45
Control Sets and External MIDI Control ................................................46
Controller Section ...............................................................................31, 43
Controlling Parameters by Foot Controller  ............................................48
CONTROL SLIDER .......................................................................6, 44, 61
CTL AC Control (AC Control Depth)....................................................101
CTL AC Control (AC Control Depth) (Multi Plug-in Parts only) .......126
CTL AC Modulation ...............................................................................101
CTL AC Modulation 
(AC Modulation Depth) (Multi Plug-in Parts only)
......126
CTL Assign1(Controller Assign 1) ........................................................116
CTL Assign2 (Controller Assign 2) .......................................................116
CTL AT Control (AT Control Depth) ...................................................100
CTL AT Control (AT Control Depth) (Multi Plug-in Parts only).......126
CTL AT Modulation ...............................................................................101
CTL AT Modulation 
(AT Modulation Depth) (Multi Plug-in Parts only)
......126
CTL Bend (Pitch Bend) ............................................................................74
CTL MW Control (MW Control Depth) ...............................................100
CTL MW Control 
(MW Control Depth) (Multi Plug-in Parts only)
.......125
CTL MW Modulation.....................................................................100, 124
CTL Pitch (Pitch Bend) ..........................................................................100
CTL Portamento........................................................................................74
CTL Set1 (Control Set 1) to CTL Set6 (Control Set 6) ..........................74
CTL Set1 (Control Set 1)/CTL Set2 (Control Set 2) ............................100
CTL Set1/CTL Set2 (Control Set 1/2) (A/D Input Part only) ............125
CTRL (System Controller)  ....................................................................136
CTRL (Voice Controller) ........................................................................139
CTRL Assign1 (Controller Assign 1)....................................................140
CTRL Assign2 (Controller Assign 2)....................................................140
CTRL Knobs [A] to [C] ..........................................................................136
CTRL Other (Controller Other) ............................................................136
D
[DATA] Knob..................................................................................7, 25, 66
[DEC/NO] key ................................................................................8, 24, 66
Delete .......................................................................................................146
Demo Playback..........................................................................................26
Display Messages.....................................................................................151
Drum Common Arpeggio .........................................................................94
Drum Common Controllers......................................................................94
Drum Common Edit and Drum Key Edit ...............................................93
Drum Common Effects.............................................................................94
Drum Common General ...........................................................................93
Drum Common Quick Edit ......................................................................93
Drum Key Amplitude ...............................................................................96
Drum Key EQ (Equalizer)........................................................................97
Drum Key Filter ........................................................................................96
Drum Key OSC (Oscillator)  ....................................................................94
Drum Key Pitch.........................................................................................96
Drum Voices ........................................................................................66, 92
E
Edit Modes.................................................................................................21
Editing Plug-in Board Voices ..................................................................104
[EF BYPASS] key.........................................................................................8
EFF Cho (Chorus).............................................................................79, 118
EFF EF1/2 (Insertion Effect 1/2)....................................................78, 127
EFF InsEF (Insertion Effect) ...................................................................78
EFF Part...................................................................................................117
EFF Rev (Reverb)..............................................................................79, 118
Effect Bypass .............................................................................................56
Effect Parameter Settings .........................................................78, 118, 127
Effect Plug-in Boards  ...............................................................................33
Effects ..................................................................................................34, 55
Effects in Performance Mode...................................................................55

157
Appendix
Effects in Voice Mode ...............................................................................55
Element Amplitude...................................................................................88
Element Filter............................................................................................83
Element Pitch ............................................................................................80
Element EQ (Equalizer) ...........................................................................91
Element LFO (Low Frequency Oscillator)..............................................90
Element OSC (Oscillator).........................................................................79
Entering Data ............................................................................................24
[ENTER] Key..................................................................................8, 24, 25
EQ High ...................................................................................................117
EQ HighMid (High-Middle Range)........................................................117
EQ Low  ...................................................................................................116
EQ LowMid (Low-Middle Range)..........................................................117
EQ Mid (Middle Range) .........................................................................117
EQ Param (EQ Parameter) .....................................................................103
EQ Type.....................................................................................................91
Example of Control Set Assignment........................................................75
[EXIT] Key ............................................................................................8, 23
F
Factory Set (Restore Factory Defaults)..................................................141
FEG Level (FEG Level).............................................................................86
FEG Release (FEG Release) .....................................................................86
FEG Time ..................................................................................................86
FEG VelSens (FEG Velocity Sensitivity) .................................................85
File Name Settings ..................................................................................145
File Types ................................................................................................143
Filter Envelope Generator Settings..........................................................86
Filter Scaling Settings ...............................................................................87
FLT Cutoff (Filter Cutoff) ........................................................................96
FLT HPF (High Pass Filter) .....................................................................85
FLT KeyFlw (Filter Key Follow) ..............................................................86
FLT Scale (Filter Scale Break Point)........................................................87
FLT Scale (Filter Scale Offset) .................................................................87
FLT Sens (Filter Sensitivity) ....................................................................85
FLT Type (Filter Type) ............................................................................83
Foot Controller  .........................................................................................44
FOOT CONTROLLER jack .....................................................................10
Foot Switch ...............................................................................................44
FOOT SWITCH jack.................................................................................11
Foot Volume ..............................................................................................44
FOOT VOLUME jack ...............................................................................10
Format......................................................................................................147
G
GAIN knob ................................................................................................11
GEN M.Kbd (General Master Keyboard) ..............................................113
GEN MIDI (General MIDI)....................................................................113
GEN Name (General Name)......................................................70, 90, 113
GEN Other (General Other) ..............................................................71, 99
H
HOST SELECT switch..............................................................................11
I
[INC/YES] key ................................................................................8, 24, 66
INDIVIDUAL OUTPUT 1 and 2 jacks ...................................................10
Insertion Effects..................................................................................55, 78
J
Job Modes ..................................................................................................22
K
Knob Parameter.................................................................................65, 108
Knobs [A], [B], [C], [1] and [2]......................................................7, 24, 44
L
Layer (Master keyboard Mode)................................................................60
Layer (Performance Mode).....................................................................122
LCD (Liquid Crystal Display) ....................................................................7
LFO Depth ................................................................................................91
LFO Dest1 (LFO Destination 1)..............................................................77
LFO Dest2 (LFO Destination 2)..............................................................77
LFO Fade ...................................................................................................77
LFO Param (LFO Parameter) .................................................................101
LFO Wave............................................................................................75, 90
Load  ........................................................................................................145
LYR Limit (Layer Limit).........................................................................123
LYR Mode (Layer Mode)........................................................................122
LYR Out (Layer Out)..............................................................................123
LYR Tune (Layer Tune).........................................................................123
M
M.EQ (Voice Master Equalizer).............................................................138
M.EQ High (Master EQ High)...............................................................139
M.EQ HighMid (Master EQ High-Middle Range)................................139
M.EQ Low (Master EQ Low).................................................................139
M.EQ LowMid (Master EQ Low-Middle Range)..................................139
M.EQ Mid (Master EQ Middle Range) .................................................139
Master keyboard .......................................................................57, 128, 134
Master Keyboard/Tone Generator Mode ..............................................111
[MASTER KEYBOARD] key.....................................................................8
Maximum Polyphony................................................................................33
MEMORY keys............................................................................................9
Memory/Performance Program Number...............................................107
Memory/Voice Program Number.............................................................64
Menu Display..........................................................51, 70, 93, 98, 111, 134
Micro Tuning ............................................................................................71
MIDI (System MIDI) ..............................................................................137
MIDI Arp (MIDI Arpeggio) ...................................................................137
MIDI Ch (MIDI Channel) ......................................................................137
MIDI GM/XG Receive 
(if a Multi-Part Plug-in Board has been installed)
.....138
MIDI IN, OUT, and THRU connectors...................................................10
MIDI Interface to MIDI IN and OUT .....................................................17
MIDI Other..............................................................................................138
MIDI Sw (MIDI Receive Switch) ..........................................................137
MIX Level ................................................................................................120
MIX Vce/Template..................................................................................119
MKB Assign (Master Keyboard Assign) ...............................................129
MKB Note (Master Keyboard Note)......................................................128
MKB Transmit (Master Keyboard Transmit).......................................128
MKB TxPreset1 (Master Keyboard Transmit Preset 1).......................129
MKB TxPreset2 (Master Keyboard Transmit Preset 2).......................129
MKB TxSw1 (Master Keyboard Transmit Switch 1)...........................128
MKB TxSw2 (Master Keyboard Transmit Switch 2)...........................128
MKB TxSw3 (Master Keyboard Transmit Switch 3)...........................128
MKB TxSW4 (Master keyboard Transmit Switch 4) ..........................128
MkDir (Make Directory)........................................................................147
MODE keys .................................................................................................8
MODULAR SYNTHESIS PLUG-IN SYSTEM.......................................33
MODULATION wheel ...............................................................................6
Monitoring Board Voices ..........................................................................98
Moving the Cursor..............................................................................24, 25
MSTR (System Master)..........................................................................134
MSTR EF Bypass (Master Effect By-pass)............................................135
MSTR Kbd (Master Keyboard)..............................................................134
MSTR Other (Other Setup) ...................................................................135
MSTR TG (Master Tone Generator) ....................................................134
Multi Edit ................................................................................................109
Multi-Part Plug-in Board...........................................................................33
MW Control Depth.........................................................................100, 125
MW Modulation Depth ..................................................................100, 125

158
Appendix
N
Normal Voice .............................................................................................69
O
Octave and MIDI Transmit Channel Settings ................................65, 108
OSC Assign (Oscillator Assign) .............................................................102
OSC Limit (Oscillator Limit)....................................................................80
OSC Other (Oscillator Other) ..................................................................95
OSC Out (Oscillator Out)...................................................................79, 95
OSC Pan (Oscillator Pan) ...................................................................80, 95
OSC Velocity (Oscillator Velocity) .........................................................102
OSC Wave (Oscillator Wave)..............................................................79, 94
OUTPUT L/MONO and R jack...............................................................11
P
[PAGE] Knob.........................................................................................7, 23
Part (Settings for each Part) ...................................................................119
Part Controller ........................................................................................125
Part Insertion Effect  (A/D Input Part only) ........................................127
Part Layer ................................................................................................122
Part Mixer ...............................................................................................119
Part Receive Switch  ...............................................................................124
Part Tone .................................................................................................120
PCH PEG (Pitch Envelope Generator)..................................................103
PCH Scale (Pitch Scale)............................................................................82
PCH Tune (Pitch Tune).....................................................................80, 96
PEG Level ..................................................................................................81
PEG Release...............................................................................................81
PEG Time ..................................................................................................81
PEG VelSens (PEG Velocity Sensitivity) .................................................81
Performance Category.............................................................................108
Performance Edit ..............................................................................21, 111
Performance Job Mode .....................................................................22, 130
Performance Memory/Number (Bank/Number)..................................107
Performance Name..................................................................................108
Performance Play Mode Display ............................................................107
Performance Program Selection .............................................................109
Performance Store...........................................................................112, 131
Performances.......................................................................................29, 39
PFM Bulk Dump .....................................................................................131
PFM Copy................................................................................................130
PFM Edit Recall ......................................................................................130
PFM Initialize..........................................................................................130
PFM Play (Performance Play) ................................................................107
PHONES jack ............................................................................................11
PITCH bend wheel......................................................................................6
Pitch Envelope Generator Settings ..................................................82, 103
Play Modes.................................................................................................21
PLG (Plug-in) (if a Plug-in Board has been installed)..........................140
PLG Status (Plug-in Status) ...................................................................140
PLG-NATIVE (Plug-in Native)..............................................................103
PLG1 MIDI (Plug-in 1 MIDI) ................................................................140
PLG1/2 System (Plug-in 1/2 System)....................................................141
PLG2 MIDI (Plug-in 2 MIDI) ................................................................140
Plug-in Common Arpeggio .......................................................................99
Plug-in Common Controller ...................................................................100
Plug-in Common Effect...........................................................................102
Plug-in Common General .........................................................................99
Plug-in Common LFO (Low Frequency Oscillator)..............................101
Plug-in Common Quick Edit ....................................................................99
Plug-in Element EQ (Equalizer) ............................................................103
Plug-in Element Native...........................................................................103
Plug-in Element OSC (Oscillator)..........................................................102
Plug-in Element Pitch .............................................................................102
Plug-in Voices ............................................................................................98
Power Supply.............................................................................................12
POWER switch..........................................................................................10
Powering Up ..............................................................................................19
PROGRAM/PART [1] to [16] keys......................................................9, 23
Q
[Quick Access] key......................................................................................9
QED EF (Quick Edit Effect) ..................................................................114
QED EffectCtrl (Quick Edit Effect) ............................................71, 93, 99
QED EG (Quick Edit Envelope Generator) .......................72, 93, 99, 115
QED Filter (Quick Edit Filter)............................................72, 93, 99, 115
QED Level (Quick Edit Level).............................................71, 93, 99, 114
R
RCV Sw1 (Receive Switch 1) .................................................................124
RCV Sw2 (Receive Switch 2) .................................................................124
RCV Sw3 (Receive Switch 3) .................................................................124
RCV Sw4 (Receive Switch 4) .................................................................124
Reading the Displayed Settings ..............................................................110
Rename ....................................................................................................146
Reverb Unit .................................................................................55, 79, 118
S
Save ..........................................................................................................144
Screen Title........................................................................................64, 107
Selecting a Menu .......................................................................................70
Selecting a Mode........................................................................................21
Selecting a Screen......................................................................................23
Selecting Preset Drums (PRE:DR1~DR8)  ...........................................66
Selecting the Arpeggio Type ..............................................................41, 72
Selecting User Drums (INT:DR1/2 and EXT:DR1/2)...........................66
SEQ (Sequence Chain) ...........................................................................132
SEQ controls................................................................................................8
SEQ Demo (Sequence Demo) ................................................................132
Sequence Play Mode...................................................................22, 35, 132
Setting the Note Limit ..............................................................................42
Setting the Tempo .....................................................................................42
Setting the Voice Name.............................................................................70
Setting/Viewing Knob Parameters...................................................65, 108
[SHIFT] Key ..........................................................................................7, 23
Single Part Plug-in Boards ........................................................................32
SmartMedia™.....................................................................................20, 142
Song File Playback............................................................................63, 133
Split ............................................................................................................57
Status .......................................................................................................144
Sustain  ......................................................................................................44
SUSTAIN jack ...........................................................................................11
Switching Between Programs by Foot Switch ........................................48
Switching Elements On/Off  ....................................................................51
T
The “Compare” Function.................................................................69, 112
The í Indicator .................................................................................69, 112
TO HOST connector...........................................................................11, 16
TON EG (Tone Envelope Generator) ...................................................121
TON Filter (Tone Filter)........................................................................120
TON Other (Tone Other).......................................................................122
TON Portamento (Tone Portamento)....................................................121
Tone Generator Section............................................................................32
Types of Parameters (Absolute and Relative).........................................25
U
Using the A/D Input Part.........................................................................63
Using the Arpeggiator Hold .....................................................................43
Using the BANK/PROGRAM Keys ................................................65, 109
Using the Voice Category Search  ............................................................67
Using the Quick Access......................................................................28, 68
Utility Job Mode................................................................................22, 141
Utility Mode................................................................................22, 35, 134

159

Appendix

VCE Bulk Dump......................................................................................106

VCE Copy.................................................................................................105

VCE Edit Recall.......................................................................................105

VCE Initialize ..........................................................................................105

Voice Category ...........................................................................................65

Voice Edit ......................................................................................21, 50, 68

Voice Job Mode .................................................................................22, 105

Voice Memory/Number (Bank/Number) Display ..................................64

Voice Mode ..........................................................................................35, 64

Voice Name................................................................................................65

Voice Play Mode Display ....................................................................21, 64

Voice Program Selection ...........................................................................65

Voice Store.........................................................................................69, 106

Voices ...................................................................................................27, 36

[VOLUME] Slider........................................................................................6

Waves .........................................................................................................38

Zones........................................................................................................127

For details of products, please contact your nearest Yamaha or the authorized

distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au

distributeur le plus proche de vous figurant dans la liste suivante.

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.

NORTH AMERICA

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A.

Tel: 714-522-9011

CENTRAL & SOUTH AMERICA

MEXICO

Yamaha de Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 686-00-33

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-853-1377

ARGENTINA

Yamaha Music Argentina S.A.

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha de Panama 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/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

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 Electronica Musical, S.A.

Ctra. de la Coruna km. 17, 200, 28230

Las Rozas (Madrid) Spain

Tel: 91-201-0700

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Office

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

F-Musiikki Oy

Kluuvikatu 6, P.O. Box 260,

SF-00101 Helsinki, Finland

Tel: 09 618511

NORWAY

Norsk filial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AFRICA

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

MIDDLE EAST

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Music Gulf FZE

LB21-128 Jebel Ali Freezone

P.O.Box 17328, Dubai, U.A.E.

Tel: 971-4-81-5868

ASIA

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

Cosmos Corporation

1461-9, Seocho Dong, Seocho Gu, Seoul, Korea

Tel: 02-3486-0011

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-703-0900

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.

11 Ubi Road #06-00, Meiban Industrial Building, Singapore

Tel: 65-747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

10F, 150, Tun-Hwa Northroad,

Taipei, Taiwan, R.O.C.

Tel: 02-2713-8999

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320, Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

International Marketing Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

OCEANIA

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

17-33 Market Street, South Melbourne, Vic. 3205, Australia

Tel: 3-699-2388

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,

International Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2445

SY21

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 manu-

factured specifically for the supply voltage in the area where they are

to be sold. If you should move, or if any doubt exists about the sup-

ply 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 attach-

ment plug. If this product should malfunction, the ground pin provides

a path of low resistance for electrical current, reducing the risk of elec-

trical 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 electri-

cian.

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 installa-

tions are not provided, it must be assumed that unobstructed ventila-

tion 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 loca-

tions 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 sup-

plied or; a cart ,rack, or stand that is recommended by the manufac-

turer. If a cart, rack, or stand is used, please observe all safety mark-

ings 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 extend-

ed periods of time. Cords should also be disconnected when there is

a high probability of lightening 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 quali-

fied service person when:

a. The power supply cord has been damaged; or

b. Objects have fallen, been inserted, or liquids have been

spilled into the enclosure through openings; or

c. The product has been exposed to rain; or

d. The product 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 uncom-

fortable. 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 accesso-

ry mounting fixtures that are either supplied as a part of the product or

as optional accessories. Some of these items are designed to be deal-

er 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

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 anoth-

er 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 require-

ments listed in FCC Regulations, Part 15 for Class “B” digital devices.

Compliance with these requirements provides a reasonable level of assur-

ance that your use of this product in a residential environment will not result

in harmful interference with other electronic devices. This equipment gen-

erates/uses radio frequencies and, if not installed and used according to

the instructions found in the users manual, may cause interference harmful

to the operation of other electronic devices. Compliance with FCC regula-

tions does not guarantee that interference will not occur in all installations.

If this product is found to be the source of interference, which can be deter-

mined by turning the unit “OFF” and “ON”, please try to eliminate the prob-

lem by using one of the following measures:

Relocate either this product or the device that is being affected by the inter-

ference.

Utilize power outlets that are on different branch (circuit breaker or fuse) cir-

cuits 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.

(class B)

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

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 cor-

respond 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.

(3 wires)

* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun

ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage

til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en

ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt

batteri enlight fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoas-

taan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmis-

tajan ohjeiden mukaisesti.

(lithium caution)

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij op het

moment dat u het apparaat ann het einde van de levensduur afdankt of

de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing

Kanaalweg 18-G, 3526 KL UTRECHT

Tel. 030-2828425

• For the removal of the battery at the moment of the disposal at the end

of the service life please consult your retailer or Yamaha Service Center

as follows:

Yamaha Music Nederland Service Center

Address : Kanaalweg 18-G, 3526 KL UTRECHT

Tel : 030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small chemical

waste.

(lithium disposal)

Analog Physical Modeling Plug-in Board PLG150-AN

Reproduce the fat and funky sounds of vintage analog synths! This board gives you a synth

engine similar to the one featured in Yamaha’s amazing AN1x analog physical modeling

synthesizer. On top of its full array of wave algorithms, resonant filters, LFOs, and envelope

generators, it also has distortion and a 3-band equalizer. With the PLG150-AN, project and

professional studios alike will be able to produce the killer synth sounds featured in today’s hot

dance tracks.

Piano Plug-in Board PLG150-PF

For the serious piano player, this Plug-in Board is loaded with hundreds of painstakingly

sampled piano and keyboard voices—from concert grands and uprights to electric pianos and

harpsichords. Two piano boards can be used together, effectively doubling piano polyphony to

an incredible 128 notes! For professional recording studios that demand authentic piano sound

but don’t want to bother with a real piano, an S80 loaded with the PLG150-PF makes a perfect

solution.

XG Plug-in Board PLG100-XG

This Plug-in Board gives you over 400 professional-quality sampled voices and 12 drum kits as

well as 32 additional notes of polyphony. Plus it fully supports XG MIDI specifications, so you

can use it to play back XG SMF MIDI song files from an external sequencer or the S80’s internal

sequencer. Home recording hobbyists in particular will find this Plug-in Board an indispensable

addition to the S80.

Virtual Acoustic Plug-in Board PLG150-VL

The Virtual Acoustic Modular Synthesis Plug-in Board lets you create incredibly expressive,

natural-sounding voices by digitally simulating the physical characteristics of acoustic

instruments. Thanks to its fabulous synthesis architecture, extensive realtime performance

control of the voices is possible, making it the ideal Plug-in Board for keyboard soloists.

Vocal Harmony Plug-in Board PLG100-VH

The PLG100-VH adds powerful harmony or vocoder effects to your voice by simply plugging a

microphone into the S80’s A/D input and playing chords on the keyboard. Harmony interval

changes can be recorded in a sequencer track for automated playback—a dream tool for

performing vocalists or for singer/songwriters who want to compose and record songs at home.

Advanced DX/TX Plug-in Board PLG150-DX

Add the classic sounds of Yamaha’s world-famous DX-7 synthesizer to the S80. The PLG150-

DX features the same 6-operator 16-note polyphonic FM tone generation system that took the

synthesizer industry by storm. This board is a must-have for performing keyboard players and

producers of contemporary music.

Tone Generator Type

Polyphony

Voices

Effects

Interface

Dimensions (W) x (D) x (H)

Weight

AN (Analog Physical Modeling Synthesis )

5 notes

256 Preset

128 User

Guitar Amp. Simulator (Distortion), 3-Band EQ, XG Part EQ

Plug-in Connector (15-pin digital I/F connector)

138.5 x 89.0 x 8.5 mm (5

/16" x 3

/8" x

/8")

65g (2.3oz)

Tone Generator Type

Polyphony

Voices

Effects

Interface

Dimensions (W) x (D) x (H)

Weight

AWM2

64 notes

136 Preset

Reverb, Chorus, Insertion, 2-Band EQ

Plug-in Connector (15-pin digital I/F connector)

138.5 x 89.0 x 8.5 mm (5

/16" x 3

/8" x

/8")

72g (2.5oz)

Tone Generator Type

Polyphony

Voices

Effects

Interface

Dimensions (W) x (D) x (H)

Weight

FM Synthesis

16 notes

912 Preset

64 User

Part EQ, Lowpass, Highpass

Plug-in Connector (15-pin digital I/F connector)

138.5 x 89.0 x 8.5 mm (5

/16" x 3

/8" x

/8")

63g (2.2oz)

Tone Generator Type

Polyphony

Voices

Effects

Connector

Dimensions (W) x (D) x (H)

Weight

AWM2

32 notes

Preset normal: 480, drum kits: 12

Reverb, Chorus, Variation

Plug-in Connector (15-pin digital I/F connector)

138.5 x 89.0 x 8.5 mm (5

/16" x 3

/8" x

/8")

56g (2.0oz)

Tone Generator Type

Polyphony

Voices

Interface

Dimensions (W) x (D) x (H)

Weight

S/VA (Self-oscillating Virtual Acoustic Synthesis)

1 note monophonic

256 Preset

70 User

Plug-in Connector (15-pin digital I/F connector)

138.5 x 89.0 x 8.5 mm (5

/16" x 3

/8" x

/8")

56g (2.0oz)

Maximum Harmony

Effects

Voice Control

Interface

Dimensions (W) x (D) x (H)

Weight

3 voices

Vocoder Harmony, Detune Harmony

Chordal Harmony, Chromatic Harmony

Gender change (male → female, female → male)

Vibrato, Volume, Pan, Detune

Plug-in Connector (15-pin digital I/F connector)

138.5 x 89.0 x 8.5 mm (5

/16" x 3

/8" x

/8")

53g (1.9oz)

S80_e

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

V419010 012MWCP2.3-04D0

Printed in Japan

This document is printed on chlorine free (ECF) Paper.

OWNER’S MANUAL

Transcripción de documentos

OWNER’S MANUAL MUSIC SYNTHESIZER OWNER’S MANUAL M.D.G., EMI Division, Yamaha Corporation © 1999 Yamaha Corporation V419010 This document is printed on chlorine free (ECF) Paper. 909MWCP25.2-01A0 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. 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. 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. 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. S80 3.3V POWER ON CARD AC INLET OFF 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. Model 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: Serial No. Purchase Date 92-469- 1 (rear) PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: • This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way. • Only use the voltage specified as correct for the instrument. The required voltage is printed on the name plate of the instrument. • 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. • Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 12.) • 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. • Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. • Check the electric plug periodically and remove any dirt or dust which may have accumulated on it. 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: • 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. • Use only the stand specified for the instrument. When attaching the stand or rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over. • 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 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. • 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. • 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 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. ■REPLACING THE BACKUP BATTERY • This instrument contains a non rechargeable internal backup battery which permits internal data to remain stored even when the power is off. When the backup battery needs replacing, the message "Change internal battery." will display in the LCD. When this happens, immediately back up your data, then have qualified Yamaha service personnel replace the backup battery. • Do not attempt to replace the backup battery yourself, in order to prevent the possible serious hazards. Always have qualified Yamaha service personnel replace the backup battery. • 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. • Never place the backup battery in a location that a child can reach, since a child might accidentally swallow the battery. If this should happen, consult a physician immediately. • Do not use the instrument near other electrical products such as televisions, radios, or speakers, since this might cause interference which can affect proper operation of the other products. ■SAVING USER DATA • Always save data to a Memory Card (SmartMedia) frequently, in order to help prevent the loss of important data due to a malfunction or user operating error. • Do not place the instrument in an unstable position where it might accidentally fall over. • Before moving the instrument, remove all connected cables. • When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Also, 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. (2)-6 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. Introduction Thank you for purchasing the Yamaha S80 Music Synthesizer. Your new S80 synthesizer incorporates the highly-acclaimed AWM2 synthesis engine, allowing the creation of super-realistic sounds. You can play these sounds over the 88-note fully-weighted keyboard. It also supports optional Plug-in Boards that provide other synthesis engines of your choice, enabling the production of cutting edge synthesizer sounds. You can play all these sounds using the synthesizer’s automatic playback facilities such as the built-in Arpeggiator and Sequencer. The Quick Access feature lets you access various genres of sounds quickly and directly via the front panel. Other features include Effects and Control Sets (for controlling various sound parameters in real time using different controllers.) These features make this synthesizer ideal for every kind of live performance or studio work. When editing a sound, you can use the [PAGE] knob to switch between screens and five other knobs plus the [DATA] knob for changing parameter values. This makes the process of editing sounds much easier and smoother. To make the most use of your synthesizer, you are encouraged to read through this manual. After reading the manual, please keep it in a convenient and safe place for future reference. About This Manual This manual is basically divided into two sections: ■ Basics Section (Page 6) Explains how to get started with the synthesizer, its overall structure, and how to use its main features and functions. ■ Reference Section (Page 64) Explains the parameters in the synthesizer’s various Modes. Package Contents • Owner’s Manual (this book) • Data List • Performance List • AC Power cord • Installation Guide • CD-ROM The Included CD-ROM Application software for your synthesizer included on this CD-ROM. The Voice Editor application lets you edit your synthesizer's sounds through a graphical user interface. The Card Filer application lets you exchange data between your synthesizer and computer. Details are given in the separate Installation Guide or the on-line manuals included with the software. Never attempt to play back the track1, in which the application software is located, on an audio CD player. Doing so may result in damage to your hearing as well as to your CD player/audio speakers. Copying of the commercially available music sequence data and/or digital audio files is strictry prohibited except for your personal use. 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. The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies. 4 Table of Contents Basics Section Basics Section Reference Section The Controls & Connectors ................................6 Voice Mode........................................................64 Before Use ........................................................12 Voice Play ..............................................................64 Power Supply ........................................................12 Voice Edit ..............................................................68 Connections ..........................................................13 Voice Job Mode ..................................................105 Powering Up..........................................................19 Voice Store ..........................................................106 Basic Operations ..............................................21 Performance Mode ........................................107 Selecting a Mode ..................................................21 Performance Play ..............................................107 Selecting a Screen ................................................23 Performance Edit ..............................................111 Entering Data........................................................24 Performance Job Mode ......................................130 Demo Playback ................................................26 Performance Store ..............................................131 Voices and Performances ..................................27 Sequence Play Mode ......................................132 Playing a Voice ......................................................27 Utility Mode....................................................134 Playing a Performance..........................................29 Utility Job Mode ................................................141 An Overview of the S80 ..................................31 Card Mode ......................................................142 Reference Section Voice Mode Performance Mode Sequence Play Mode Controller Section ................................................31 Sequencer Section ................................................31 Appendix Tone Generator Section ......................................32 About the Plug-in Boards (Optional) ............148 Effects Section ......................................................34 Display Messages ............................................151 About the Modes ..............................................35 Troubleshooting ..............................................152 Voices ................................................................36 Specifications ..................................................155 An Overview of Voices/Waves ............................37 Index ..............................................................156 Waves ....................................................................38 Utility Mode Card Mode Performances ....................................................39 Ideal for Playing Live ......................................40 1 Arpeggiator ........................................................41 2 Using Controllers ..............................................43 Appendix Voice Edit..........................................................50 Effects ....................................................................55 Using as a Master Keyboard (Performance Mode) ........................................57 Using as a Multitimbral Tone Generator (Performance Mode) ........................................62 5 Basics Section Basics Section The Controls & Connectors Front Panel PITCH bend wheel (Page 43) Controls the pitch bend effect. You can also assign other functions to this controller. MODULATION wheel (Page 43) Controls the modulation effect. You can also assign other parameters functions to this controller. GAIN ..... A/D INPUT PHONES L/MONO R OUTPUT 1 2 FOOT FOOT INDIVIDUAL OUTPUT VOLUME CONTROLLER SUSTAIN FOOT SWITCH IN BREATH TO HOST HOST SELECT OUT MIDI THRU VOLUME PITCH CONTROL SLIDER MODULATION 1 [VOLUME] Slider (Page 20) Adjusts the master volume. Move the slider upwards to raise the output level from the OUTPUT L/R jacks and the PHONES jack. Control Sliders (Page 61) In Master Keyboard Mode, the sliders can be used to control various functions assigned to them (as Control Change messages). Each slider controls each of four Zones. 6 2 3 4 Basics Section LCD (Liquid Crystal Display) This is a backlit 2-line display. 3.3V [DATA] knob (Page 25) Use this to increase or decrease the value of the parameter at which the cursor is positioned. CARD ASSIGNABLE KNOB SHIFT PAGE A PART/ELEMENT B C 1 2 DATA Knobs [A], [B], [C], [1] and [2] (Page 24) In each Play Mode, these knobs mainly control the functions respectively assigned to them. In each Edit Mode, each knob is used to enter a value for the associated parameter shown in the display. Depending on the operation or the screen you are working in, these knobs will function differently. Knobs [A] to [C] can be assigned to system control functions (Pages 46, 136). Knobs [1] and [2] can be assigned control functions that affect Voices (Pages 47, 74). [PAGE] knob (Page 23) Switches between screens in each Mode. Each Mode includes several screens. [SHIFT] key (Page 23) In Voice or Performance Play Mode, a screen for viewing or setting the Octave parameter and the MIDI Transmit channel (Page 23) is shown when you press the [SHIFT] key. In any of the Edit Modes, when pressing this key while turning the [PAGE] knob, a menu screen is displayed and you can quickly switch between Edit Mode screens (Page 23). If while holding this key you turn one of Knobs [A] ~ [C], [1] ~ [2], [DATA] knob, or press either [INC/YES] or [DEC/NO] key, you can move the cursor without a parameter value being changed (Page 24). 7 Basics Section [MASTER KEYBOARD] key (pages 57, 111) The S80 keyboard can work as MIDI master keyboard in Performance mode. When the key is pressed and switched on (the LED will light), the keyboard can play and control multiple MIDI sound modules connected to the S80. [EF BYPASS] key (Page 56) Enables/dsiables the Effect Bypass. Press the key (its LED will light) to bypass the effects used with the current Voice or Performance. The bypassed effects (Reverb, Chorus, or Insertion) are specified in Utility Mode (Page 135). [EXIT] key (Page 23) The menus and screens of the S80 have a hierarchical structure. Press this key exit from the current screen and return to the previous level in the hierarchy. [ENTER] key (Pages 24, 25) While selecting a Memory or Bank for Voice or Performance, press this key to determine such a memory location. Also, use this key to execute a Job or a Store operation. MODE EF BYPASS EXIT MASTER KEYBOARD ENTER DEC/NO INC/ YES VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT COMPARE [DEC/NO] key (Page 24) Use this to decrease the value of the parameter at which the cursor is positioned. Also use it to cancel a Job or a Store operation. [INC/YES] key (Page 24) Use this to increase the value of the parameter at which the cursor is positioned. Also use it to execute a Job or a Store operation. MODE keys (Page 21) Press these to keys to select Voice, Performance, Utility or other Modes. SEQ controls (Pages 26, 132) Press the [SEQ PLAY] key to enter Sequence Play Mode. Here, you can play a MIDI file from Memory Card. Use the [PLAY/STOP] key to start or stop playback of the currently selected file. 8 STORE [QUICK ACCESS] key (Page 68) When you press the [QUICK ACCESS] key (its LED will light), you can use BANK keys [A] to [H] to directly select Categories and PROGRAM keys [1] to [16] to quickly select Voices. AC INLET POWER ON / PRE1 PRE 2 INT DRUM EXT PLG1 PLG2 DRUM OFF QUICK ACCESS A B C D E F G H A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 BANK [A] to [H] keys (Pages 65, 109) Each key selects a Voice or Performance Bank. Each Bank contains sixteen Voices or Performances. In Voice Edit Mode, each of the BANK [A] to [D] keys selects a Voice’s Element (ELEMENT SELECT) while each of the BANK [E] to [H] keys turns the associated Voice’s Element on or off (ELEMENT ON/OFF) (Page 51). When you activate Master Keyboard Mode by pressing the [MASTER KEYBOARD] key, these key ([A] to [D]) can respectively select Zones 1 to 4 if the Master Keyboard Mode setting is 4 zone in Performance Edit Mode. PROGRAM/PART [1] to [16] keys (Pages 65, 109) Each key selects a Voice or Performance from the current Bank. In Voice Edit Mode, each PROGRAM/PART key selects an associated edit menu (Page 70). In Performance Mode, these keys select Parts [1] to [16], respectively. 9 Basics Section MEMORY keys (Pages 27, 29, 65, 109) Using one of these keys, you can select a Voice or Performance Memory. Press the [ENTER] key to select the Memory. In Performance Mode, the [EXT], [PLG1] and [PLG2] keys can be used to select the A/D Part, Plug-in 1 Part and Plug-in 2 Part. The [PRE1] and [PRE2] keys select “Common” (for all Parts). Rear Panel Basics Section POWER switch (Page 19) Use this to switch the synthesizer on or off. AC INLET terminal (Page 12) Plug the female end of the supplied AC power cord in here before plugging it into an AC wall outlet. CARD slot (Page 142) Insert a Memory Card here to transfer various data to/from the instrument. Read carefully the precautions on use of a Memory Card (Page 142) before using a card. MIDI IN, OUT, and THRU connectors (Page 15) MIDI IN receives MIDI messages from an external MIDI device. Use this connector to control the synthesizer from an external MIDI device. MIDI OUT sends out MIDI messages generated by the synthesizer, such as notes played on the keyboard or panel control/knob variations, to an external MIDI sound module or device. MIDI THRU just reflects the MIDI messages received at MIDI IN. Connect other MIDI devices here. 3.3V POWER ON CARD AC INLET OFF FOOT CONTROLLER jack (Pages 18, 44) An optional foot controller (FC7, etc.) can be connected here. Using the foot controller, you can control tones, pitches, volumes or the like by foot. FOOT VOLUME jack (Pages 18, 44) An optional foot controller (FC7, etc.) can be connected here. You can control the output level from the instrument by foot. In Utility Mode, you can select Volume or Expression for this controller. 10 INDIVIDUAL OUTPUT 1 and 2 jacks (Page 13) Line level audio signals are output from the synthesizer via these phone jacks (1/4" mono phone plug). The output is separated from that at the OUTPUT L/MONO and R jacks. In Performance Mode, you can specify which Parts can be output from these separate outputs. TO HOST terminal Connect a computer here using an optional serial computer cable (Page 16). BREATH jack (Pages 18, 44) 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. THRU MIDI OUT IN HOST SELECT TO HOST SUSTAIN jack (Pages 18, 44) An optional Foot Switch (FC4 or FC5) can be connected here. You can use the Foot Switch as a damper pedal on the acoustic piano or for a sustained effect. FOOT SWITCH jack (Pages 18, 44) Connect an optional Foot switch (FC4 or FC5) here. Using the foot switch, you can control of a range of on or off a specific function by foot, as assigned on the instrument. (Pages 53, 165) BREATH FOOT SWITCH INDIVIDUAL OUTPUT FOOT FOOT SUSTAIN CONTROLLER VOLUME 1 2 R OUTPUT L MONO PHONES A D INPUT GAIN MIDI Mac PC-2 PC-1 OUTPUT L/MONO and R jack (Page 13) Line level audio signals are output via these phone jacks. For monophonic output, use just the L/MONO jack. A/D INPUT jack (Page 14) External audio signals can be input via this phone jack. When an A/D Input Part is used in a Performance, signals from devices connected to this jack can be input in mono. PHONES jack (Page 13) Connect a pair of headphones here. 11 GAIN knob (Pages 63) Use this to adjust the input gain of the audio signals at the A/D INPUT jack. You may need to adjust this depending on the type of device (microphone, other instrument output, etc.) connected when using a A/D Input Part. Basics Section HOST SELECT switch (Page 16) Select the type of computer connected to the synthesizer via the TO HOST connector . Basics Section Before Use This section explains how to connect to an AC power source, audio and MIDI devices, and a computer system. Only switch the synthesizer on after you have made all the necessary connections. It is recommended that you read this section before using the synthesizer. Power Supply Rear panel AC INLET terminal Power cord (included) 1Make sure that the instrument’s POWER switch is at the OFF position. 2Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel. 3Connect the other end of the power cord to an AC outlet. Make sure the synthesizer meets the voltage requirement for the country or region in which it is being used. Make sure your S80 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 S80. 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 S80 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 S80. 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. 12 Connecting to External Audio Equipment Since the synthesizer has no built-in speakers, you need to monitor its sound output via external audio equipment. Alternatively, you could use a pair of headphones. There are several methods of connecting to external audio equipment, as described in the following illustrations. Connecting Stereo Powered Speakers A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel. Powered speaker (Left) Powered speaker (Right) Headphones INPUT PHONES INPUT OUTPUT L/MONO OUTPUT R S80 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 OUTPUT (L/MONO and R) jacks. These four outputs can connect to a mixer for separately controlling the outputs of up to four Parts in Performance Mode (Page 107). You can specify the output routing of each Part in Performance Edit Mode (Page 111). 13 Basics Section Connections Speaker Basics Section Amplifier L R Mixer OUTPUT L R Headphones 1 PHONES 2 3 4 5 6 OUTPUT L / MONO 7 8 R 9 10 11 12 13 14 15 16 INDIVIDUAL OUTPUT1 L R INDIVIDUAL OUTPUT2 S80 Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks. However, you cannot monitor the sounds from INDIVIDUAL OUTPUT 1 and 2 with headphones. Connecting a Microphone or Other Audio Equipment When an A/D Input Part is used in a Performance, signals from devices connected to either of these jacks can be input in mono. CD Player or other audio equipment (merged to mono internally) Microphone (mono devices) A/D INPUT S80 After the above connections are complete, you are ready to set up for recording. When starting a recording, you may need to adjust the input gain of the audio source using the GAIN knob. Details about A/D Input, including how to adjust the input gain, are given on Pages 63, 119. If you choose the wrong type of input source (Pages 119, 120), you may possibly damage your hearing and/or any connected audio equipment. Make sure you set this parameter correctly. Before connecting a device to the A/D INPUT jack, always turn the GAIN knob all the way down. You can connect an external audio source to the A/D Input Part and use it as a Part in a Performance. Details are given on Pages 63, 119. 14 You can connect an external MIDI device using a MIDI cable (available separately) and control it from this synthesizer. You can also use an external MIDI keyboard or sequencer to control the synthesizer’s internal sounds. This section introduces several different applications of MIDI. The HOST SELECT switch on the rear panel should be set to “MIDI.” Otherwise, MIDI information will not be transmitted from the synthesizer’s MIDI OUT connector. Controlling from an External MIDI Keyboard HOST SELECT PC-2 PC-1 MIDI Mac MIDI IN MIDI OUT External MIDI keyboard or synthesizer S80 Controlling an External MIDI Keyboard HOST SELECT PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN External MIDI keyboard or synthesizer S80 Recording and Playback using an External MIDI Sequencer HOST SELECT PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN MIDI IN MIDI OUT External MIDI sequencer S80 15 Basics Section Connecting External MIDI Equipment Controlling Another MIDI Device via MIDI THRU Basics Section External MIDI sequencer External MIDI synthesizer MIDI OUT MIDI IN MIDI IN MIDI THRU HOST SELECT PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN External MIDI synthesizer S80 With the above MIDI connections, you can send MIDI data from the MIDI OUT connector while MIDI data from the external sequencer can be sent to an external MIDI synthesizer via the MIDI THRU jack. The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in a MIDI chain (chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors. Connecting to a Personal Computer When a computer is connected, it can be used to control the synthesizer and to transfer synthesizer data to/from computer via MIDI. With the included Voice Editor program, for instance, you can edit the synthesizer’s Voices. Using another program – Card Filer – you can transfer files between the computer and the Memory Card inserted in the synthesizer’s CARD slot. There are two ways to connect your synthesizer to a computer: 1: Serial connection (the computer’s serial port to the synthesizer’s TO HOST terminal) 2: MIDI connection (the computer’s MIDI interface or external MIDI interface to the synthesizer’s MIDI IN and OUT) Different computers require different connections, as follows. 1: Serial Port to TO HOST IBM PC/AT HOST SELECT PC-2 PC-1 MIDI Mac Serial cable TO HOST PS/V IBM RS-232C (DB9) Macintosh HOST SELECT Serial cable TO HOST PS422 (Modem or Printer port) S80 16 Personal System/V IBM PC/AT and compatibles S80 PC-2 PC-1 MIDI Mac Personal System/V Apple Macintosh Basics Section 2: MIDI Interface to MIDI IN and OUT Using the computer’s MIDI interface HOST SELECT PC-2 PC-1 MIDI Mac Serial cable MIDI IN MIDI OUT Personal System/V PS/V MIDI OUT MIDI IN Personal System/V IBM Computer with MIDI interface S80 Using an external MIDI interface HOST SELECT MIDI Interface PC-2 PC-1 MIDI Mac MIDI OUT MIDI IN MIDI IN MIDI OUT Computer S80 You will need to an appropriate MIDI application (sequencer, editor, etc.) for your computer platform. 17 Connecting Various Controllers Basics Section The S80 has several controller jacks on the rear panel, including FOOT SWITCH, SUSTAIN, FOOT CONTROLLER, FOOT VOLUME and BREATH. You can connect optional controllers like a Foot Switch (the FC4 or FC5), Foot Controller (the FC7) and Breath Controller (BC3, etc.) to control tone, volume, pitch and other parameters. Details about how to these controllers are given on Page 44. THRU MIDI OUT IN HOST SELECT TO HOST BREATH FOOT SWITCH INDIVIDUAL OUTPUT FOOT FOOT SUSTAIN CONTROLLER VOLUME 2 1 R OUTPUT L MONO PHONES A D INPUT MIDI Mac PC-2 PC-1 BREATH BC3 FOOT SWITCH FC4 or FC5 SUSTAIN FC4 or FC5 18 FOOT FOOT CONTROLLER VOLUME FC7 FC7 GAIN Basics Section Powering Up Power-on Procedure When you have made all the necessary connections between your synthesizer and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures the smooth flow of signals from the first device to the last (first MIDI, then audio). When powering down the setup, first turn down the volume for each audio devices, then switch off each device in the reverse order (first audio devices, then MIDI). When the S80 as MIDI receiver: POWER ON!! 1 MIDI sender S80 (MIDI receiver) 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R Audio equipment (first mixer, then amplifier) Switching the S80 On Before you switch your synthesizer on or off, first turn down the volume of any audio equipment connected to it. 1Press the POWER switch. POWER ON AC INLET OFF 2A splash screen is displayed briefly. 3The Voice or Performance Play Mode screen appears next. VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-Q EQMid-G EQHi-G FLT-Rez HPF 19 Basics Section If you have a Memory Card inserted in the instrument’s CARD slot or an optional Plug-in Board installed, you may see other screens before the Voice or Performance Play Mode screen is displayed. If a previously used Memory Card is inserted in the CARD slot, you will see a screen while files in EXT Memory are being loaded. If a new Memory Card (one never used on the instrument) is inserted in the CARD slot, you will see a screen while a basic file is being created in EXT Memory. If you have a Plug-in Board installed, you will see a screen that confirms the presence of the Plug-in Board. The final screen after the power-on sequence may change depending on the Power On Mode setting available Utility Mode (Page 135). 4Turn up the amplifier’s volume as necessary. 5Adjust the synthesizer's [VOLUME] slider to set an appropriate volume level. About Memory Cards You can save various kinds of data - Voice, Performance, Plug-in, Sequence Chain and so on - onto Memory Card. The built-in CARD slot can accept 3.3-volt Memory Cards (SmartMedia). Before using a Memory Card, read through precautions on how to handle it (Page 142). • Formatting a Memory Card You cannot use a new Memory Card to save files immediately. The card must be formatted in Card Mode (Page 147) beforehand. • Saving and Loading Data You can save various kinds of data as files on a formatted Memory Card. Each file on the card can be loaded when required. You can save and load data such as System, Voice, Performance, Plug-in, Sequence Chain or the like. Since Sequence Chain data is held temporarily in the synthesizer’s buffer memory and will be lost once you switch it off, you need to save such data onto the Memory Card first. Details about formatting a Memory Card, saving and loading data, and the recognized file types are given on Page 143. 20 Basics Section Basic Operations This section gives some basic explanations about operating the synthesizer. Selecting a Mode There are several operation Modes — Voice Play Mode, Performance Play Mode, etc. — each of which enables you to work efficiently with the synthesizer’s various functions. An overview of each Mode is given on Page 35. There are separate Play Modes for Voices and Performances. To enter each of these Modes, use the appropriate MODE key ([VOICE] for Voice Play Mode, [PERFORM] for Performance Play Mode). There are also separate Edit and Job Modes for Voices and Performances. To enter Edit or Job Mode, simply press the [EDIT] or [JOB] key while in each respective Play Mode. Similarly, pressing the [STORE] key in Voice or Performance Mode takes you into Store Mode where you can store Voices or Performances. Other Modes include Utility Mode where you can specify system settings, Card Mode where you can perform tasks related to the Memory Card, and Sequence Mode where you can play back MIDI song files or create a sequence chain. (Press the [UTILITY] key for Utility Mode, the [CARD] key for Card Mode and the [SEQ PLAY] key for Sequence Mode.) MODE VOICE PERFORM 1 2 STORE 8 UTILITY CARD SEQ PLAY 5 6 7 EDIT JOB PLAY/ STOP 3 4 COMPARE Play Modes 1 Voice Play Mode (Page 64) Press the [VOICE] key (its LED will light) to enter Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode. VCE Play) PRE1:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF 2 Performance Play Mode (Page 107) Press the [PERFORM] key (its LED will light) to enter Performance Mode. To exit to another Mode, simply press the respective key for that Mode. Edit Modes When in each Play Mode, you can swiftly switch to each respective Edit Mode by simply pressing the [EDIT] key (its LED will light). 3 Voice Edit Mode (Page 68) Press the [EDIT] key in Voice Play Mode. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Voice Play Mode. GEN Name) Ctgry C 1234 a-Z PFM Play) INT:001(A01)[--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- ------- 21 0-? Cursor [Pf:Init Voice] 3 Performance Edit Mode (Page 111) Press the [EDIT] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode. GEN Name) Ctgry Common a-Z 0-? Cursor [--:Init Perf ] Basics Section Job Modes Other Modes When in each Play Mode, you can swiftly switch to each respective Job Mode by simply pressing the [JOB] key (its LED will light). 5 Utility Mode (Page 134) Press the [UTILITY] key (its LED will light) to enter Utility Mode. To exit to another Mode, simply press the respective key for that Mode. 4 Voice Job Mode (Page 105) Press the [JOB] key in Voice Play MSTR TG) Vol NoteShift Tune Sys 127 +63 +102.3c Mode. To exit to another Mode, simply press the respective key for that Mode or press the 6 Card Mode (Page 142) [EXIT] key to return to Voice Press the [CARD] key (its LED Play Mode. will light) to enter Card Mode. To exit to another Mode, simply VCE Initialize) Job Current Voice press the respective key for that Mode. 4 Performance Job Mode (Page 130) Press the [JOB] key while in Performance Play Mode. To exit to another Mode, simply press the respective for that Mode or press the [EXIT] key to return to Performance Play Mode. PFM Initialize) Job Current Perform 4 Utility Job Mode (Page 141) Press the [JOB] key in Utility Mode. To exit to another Mode, press the respective key for that Mode or press the [EXIT] key to return to Utility Mode. UTIL Factory Set) Job Save) Card Type all File A-? Cursor ***[NEWFILE .S2A] 7 Sequence Play Mode (Page 132) Press the [SEQ PLAY] key (its LED will light) to enter Sequence Play Mode. To exit to another Mode, simply press the respective key for that Mode. SEQ) Chain00 File:[ 001 ⁄= 120 ] Perf Meas=001 INT:128 When MIDI system exclusive messages are received from an external MIDI device, the LED for the currently selected Play Mode (VOICE or PERFORM) will blink. 8 Store Modes (Pages 106, 131) When in each Play or Edit Mode, you can swiftly switch to each respective Store Mode by simply pressing the [STORE] key. To exit to another Mode, simply press the respective key for that Mode or press the [EXIT] key to return to Play Mode. VCE Store [Sq:Generation] >[Pf:Slamming ] INT:001(A01) 22 Some Modes have more screens. In this case, you can use the [PAGE] knob while holding down the You can switch between screens using the [PAGE] [SHIFT] key to switch to a specific screen. knob and pressing [SHIFT], [PROGRAM/PART], For example, if you use the [PAGE] knob while hoilding down the [SHIFT] key in Voice Edit [EXIT] and [ENTER] keys. Mode, the following screen is shown. Select a specific item using the cursor (≥), then release the [PAGE] Knob [SHIFT] key to switch to the parameter screen for Usually, there are several screens and sub-screens that item. in each Mode. Use the [PAGE] knob to switch Cursor between screens. GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF EL1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ VCE Srch) PRE1: Memory SHIFT PAGE A B C 1 2 DATA PART/ELEMENT SHIFT PAGE A The [SHIFT] key also has other functions, as described in other sections in this manual. B PROGRAM/PART keys Previous screen Next screen As shown below, the “ ” indicator is displayed to the left of the screen if there are more screens before and after that which you are currently viewing. At the first in a series of screens, you will see the “ ” indicator meaning that there are more screens to follow, but none before it. At the last screen, you will see the “ ” indicator meaning that there are no more screens to follow. In Voice Edit Mode, PROGRAM/PART keys can be used to select the items shown under the keys and to switch to their screens. 1 2 3 4 5 6 LFO Depth) EL1234 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 OSC PITCH FILTER AMPLITUDE LFO [SHIFT] Key EXIT If you hold down the [SHIFT] key in Voice Play Mode, you can modify the parameters on screen as follows. PAGE A 14 15 16 EQ PLG [EXIT] Key EF BYPASS SHIFT 8 Press the [EXIT] key to move up (exit) in the hierarchical structure and return to the previous screen. Indicator (Oct= +3) (Tch= 1) 7 MASTER KEYBOARD ENTER DEC/NO INC/YES PRE1:128(H16)[Pf:GrandPiano] B C 1 2 The [EXIT] key also has other more functions, as described in other sections in this manual. DATA PART/ELEMENT 23 Basics Section Selecting a Screen Basics Section [ENTER] Key Moving the Cursor Normally, the [ENTER] key is used to apply parameter settings. In some cases, however, the following screen appears prompting you to press the [ENTER] key. By using a knob ([A], [B], [C], [1] or [2]) while holding down the [SHIFT] key, you can move the cursor (≥) to the respective parameter on the screen without affecting its value. EF BYPASS OSCíOut) EL1234 MASTER KEYBOARD SHIFT EXIT PAGE A Level 96 B Delay ≥ 0 C 1 InsEF ins2 2 DATA ENTER PART/ELEMENT DEC/NO INC/YES EFFíEF1) Ctgry Type C 1234 MOD Tremolo [ENTER] to Edit The [ENTER] key has other functions, as described in other sections in this manual. [INC/YES] and [DEC/NO] Keys You can use the [INC/YES] key to increment a parameter setting by one step, or the [DEC/NO] key to decrement it. If you hold down either key, the value is continuously changed. Entering Data DEC/NO INC/YES You can use the knobs to directly alter their respective parameters on the screen. Alternatively, you can also move the cursor (≥) to a parameter and set its value using the [INC/YES] and [DEC/NO] keys, or the [DATA] knob. Knobs [A], [B], [C], [1] and [2] Each parameter in a screen is normally associated with a knob ([A], [B], [C], [1] or [2]) below the display. When you use one of these knobs, the cursor (≥) moves to its respective parameter and you can change its value. For instance, you can use Knob [B] at the following screen to change the Level setting. Turn the knob clockwise to increase the value and anti-clockwise to decrease it. You can also use these keys to answer “YES” or “NO” when a confirmation message is displayed. Moving the Cursor By pressing the [INC/YES] or [DEC/NO] key while holding down the [SHIFT] key, you can move the cursor between parameters on the screen without affecting their values. OSCíOut) EL1234 SHIFT PAGE A Level ≥ 96 B Delay 0 C PART/ELEMENT OSCíOut) EL1234 Level ≥ 96 Delay 0 InsEF ins2 DEC/NO INC/YES SHIFT PAGE A B C 1 2 DATA PART/ELEMENT 24 1 InsEF ins2 2 DATA [DATA] Knob OSCíOut) EL1234 SHIFT PAGE A Level ≥ 96 B Delay 0 C 1 There are many ways to set parameters. Some parameters require you to directly enter numerical settings or alphabetic characters. With others, you can choose from a number of available settings. Furthermore, some types of parameters are “absolute” whereas others are “relative.” InsEF ins2 2 For example, the absolute parameter in the following illustration can be set to either “Mono” or “Poly.” For other absolute parameters such as Volume, the setting can be any value between zero and 127. The Volume setting has a linear, on-to-one relationship with the actual volume, as shown in the graph on the left. DATA PART/ELEMENT Moving the Cursor However, relative parameters do not follow the same relationship. The graph on the bottom shows the role of the Velocity Offset parameter. The value you have set here, known as an “offset,” is added to, or subtracted from, the actual value. With Velocity Offset, the specified offset value is added to, or subtracted from, the actual velocity of the notes you play on the keyboard. Sometimes, these types of relative parameters are set as a percentage. Turn the [DATA] knob clockwise or anticlockwise while holding down the [SHIFT] key to move the cursor to a parameter in the screen without affecting its value. OSCíOut) EL1234 SHIFT PAGE A Level ≥ 96 B Delay 0 C 1 InsEF ins2 2 DATA PART/ELEMENT GEN Other) Mode C 1234 poly [ENTER] Key Assign single MicroTuning 31:Indian mono/poly Use this key to apply a setting (when it is blinking, for example.). The [ENTER] key is also used when executing a Job or Store operation, as described in other sections of this manual. QEDíLevel) C 1234 Vol 127 Pan RevSend ChoSend C 127 127 0~127 EF BYPASS 1 Volume (absolute) MASTER KEYBOARD Volume EXIT ENTER 0 127 DEC/NO INC/YES 2 Velocity offset (relative) Offset +64 offset added +10 Actual velocity 0 offset added -10 Volume -64 25 Basics Section Types of Parameters (Absolute and Relative) Use this knob to change the value of the parameter at which the cursor is positioned. Turn the knob clockwise to increment the value one click (step) at a time, or turn it anti-clockwise decrement it. Basics Section Demo Playback Several demo songs are supplied with this synthesizer. You can play them back as follows. Make sure synthesizer is ready for playback. Details are given in the section “Before Use” on Page 12. At the “SEQ Demo” screen, any data in the instrument’s internal memory (System, Internal Voices or the like) will be overwritten by the data for the demo song. Important data should be saved to Memory Card (Page 144) beforehand. 1Press the [SEQ PLAY] key to enter Sequence Play Mode. You will see the following screen. SEQ Demo)<< Are you sure? [YES]/[NO] >> System,IntVoice will be changed. There are two screens in Sequence Play Mode. Use the [PAGE] knob to switch to the screen shown above. 2Press the [INC/YES] key to enter the SEQ Demo screen. Demo song name SEQ Demo) Song:[DEMOSONG] ≥ 001 ⁄= 120 Demo song number Playback tempo To cancel demo playback, press the [DEC/NO] key. 3Press the [PLAY/STOP] key to start playback of the song. 4Press the [PLAY/STOP] key again to stop playback. At the end of the song, playback is automatically looped back to the beginning. You can change the playback tempo using the Knob [C]. To use the song’s original tempo, select a tempo value of “***.” Details about Sequence Play Mode (and demo playback from Memory Card), are given on Page 132. 26 Basics Section Voices and Performances Playing a Voice Based on an AWM2 synthesis engine, this synthesizer offers various kinds of preset Voices (256 Normal Voices and 8 Drum Voices). You can also create your original Voices and store them into the instrument’s internal memory (INT) or an external Memory Card (EXT). The internal and external memory can each contain up to 128 Normal Voices and 2 Drum Voices. You can freely select and play Voices from both groups of memories, as explained in the following. PRE1 PRE 2 INT EXT PLG1 PLG2 MODE EF BYPASS EXIT MASTER KEYBOARD DRUM VOICE UTILITY ENTER PERFORM CARD SEQ PLAY ASSIGNABLE KNOB SHIFT PAGE A B C 1 2 EDIT JOB QUICK ACCESS A B C D E F G H A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 DATA DEC/NO INC/ YES DRUM STORE PLAY/ STOP COMPARE PART/ELEMENT 3 [DATA] knob 2 MEMORY key 1 [VOICE] key 3 [DEC/NO] and [INC/YES] keys 1 Press the [VOICE] key The [VOICE] key LED will light, showing that you are now in Voice Play Mode. The following appears in the display. MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT STORE 2 Press a MEMORY key to select a Voice Memory There are six Voice Memories: PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal), EXT (External), PLG1 (Plug-in 1), and PLG2 (Plug-in 2). Within each Voice Memory are several Banks (up to eight, A to H) in which the Voices are stored. The following illustration shows how Voices are stored in a Voice Memory. PRE2 (Preset 2) Bank A~H EXT (External) Bank A~H 1~16 1~16 1~16 Voice Voice Voice PLG2 (Plug-in 2) Bank A~D COMPARE PRE1 VCE Play) PRE1:001(A01)[Pf:StereoGrnd] EQLow-G EQMid-G EQHi-G ChoSend RevSend PRE 2 INT DRUM PRE1 (Preset 1) Bank A~H At this point, you can play the Voice (named on the screen) via keyboard. 27 EXT PLG1 PLG2 DRUM INT (Internal) Bank A~H PLG1 (Plug-in 1) Bank A~D 1~16 1~16 1~16 Voice Voice Voice Basics Section The Drum Voices are held in separate areas of each Memory, and are accessed as follows. Details about selecting Voices using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 66. • To access the Preset Drum Memories (PRE:DR1 ~ DR8): Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key. You can also select Voices using a combination of BANK and PROGRAM/PART keys, using the Quick Access feature, or using the Category Search feature. Details about selecting Voices are given on Pages 65, 67,68. • To access the User Drum Memories (INT:DR1/2, EXT:DR1/2): Press the MEMORY [EXT] key while holding down the MEMORY [INT] key. PRE1 PRE 2 INT DRUM EXT PLG1 Using the Quick Access Using Quick Access, you can quickly select any of 12 types of Preset Voices and 4 types of Internal Voices (at their factory default settings) in each Bank according to their Categories. The procedure is as follows. PLG2 Details about the Voices that can be selected using Quick Access are given in the separate Data List. DRUM To access Preset Drum Voices (PRE:DR1 ~ DR8) To access User Drum Voices (INT:DR1/2, EXT:DR1/2) 1 Press the [QUICK ACCESS] key in Voice Mode. Its LED will light and Quick Access will be enabled. PRE1 and PRE2 (Preset 1 and 2) are stored in internal Read Only Memory (ROM) and contain preset Voices which are never overwritten. INT (internal) is stored in Random Access Memory (RAM) and contains the factory default Voices. These can be overwritten, but can be recalled from the original factory settings at any time if required. VCE Quick) INT:017(H01)[Pf:GrandPiano] EQLow-G EQMid-G EQHi-G FLT-Frq ChoSend Press the key again or switch to another Mode to disable Quick Access. EXT (external) is stored on a Memory Card inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Voice, “----” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Voices. PLG1 or PLG2 Voices can only be selected if a Plug-in Board is installed. When you enable Quick Access, the Voice you previously selected using Quick Access is selected again. If you enable Quick Access while editing a Voice, the Voice is not changed until you select another Voice via Quick Access. You cannot use the MEMORY keys while Quick Access is enabled. 3 Select a Voice Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys 2 Use BANK keys [A] to [H] to select the Category. There are eight Categories, as listed below. The Category names are printed below the respective BANK keys. Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Voice Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Voice Number. QUICK ACCESS VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime SHIFT PAGE A B C 1 2 A B C D E F G H A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER 3 Use PROGRAM keys [1] to [16] to select the Voice within the specified Category. The name of the Voice is displayed. DATA 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 PART/ELEMENT EF BYPASS EXIT MASTER KEYBOARD For each BANK [A] to [H], Preset Voices are accessed using PROGRAM keys [1] to [12]. The remaining four keys (PROGRAM keys [13] to [16]) are used to access each of four internal Voices. Details about Voices are given in the separate Data List. By selectively assigning your own selected Voices to the PROGRAM keys [13] to [16] in each BANK, you can make use of the Quick Access feature to quickly switch between them. ENTER DEC/NO INC/YES Now you can play a selected Voice when you play the keyboard. 28 In Performance Play Mode, you can select and play any of 128 internal and 64 external (Memory Card) Performances. A Performance is a set of Voices used with the built-in (or an external) sequencer. Performances also let you set the synthesizer up for multitimbral operation. Each Performance can contain up to 16 Parts assigned to different Voices, plus extra Parts for A/D INPUT and Plug-in Boards. If the Layer Switch (Page 123) parameter is switched on for any Parts, those Parts can be play in unison. Also, you can assign multiple Parts to different MIDI channels so that they can be played or be controlled individually using the built-in (or an external) sequencer. Up to 128 Performances can be stored in the internal memory and up to 64 on Memory Card. These Performance settings are available in Performance Edit Mode (Page 111). Here, we will show how to get started with Performance Play after selecting a Performance. PRE1 PRE 2 INT EXT PLG1 PLG2 MODE EF BYPASS EXIT MASTER KEYBOARD DRUM VOICE PERFORM UTILITY ENTER CARD SEQ PLAY ASSIGNABLE KNOB SHIFT PAGE A B C 1 2 EDIT JOB QUICK ACCESS A B C D E F G H A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 DATA DEC/NO INC/ YES DRUM STORE PLAY/ STOP COMPARE PART/ELEMENT 3 [DATA] knob 2 MEMORY key 1 [PERFORM] key 3 [DEC/NO] and [INC/YES] keys 1 Press the [PERFORM] key 2 Press a MEMORY key The [PERFORM] key LED will light, showing to select a Performance that you are now in Performance Play Mode. The Memory following appears in the display. MODE VOICE PERFORM STORE UTILITY CARD SEQ PLAY JOB PLAY/ STOP There are two Performance Memories: INT (internal) and EXT (External). INT consists of 128 Performances divided into eight Banks (A to H). EXT consists of 64 Performances divided into four Banks (A to D). PRE1 EDIT PRE 2 DRUM INT EXT PLG1 PLG2 DRUM COMPARE INT (Internal) Bank A~H EXT (External) Bank A~D 1~16 1~16 Performance Performance PFM Play) INT:001(A01)[--:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0 INT (internal) is stored in internal Random Access Memory (RAM) and contains factory default Performances. These can be overwritten but can recalled at any time. At this point, you can play the Performance (named on the screen) via keyboard. EXT (external) is stored on a Memory Card (RAM) inserted in the CARD slot. If there is no Memory Card inserted and you attempt to select an EXT Performance, “-----” will be displayed and no sound will be produced. With a Memory Card inserted, you can select and play EXT Performances. 29 Basics Section Playing a Performance Basics Section 3 Select a Performance Number using the [DATA] knob or the [INC/YES] and [DEC/NO] keys Turn the [DATA] knob clockwise or press the [INC/YES] key to increment the Performance Number. Turn it anti-clockwise or press the [DEC/NO] key to decrement the Performance Number. PFM Play) INT:001(A01)[--:Init Perf ] EQLow-G EQMid-G EQHi-G ------- ------- SHIFT PAGE A B C 1 2 DATA PART/ELEMENT EF BYPASS EXIT MASTER KEYBOARD ENTER DEC/NO INC/YES You can now play Parts in the Performance via the keyboard. If the Layer Switch (Page 123) parameter is switched on for any Parts, those Parts can be play in unison. Now try selecting other Performances. Details about selecting Performances using the [DATA] knob or the [DEC/NO] and [INC/YES] keys are given on Page 66. You can also select Performances using a combination of BANK and PROGRAM/PART keys, or using the Category Search feature. Details about selecting Performances are given on Page 109. On selection, a Performance may take a few seconds to become ready since the settings for multiple Parts are applied. With some of the Performance presets (INT), you can use Knob [2] to switch the Arpeggiator on/off. Details are given in the separate Performance List. 30 In this section, an overview of the many features of the S80 is given. The S80 hardware is made up of a number of sections, as shown in the following diagram. Controller Section Keyboard Controllers Sequencer Section Tone Generator Section Song File Playback Arpeggiator AWM2 Plug-in Board Effects Section Controller Section This section consists of the keyboard, Pitch Bend and Modulation Wheels, Control Sliders, Assignable knobs and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information to the synthesizer’s tone generator section when you plays notes. The controllers also send changes. Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector. Sequencer Section This section can be used to play back Standard MIDI Files held on Memory Card. The contents of Tracks 1 to 16 correspond to MIDI channels and Parts in a Performance as shown in the following illustration. The sequencer can play back songs with a different Voice assigned to each Part. Tone Generator (Performance Parts) Sequencer Track1 Piano Ch1 Piano Ch1 Track2 Bass Ch2 Bass Ch2 Track3 Strings Ch3 Strings Ch3 Track16 Percussion Ch16 Percussion Ch16 31 Basics Section An Overview of the S80 Tone Generator Section Basics Section This section plays back sounds according to information received from the keyboard and controllers. The following example illustrates the path taken by the signal from an Element in Voice Mode. Tone Generator Section OSC (Oscillator) Outputs the waveform of each Element. Each Voice consists of up to four Elements. PITCH FILTER Controls the pitch of each Element output from OSC. Changes the tonal quality of each Element output from PITCH. AMP (Amplitude) To Effects Units Controls the output level (amplitude) of each Element output from FILTER. The signals are then sent at this level to the Effects Units. About the Tone Generator The tone generator section in the S80 consists of AWM2 and Plug-in units. AWM2 (Advanced Wave Memory 2) is a synthesis system based on the use of sampled waveforms, 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. AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive instruments (Drum Voices). Details about Normal and Drum Voices are given on Page 37. Plug-in Boards add more features to the system. When installed, they combine perfectly with the synthesizer’s built-in tone generator section. The following types of Plug-in Board are available, and up to two boards can be installed in the synthesizer. These boards are not simply a source of more Voices; they are also tone generators in their own right and extend the system-level specifications such as maximum polyphony. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (Page 98). This synthesizer is compatible with the Modular Synthesis Plug-in System (see next page). 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 • 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 realtime 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) A massive 16MB of waveform memory is dedicated to the reproduction of piano sounds using AWM2 synthesis. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two of these boards to double the polyphony to 128 notes. 32 • 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 Breath Controller (BC3) or MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments. Effect Plug-in Boards • 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 the synthesizer like a vocoder by connecting and using a microphone while playing the keyboard. Multi-Part Plug-in Board • 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. More Plug-in Boards will be available in future. 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 the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production. Maximum Polyphony The maximum sonic polyphony is 64 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board. In the case of AWM2 Voices, the polyphony figure of 64 is divided by the number of Elements in the Voice. For instance, if a Voice consists of two Elements, the maximum note polyphony for the Voice is 32. 33 Basics Section • Advanced DX/TX Plug-in Board (PLG150-DX) The sounds of the DX7 are available on this Plug-in Board. Unlike with PCM-based solutions, this does not use sampled waveforms. Instead, it uses the actual FM sound generator engine of the DXseries synthesizers to give a completely faithful reproduction. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump. Basics Section Effects Section The effects can be used to change the sound of a Voice or Performance. There are two Insertion Effect Units plus a Reverb Unit (with 12 types of reverb) and a Chorus Unit (with 23 types of chorus). Each of the Insertion Effect units offers a variety of effects, and the units themselves can be connected in parallel or in series. In Voice/Performance Mode, different Effects settings can be assigned to each Voice/Performance, though the way they are connected (series or parallel) varies slightly. As shown in the following illustration, the two Insertion Effect units can be independently switched on or off for each Element in a Voice. So basically, the Insertion Effects can be set on a per Element basis. After being passed through the Insertion Effects, the signals from all individual Elements are mixed and sent to the Reverb and Chorus Units. These Reverb and Chorus Units apply effects to the sound as a whole before it is sent to the outputs, and are therefore known as System Effects. In Performance Mode, the Insertion Effects can be set for two Parts: a Voice or A/D Input Part, plus a Plug-in Part. However, the System Effects (Reverb and Chorus) are not applied to Parts, but to the Performance as a whole. Voice Mode Performance Mode Output Voice1~16 Insertion Effects Element 1~4 Element 1~4 System Effects Reverb Output Insertion Effects 1/2 System Effects Reverb 1 1 2 Chorus Output 2 A/D Part Plug-in 1/2 Board Insertion Effects 1 Details about Effects are given on Page 55. 34 Chorus About the Modes Voice Mode Basics Section The S80 has various Modes which you can select according to the task you wish to perform. Performance Mode Voice Play Mode Voice Edit Mode Voice Job Mode Performance Play Mode Performance Edit Mode Performance Job Mode MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP Utility Mode STORE Sequence Play Mode Utility Job Mode EDIT COMPARE Card Mode Voice Mode (Page 64) Performance Mode (Page 107) Sequence Play Mode (Page 132) Voice Play Mode Normal Voices and Drum Voices can be played in this Mode. You can select from Preset Voices (256 Normal Voices plus 8 Drum Kits), Internal (User) Voices (128 Normal Voices plus 2 Drum Kits) and External (Memory Card) Voices (128 Normal Voices plus 2 Drum Kits). That is a choice of 512 Normal Voices and 12 Drum Kits. The choice is extended further still if you have an optional Plug-in Board installed. Performance Play Mode This Mode is used when playing Performances. You can layer multiple Voices (Parts) to create rich sonic textures. You can also create multitimbral setups by assigning Parts to different MIDI channels. You can layer A/D Input and Plugin Parts, as well as AWM2based Voices. In this Mode, you can use the sequencer to play back Song files (Standard MIDI Files) held on Memory Card. The Songs can be played back individually or as a chain. By switching Performance, you can also change the sounds associated with each track in a Song. The MIDI settings for Voices are set in Utility Mode. Voice Edit Mode Normal Voices and Drum Voices can be created and edited in this Mode. You can save up to 128 edited Normal Voices and 2 edited Drum Kits as User Voices in internal memory. You can also store them to Memory Card as external memory. Performance Edit Mode In this Mode, you can edit and create Performances. You can save up to 128 Performances to internal memory or up to 64 to external memory (Memory Card). Performance Job Mode In this Mode, you can copy and initialize Performances, and perform other such operations (Jobs) on them. Voice Job Mode In this Mode, you can copy and initialize Voices, and perform other such operations (Jobs) on them. 35 Utility Mode (Page 134) Select this Mode when setting parameters that apply to the synthesizer system as a whole. These include MIDI settings and synthesizer setup parameters. Utility Job Mode In this Mode, you can restore the synthesizer’s factory settings. Card Mode (Page 142) Insert a Memory Card into the CARD slot and you can save files to it, load files from it, and do various other things with the data on the card. Basics Section Voices A Voice is a sound created from the many parameters set in the synthesizer. In Voice Play Mode, you can select and play any of these Voices. In Performance Play Mode, several different Voices (known as Parts in this Mode) can be layered and played simultaneously via keyboard or a sequencer. Four groups of Voices are available (Preset 1, Preset 2, Internal and External). Up to two further groups of Voices are available if optional Plug-in Boards have been installed. Performance Play Mode Voice Play Mode Controllers Controllers Sequencer Song play Tone Generator Tone Generator Voice Performance Part Voice 1 2 3 4 5 6 7 PRE1: PRE1: PRE1: PRE2: PRE2: PRE2: INT: (A01) (A02) (A03) (A01) (A02) (A03) (A01) Playing a Voice 8 16 A/D Part Plug-in Part 1 Plug-in Part 2 EXT: (A01) PRE1: (A16) Mic etc. 1 2 Playing a Performance 256 Normal + 8 Drum Voice (Preset) Preset1 (128 Preset Voices) Banks A~H Preset2 (128 Preset Voices) Banks A~H 1~16 1~16 Voice Voice 256 Normal + 4 Drum Voice (User) Preset (8 Preset Voices) DR 1~8 External (128 User Voice) Banks A~H Internal (128 User Voice) Banks A~H Drum Voice 1~16 1~16 Voice Voice (2 User Drum Voices) (2 User Drum Voices) Plug-in Plug-in1 (64 Plug-in Voice) Bank A~D 36 Plug-in2 (64 Plug-in Voice) Bank A~D 1~16 1~16 Voice Voice Each Voice consists of up of up to four Elements. Each Element itself uses a high-quality waveform. Voice Element 1~4 Element Wave form AWM2: 553 Preset waveforms Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly 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 Drum Voice assignments is known as a Drum Kit. If you have installed an optional Plug-in Board, there will be more Voices for you to choose from. These Voices are known as Plug-in Voices, and will vary depending on the Plug-in Board you have installed (Page 32). The Note Limit settings (Page 80) will also affect the allocation of sounds. But basically, Normal Voices (of up to four Elements) are playable across the whole keyboard range whereas with Drum Voices, any of 73 different Waves can be assigned to each Drum Key on the keyboard. Normal Voice Drum Voice Voice Element 1~4 wave 1 wave 2 wave 3 wave 4 wave 5 wave 73 A total of eight Drum Voices (DR1 to DR8) are available as presets. You can also create your own Drum Voices and save them to internal (User) memory or to external memoly (Memory Card), just as with Normal Voices. 37 Basics Section An Overview of Voices/Waves Basics Section Waves Waves are waveforms used as Elements that make up a Voice. 553 high quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters. wave 1~553 Element1 Element2 Element3 Element4 C-2 G8 Voice 38 A Performance consists of up to 19 Parts, each of which can a Normal Voice, Drum Voice, A/D Input Part or Plug-in 1/2 Part. By switching on the Layer Switch parameter for different Parts (up to four), you can play back rich layered sounds in Performance Play Mode. You can also create splits so that different Parts are assigned to different areas of the keyboard. If you assign a different MIDI channel number to each Part, each track of a sequencer can play back a different Part. Performance Part 1~16, A/D INPUT Part, Plug-in 1/2 Part Multiple Layered Voices Layer Switch set to on Performance Part 1~16, A/D INPUT Part, Plug-in 1/2 Part Song MIDI CH 1~16 CH1 Different Voice For Each part Sequencer CH16 In Performance Mode, several different Voices (Parts) can be layered to create rich textures. However, this can cause note response to become slower under some circumstances. 39 Basics Section Performances Basics Section Ideal for Playing Live Many features of this synthesizer make it ideal for live performances. These features are explained here. 2 Using the Controllers (Page 43) 1 Using the Arpeggiator (Page 41) A wide variety of arpeggio patterns can be created automatically by just holding down a set of notes on the keyboard. You can specify the sound and the note range within which the arpeggiator is active, then use your left hand to hold down the notes being arpeggiated while using your right hand to play a melody line. The Pitch Bend Wheel, Modulation Wheel and Control Sliders can be freely assigned to control various sound parameters in real time. By connecting an optional Foot Controller or Foot Switch, you can also use your feet to control parameters, to change Program Number, and so on (Page 48). Also, you can assign parameters to Knobs [A], [B], [C], [1] and [2] on the front panel below the LCD. Rear Panel The parameters for these features can be stored per Voice/Performance. 40 2Turn Knob [A] fully anti-clockwise until Common is displayed on the bottom line. Voice Edit Mode consists of two different Edit screens: Common The arpeggiator is particularly suited to Edit (for parameters common to all Drum dance/techno music genres. You can assign any keys/Elements) and Drum key/Element Edit. The of 128 Arpeggio Types to each Voice, Performance Arpeggiator parameters are found in the Common and adjust the tempo. You can also set the Edit screens that you have now selected. Arpeggio Mode (the way in which the arpeggio is played back when you press a note) and Play GEN Name) Ctgry a-Z 0-? Cursor Effects to create your own original grooves. Common [Dr:Rock Kit ] Arpeggio information can be transmitted through the MIDI Out. SHIFT Selecting and Playing Back an Arpeggio Type You can choose from 128 different Arpeggio Type presets. You can also freely vary the Arpeggio Tempo to suit the song. The Note Limit parameter can be used to define the effective note range of the arpeggio. PAGE A B C 1 2 DATA PART/ELEMENT 3Use the [PAGE] knob to switch to the ARP Type (Arpeggio Type) screen. ARPíType) Type Tempo Common GateCut2:Ct 92 SHIFT PAGE A B C Switch off 1 Hold off 2 DATA PART/ELEMENT Each parameter applies to, and is stored with, each Voice or Performance. By playing notes on the keyboard and listening to the arpeggio, you can adjust these parameters by ear. If you use the [PAGE] knob while holding down the [SHIFT] key, a menu will be displayed. You can quickly jump to the ARP screen by using the [PAGE] knob to move the cursor to the ARP item in the menu, then releasing the [SHIFT] key(Page 70). The arpeggiator’s parameters are available in each Edit Mode. In the following Voice Mode example, the Arpeggio Type is set for a Drum Voice in 4Use Knob [B] to jump to the Type parameter. Preset Drum 1. Now use Knob [B], the [DATA] knob or the [INC/YES] and [DEC/NO] keys to select the To select the Preset Drum, press the MEMORY [PRE2] key while holding down the MEMORY desired Arpeggio Type. Let’s choose [PRE1] key and press a PROGRAM key. Here, we “BigBeat2” here. will choose Preset Drum 1 so you should press the PROGRAM [1] key. Arpeggio Types are divided into the four following categories and applications are not just limited to drum patterns. You can also select Arpeggio Types for backing chords, basslines and so on. If the Arpeggiator switch is already enabled for the Voice/Performance, this means that the Arpeggiator will be ready for use whenever you select the Voice/Performance. The on/off state of the Arpeggiator can be stored (Pages 106, 131) for each Voice/Performance. When setting the Arpeggio Category to Ct (Control), you also need to set the Key Mode parameter (two screens ahead) to “direct.” Selecting the Arpeggio Type Sq (Sequence): Creates a general arpeggio phrase. Mainly octave up/down phrases. Ph (Phrase): Creates more musical phrases than Sq. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments. Dr (Drum Pattern): Creates drum pattern-type phrases. Phrase genres covered include rock and dance. This Type is ideal for use with drum and percussion sounds. Ct (Control): Creates tonal changes. No note information is created. The Key Mode parameter in Arpeggio Mode must be set to “direct.” 1Press the [EDIT] key in Voice Play Mode. You will enter Voice Edit Mode at the screen where you previously exited. MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT STORE COMPARE Details about Arpeggio Types are given in the separate Data List. 41 Basics Section 1 Arpeggiator Using the Arpeggiator Basics Section Use Knob [1] to set the Arpeggiator Switch parameter to “on.” You can hold down multiple notes to create complex arpeggio patterns. ARPíType) Type Tempo Common≥BigBeat2:Dr 92 SHIFT PAGE A B Switch on C 1 1The Note Limit parameters can be set in the ARP Limit screen, which follows immediately after the ARP Type screen mentioned in step 3 (earlier). Use the [PAGE] knob to switch to the screen. Hold off 2 ARPíLimit) C_ 1234 Note Limit C -2 - G 8 DATA SHIFT PAGE A B C 1 2 DATA PART/ELEMENT PART/ELEMENT When the arpeggiator is switched on, the notes 2Use Knob [2] to jump to the parameter for the you play (and hold down) on the keyboard will be highest note in the range, and to set the note. arpeggiated using the currently selected Voice or Alternatively, you can set this parameter by Performance, and according to the Arpeggio Type, pressing the note (say, E3) on the keyboard Tempo and Note Limit settings. while holding down the [SHIFT] key. In Voice Mode, the currently selected Voice will be Similarly, the lowest note in the range can be arpeggiated. set using Knob [1], or by pressing the note In Performance Mode, the Voices of Parts for while holding down the [SHIFT] key. which both the Layer and arpeggiator are ARPíLimit) Note Limit switched on, are arpeggiated (Page 123). C_ 1234 A -1 - E 3 Only notes within the Note Limit range will be arpeggiated. Therefore, if the notes you play are not arpeggiated, they may be outside this range. Details about the Note Limit settings are given later. SHIFT PAGE A B C 1 2 DATA PART/ELEMENT The Pitch Bend and Modulation Wheels can be used while the arpeggiator is running. Knobs [1] and [2] are used to set the Note Limits of the keyboard range within which the arpeggiator will play back. The cursor (≥) immediately jumps to each respective parameter when Knobs [1] and [2] are used. Once the cursor is at the parameter, you can also use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enter settings. Now try selecting other Arpeggio Types and arepggiating different Voices. You can use a Foot Switch (optional) to switch the Arpeggiator on/off. Details about assigning parameters to the Foot Switch are given on Pages 48, 136. Outside the Note Limit range, you can play the keyboard normally without the notes being You can use Knob [C] to adjust the tempo arpeggiated. Therefore, you can use your left between 25 and 300 BPM. This parameter setting hand to play block chords used by the Arpeggiator is used by the Arpeggiator. Use Knob [C] to jump and your right hand to play melody lines in the to the Tempo parameter. Now use Knob [C], the upper part of the keyboard. [DATA] knob or the [INC/YES] and [DEC/NO] Arpeggiator Range Area for Playing Melody keys to set the tempo. You can also set the tempo using the [TEMPO] knob on the front panel. Setting the Tempo ARPíType) Type Tempo C_ 1234 BigBeat2:Ct≥ 127 SHIFT PAGE A B Switch on C 1 Hold off 2 DATA Arp Note Low Combined with the OSC Limit parameter of the Element Edit screen, the sound used in the lower part of the keyboard can be different from that in the upper part. PART/ELEMENT Setting the Note Limit Using the Note Limit parameter, let’s set up a Normal Voice (say, Voice Program Number 098:G02 of Internal:champ) such that the Arpeggiator is enabled in the lower part of the keyboard but the upper part can be used to play melody lines. You’ll need to have already set the Arpeggio Type (say, MuteLine). Arp Note High The Note Limit parameters in Performance Mode are different to those in Voice Mode, and notes outside the set range will not sound. The Arpeggiator Switch parameter (Page 123) for each Part should be set to “on,” except for the Part which you wish to use to play the melody. Then, if necessary, use the Note Limit parameter (Page 123) to restrict the keyboard range for that Part. 42 Using the Arpeggiator Hold With Arpeggiator Hold switched on, the arpeggiator will continue to play back, even after you have released your fingers from the notes on the keyboard. The same arpeggio pattern will be played back until you press another set of notes on the keyboard. The S80 is equipped with Pitch Bend and Modulation Wheels. Either of the S80 is equipped with front panel Knobs [A], [B], [C], [1] and [2], with which you can control many different parameters. Pitch Bend Wheel This wheel’s prime function is to control pitch. Roll the wheel upward/downward to bend the pitch upward/downward. The effect can also be reversed. You can switch Arpeggiator Hold on/off by using Knob [2] to change the Hold parameter of the ARP Type screen. Pitch Up With Arpeggio Hold switched on, the Arpeggiator continues to play back after releasing the keyboard, leaving your left hand free to perform other tasks, such as adjusting the sliders. ARPíType) Type Tempo Common BigBeat2:Dr≥ 127 Switch on Pitch Down Pitch Bend Wheel Hold on Modulation Wheel Pitch Bend Range can be set for each Voice. The wheel can also be assigned other parameters (Page 74). Even if a different parameter is assigned to the wheel, Pitch Bend messages are still transmitted through the MIDI Out when it is being used. Modulation Wheel The more you roll this wheel upwards, the greater the modulation that is applied to the sound. Deeper Pitch Bend Wheel Modulation Wheel Modulation depth can also be set beforehand. Also, the wheel can be assigned different parameters, such as Volume or Pan (Page 74). 43 Basics Section 2 Using Controllers Following the example in this manual, if you select Voice Program Number 098(G02) of INT, Portamento is already set for this Voice. Use the PORTAMENTO knob and [ON/OFF] keys to change the portamento time and switch portamento on/off (Page 74). Knobs [A]/[B]/[C]/[1]/[2] Foot Controller Basics Section In Voice/Performance Play Mode, Knobs [A], [B], [C], [1] and [2] can be used as real-time controllers. Knobs [A], [B] and [C] are assigned to control the equalizer gain of, respectively, EQ Low, EQ Mid and EQ Hi. With Knobs [1] and [2], you are free to assign different parameters per Voice. An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jack (Page 18) on the rear panel, can be assigned a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers). This is very convenient if you are playing live. VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime SHIFT PAGE A B C 1 2 Foot Controller parameters can be set for each Voice. DATA Foot Switch An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH jack If you turn any knob clockwise, the value assigned (Page 18) can be assigned to a range of parameters. It is suited for a switch-type (on/off) to it is incremented. Conversely, the value is controls such as Portamento Switch, decremented if you turn it the other way. increment/decrement of a Voice or Performance Common system parameters are assigned to Knobs Number, start/stop of the Sequencer, holding [A],[B] and [C] (Pages 46, 136). Voice-specific Arpeggiator on or off. The Foot Switch is not parameters are assigned to Knobs [1] and [2] (Pages well suited for continuous control. You could also 47, 74). use it to switch to between different Voices or A preset of suitable parameter settings is assigned to each Voice. By using each knobs [1] and [2], you are Performances PART/ELEMENT in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded. The parameter assigned to the Foot Switch is set in the CTRL Other screen of Utility Mode (Pages 48, 136). Sustain In any Edit Mode, Knobs [A], [B], [C], [1] and [2] are used for entering parameter settings on screen (Page 24). With an optional Yamaha FC4 or FC5 Foot Switch connected to the SUSTAIN jack (Page 18) on the rear panel. This is useful when playing pianotype sounds. Control Sliders In Performance Mode, if Master Keyboard Mode is enabled, you can use the four Control Sliders to control the functions assigned to each zone. Details are given on Pages 61 and 129. VOLUME You cannot assign a function other than Sustain to the SUSTAIN jack. Foot Volume Connect an optional Foot Controller (such as the FC7) to the FOOT VOLUME jack of the rear panel (Page 18). You can then use your foot to control Main Volume or Expression parameters, leaving your hands free to play the keyboard. This is very useful if you are playing live. CONTROL SLIDER The parameter assigned to the Foot Volume controller is set in the CTRL Other screen of Utility Mode (Page 136). 1 . 2 3 4 Breath Controller You can connect an optional Breath Controller (BC3) to the BREATH jack (Page 18) on the rear panel . Then use it to control a large number of the synthesizer’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on. The Breath Controller is ideally suited for realistic expression with wind instrument type Voices. Breath Controller parameters can be set for each Voice. 44 Aftertouch Aftertouch lets you, for example, add vibrato to a sound by applying further pressure to a note on the keyboard while it is being held down. This allows real-time expression and control. Aftertouch can be used to control a wide variety of parameters (Page 74). Control Sets Aside from their default parameters, keyboard aftertouch, the controllers and some of the knobs on the front panel can be assigned with various parameters, as explained on Page 43. For example, you could assign Resonance to the Modulation Wheel and set aftertouch to apply vibrato. You are free to assign parameters to suit the kind of sound being played. For example, set the Src (Source) parameter of Control Set 1 to MW (Modulation Wheel) and the Dest (Destination) parameter to ELFO-PM (Element LFO Pitch Modulation Depth). Then set the Src parameter of Control Set 2 also to MW, but set the Dest parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of control. In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, the Element is panned from left to right. So in other words, you can assign several Dest parameters to each Src controller. SET 1 SET 2 Src Sw Src Sw These controller assignments are known as Control MW MW Sets. As the following illustration shows, you can (Modulation Wheel) (Modulation Wheel) Moving the Modulation assign up to six different Control Sets per Voice. Wheel changes the amount Within each Control Set, the controller is known as of Pitch Modulation plus the the Source (Src) and the parameter controlled by pan position. Dest Param Dest Param the Source is known as the Destination (Dest). ELFO-PM ELM PAN There are various Dest parameters available; some will apply to the Voice as a whole, while some will Continuing from the example above, now create be specific to each of its Elements. Details are given in the Controls List of the separate Data List. another Control Set where Src is set to FC (Foot Controller) and Dest is set to ELFO-PM (Element Details about the available Dest parameter settings LFO Pitch Modulation Depth). Again, specify the are given in the Destination Parameter List of the Element to be controlled and also the depth of separate Data List. control. Voice Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In other words, you can also assign several Src controllers to each Dest parameter. Src(Source) Control Sets 1~6 Controller PB,MW,etc Dest(Destination) Control Parameters SET 1 Depth Depth of control Elements ON/OFF ON/OFF ON/OFF ON/OFF 1 2 3 4 The Element Switches (Page 75) will be disabled if the Dest parameter setting is not specific for Elements (i.e., for settings 00 to 33). SET 3 Src Src MW (Modulation Wheel) FC (Foot Controller) Dest Dest ELFO-PM ELFO-PM You can control the pitch modulation effect using either of Modulation Wheel (MW) and Foot Controller (FC). By assigning all six Control Sets, you will have a stunning degree of real-time control over the synthesizer’s sounds. 45 Basics Section By creating Control Sets, you can change sounds in a variety of ways. Basics Section Control Sets and External MIDI Control Assigning Parameters to Knobs [A], [B] and [C] In a Control Set, the controllers are assigned to the internal parameters of the synthesizer. However, some controllers were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer. For example, the Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch were originally designed to control pitch bend, modulation and aftertouch. Therefore, when you use these controllers, pitch bend, modulation and aftertouch information is always sent to the MIDI Out. The following procedure explains how you can assign a desired parameter to Knob [A], [B] or [C]. You can assign any parameters that are common throughout the system (for all Play Modes) and any MIDI Control Change Numbers. In the example, Knob [A] will be set up to control Reverb Return. 1 Press the [UTILITY] key to enter Utility Mode. MODE Let’s say the Pan parameter is assigned to the Pitch Bend Wheel in a Control Set. Now, when you move the Pitch Bend Wheel, the internal tone generator of the synthesizer will pan the sound but at the same time, the original pre-defined Pitch Bend messages will still be sent to the MIDI Out. MIDI OUT VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT STORE COMPARE IN 2 Use the [PAGE] knob to switch to the CTRL KnobA (System Control Knob A) screen. MIDI Control Pitch Bend Wheel CTRL KnobA) Sys Tone Generator CC# 01[ModWheel] Dest EQLow-G Control Set SHIFT PAGE A B C 1 2 DATA Pitch LFO1 PAN PART/ELEMENT The controllers can also send MIDI Control Change messages to control the parameters of external MIDI devices. These assignments are found in the VOICE (Vce) CTRL Assign1/2 screen of Utility Mode. 3 Use Knob [2] to select REV-Rtn (Reverb Return). CTRL KnobA) Sys As Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch is pre-defined with specific MIDI controls, you cannot assign MIDI Control Changes. SHIFT You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet another kind to the MIDI Out. For example, in a Control Set you could assign resonance to Assignable Knob [1]. Then, in the VOICE CTRL Assign2 screen of Utility Mode, you could assign Control Change Number 1 (Modulation) to the same knob. Now, when you turn the knob, resonance will be applied to the sound of the internal tone generator but at the same time, modulation information will be sent to the external MIDI device connected to the MIDI Out. PAGE A B CC# 01[ModWheel] C Dest REV-Rtn 1 2 DATA PART/ELEMENT Now you can use Knob [A] for on-the-fly control of the Reverb Return level in Voice/Performance Play Mode. Note that you can also send (by turning Knob [A]) or receive Control Change messages with the Controller Number set in the CC# parameter through MIDI In and Out. For assignable parameters, refer to “System Controller Destination Parameters” in the separate Data List. This aspect of the synthesizer makes it ideal for use as a master controller for controlling external MIDI devices. Add an optional Foot Controller or Breath Controller for even more control. 46 The following procedure explains how you can assign a desired parameter to Knob [1] or [2]. You can assign controllers to each Voice (or Part in a Performance). Control Settings can be assigned as a Control Set, and a each Controller can be used to control multiple parameters (although this varies according to the type of Voice). Here we introduce an example of how to set up Control Set 1 for Internal Voice 001 (A01) by assigning PCHCrs (Pitch: Coarse) to Knob [1]. CTLíSet1) Src Dest C 1234 KN1(16) PCH-Crs SHIFT PAGE A B C EL Sw --34 1 Basics Section 5 Use Knob [C] to assign PCH-Crs (Pitch:Coarse) to the Dest (Destination) parameter. Assigning Parameters to Knobs [1] and [2] Depth +14 2 DATA PART/ELEMENT 6 Use Knob [1] and the [DATA] knob to specify the Element to be controlled. Knob [1] moves the cursor (blinking) and the [DATA] knob displays the Element to be controlled. You can also assign, separately, a different MIDI Control Change Number to the same knob in Voice Mode and Performance Mode. Details are given on Page 139. CTLíSet1) Src Dest C 1234 KN1(16) PCH-Crs SHIFT PAGE A B C EL Sw 1--4 1 Depth +14 2 DATA 1 Press the [VOICE] key to enter Voice Play Mode. PART/ELEMENT MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT 7 Use Knob [2] to set the Depth parameter. The larger the setting, the greater the depth of control. STORE CTLíSet1) Src Dest C 1234 KN1(16) PCH-Crs SHIFT COMPARE PAGE A B C EL Sw 1234 1 Depth +34 2 DATA PART/ELEMENT 8 Store the edited Voice (Page 106). 2 Select Internal Voice 001 (A01) and press the [EDIT] key to enter Voice Edit Mode. Now you have Internal Voice 001 (A01) assigned PCH-Crs (Pitch:Coarse) to Knob [1]. When you select and play this Voice in Voice Play Mode, you can control the pitch of the Voice if you turn Knob [1]. 3 Use the [PAGE] knob to switch to the CTL Set1 (Control Set 1) screen. CTL Set1) Src Dest C 1234 MW(01) FLT-Rez SHIFT PAGE A B C EL Sw --34 1 Details about the assignable control functions are given in the Control Set Destination Parameters in the separate Data List. Depth +14 2 DATA PART/ELEMENT 4 Use Knob [B] to assign “KN1 (16)” (Knob [1]) to the Src (Source) parameter. CTLíSet1) Src Dest C 1234 KN1(16) FLT-Rez SHIFT PAGE A B C EL Sw --34 1 Depth +14 2 DATA PART/ELEMENT 47 Basics Section 3 Use Knob [C] to select “01:ModWheel” (Modulation Wheel). Controlling Parameters by Foot Controller By connecting an optional Foot Controller (such as the FC7) to the FOOT CONTROLLER jack on the rear panel of the synthesizer, you can control various parameters by foot without having to use your hands. In the following example, we introduce how to set up Foot Controller to work as Modulation Wheel. CTRL Assign2) Vce [ModWheel] SHIFT PAGE A B FC 01 C RB 22 1 2 DATA PART/ELEMENT In Voice Mode, the foot controller can now be used to control the same function as that assigned to the Modulation Wheel. FOOT SWITCH INDIVIDUAL OUTPUT FOOT FOOT SUSTAIN CONTROLLER VOLUME 2 1 R OUTPUT L MONO PHONES A D INPUT If the current Voice has a Control Set with a source (Src) assigned to Modulation Wheel (MW) and receives a Control Change message of Modulation Wheel, a destination (Dest) parameter for the source (MW) will be affected with that message. GAIN The above procedure explains how to set up the Foot Control to control Modulation in Voice Mode. To create such a setup for Performance Mode, the appropriate settings are found at the CTL Assign2 screen in Performance Edit Mode. FC7 Switching Between Programs by Foot Switch 1 Press the [UTILITY] key to enter Utility Mode. By connecting an optional Foot Switch (such as the FC4 or FC5) to the FOOT SWITCH jack on the rear panel of the synthesizer, you can switch between Programs without having to use your hands. For example, if you consecutively arrange the Voices/Performances in memory, you can switch between them easily in a live performance. The following procedure explains exactly how to a about this. MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT STORE COMPARE FOOT SWITCH 2 Use the [PAGE] knob to switch to the CTRL Assign2 (Voice Control Assign 2) screen. CTRL Assign2) Vce [ off SHIFT PAGE A B FC 00 ] C RB 22 1 2 DATA FC4 PART/ELEMENT 48 INDIVIDUAL OUTPUT FOOT FOOT SUSTAIN CONTROLLER VOLUME 2 1 R OUTPUT L MONO PHONES A D INPUT GAIN Basics Section 1 Press the [UTILITY] key to enter Utility Mode. MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT STORE COMPARE 2 Use the [PAGE] knob to switch to the CTRL Other (System Control Other) screen. CTRL Other) FS Sys 088[ ------ ] SHIFT PAGE A B C 1 2 DATA PART/ELEMENT 3 Use Knob [B] to select "099:PC Inc" (Program Change Increment). CTRL Other) FS Sys 099[PC Inc SHIFT PAGE A B C ] 1 2 DATA PART/ELEMENT In Voice/Performance Mode, the Foot Switch can now be used to switch between programs. Alternatively, you can assign other functions such as Arpeggio Switch (On/Off), Sequencer (Play/Stop) and so on (Page 136). 49 Voice Edit Basics Section There are 256 Normal Voice presets and 8 Drum 1 Selecting a Voice to Edit Voice presets. You can edit these to create new Enter Voice Play Mode by pressing a [VOICE] key. Voices, or build completely new Voices from scratch. You can then store up to 128 of these new/edited Normal Voices and up to 2 new/edited Drum Voices to internal user memory or external Memory Card. MODE VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT The following procedure gives a basic idea about how to go about creating/editing Voices. STORE COMPARE Of course, this is just one example; you are free to set any parameters in any way you like. Details Select the Voice Number of the Voice you wish to about each parameter are given in the Reference edit (Page 65). section of this manual. Before editing, first enter Voice Job Mode and copy the Voice you wish to edit to internal user memory. If you are creating a Voice from scratch, use the Initialize function to initialize a Voice in internal user memory. Details are given on Page 105. All parameter settings are stored along with the Voice itself. 1In Voice Play Mode, select the Voice you wish to edit. 2Enter Voice Edit Mode. 2 Entering Voice Edit Mode 3In the Common Edit screens, set the parameters common to all Elements in the Voice (volume, pitch, tone, etc.) You can also set parameters related to the Arpeggiator, Controllers, Effects, and so on. Voice creation/editing is carried out in Voice Edit Mode. To enter Voice Edit Mode, press the [EDIT] key while in Voice Play Mode. MODE 4At the OSC (Oscillator) screens, select the Waves used by the Elements in the Voice, plus the volume, pan, note range and other basic parameters. VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT 5At the PCH (Pitch) and PEG (Pitch Envelope Generator) screens, set the tuning and other pitch-related parameters used by the Elements. Also set the PEG parameters as necessary. STORE COMPARE Common Edit and Element Edit 6At the FLT (Filter) and FEG (Filter Envelope Generator) screens, adjust the parameters of the filters used by the Elements. Also set the FEG parameters as necessary. Each Voice consists of up to four Elements (Page 37). The parameters common to all four Elements are known as Common Edit parameters. Voice Edit Mode consists of Common Edit screens, plus screens for each individual Element’s parameters. 7At the AMP (Amplitude) and AEG (Amplitude Envelope Generator) screens, set the volume and other output level-related parameters used by the Elements. Also set the AEG parameters as necessary. In Voice Edit Mode, you can use Knob [A] to switch between Common settings and settings for Elements 1 to 4. 8At the LFO (Low Frequency Oscillator) screens, set the modulation-related parameters used by the Elements. Common settings 9At the EQ (Equalizer) screens, adjust the equalizer parameters affecting the tonal characteristics of the Elements. Settings for Elements 1 to 4 GEN Other) Mode C 1234 poly Assign single MicroTuning 31:Indian Common Indicator OSC Wave) EL1234 Number Ctgry 001[Pf:Grand 1 ] Element 1~4 Indicator SHIFT )Store the edited Voice. PAGE A PART/ELEMENT 50 B C 1 2 DATA After selecting a Common Edit screen or a edit screen for an Element (1 to 4), use the [PAGE] knob to switch to other screens. Element2 COMMON AMP Scale)Ofst1 EL12_34 + 0 Element3 SHIFT PAGE A B Ofst2 + 0 C Pfst3 - 21 1 Ofst4 - 35 2 DATA Element4 PART/ELEMENT There are many parameters available within a screen. To make editing easier, the knobs below the LCD are assigned to each of the parameters in the screen. Selecting Elements In Voice Edit Mode, you can select the Element to edit by pressing the respective BANK key ([A] to [D]). When you select an Element, the cursor moves to the respective Element Number. AMP Scale)Ofst1 EL12_34 + 0 SHIFT Example: When “Element 2” is selected PRE1 PRE 2 EXT INT PLG1 PAGE A B Ofst2 + 0 C Pfst3 - 21 1 Ofst4 - 35 2 DATA PLG2 PART/ELEMENT DRUM DRUM QUICK ACCESS A B C D 1 2 3 4 E. PIANO ORGAN GTR/BASS A. PIANO E STRINGS ELEMENT SELECT F G H BRASS SYNTH OTHER Menu Screen ELEMENT ON/OFF EQ Param)LoFreq LoGain HiFreq EL12_34 274.2Hz +12 2.82kHz If you use the [PAGE] knob while holding down the [SHIFT] key, the settings menu will be displayed. Use the [PAGE] knob to move the cursor to an item and release the [SHIFT] key to jump to the screen for that item. HiGain +22 Cursor Cursor GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ Switching Elements On/Off SHIFT In Voice Edit Mode, an Element can be switched off when you press the respective BANK key ([E] to [H]). This lets you temporarily mute other Elements in the Voice so that you can listen to the changes to the Element that you are editing. A muted (off) Element will be indicated as an asterisk (*) in the display as illustrated below. PRE 2 DRUM A A. PIANO EXT INT PLG1 E. PIANO C ORGAN ELEMENT SELECT QUICK ACCESS D GTR/BASS E F G H 1 2 3 4 BRASS SYNTH OTHER STRINGS ELEMENT ON/OFF EQ Param)LoFreq LoGain HiFreq EL1**4 274.2Hz +12 2.82kHz off B C 1 2 DATA You can also use other knobs and keys to enter settings. The Compare featureallows you to compare the sound being edited against the sound prior to editing. Details are given on Pages 24, 69. 3 Common Edit Screens PLG2 DRUM B A PART/ELEMENT Example: When Elements 2 and 3 are turned off PRE1 PAGE Each Voice consists of up to four Elements. Here, the parameters common to all Elements are explained. • GEN (Common General) Here, you can set general parameters in Common Edit, such as the Voice Name. HiGain +22 GENíName) Ctgry C 1234 off 51 a-Z 0-? Cursor [Pf:Init Voice] Basics Section Switching Between Screens and Entering Settings Element1 Basics Section • QED (Common Quick Edit) These parameters mostly control the volume and tone of the Voice and you can easily change the overall sound. QEDíLevel) C 1234 Vol 127 Pan RevSend ChoSend C 127 127 4 OSC (Oscillator) Screens In these screens, you can mainly set the parameters controlling the waveforms on which the Voice is based. You can select the Wave used for the Element, the volume and note range of each Element and so on. • OSC Wave Select the waveform (Wave) used for each Element. • ARP (Common Arpeggio) By setting these parameters, you can control how OSCíWave) Number Ctgry the Voice is arpeggiated. Details about how to use EL1234 001[Pf:Grand 1 ] the Arpeggiator are given on Page 41. ARPíType) Type Tempo C 1234 Up&Down1:Sq 120 Switch on Hold on • CTL (Common Controller) You can assign various functions to the controllers on the front/rear panel. For example, you can assign parameters to the Pitch Bend Wheel and a Foot Controller so that you can change the tone of the Voice in real time. Details about various different uses are given on Page 43. CTLíSet1) Src Dest EL Sw C 1234 FC(04) RevTime:EF1 1234 • OSC Out • OSC Pan Set the volume (output level) and stereo pan position of each Element. The following illustration shows the logic. Speed KeyReset 63 on OSCíPan) EL1234 Pan C InsEF Connect 1=2 Alter L64 Delay 0 InsEF ins2 Random 63 Scale +63 Mixer Pan(Stereo) Level Phase 270 • EFF (Common Effect) These are the Effects parameters for the Voice. There are two Insertion Effects plus two System Effects (Reverb and Chorus). EFFíInsEF) C 1234 Level 96 Depth +63 • LFO (Common Low Frequency Oscillator) These are the LFO parameters. The LFO uses a low frequency waveform to vary the pitch/filter/amplitude characteristics, and can be used to create vibrato, wah, tremolo and other effect (Page 75). LFOíWave) Wave^ C 1234 trpzd OSCíOut) EL1234 Elements 1 2 3 4 • OSC Limit Set the note range for each Element (the range of notes on the keyboard over which the Element will sound) and also the velocity response (the range of note velocities within which the Element will sound). You can assign different settings for each Element. With these parameters, you can layer Elements and control their output. 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. 52 Note Limit C-2 - G 8 Vel Limit 1 - 127 6 FLT (Filter) and FEG (Filter EG) Screens You can use the filter to change the tonal characteristics of each Element, by adjusting overtones (harmonic tones) included in the waveform from the Element. There are several types of filters, but its basic idea is similar. As Element 3 Velocity Element 2 illustrated below, the filter is used to pass overtones Element 1 at specific frequencies and cut off (does not pass) Element 4 others, to alter the harmonic factor of an original waveform. You can determine such frequencies by specifying a pointing or center frequency (cutoff frequency). With some filters, you can adjust signal C-2 G8 levels at several frequency bands. You can also set the Filter Envelope Generator (FEG) for time variance of how the filter works, which results in a 5 PCH (Pitch) and PEG (Pitch EG) dynamic change in tonal characteristics. Here we Screens introduce how FEG works. Set the basic pitch parameters for each Element. Level Cutoff range Range passed Cutoff range You can detune 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 a note is pressed on the keyboard to the point at which it is released. As illustrated below, the Pitch Envelope consists of five Time (transition speed) parameters and five Level (pitch) parameters. This is useful for creating automatic changes in pitch. Furthermore, different PEG parameters can be set for each Element. PEGíTime) EL1234 Hold 127 Attack 127 Attack Decay1 Sustain Level Level Level Pitch Decay1 127 Decay2 127 Key off Release Level Center frequency Details about Filter Types are given on Page 83. • FEG (Filter Envelope Generator) Using the FEG, you can control the transition in tone from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated below, the Filter Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). 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 effects, for example. Furthermore, different FEG parameters can be set for each Element. Hold Level FEGíTime) EL1234 0 Attack Time Decay1 Decay2 Time Time Hold 127 Attack 127 Attack Decay1 Sustain Level Level Level Time Hold Time Time Release Time Details about PEG parameters are given on Page 81. Level Decay1 127 Decay2 127 Key off Release Level Hold Level 0 Time Hold Time Attack Time Decay1 Decay2 Time Time Release Time Details about FEG parameters are given on Page 85. 53 Basics Section OSCíLimit) EL1234 Basics Section 7 AMP (Amplitude) and AEG (Amplitude EG) Screens 8 LFO (Low Frequency Oscillator) Screens Set the volume of each Element after the OSC (Oscillator), PITCH and FILT (Filter) parameters have been applied, and also the final overall volume of the signal sent to the outputs. The signal of each Element is sent at the specified volume to the next Effect Unit. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude of each Element to create effects such as vibrato, wah and tremolo, although the actual available LFO parameters will vary according to the type of Element. PEG LFOíWave) EL1234 FEG Element 1~4 Wave^ tri Speed 63 PEG FEG PICTH FILT KeySync on Element 1~4 PICTH FILT AMP Effect OSC AMP Effect OSC LFO AEG LFO The final volume for all Elements is set in the Volume (Vol) parameter of the QED screen in Common Edit. 9 EQ (Equalizer) Screens • Amplitude EG (Envelope Generator) Using the AEG, you can control the transition in volume from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated below, the Amplitude Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). 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. AEGíTime) EL1234 Attack 127 Attack Decay1 Sustain Level Level Level Decay1 127 Key off AEG Specific frequency bands for each Element can be attenuated or boosted using an equalizer. There are many types of equalizers available. Details are given on Page 91. ) Storing Edited Voices Up to 128 new/edited Normal Voices and 2 new/edited Drum Voices can be stored to internal user memory or external Memory Card. Voice Store Decay2 127 Release Level INT EXT Normal Voice (128) Normal Voice (128) Drum Voice (2) Drum Voice (2) Level Init Level 0 Time Attack Time Decay1 Decay2 Time Time Release Time The maximum number of Plug-in Voices that can be stored to each internal memory (PLG1/2) is 64. Details about AEG parameters are given on Page 88. When storing a Voice, any existing data at the storage location will be lost. You should always back up important data to Memory Card, computer or some other storage medium beforehand. Details about storing Voices are given on Page 106. 54 Effects in Voice Mode In the final stages of programming, you can set the effects parameters to further change the sound’s character. To generalize, System Effects apply to the overall sound, whether it is a Voice, a Performance, a Song, etc. Insertion Effects, on the other hand, can be applied individually to each Voice. This synthesizer has two System Effect Units (Reverb and Chorus) plus two Insertion Effect Units. When using a Plug-in Board (PLG1 or PLG2) installed on the instrument, you can also use a separate Insertion Effect Unit that is dedicated for each Plug-in Part. In Voice Mode, you can set up the effect type and its value for each Effect Unit (Reverb, Chorus and Insertion Effects) and store them with each Voice. Furthermore, you can determine that each Element connects or bypasses the Insertion Effect Units. When you connect an Element to Insertion Effects, you can also specify the connecting way of two Units (series or parallel, as illustrated below). The combined signal from all Voice Elements — after application of the Insertion Effects — is sent to the Reverb and Chorus System Effect Units. Different effects settings can be set per Voice (in Voice Mode) and per Performance (in Performance Mode), though the connection between the Effect Units will vary in each case. When you want to use Plug-in Voices from a Plugin Board attached, you can also set up a dedicated Insertion Effect Unit for each Plug-in Voice. In this case, a Plug-in Voice signals processed with the Insertion Effect Unit will be then routed to Reverb and Chorus Units. Reverb Unit Connection EP1:EP2 The Reverb Unit includes a selection of 12 different reverb-type effects, including realistic simulations of the natural reverberation found in various halls and rooms. In Voice Mode, Reverb settings can be set for each Voice. In Performance Mode, the Reverb settings will apply to the Performance as a whole. Insertion Effects Voice Element 1~4 1 EP1➞EP2 EP2➞EP1 1 2 1 2 1 2 2 OFF Reverb Chorus Chorus Unit Plug-in Voice THRU The Chorus Unit includes a selection of 23 Insertion Effects chorus-type effects, including a flanger and others. Most of these effects are ideal for adding thickness to the sound. In Voice Mode, Chorus settings can be set for each Effects in Performance Mode Voice. In Performance Mode, the Chorus settings In Performance Mode, you can use an Insertion will apply to the Performance as a whole. Effects setting “borrowed” from ones respectively stored with Voices (Parts) . For Plug-in Parts, you can select and use an Insertion Effect setting Insertion Effects “borrowed” from ones respectively stored with PlugThe Insertion Effect 1 Unit includes 24 effects in Voices. including chorus, flanger and auto-wah. The For Reverb and Chorus, you can create new Insertion Effect 2 Unit offers delays, reverbs, settings dedicated for an entire Performance, rotary speaker, amp simulation and other effects, without “borrowing” existing Reverb and Chorus providing a total of 92 effects. If a Plug-in Board settings stored with a Voice. has been installed, up to 24 Insertion Effects for In the following illustration, a mixer represents the Plug-in Voices will also be available. the logic behind how the different effects are Details about each Effect Type are given in the applied to the sound in Performance Mode. Each Effect Type List in the separate Data List. Part (1 to 16) is fed to the mixer through either Insertion Effect 1 or Insertion Effect 2. The signals for all Parts are summed in the mixer and then the System Effects (Reverb and Chorus) are applied to the mix as a whole. 55 Basics Section Effects System Effects Mixer Basics Section Reverb Chorus Insertion Effect 1/2 1 2 3 4 5 6 16 Part 1~16 Effect Bypass You can temporarily switch effects off or on by pressing the [EF BYPASS] key. To use this function, you will need to specify the effect to be bypassed in the MSTR EF Bypass screen of Utility Mode (Page 135). You can also specify more than one effect. When you press the [EF BYPASS] key, its LED will light and all Effects assigned to the currently selected Voice/Performance will be bypassed. EF BYPASS EXIT MASTER KEYBOARD ENTER DEC/NO INC/YES The Effect Bypass will also apply to Effects on Plug-in Boards other than the PLG100 series. 56 As previously explained, your Synthesizer provides several convenient features that you can make use of in a live show or the like. Here we introduce some examples to combine those features to meet your specific purposes. 2Select “Common” using the Knob [A], then open the General Master Keyboard (GEN M. Kbd) page using the [PAGE] knob. GENíM.Kbd) Mode Common split Lower ch01 Upper ch02 Point C 3 The S80 has special settings in Performance Mode so that you can use the instrument as MIDI master Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though keyboard. You can activate the function (enable those parameters in the Menu screens (page 111). special settings) when you press the [MASTER KEYBOARD] key on the panel (its LED will light). 3Select “split” for the Mode parameter using the Now your instrument can send performance on the Knob [B]. keyboard to an external tone generator, as well as the If Master Keyboard Mode is deactivated (without internal tone generator, according to the master the [MASTER KEYBOARD] key pressed), the keyboard settings in Performance Mode. If you divide Mode parameter value will be shown in brackets the keyboard into several (up to four) key ranges and (like “(split)”). assign separate MIDI transmit channels, the keyboard 4Select the value (split point) for the Point can control multiple parts (channels) from the parameter using the Knob [2], which determines internal tone generator and external MIDI devices of the key note that divide the keyboard into two those channels at the same time. sections. Select “C3” for this example. There are three Master Keyboard Modes (how to You can specify the split point by directly pressing make key ranges) available: Split, 4 Zones, and Layer. a specific key on the keyboard while holding You can learn these Master Keyboard Modes and their down the [SHIFT] key. In this example, press C3 functional differences in the following examples. while holding down the [SHIFT] key. 5Specify MIDI transmit channels respectively for the lower and upper key ranges using the Knob [C] (lower) and the Knob [1] (upper). These The illustration below shows an example of a Split settings can make MIDI-channel-based separate configuration. Split is a typical setting to divide a controls of the internal tone generator or an keyboard into two key ranges (lower and upper) by external MIDI devices from the keyboard, such splitting at a specific key note (split point). The as using different Voice tones in the lower and following example is to split the keyboard at C3 upper key ranges. note, enabling the lower range for automatic Select “ch01” for “Lower” and “ch02” for performance with Arpeggiator and the upper range “Upper” for this example. for manual solo performance. You can make this configuration in the following steps. You can also use the [PROGRAM/PART 1 to 16] Split Lower Split point (C3) keys to select MIDI channels for the Lower and Upper ranges. (Page 113) Upper 6Select a Part for the lower range using the Knob [A]. For this example, select “Part01”. 7Turn the [PAGE] knob and open the MIX Vce (Mix Voice) page to select a Voice for Arpeggiator performance. Ch1 Ch2 Part1 Part2 Performance by Arpeggiator Manual play Edit and prepare Voices for Arpeggiator and manual play in Voice Edit Mode before you set up a Split setting in the following procedure (page 68). 1Press the [PERFORM] key, followed by the [EDIT] key (each LED will light) to enter Performance Edit Mode. Then, press the [MASTER KEYBOARD] key to activate Master Keyboard Mode (its LED will light). MIXíVce) Memory Number Ctgry Search Part01 PRE1:001(A01)[Pf:StereoGrnd] 8Turn the [PAGE] knob and open the LYR Mode (Layer Mode) page. Set “on” for “Arp” (Arpeggio switch). Select “1” for “RcvCh” (MIDI Receive Channel). LYRíMode) Part01 57 Mode poly Arp on Layer off RcvCh 1 Basics Section Using as a Master Keyboard (Performance Mode) Basics Section 9Turn the [PAGE] knob and open the ARP Type In the following example, Zone 1 is set up for performance by the Arpeggiator, Zone 2 for bass (Arpeggio Type) page. Set “on” for “Switch.” sound, Zone 3 manual solo performance, and Zone 4 ARPíType) Type Tempo Switch Hold for playing an external MIDI tone generator. Also in Common UpOct1:Sq 120 on off this settings, Zones 3 and 4 overlap in the same range, In steps 6 to 9, you now complete settings for and entire performance in four all zones is output from the MIDI OUT connector so that you can record the lower range for Arpeggiator performance. that performance on an external MIDI sequencer. You It will play in a Voice assigned to Part 1 based can make this configuration in the following steps. on MIDI Receive channel 1. Refer to page 72 for detailed settings of Arpeggiator. ZONE4 You can copy (reuse) the arpeggio settings that belong to the Voice assigned to Part 1 (page 131). ZONE1 )As in the same manner as in steps 6 to 8, make settings for the upper range. So you can use the Knob A and select “Part02”, select a Voice for solo performance in the MIX Vce page, set “2” for “RcvCh” in the LYR Mode page. Now you are ready for solo performance within the upper range. You can play in a Voice assigned to Part 2 based on MIDI Receive channel 2. If you set “on” to “Layer” in the LYR Mode page, the RcvCh setting will be ignored. ZONE2 ZONE3 Ch1 Ch2 Ch3 Ch4 Part1 Part2 Part3 An external MIDI tone generator Performance with Arpeggiator Bass Sound Performance Manual solo performance MIDI OUT MIDI IN Ch4 Performance with an external MIDI tone generator For unwanted Parts in Split play, set their MIDI Receive channels (RcvCh) to other than those used for the lower and upper Parts. In the example above, the “RcvCh” values for Part 3 to 16 must be set to any other than 1 and 2. MIDI THRU Recording entire performance in Zones 1 to 4 In Performance Edit Mode, you can make detailed settings for every Part. In case that a Part does not sound, make sure the volume setting for that Part. For more information, refer to page 120. An external MIDI sequencer Before you set up a 4-Zone configuration in the following procedure, edit and prepare necessary Voices (for Arpeggiator and manual play) in their associated Edit Modes. !Before exiting Performance Edit Mode, store above settings in a Performance. For storing a Performance, refer to page 131. In Performance Play Mode, recall the Performance 1Press the [PERFORM] key, followed by the you have just stored. Simply pressing the [EDIT] key (each LED will light) to enter [MASTER KEYBOARD] key activates or Performance Edit Mode. Then, press the deactivates the Split configuration you made above. [MASTER KEYBOARD] key to activate Master Keyboard Mode (the LED will light). 4 Zones The illustration below shows an example of a 4-Zone configuration. A zone refers to a specific key range on the keyboard. You can logically divide a keyboard into up to four key ranges with separate MIDI channels and other associated settings so that you can control multiple Parts at the same time. A Split setting can divides the entire keyboard into two absolute sections (key ranges). In a 4-zone setting, however, each section can overlap to one another. You can even set a section to cover or include other sections. 2Select “Common” using the Knob [A], then open the GEN M. Kbd (General Master Keyboard) screen using the [PAGE] knob. GENíM.Kbd) Mode Common split Lower ch01 Upper ch02 Point C 3 Turning the [PAGE] knob while holding down the [SHIFT] key enables you to scroll though parameters in the Menu screens (page 111). 3Select “4zone” for the Mode parameter using the Knob [B]. If Master Keyboard Mode is deactivated (without the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets (like “(4zone)”). 58 MKBíTransmit) Zone01 TrnsCh Ch01 TG on 9Use again the Knob [A] to switch to the MKB Note screen for “Zone03”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest. )Use the Knob one more time [A] to switch to the MKB Note page for “Zone04”. As in the same manner in step 7, select “C3” for the lowest note and “G8” for the highest. Note that this key range setting will make a overlapped range with Zone 3. MIDI on You can also use the BANK [A] to [D] keys to respectively select “Zone01” to “Zone04.” For detailed settings of a Zone, refer to page 127. Selecting a Zone opens the MKB Transmit page. You may want to select a sub screen to set up a Zone using the [PAGE] knob. But you first specify basic items in the MKB Transmit page, such as MIDI transmit channel, enabling or disabling MIDI output to the internal tone generator and to the MIDI OUT connector. !Turn the Knob [A] and select a Part for a Zone. In this example, we select Part 1 for Zone 1, Part 2 and Part 3 respectively for Zone 2 and Zone 3. We don’t select any internal Part for Zone 4 since Zone 4 is set only to output performance information via MIDI Out. First, select Part 1 (Part01) for Zone 1. 5Set MIDI transmit channel (TrnsCh) to “Ch01” You can also use the [MEMORY] or using the Knob [C]. Set MIDI output to the PROGRAM/PART keys to select a Part for a internal tone generator (TG) and MIDI OUT Zone (page 109). (MIDI) both to “on.” These settings can differentiate each Zone from @Use the [PAGE] knob and open the MIX Vce one another, to internally or externally output screen, to set up a Voice for performance using performance made in each Zone using a the Arpeggiator. separate MIDI channel. Finally, you will separately control sound tones from four zones. MIXíVce) Memory Number Ctgry Search Part01 PRE1:001(A01)[Pf:StereoGrnd] To do this, set “Ch01” to “Ch04” respectively to the “TrnsCh” parameters in the MKB Transmit #Use the [PAGE] knob and open the Layer Mode pages for Zones 1 to 4. For the “TG” and (LYR Mode) screen. Set the Arpeggiator “MIDI” parameters, set both “on” for Zones 1 Switch (Arp) to “on,” Layer Switch (Layer) to to 3. For Zone 4, set “off” to “TG” and “on” to “off,” and MIDI receive channel (RcvCh) to “MIDI.” You can switch between multiple “1.” Finally in the Arpeggio type (ARP Type) MKB Transmit screens using the Knob [A]. screen, set the Switch parameter to “on.” Some of basic settings for four zones are now complete. LYRíMode) Part01 6Select “Zone01” again using the Knob [A]. Open the MKB Note screen using the [PAGE] knob. In this screen, you can specify a key range for a Zone. MKBíNote)Octave Transpose Zone01 +1 +11 Arp on Layer off RcvCh 1 Prepare basic Arpeggiator settings (Type, etc.) in Voice Edit Mode before you set up a Zone setting in Performance Edit Mode. With settings made in steps ! to #, you can now play the Arpeggiator with a Voice assigned to “Part01” (Part 1) set to MIDI receive channel 1 (RcvCh) when you play in the key range of Zone 1. Note Limit C-2 - G 8 In the MKB Note page, you can also find other parameters such as Note Limit, Transpose, etc. Refer to page 128 for more information about these parameters. 7Set “Note Limit” (zone key range) with the lowest and highest notes using Knobs [1] (lowest) and [2] (highest). For “Zone01”, select “C-2” for the lowest note and “B1” for the highest. 8Use the Knob [A] to switch to the MKB Note page for “Zone02”. As in the same manner in step 7, select “C2” for the lowest note and “B2” for the highest. Mode Poly $As in the same manner in steps ! to #, set up for Zone 2. Turn the Knob [A] and select “Part02”. Next go to the Mix Voice (MIX Vce) screen using the [PAGE] knob, and select a Voice for the bass sound. Then, use the [PAGE] knob to open the Layer Mode (LYR Mode) screen and set MIDI receive channel (RcvCh) to “2”. With settings made here, you can now play with the bass sound using a Voice assigned to “Part02” set to MIDI receive channel 2 (RcvCh) when you play in the key range of Zone 2. 59 Basics Section 4Select one of “Zone01” to “Zone04” using the Knob [A]. As we have selected “4zone” for the Mode parameter, you can now select setting screens for four Zones. Select “Zone01” to get started with the settings. Basics Section %As in the same manner in steps ! to #, set up 1Press the [PERFORM] key, followed by the for Zone 3. Turn the Knob [A] and select [EDIT] key (each LED will light) to enter “Part03”. Next go to the Mix Voice (MIX Vce) Performance Edit Mode. Then, press the page using the [PAGE] knob, and select a Voice [MASTER KEYBOARD] key to activate Master for manual solo performance. Then, use the Keyboard Mode (its LED will light). [PAGE] knob to open the Layer Mode (LYR 2Select “Common” using the Knob [A], then Mode) page and set the MIDI receive channel open the General Master Keyboard (GEN M. (RcvCh) to “3”. Kbd) screen using the [PAGE] knob. With settings made here, you can now play solo using a Voice assigned to “Part03” set to MIDI GENíM.Kbd) Mode Lower Upper Point receive channel 3 (RcvCh) when you play in Common split ch01 ch02 C 3 the key range of Zone 3. Turning the [PAGE] knob while holding down the You don’t need to make further settings for [SHIFT] key enables you to scroll though Zone 4 since it is not intended for an internal parameters in the Menu screens (Page 111). Part and has already been set to output 3Select “layer” for the Mode parameter using the performance information via the MIDI OUT Knob [B]. connector in steps 5 to ). The key range of Zone 4 matches to that of Zone 3 so that solo If Master Keyboard Mode is deactivated (without performance made in that range will be sent on the [MASTER KEYBOARD] key pressed), the Mode parameter value will be shown in brackets MIDI channels 3 (from Zone 3) and 4 (from (like “(layer)”). Zone 4) via [MIDI OUT] to an external MIDI device. 4Use Knobs [C] and [1] to respectively set MIDI transmit channels for the Lower and Upper You can set additional Part settings in Performance Edit Mode. If you have a trouble parameters. Note that Lower and Upper refer possibly associated with these settings, such as no to two Parts (Zones) to be layered together. sound from a specific Part, confirm any Part These channel settings can create and send settings related to volume, etc. Refer to page 120 performance information on two separate for more information about Part settings. channels to the internal tone generator and an ^Before exiting Performance Edit Mode, store external MIDI device via the MIDI OUT above settings in a Performance. For storing a connector. Here we set “Ch01” for “Lower” Performance, refer to page 131. and “Ch02” for “Upper.” In Performance Play Mode, recall the Performance you have just stored. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the 4-Zone configuration you made above. Layer The illustration below shows an example of a Layer configuration. Layer refers to two separate Parts with a overlapped key range, enabling to play unison with these Parts. The following example is to play unison with Voices selected for Part 1 and Plug-in 1 Part. You can make this configuration in the following steps. Layer (Upper) You can also use the PROGRAM/PART keys [1] to [16] to select MIDI channels for the Lower and Upper Parts (Page 113). 5Turn the Knob [A] and select a Part. First select “Part01” for the Upper Part. 6Use the [PAGE] knob and open the Mix Voice (MIX Vce) screen. Select a Voice for the Upper Part. MIXíVce) Memory Number Ctgry Search Part01 PRE1:001(A01)[Pf:StereoGrnd] 7Use the [PAGE] knob to open the Layer Mode (LYR Mode) screen. Set the Layer Switch (Layer) to “off” and the MIDI Receiving Channel (RcvCh) to “1.” LYRíMode) Part01 Layer (Lower) Part 1 Plug-in 1 Part Voice Plug-in Voice Mode poly Arp on Layer off RcvCh 1 If other Parts’ MIDI receive channels (RcvCh) are set to the same ones assigned to two Parts, those Parts will also sound when you play on the keyboard. This might be troublesome if you simply need two layered Parts. To mute unnecessary Parts while you play on the keyboard, set “RcvCh” for those Parts to “off.” You can only play Voices from layered Parts. Before you set up a Layer configuration in the following procedure, edit and prepare necessary Voices for layers in associated Edit Modes. Plug-in Voices are available only when you attach an optional Plug-in Board (page 98). 60 8As in the same manner in steps 5 to 7, set up for the Upper Part. Select “PartP1” for the Lower Part, go to the Mix Voice (MIX Vce) page using the [PAGE] knob, and select another Voice (Plug-in Voice) for the Lower Part. Also, go to the Layer Mode (LYR Mode) page to set the Layer Switch (Layer) to “off” and the MIDI Receiving Channel (RcvCh) to “2.” Note Limit setups are provided for setting Master Keyboard Mode, Part , and Voice. They are associated to one another as follows. MKB Note Part Key range for each Zone LYR Limit Key range for an assigned Voice You can set additional Part settings in Performance Edit Mode. If you have a trouble possibly associated with these settings, such as no sound from a specific Part, confirm any Part settings related to volume, etc. Refer to page 120 for more information about Part settings. Tone generator Parts OSC Limit 9Before exiting Performance Edit Mode, store above settings in a Performance. For storing a Performance, refer to page 131. Element 1 Element 2 Element 3 Element 4 In Performance Play Mode, recall the Performance you have just saved. Simply pressing the [MASTER KEYBOARD] key activates or deactivates the Layer configuration you made above. Besides the Layer/Zone configuration in Master Keyboard Modes, you can use the Layer Switch (Layer) for each Part to make a Layer configuration that consists of up to four Parts (Page 123). Sometimes, depending on the settings for each Part of the source Performance, the desired effect may not be achieved when editing. In this case, check the following: • Whether the Note Limit parameters at each Part’s LYR Limit screen (Page 123) are set to a valid range • That the Output parameter at each Part’s LYR Out screen (Page 123) has been set to “L&R” If you’ve checked the above but still can’t resolve the problem, initialize the Performance (Page 130) and apply the settings again. While using in Master Keyboard Mode, you can control the internal tone generator (or an external MIDI device) according to “Note Limit” in the MKB Note screen. If you limit a Zone’s key range to two octaves, it is as if you connect an external two-octaves keyboard controller to play with the tone generator. Meanwhile, the key range (playable range) of an entire Voice is determined by “Note Limit” in the LYR Limit screen (page 123) for a Part assigned with that Voice. Such a playable range of each Element of a Voice is determined by “Note Limit” in the OSC Limit screen (page 80) available in Voice Edit Mode. About the Control Sliders While Master Keyboard Mode is turned on, the Control Sliders [1] to [4] on the front panel are respectively linked to Zones 1 to 4. When these Sliders, for instance, are set to control volumes for their corresponding Zones, you can use them like a mixer’s channel faders to balance volumes of Zones. These Sliders can separately work so that you can assign a different control function to each of them (volume for Zone 1, pan for Zone 2, etc.). You can make such assignments in the MKB Assign screen (Page 129) in Performance Edit Mode. VOLUME CONTROL SLIDER 1 Zone1 2 3 4 61 2 3 4 Basics Section About Note Limit (Key Range) Basics Section Using as a Multitimbral Tone Generator (Performance Mode) Performance Mode lets you use your synthesizer as a 4Next, use the [PAGE] knob to switch to the multitimbral tone generator for use with computerMix Level screen, then set the volume for the based music software or external sequencers. If each piano Part as well as, if necessary, its pan track in a song file uses a different MIDI channel, position, chorus and reverb Send levels. Details then the Parts in a Performance can be each assigned are given on Page 120. to those MIDI channels correspondingly. Therefore, you can play back a song file on an external 5Continue using the [PAGE] knob and switch to sequencer and have different Voices playing on the LYR Mode (Layer Mode) screen. Set the different tracks simultaneously. Mode parameter to “poly” (polyphonic), the In the following example, we will create a Layer parameter to “off,” and the RcvCh Performance suited to playing back a song file parameter (MIDI receive channel) to 2. consisting of three Parts: piano, bass and drums. The piano track is assigned to MIDI channel 2, the bass LYRíMode) Mode Arp Layer RcvCh Part02 poly on off 2 track to channel 3, and the drums to channel 10. Song File Track 1 Track 2 Track 3 PS/V IBM Performance Piano Transmit Ch. 2 Bass Part 2 Transmit Ch. 3 Part 3 Bass-type Voice Receive Ch. 3 Drums Transmit Ch.10 Part 10 Drum Voice Receive Ch. 10 Personal System/V Personal System/V or Sequence player For Parts that do not require polyphony, the Mode parameter can be set to “mono” (monophonic). Piano-type Voice Receive Ch. 2 By following steps 2 to 5 above, when you play back a song file in the sequencer, the piano track is transmitted through MIDI channel 2. The MIDI data is received by the synthesizer which then plays the Voice for the Part assigned to MIDI channel 2. Tone generator section Computer (sequencer software) S80 The synthesizer’s internal sequencer can be used to play back the song file. The included XGworks lite computer sequencer software can also be used for this, though you need to make sure that the computer has been connected to your synthesizer correctly (Page 16). 6Repeat steps 2 to 5 above, but set up Part 3 for bass and to receive on MIDI channel 3. 7Repeat steps 2 to 5 again, setting up Part 10 for drums and to receive on MIDI channel 10. To avoid situations where the Voices of unused Parts are suddenly played back, you should set the MIDI receive channels for unused Parts to “off.” 1After pressing the [PERFORM] key, press the [EDIT] key (the respective LEDs will light). You are now in Performance Edit Mode. Before entering Performance Edit Mode, you need to select a Performance for editing. Also make sure that the [MASTER KEYBOARD] key LED is not lit. 2Use Knob [A] to select Parts. Here, you can select Part 2 for the piano, Part 3 for bass and Part 10 for drums. First, we will select Part 02. There are many other Part-specific parameters in Performance Edit Mode. Details are given on Page 111. 8Before exiting Performance Edit Mode, you need to store the settings for the Performance. Details about storing Performances are given on Page 131. Now, when you select this Performance in Performance Play Mode, you can play back the song file on computer (sequencer) or internal sequencer, and the piano, bass and drum Parts will be played back according to each track’s MIDI channel. 3Use the [PAGE] knob to switch to the MIX Vce (Mix Voice) screen, then specify the Voice to be used as the piano Part. MIXíVce) Memory Number Ctgry Search Part02 PRE1:128(H16)[Pf:GrandPiano] 62 Part 1 Solo-type Voice Layer=on Part 2 Piano-type Voice Receive Ch. 2 Track 2 Bass Transmit Ch. 3 Part 3 Bass-type Voice Receive Ch. 3 Track 3 Drums Transmit Ch. 10 Part 10 Song File Track 1 Piano Transmit Ch. 2 While playing back the song file with the piano, bass and drum Parts assigned earlier, you can set up the Performance so that you can also play another Part live. Playback using keyboard Performance Part 1 Song File Track 1 Piano Transmit Ch. 2 Solo-type Voice Layer=on Playback using keyboard Performance Basics Section Performing Live while Playing Back a Song File Drum Voice Receive Ch. 10 Source (mic) A/D Input Part Template (karaoke1) * External mic input * You need to set the receive channel to control the A/D Input Part parameters via MIDI. However, this is not vital in this example. Part 2 Piano-type Voice Receive Ch. 2 Track 2 Bass Transmit Ch. 3 Part 3 Bass-type Voice Receive Ch. 3 Track 3 Drums Transmit Ch. 10 Part 10 Drum Voice Receive Ch. 10 This is the same as the Performance created earlier, but with the addition of another Part for live playback. Regarding settings, the important points are as follows. Regarding settings, the important points are as follows. • Switch to the PartAD (A/D Input Part) parameters and set the external input source and template at the MIX Template screen. MIXíTemplate)Src Number PartAD mic ≥05[Karaoke1 • In the Performance created earlier, Parts 2, 3 and 10 were being used. As an example, we will now assign another Part (Part 1) to a solotype Voice. There are 13 templates available already with a variety of gain and effects settings for you to select from according to the input source. Here, we will be using the A/D Input Part for vocals so let’s set the Src (Source) parameter to "mic" and the Number (Template Number) parameter to “Karaoke1.” • At the LYR Mode screen, set the Layer parameter for Part 1 to “on,” and make sure it is set to "off" for Parts 2, 3 and 10. If you want to manually play multiple (up to four) Parts using some Voices from Parts 4 to 9, 11 to 16 and Plug-in Parts, set those Parts’ Layer Switch parameters to “on.” • At the GEN MIDI screen, set the LayerCh (Layer Channel) parameter to BasicCh. The Voice for Part 1 can now be played live using the keyboard. ] If you choose the wrong type of input source, you may possibly damage your hearing and/or any connected audio equipment. Make sure you set this parameter correctly. • Turn the GAIN knob (Page 11) all the way down, then connect a microphone to the A/D INPUT jack (MIC/LINE2 jack). • Turn the GAIN knob back slowly while singing/talking into the microphone until you reach an ideal volume level. If you have external sources (such as a microphone or other audio equipment) connected to the There are other settings for controlling the A/D synthesizer’s A/D INPUT jack, you can use them Input Part via MIDI. Details are given on Page 122. as Parts in a Performance. When you play a song file bearing the XG/GM logo Continuing with our example, you can add another (available in the market), you may want to install an Part for vocals by assigning the A/D Input Part. optional XG Plug-in Board on the instrument, to enjoy a best playback quality with a wide variety of Voices Therefore, while the song is playing back the piano, and Effects. Note that you can install an additional XG bass and drums, you simultaneously play a solo live Plug-in Board to double polyphonic notes and Effects. and sing into the microphone. Effects such as In such cases, you do not only enjoy the playback of a reverb can be added to the A/D Input Part (Pages song, but also can mute a specific Part from the song 119 and 127), so you can assign an effect suited to file for a “minus-one” setting, which is convenient for practice of solo performance or karaoke. the vocals for the song. These effect settings will also be saved with the Performance. If you install the optional Effect Plug-in Board Using the A/D Input Part (PLG100-VH), you can create harmonies of up to three notes for your vocals. By assigning the harmony channel to the keyboard’s MIDI transmit channel, you can create vocoder-like effects. Or you could play back a harmony line using a sequencer to create a backing chorus for your vocals. 63 Reference Section Voice Mode Voice Mode Voice Play Memory/Voice Program Number PRE1 refers to Preset 1, PRE2 to Preset 2, PRE to Preset Drums, INT to Internal, EXT to External, PLG1 to Plugin Board 1 and PLG2 to Plug-in Board 2. All voice Program Numbers within each memory fall in the range 001 to 128. Drum Voices are DR1 to DR8. This mode is used for playing individual voices stored as 256 on-board presets, as well as the Internal (User) Voices, External Voices on Memory Card, and Plug-in Board Voices (optional). This section explains how to select and play voices. Details about Voice Memories are given on Page 36. Details about the Voice types and the Voice Memories are given on Page 36. Bank/Program Number Voice Program Numbers 001 to 128 correspond with Banks A to H and Program Numbers 01 to 16. Therefore, you can cycle through Voice Program Numbers 001 to 128 sequentially, or you can select them randomly using a combination of BANK and PROGRAM keys. The relationship between Banks/Program Numbers and Voice Program Numbers is given below. Voice Play Mode Display The LCD will display the following in Voice Play Mode. Voice Play Mode consists of 2 screens and the [PAGE] knob can be used to switch to the Voice Search screen. The contents of each screen are as follows. See page 67 for details about the Voice search screen. Voice Program Number 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Details about how to enter Voice Play Mode are given on Page 21. Voice Play Mode 1 2 3 VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime SHIFT PAGE A 4 B C 1 2 DATA PART/ELEMENT 2nd Screen : Voice Search VCE Srch) SHIFT PAGE A PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search B C 1 2 DATA PART/ELEMENT 1.Screen Title This shows that you are currently in Voice Play Mode. 2.Voice Memory/Number (Bank/Number) Display Shows the Memory/Voice Program Number (001 to 128) or Bank ([A] to [H])/Program Number ([1] to [16]). For example, in the display shown above, “PRE1:128(H16)” means that the Memory is Preset 1, the voice Program Number is 128, the Bank is H and the Program Number within the Bank is 16. 64 Bank Program Number A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B C C C C C C C C C C C C C C C C D D D D D D D D D D D D D D D D 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Voice Program Number 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Bank Program Number E E E E E E E E E E E E E E E E F F F F F F F F F F F F F F F F G G G G G G G G G G G G G G G G H H H H H H H H H H H H H H H H 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Voice Program Selection 3.Voice Category/Name • Using the BANK/PROGRAM keys • Using the [DEC/NO] and [INC/YES] keys • Using the [DATA] knob • Using the Category Search The two characters to the left of the Voice Name denote the category of instrument or sound to which the voice belongs. Details about Category names are given on Page 70. Voice Name Using the BANK/PROGRAM Keys This consists of up to 10 characters. 1Press a MEMORY key to select a Voice Memory. The Voice Memory indicator in the LCD will blink. 4.Knob Parameter Display PRE1 This shows the function assigned to each knob ([A] to [C] and [1]/[2]). PRE 2 INT DRUM Knobs [1]/[2] may be assigned with several parameters (destinations) from multiple control sets. In this case, the display will show the parameter (destination) from a control set of the smallest number. DRUM 2Press a BANK key ([A] to [H]) to select a Bank. The Bank indicator in the LCD will blink. EXT PLG1 PLG2 C D E F G H E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER 2 3 4 5 6 7 8 10 11 12 13 14 15 16 PRE1 PRE 2 INT A B A. PIANO 1 9 DRUM VCE Play) PRE1:128(H16)[Pf:GrandPiano] +63 EQ Mid EQ Hi Cutoff RevTime A B PLG2 Details about Voice Memories are given on Pages 27, 36. In Voice Play Mode, each knob ([A] to [C] and [1]/[2]) can be used to adjust the parameter assigned to it. The parameter value is displayed briefly when you move each knob. PAGE PLG1 VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime Knob Parameter Settings SHIFT EXT C 1 2 DRUM QUICK ACCESS DATA PART/ELEMENT Details about assigning parameters to Knobs [A] to [C] are given on Page 46, 136. Details about assigning parameters to Knobs [1]/[2] are given on Page 47, 74. VCE Play) PRE1:128(H16)[Pf:GrandPiano] EQ Low EQ Mid EQ Hi Cutoff RevTime Octave and MIDI Transmit Channel Settings If you press the [EXIT] key here, the Voice selection process is canceled and the original Voice is reinstated. In Voice Play Mode, the Octave and MIDI Transmit Channel are shown when pressing the [SHIFT] key. If the Bank has already been selected, this step is not required. Details about Banks are given on Pages 27, 36. Octave (Oct= +3) (Tch= 1) SHIFT PAGE 3Press a PROGRAM key ([1] to [16]) to select a Program Number. MIDI Transmit Channel A PRE1:128(H16)[Pf:GrandPiano] B C 1 2 Voices can be selected by setting the Memory, Bank and Program Number as explained in the three steps given above. The LCD also displays the selected voice. DATA PART/ELEMENT This lets you set the MIDI Transmit Channel by turning Knob [A] and holding down the [SHIFT] key. The settings for Voice Play Mode are transmitted on this MIDI channel. The MIDI Transmit Channel can also be set in the MIDI Ch. screen of Utility Mode (Page 137). 65 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Voice Mode There are four ways in which you can choose a Voice. Voice Category Using [INC/YES] and [DEC/NO] Keys PRE1 Press the [INC/YES] key to select the next Voice and the [DEC/NO] key to select the previous one. PRE 2 INT DRUM EXT PLG1 PLG2 DRUM DEC/NO INC/YES Voice Mode Previous Number Next Number The voice is selected by pressing just the [INC/YES] or [DEC/NO] key. This method is useful when selecting a Voice that is located near the currently selected Voice. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 • Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice. The method can also be used to switch to the next or previous Bank. For example, if the current Voice is A16, Voice B01 is selected by pressing the [INC/YES] key. Similarly, if the current Voice is H01, Voice G16 is selected by pressing the [DEC/NO] key. PRE1 Using the Data Knob PRE 2 DRUM 1 2 Decrement Number EXT PLG1 PLG2 DRUM Turn the [DATA] knob clockwise to increment the currently selected Voice number, or anti-clockwise to decrement it. C INT DEC/NO INC/YES DATA • Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then use the [DATA] knob to select the Drum Voice. Increment Number PRE1 PRE 2 INT EXT PLG1 PLG2 The Voice is selected directly and sequentially. DRUM DRUM Just as with the [INC/YES] and [DEC/NO] keys, this method can be used to switch to the next or previous Bank. VCE Play) PRE:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF Selecting Drum Voices SHIFT PAGE A B C 1 2 DATA The procedure for selecting a Drum Voice is different to that for selecting a Normal Voice. PART/ELEMENT Once you have selected one Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [8], the [INC/YES] and [DEC/NO] keys or the [DATA] knob. Selecting Preset Drums (PRE:DR1~DR8) • Press the MEMORY [PRE2] key while holding down the MEMORY [PRE1] key (or vice versa) to select the Preset (PRE) Memory of the Drum Voice. Then press PROGRAM key [1] to [8] to select Drum Voice PRE:DR1 (Preset Drum 1) to DR8 (Preset Drum 8). Selecting User Drums (INT:DR1/2 and EXT:DR1/2) • Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then press PROGRAM keys [1] to [4] to select, respectively, User Drum Voice INT:DR1 (Internal Drum 1), INT:DR2 (Internal Drum 2), EXT:DR1 (External Drum 1) and EXT:DR2 (External Drum 2). User Drum Voices on external memory must be loaded from Memory Card. 66 VCE Srch) PRE1 PRE 2 INT EXT PLG1 SHIFT DRUM PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search PLG2 PAGE A B C 1 2 DATA DRUM PART/ELEMENT 2 3 4 5 6 7 Set a Voice Category Select a Voice Memory 8 Search Select a Program Number 9 10 11 12 13 14 15 1Turn Knob [B] to select a Voice Memory. You can select Voice Memories other than those on PLG1/2. 16 2Turn Knob 1 to select a Voice Category. The Voice Category in the LCD will blink. • Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [INC/YES] or [DEC/NO] keys to select the Drum Voice. VCE Srch) SHIFT PRE1 PRE 2 INT DRUM EXT PLG1 PAGE PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search A B C 1 2 DATA PLG2 DRUM PART/ELEMENT The different Voice Categories are listed on Page 70. 3Use Knob [2], the [INC/YES] and [DEC/NO] keys, the [DATA] knob and Knob [C] to search for a Voice. The selected voices are called up using each knob and key. The functions of knobs and keys are given below. DEC/NO INC/YES • Press the MEMORY [EXT] key while holding down the MEMORY [INT] key (or vice versa) to select the Internal/External (INT/EXT) Memory of the User Drum Voice. Then use the [DATA] knob to select the User Drum Voice. EF BYPASS Srch) EXIT B PRE1 PRE 2 INT EXT PLG1 MASTER KEYBOARD PRE1:128(H16)[Pf:GrandPiano] Memory Number Ctgry Search C 1 2 ENTER DATA PLG2 DEC/NO INC/YES DRUM DRUM ENT Knob [2]: Use this to switch between Voices in the selected Category. Turn the knob clockwise to increment the voice number and anti-clockwise to decrement it. VCE Play) INT:001(A01)[Sq:Generation] EQLow-G EQMid-G EQHi-G FLT-Rez HPF SHIFT PAGE A B C 1 2 DATA [DATA] knob (or [INC/YES] or [DEC/NO] key) You can scroll through Voices in the specified Category across the Memories. Turning the [DATA] knob clockwise (or press the [INC/YES] key) jumps to the next Voice number in the same Category, in ascending order. Similarly, turning the [DATA] knob anticlockwise (or press the [DEC/NO] key) jumps to the next Voice number in the same Category, in descending order. When you reach to the last (first) Voice in a Memory, you can select the first (last) Voice in that Category in the next (previous) Memory by continuously turning the knob clockwise (anticlockwise) or pressing the [INC/YES] ([DEC/NO]) key. PART/ELEMENT Once you have one User Drum Voice, you can easily switch to another by simply using PROGRAM keys [1] to [8], the [INC/YES] and [DEC/NO] keys or the [DATA] knob. Using the Voice Category Search With the Voice Category Search, you can quickly find Voices within a specified Voice Category. For example, if you specify the “Pf” (piano) Voice Category and use the Voice Category Search, you can select from all the voices which fall into the “Pf” Voice Category. Knob [C]: Using the Knob [C], you can select a Voice one by one in the current Memory, likewise for normal Voice selection. Turning the knob clockwise jumps to the next Voice number. Turning the knob anti-clockwise jumps to the previous Voice number. To start the Voice Category Search, first turn the PAGE knob to switch to the Voice Search screen. If a Plug-In board Voice is currently selected in Voice Play Mode, there is no Voice Search screen available. 67 If the Voice within the selected Category cannot be found Voice Mode 1 within the current Voice Memory, [------] is displayed in the LCD and you will not be able to use Knob [2]. Press the [ENTER] key to start searching in the next Memory. Voice Edit There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following is an explanation of the parameters used to edit each kind of Voice. Using the Quick Access Details about Voices are given on Page 36. Voice Mode Using Quick Access, you can quickly select any of 12 types of Preset Voices and 4 types of Internal Voices (at their factory default settings) in each Bank according to their Categories. The procedure is as follows. The following is displayed when you enter Voice Edit Mode. The displayed screens will vary according to the type of Voice being edited, but basically the [PAGE] knob is used to switch between screens and the parameters on each screen are altered using Knobs [A], [B], [C], [1] and [2]. The [DATA] knob and the [INC/YES] and [DEC/NO] keys can be used to alter parameters in small increments. Details about the Voices that can be selected using Quick Access are given in the separate Data List. 1Press the [QUICK ACCESS] key in Voice Mode. Its LED will light and Quick Access will be enabled. VCE Quick) INT:017(H01)[Pf:GrandPiano] EQLow-G EQMid-G EQHi-G FLT-Frq ChoSend GEN Name) Ctgry C 1234 Press the key again or switch to another Mode to disable Quick Access. SHIFT When you enable Quick Access, the Voice you previously selected using Quick Access is selected again. E F G H A. PIANO E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 DATA Set the value You need to select the Voice before entering Voice Edit Mode (Page 65). All parameters can be set and stored per Voice. See page 21 on how to enter Voice Edit mode. Common Edit and editing each Element 3 Use PROGRAM keys [1] to [16] to select the Voice within the specified Category. The name of the Voice is displayed. 1 2 While holding down the [SHIFT] key, you can use Knobs [A], [B], [C], [1] or [2] to move the cursor to the respective parameter without changing it’s value. You can also move the cursor using the [DATA] knob or the [INC/YES] and [DEC/NO] keys while holding down the [SHIFT] key. QUICK ACCESS D 1 Choose Common or Elements 1 to 4 2 Use BANK keys [A] to [H] to select the Category. There are eight Categories, as listed below. The Category names are printed below the respective BANK keys. C C 0-? Cursor [Pf:Init Voice] PART/ELEMENT You cannot use the MEMORY keys while Quick Access is enabled. B B Change pages If you enable Quick Access while editing a Voice, the Voice is not changed until you select another Voice via Quick Access. A A PAGE a-Z Voices can consist of up to four Elements (Page 37). Use Common Edit to edit the settings common to all four Elements. Voice Edit Mode can be divided into screens for Common Edit and those for editing each Element. In Voice Edit Mode, Knob [A] is used to switch between the Common Edit screens and the screens for editing each Element. Common Edit screens For each BANK [A] to [H], Preset Voices are accessed using PROGRAM keys [1] to [12]. The remaining four keys (PROGRAM keys [13] to [16]) are used to access each of four internal Voices. Details about Voices are given in the separate Data List. By selectively assigning your own selected Voices to the PROGRAM keys [13] to [16] in each BANK, you can make use of the Quick Access feature to quickly switch between them. GEN Other) Mode C 1234 poly Assign single MicroTuning 31:Indian Common Indicator Element 1~4 Edit Screens OSC Wave) EL1234 Number Ctgry 001[Pf:Grand 1 ] Elements 1~4 Indicator SHIFT PAGE A PART/ELEMENT 68 B C 1 2 DATA Element1 Voice Store COMMON Element3 When creating a new Voice from scratch, it can be useful, prior to editing, to clear the settings for the current Voice using the Initialize Voice function in Voice Job Mode (Page 105). Element4 The í Indicator Normal Voice If you alter any parameters in Voice Edit Mode, the í indicator will be displayed in the top left of the screen. This gives a quick indication that the current voice has been modified but not yet stored. When editing Normal Voices, there are 12 settings consisting of six Common Edit settings (common to all four Elements) and six Element-specific settings. Edit indicator GEN Name) Ctgry Even if you exit to Voice Play Mode, the edited settings for the current Voice will not be lost so long as you do not select another Voice. The í indicator will also be displayed in Voice Play Mode, and if any Assignable knobs are used. The “Compare” Function Use this to listen to the difference between the Voice with your edited settings and the same Voice prior to editing. 1 Press the [COMPARE (EDIT)] key while in Voice Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the Voice settings prior to editing will temporarily be reinstated for comparison purposes. Compare indicator GENîName) Ctgry While the “Compare” function is enabled, editing will not be possible using knobs [A] to [C] or knob [1]/[2]. 2 Press the [EDIT] key again to disable the “Compare” function and restore the settings for your edited Voice. The ELEMENT ON/OFF Function Use this to mute individual Elements within a Voice. For example, you could mute all Elements other than that which you are editing. Thus, you can hear how the edited settings affect just that Element. Details are given on Page 51. 69 Voice Edit Mode Common Common General GEN Name (General Name) GEN Other (General Other) Common Quick Edit QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect Control) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Common Arpeggio ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Common Controller CTL Portamento CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) Common LFO (Low Frequency Oscillator) LFO Wave LFO Fade LFO Dest1 (LFO Destination 1) LFO Dest2 (LFO Destination 2) Common Effect EFF InsEF (Insertion Effect) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) Element Element OSC (Oscillator) OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Limit (Oscillator Limit) Element Pitch PCH Tune (Pitch Tune) PEG VelSens (PEG Velocity Sensitivity) PEG Time PEG Level PEG Release PCH Scale (Pitch Scale) Element Filter FLT Type (Filter Type) FLT HPF (High Pass Filter) 70 70 71 71 71 71 72 72 72 72 73 73 73 74 74 74 74 74 74 74 74 74 75 75 77 77 77 78 78 78 78 79 79 79 79 79 80 80 80 80 81 81 81 81 82 83 83 85 Voice Mode The edited settings for the current Voice will be lost if you select another Voice or Mode. To avoid losing important data, you should always use Voice Store to store your edited Voice. Details about the Voice Store procedure are given on Page 106. Element2 Voice Mode FLT Sens (Filter Sensitivity) FEG VelSens (FEG Velocity Sensitivity) FEG Time FEG Level FEG Release FLT KeyFlw (Filter Key Follow) FLT Scale (Filter Scale Break Point) FLT Scale (Filter Scale Offset) Element Amplitude AEG VelSens (AEG Velocity Sensitivity) AEG Time AEG Level AEG Release AMP KeyFlw (AMP Key Follow) AMP Scale (AMP Scale Break Point) AMP Scale (AMP Scale Offset) Element LFO (Low Frequency Oscillator) LFO Wave LFO Depth Element EQ (Equalizer) EQ Type EQ Param (EQ Parameter) 85 85 86 86 86 86 87 87 88 88 88 88 88 89 90 90 90 90 91 91 91 91 GEN Name (General Name) You can set a Voice Name consisting of up to 10 characters. You can also select the Category Name to the left of the Voice Name. Category Name GENíName) Ctgry C 1234 SHIFT C 1 Choose alphabetic characters Choose a Category 2 DATA Move the cursor position Choose numeric characters and symbols Setting the Voice Name 1 Use Knob [2] to move the cursor to the position of the first character. The selected character will blink. You will see the following if you use the [PAGE] knob while holding down the [SHIFT] key. Use the [PAGE] knob to move the cursor to the parameter you wish to edit, then release the [SHIFT] key to jump to the screen you were previously at. 2 Use Knob [C] to enter an alphabetic character or Knob [1] to enter a numeric character/symbol. 3 Use Knob [2] to move the cursor to the position of the next character. Cursor GENíOther) Com:>GEN≥QED>ARP>CTL>LFO>EFF C 1234 Elem:>OSC>PCH>FLT>AMP>LFO>EQ PAGE B 0-? Cursor [Pf:Init Voice] PART/ELEMENT Menu Display SHIFT A PAGE a-Z Voice Name A B C 1 2 4 Repeat Steps 2 and 3 until all the characters have been set for your Voice Name. DATA You can also use the [INC/YES] and [DEC/NO] keys or the [DATA] knob to enter alphabetic and numeric characters as well as symbols. PART/ELEMENT 5 Use Knob [B] to set the Category Name if necessary. By setting the Category Name, it will be easier to identify the Voice later. The Category Search function (Page 67) can also be used to search for it. If you do not wish to set a Category Name, the Category will be shown as two hyphens. Selecting a Menu On the S80 in Voice Edit Mode, you can directly select a Menu using the PROGRAM/PART keys, [1] to [6] and [9] to [15]. Each key has an associated Menu name shown below it. 1 2 3 4 5 6 7 8 GENERAL QED ARPEGGIO CONTROL COM LFO EFFECT 9 10 11 12 13 14 15 16 OSC PITCH FILTER AMPLITUDE LFO EQ PLG Settings for alphabetic and numeric characters and Category Names : a t M 5 . b u N 6 / c v O 7 : d w P 8 ; e x Q 9 < f g h i j k y z A B C D R S T U VW ! " # $ % = > ?@ [ ¥ LCD Category Common General l E X & ] m F Y ' ^ n G Z ( _ o H 0 ) ` p I 1 * { q J 2 + | s L 4 - LCD Category -- Unassigned Pd Synth Pad Pf Piano Fx Synth Sound Effects You can set the Voice Name, Voice output settings and other general parameters in the Common Edit screens. The following two screens are available for general settings. Cp Chromatic Percussion Et Ethnic Or Organ Pc Percussive GEN Name (General Name) GEN Other (General Other) Gt Guitar Se Sound Effects Ba Bass Dr Drums St Strings/Orchestral Sc Synth Comping 70 r K 3 , } En Ensemble Vo Vocal Br Brass Co Combination Rd Reed Wv Material Wave Pi Pipe Sq Sequence Ld Synth Lead GEN Other (General Other) Common Quick Edit There are various parameters for Micro Tuning and for controlling how the generated sound is output. Various parameters control the sonic properties of the Voice. There are four screens. Assign single QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) MicroTuning 31:Indian ■ Mode Select monophonic or polyphonic playback. Select whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). QED Level (Quick Edit Level) These parameters control the output level (volume) and pan position of the Voice. ❏ Settings: mono, poly QEDíLevel) C 1234 ■ Assign If you set Key Assign to “single,” the doubled playback of the same note is prevented. The synthesizer will terminate a note when the same note is received again. If you select “multi,” the synthesizer will consecutively assign each instance of the same received note to a separate channel, making multiple part tone generation possible. ❏ Settings: 0 ~ 127 ■ Pan Set the stereo pan position of the Voice. ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) ■ MicroTuning Set the Micro Tuning (tuning system, or temperament) used for the Voice. Normally you would use “Equal Temperament” but there are also 31 other tuning systems available. ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. ❏ Settings: (see the following list) Type 00 Equal temperament 01~12 Pure major Key ❏ Settings: 0 ~ 127 Comments 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 equal ease. However, none of the intervals are perfectly in tune. C~B ■ ChoSend (Chorus Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. ❏ Settings: 0 ~ 127 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. QED EffectCtrl (Quick Edit Effect) Set the amount of Chorus applied to the entire Voice. A~G# The same as Pure Major, but designed for the minor scale. 13~24 Pure minor 25 Werckmeister Andreas Werckmeister, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character. 26 Kirnberger Johan Philipp Kirnberber was also concerned with tempering the scale to allow performances in any key. 27 Vallotti & Young Francescantonio Vallotti and Thomas Young (both mid–1700s) divised this adjustment to the Pythagorean tuning in which the first six fifths are lower by the same amount. 28 1/4 shifted This is the normal equal tempered scale shifted up 50 cents. 29 1/4 tone Twenty–four equally spaced notes per octave. (Play twenty–four notes to move one octave.) 30 1/8 tone Forty–eight equally spaced notes per octave. (Play forty–eight notes to move one octave.) 31 Indian C~B Pan RevSend ChoSend C 127 127 ■ Vol (Volume) Set the output level of the Voice. ❏ Settings: single, multi No. Vol 127 QEDíEffectCtrl) C 1234 Chorus +63 ■ Chorus Set an offset value for the parameters used by each type of Chorus. ❏ Settings: -64 ~ 0 ~ +63 Usually observed in the Indian music (white keys [C~B] only). 71 Voice Mode GENíOther) Mode C 1234 poly ■ Sustain Set the level of the Voice maintained while the note on the keyboard is being held down. QED Filter (Quick Edit Filter) These parameters control filters which affect the tonal quality of the Voice. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter page only affects LPF. Voice Mode QEDíFilter) C 1234 Cutoff +63 ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the transition time from the point at which the note on the keyboard is released to the point at which the level of the Voice reaches zero. Reso +63 ❏ Settings: -64 ~ 0~ +63 ■ Cutoff Set the cutoff frequency. The frequency set here will be a center frequency for signals to be filtered when they pass through each filter. Common Arpeggio The following four parameters control the behavior of the Arpeggiator. ❏ Settings: -64 ~ 0~ +63 ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) ■ Reso (Resonance) Set the amount of Resonance (harmonic boost) applied to the signal around the Cutoff frequency. This is a useful way of adding further character to the sound. ARP Type (Arpeggio Type) These are the basic parameters of the Arpeggiator. ❏ Settings: -64 ~ 0~ +63 ARPíType) Type C 1234 UpOct1:Sq QED EG (Quick Edit Envelope Generator) These four parameters control the change in the output level of a Voice over the time that a note is played. QEDíEG) C 1234 Attack +63 Decay Sustain Release +63 +63 +63 Time Key on Hold on ❏ Settings: (see the separate Data List) Sq (Sequence): Creates a general arpeggio phrase. Mainly octave up/down phrases. Ph (Phrase): Creates more musical phrases than Sq. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments. Dr (Drum Pattern): Creates drum pattern-type phrases. Phrase genres covered include rock and dance. This Type is ideal for use with drum and percussion sounds. Ct (Control): Creates tonal changes. No note information is created. The Key Mode parameter in Arpeggio Mode must be set to “direct.” Sustain Level Decay Time Switch on ■ Type Set the Arpeggio Type. Level Attack Time Tempo 120 Release Time Key off ■ Tempo Set the Arpeggio Tempo. ■ Attack Set the transition time from the moment a key on the keyboard is pressed to the point at which the level of the Voice reaches its peak. ❏Settings: 25 ~ 300 [MIDI] is displayed here and the parameter cannot be altered if MIDI sync is enabled (Page 138). ❏ Settings: -64 ~ 0~ +63 ■ Decay Set the transition time from the point at which the level of the Voice reaches its peak to the point at which it levels off. ❏ Settings: -64 ~ 0 ~ +63 72 ■ Switch Switch the Arpeggiator on or off. If the Arpeggio Category is set to Ct, you will not hear any sounds unless you select “direct” here. ■ Hold Switch the Arpeggiator Hold on or off. ■ Vel Mode (Velocity Mode) Set the playback velocity of the Arpeggio. There are 2 modes. ❏ Settings: syncoff (see below), off, on syncoff The first time you press a key, the first note of the arpeggiator pattern is played. From the second and subsequent key presses, the arpeggiator note that is played back will depend on the arpeggiator tempo and the timing of the arpeggio pattern. For example, in the case of a 1-bar arpeggio pattern, if the second key press falls on the third beat of the bar, the arpeggio pattern plays back from the third beat onward. In other words, the first key press is used to start the arpeggio pattern and thereafter you can use the key to “mute” or “un-mute” the pattern by, respectively, holding it down or releasing it. This is particularly useful when the arpeggiator is being used to generate drum patterns. ❏ Settings: original: Preset velocities are used in the Arpeggio sequence. thru: Velocities of the notes you play are used in the Arpeggio sequence. ARP PlayEF (Arpeggio Play Effects) You can set Play Effects for the Arpeggio. Play Effects can be used to temporarily adjust the timing and velocity of MIDI notes, thus affecting the groove of the Arpeggio pattern. Details about this are given on Page 43. ARP Limit (Arpeggio Note Limit) ARPíPlayEF) C 1234 ARPíLimit) C 1234 Vel 200% Gate 200% Note Limit C-2 - G 8 ■ Unit Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled and the tempo halved. Alternatively, if you set a value of 50%, the playback time will be halved and the tempo doubled. Normal playback time is 100%. ■ Note Limit Set the lowest and highest notes in the Arpeggiator’s note range. ❏ Settings: C-2 ~ G8 (lowest and highest set separately) 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.” ❏ Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200% ■ Vel (Velocity) Set the Velocity offset value (the strength at which the keyboard is played). This determines how the original Velocities are increased or decreased during Arpeggio playback. 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. You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key. ARP Mode (Arpeggio Mode) These parameters control the way in which notes are played back by the Arpeggiator. ARPíMode) C 1234 Unit 50% Key Mode sort ❏ Settings: 0% ~ 200% Vel Mode thru If the Velocity value falls below 1, it will be limited to 1. If it exceeds 127, it will be limited to 127. ■ Key Mode Set how the Arpeggio is played back when keys on the keyboard are pressed. There are 3 modes. ■ Gate (Gate Time) Set the Gate Time Rate value (the length of a note). This determines how the original Gate Times are increased or decreased during Arpeggio playback. 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: sort: Plays back notes in ascending order from the lowest key pressed to the highest. thru: Plays back notes in the order in which the keys are pressed. direct: Plays back the notes exactly as you play them. If changes to Voice parameters (such as Pan or Cutoff frequency) are included in the Arpeggio sequence data, they will be applied and reproduced whenever the Arpeggio plays back. ❏ Settings: 0% ~ 200% If the Gate Time value falls below 1, it will be limited to 1. 73 Voice Mode With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence data. ❏Settings: off, on Common Controller CTL Bend (Pitch Bend) There are eight Control Settings. You can set the Controller parameters for Portamento, the Pitch Bend Wheel, and for each Element in a Voice. You can set the amount by which the Pitch Bend Wheel changes the pitch of the Voice. CTLíPitchBend) C 1234 Voice Mode CTL Portamento CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) Upper +12 ■ Lower Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved downwards. For example, a value of -12 means that the pitch of the Voice drops by up to an octave when the Pitch Bend Wheel is moved downwards. CTL Portamento ❏ Settings: -48 ~ 0~ +24 Set the Portamento parameters. Portamento will create a smooth transition in pitch from the first note played to the next. CTLíPortamento) C 1234 Lower -12 Switch on ■ Upper Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved upwards. For example, a value of +12 means that the pitch of the Voice rises by up to an octave when the Pitch Bend Wheel is moved upwards. Time Mode 127 fulltime ❏ Settings: -48 ~ 0~ +24 ■ Switch Switch Portamento on or off. CTL Set1 (Control Set 1) to CTL Set6 (Control Set 6) ❏ Settings: off, on The controllers and knobs on the front panel, the keyboard, and so on can be assigned a variety of uses. For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control Resonance. They can even be used to control parameters within individual Elements. These control assignments are called “Control Sets.” You can assign up to six different Control Sets per Voice. Thus there are six screens, each for a separate controller: CTL Set1 to CTL Set6. ■ Time Set the pitch transition time. Higher values mean longer transition times. ❏ Settings: 0 ~ 127 ■ Mode Set the Portamento mode. The behavior of the Portamento varies depending on whether Mode in GEN Other is set to “mono” or “poly.” ❏ Settings: fingered, fulltime CTLíSet1) Src Dest C 1234 FC(04) ELFOSpd If the Mode in GEN Other is set to “mono”: fingered: Portamento is only applied when you play legato (playing the next note before releasing the previous one). Controller fulltime: Portamento is always applied. Keys Modulation Wheel Knobs etc. If the Mode in GEN Other is set to “poly”: This is the same as for “mono,” except that Portamento is applied to multiple notes. EL Sw 1234 Control Set 1~6 Set 1 Depth +63 Element 1 2 3 4 ■ Src (Source) Set the Controller used to control the function chosen in Dest. The following nine controllers are available. ❏ Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (Aftertouch), FC (Foot Controller), FS (Foot Switch), RB (Ribbon Controller), BC (Breath Controller), KN1/2 (Knobs 1/2) 74 ■ Dest (Destination) Set the parameter to be controlled by the Control Set in Src. There are various settings for the LFO. The LFO is used to generate low frequency signals and can be used to create vibrato, wah, tremolo and other effects when applied to pitch/filter/amplitude/etc. parameters. For example, variations can be simultaneously applied to both pitch and filter parameters, and to parameters specific to individual Elements. The following four settings are available. ❏Settings: (see the separate “Controls” list) ■ ElemSw (Element Switch) Select whether the Controller will affect each individual Element. Move the cursor (blinking) using Knob [1] and use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enable/disable the Elements which the Controller will affect. Affected Elements are shown by number. LFO Wave LFO Fade LFO Dest1 (LFO Destination 1) LFO Dest2 (LFO Destination 2) ❏ Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or disabled (“-” displayed) This is disabled if the Dest parameter is set to 00 to 33. ■ Depth Set the amount by which the parameter selected in Dest can be controlled. LFO Wave LFOíWave) Wave^ C 1234 trpzd ❏ Settings: -64 ~ 0 ~ +63 Example of Control Set Assignment Speed KeyReset 63 on Phase 270 Using Control Sets 1 to 6, you can assign individual Src (Source) controllers to multiple Dest (Destination) parameters, or multiple Src controllers to individual Dest parameters. ■ Wave Select the LFO Wave. Depending on the Wave selected, you can create different kinds of modulated sounds. The following 12 LFO waveforms are available. Ex.1:Use a single Src controller to control multiple Dest parameters. ❏ Settings: tri, tri+, saw up, saw dw, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzd, S/H 1, S/H 2 SET1 SET2 Src Src MW (Modulation Wheel) MW (Modulation Wheel) tri Dest Dest LFO Speed PAN Use the Modulation Wheel to change both the Pan and LFO speed parameters simultaneously. saw up Ex.2:Use multiple Src controllers to control a single Dest parameter. SET1 SET2 Src Src KN1 (Assignable Knob 1) KN2 (Assignable Knob 2) Use either Assignable Knob [1] or [2] to change the pan parameter saw dw Dest Dest PAN PAN Details about Control Set Assignments are given in the Basics Section of this manual (Page 45). squ 75 Voice Mode Common LFO (Low Frequency Oscillator) ■ KeyReset (Key on Reset) Set whether the LFO is reset each time a note is pressed. The following three settings are available. trpzd ❏ Settings: off, each-on, 1st-on Voice Mode off The LFO is self-running (no synchronization) and starts a waveform at any phase when you play on the keyboard. S/H 1 Time Key on S/H 2 each-on The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (see below). Time ■ Speed Set the speed of the LFO Wave modulation. Higher values mean faster modulation speeds. Key on (First Note) ❏ Settings: 0 ~ 63, 16th (16th note), 16th/3 (16th notetriplet), 16th. (16th dot-note), 8th (8th note), 8th/3 (8th note-triplet), 8th. (8th dot-note), 4th (4th note), 4th/3 (4th note-triplet), 4th. (4th dotnote), 2nd (half note), 2nd/3 (half note-triplet), 2nd. (half dot-note), 4thx4 (whole note), 4thx5 (5x4th notes), 4thx6 (6x4th notes), 4thx7 (7x4th notes), 4thx8 (8x4th notes) Key on (Second Note) 1st-on The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter (Show below). If you play a second note while the first note is being played (Note Off has not been received), the LFO does not reset to the specified phase (no synchronization) with the second note and after. Speed = Slow Time Time Key on (First Note) Key on (Second Note) ■ Phase Set the phase at which the LFO Wave starts whenever a note is played. Phases of 0/90/120/180/240/270 degrees are available. Speed = Fast Time The length of the note depends on the internal or external MIDI tempo setting. Time Phase ❏ Settings: 0, 90, 120, 180, 240, 270 76 ■ Hold Set the length of time during which the LFO is held at its maximum level. A higher value means a longer Hold time. LFO Fade FadeIn 127 Hold FadeOut 127 127 ❏ Settings: 0 ~ 127 Voice Mode LFOíFade) Delay C 1234 127 Hold ■ Delay Set the delay time before the LFO comes into effect. A higher value means a longer delay time. Max ❏ Settings: 0 ~ 127 Time Short delay ■ FadeOut (Fade-Out) Set the time taken for the LFO effect to be faded out (after the Hold time has elapsed). A higher value means a slower fade-out. Key on Long delay ❏ Settings: 0 ~ 127 Low FadeOut value Faster fade-out Key on Hold FadeOut Max ■ FadeIn (Fade-In) Set the time taken for the LFO effect to be faded in (after the Delay time has elapsed). A higher value means a slower fade-in. Time ❏ Settings: 0 ~ 127 Low FadeIn value Faster fade-in Key on FadeIn High FadeOut value Slower fade-out Max Hold FadeOut Max Time Time Key on Delay High FadeIn value Slower fade-in Key on FadeIn Max LFO Dest1 (LFO Destination 1) LFO Dest2 (LFO Destination 2) Time You can assign parameters to be controlled by the LFO Wave and set the LFO Wave Depth (amplitude). Two Destinations can be assigned, and you can choose from several parameters per Destination. Key on Delay LFOíDest1) C 1234 77 Dest AMD ElemSw 1234 Depth 127 ■ Dest (Destination) Set the parameters which will be controlled (modulated) by the LFO Wave. EFFíEF2) Ctgry Type Dry/Wet [ENTER] C 123DLY:DelayLCR D<W63 to Edit ❏ Settings: AMD, PMD, FMD, RESO (Resonance), PAN, ELFOSpd (Element LFO Speed) Voice Mode ■ Ctgry (Effect Category) Set the Category of the Effect. Select a desired Category and press the [ENTER] key. The first Effect Type in that Category will automatically be recalled. ■ ElemSw (Element Switch) Select whether to allow variations in the LFO Wave for each Element. Move the cursor (blinking) using Knob [1] and use the [DATA] knob or the [INC/YES] and [DEC/NO] keys to enable/disable LFO Wave variations for Elements 1 to 4. Enabled Elements are shown by number. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ Type (Effect Type) Set the type of Effect. While the Category indicator is blinking in the display, you can press the [ENTER] key to recall the first Effect Type in that Category. ❏ Settings: Elements 1 to 4 enabled (“1” to “4” displayed) or disabled (“-” displayed) ■ Depth Set the LFO Wave Depth (amplitude). ❏ Settings: Details are given in the Effect Types list of the separate Data List. ❏ Settings: 0 ~ 127 ■ Dry/Wet Set the mix level of the wet signal (which has been passed through the Effects Unit) and the dry signal (which has not been passed through the Effects Unit). This may be unavailable, depending on the selected Effect Type. Common Effect You can set two types of Insertion Effects, plus two System Effects (Reverb and Chorus). The following five screens are available. ❏ Settings: D63>W ~ D=W ~ D<W63 EFF InsEF (Insertion Effect) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) Effect Parameter Settings These parameters are available when you press the [ENTER] key for certain Effect Types. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen. EFF InsEF (Insertion Effect) ■ InsEF Connect (Insertion Effect Connect) Set up the connection between Insertion Effects 1 and 2. If you change this setting, the symbol denoting the signal routing (to the left of the setting) also changes to reflect the new signal flow. Effect Type selection screen EFFíEF2) Ctgry Type Dry/Wet [ENTER] C 123DLY:DelayLCR D<W63 to Edit Signal routing symbols EFFíInsEF) C 1234 InsEF Connect 1=2 EXIT ENTER 1=2 (parallel) 1➞2 (serial) Parameter settings screen 2➞1 (serial) EFFíEF2) TimeL DelayLCR 333.3m ❏ Settings: 1=2 (parallel), 1➞2 (Insertion Effect 1 to 2), 2➞1 (Insertion Effect 2 to 1) SHIFT EFF EF1/2 (Insertion Effect 1/2) PAGE A B TimeR 166.7m C TimeC Dry/Wet 500.0m D<W63 1 2 DATA PART/ELEMENT You can select the Effect Category for Insertion Effect 1/2 with the Ctgry parameter and the Effect Type with the Type parameter. After selecting the Effect Type, you can set its parameters by pressing the [ENTER] key. The number of Parameters and the contents of each screen will vary depending on the selected Effect Type. Details are given in the Effect Type List/Effect Parameter List of the separate Data List. 78 EFF Rev (Reverb) Element OSC (Oscillator) You can select the Reverb Effect Type, then press the [ENTER] key to set its parameters. You can set the parameters for the Elements (Waves) which make up the Voice. Each Voice can consist of up to four Elements, and the following four screens are available for each. Return [ENTER] 127 to Edit OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Limit (Oscillator Limit) ■ Type (Reverb Effect Type) Set the Reverb Effect Type. Voice Mode EFFíRev) Type C 1234 Basement OSC Wave (Oscillator Wave) ❏ Settings: Details are given in the Effect Types list of the separate Data List. You can use Knob [A] to select each Element and Knob [C] to assign a Wave to it. ■ Return Set the Return level of the Reverb Effect. OSCíWave) EL1234 Number Ctgry 001[Pf:Grand 1 ] ❏ Settings: 0 ~ 127 ■ Number (Wave Number) Select the Wave Number. The Category and Wave Name are displayed to the right of the selected Wave Number. You can assign a different Wave Number to each of the Elements. EFF Cho (Chorus) You can select the Chorus Effect Type, then press the [ENTER] key to set its parameters. EFFíCho) Type C 1234 Chorus1 toRev 127 ❏ Settings: 000 (off) ~ 553 (Details about each Wave are given in the separate Data List.) Return [ENTER] 127 to Edit ■ Ctgry (Category) Select the Category containing the Wave you wish to use. Specify a desired Category and press the [ENTER] key. The first Wave in that Category will automatically be selected. ■ Type (Chorus Effect Type) Set the Chorus Effect Type. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ❏ Settings: Details about Wave Categories are given on Page 70. ■ toRev (To Reverb) Set the Send level of the signal sent from the Chorus Effect to the Reverb Effect. OSC Out (Oscillator Out) You can set the following output parameters for each Element of a Voice. ❏ Settings: 0 ~ 127 OSCíOut) EL1234 ■ Return Set the Return level of the Chorus Effect. Level 96 Delay 0 InsEF ins2 ■ Level Set the output level of each Element. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 ■ Delay (Key On Delay) Set 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 Short Delay Key on 79 OSC Limit (Oscillator Limit) Long Delay You can set parameters controlling the note range of each Element and the velocity. OSCíLimit) EL1234 Note Limit C-2 - G 8 Vel Limit 1 - 127 Key on Voice Mode ■ Note Limit Set the lowest and highest notes of the keyboard range for each Element. Each Element will only sound for notes played within its specified range. ■ InsEF (Insertion Effect) Set the Insertion Effect to which the output signal from each Element is sent. The Insertion Effect is bypassed if you select Thru. ❏ Settings: C-2 ~ G8 (for the lowest and highest notes) ❏ Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion Effect 2) 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.” OSC Pan (Oscillator Pan) You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key. You can set the following Pan parameters for each Element in the Voice. OSCíPan) EL1234 Pan C Alter L64 Random 63 ■ Vel Limit (Velocity Limit) Set 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. Scale +63 ■ Pan Set the stereo Pan position for each Element (Wave). This will also be used as the basic Pan position for the Alternate, Random and Scale settings. ❏ Settings: 1 ~ 127 (for the minimum and maximum values) 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.” ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) Element Pitch ■ Alter (Alternate) Set the amount by which the sound is panned alternately left and right for each note you press. The Pan setting is used as the basic Pan position. You can set parameters governing the pitch of each Element. The Pitch Envelope Generator (PEG) controls the change in pitch from the moment a note is pressed on the keyboard to the point at which the sound has faded out completely. The following six screens are available. ❏ Settings: L64 ~ 0 ~ R63 ■ Random Set the amount by which the sound is panned randomly left and right for each note you press. The Pan setting is used as the basic Pan position. PCH Tune (Pitch Tune) PEG VelSens (PEG Velocity Sensitivity) PEG Time (PEG Time) PEG Level (PEG Level) PEG Release (PEG Release) PCH Scale (Pitch Scale) ❏ Settings: 0 ~ 127 ■ Scale Set the amount by which the sound is panned left and right according to the position of the note on the keyboard. The Pan setting is used as the basic Pan position at note C3. PCH Tune (Pitch Tune) You can set the tuning parameters and the effectiveness of the Envelope Generator (EG) for each Element. ❏ Settings: -64 ~ 0 ~ +63 PCHíTune)EGDepth Coarse EL1234 +63 + 0 Fine + 0 Random +7 ■ EGDepth Set the amount of change applied by the PEG. A setting of zero means the original pitch is not changed. ❏ Settings: -64 ~ 0 ~ +63 80 ■ Coarse Adjust the pitch of each Element in semitones. ■ Hold (Hold Time) Set the Hold Time. ❏ Settings: -48 ~ 0 ~ +48 ❏ Settings: 0 ~ 127 ■ Attack (Attack Time) Set the Attack Time. ■ Fine Fine-tune the pitch of each Element. ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. ■ Random Set the amount by which the pitch of each Element is varied at random for each note you press. A setting of zero means the original pitch is not changed. ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 PEG Level PEG VelSens (PEG Velocity Sensitivity) You can set various Level parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Time and PEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released (Page 82). You can set different values for each Element. You can determine how the Pitch Envelope Generator (PEG) responds to note velocity. PEGíVelSens) EL1234 Level +63 Time-Segment +63 attack PEGíLevel) Hold EL1234 +127 ■ Level Set the velocity sensitivity of the PEG Level. Positive settings will cause the level to rise the harder you play the keyboard, and negative values will cause it to fall. ■ Attack (Attack Level) Set the Attack Level. ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) ■ Decay1 (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) ■ Sustain (Sustain Level) Set the Sustain Level. ❏ Settings (Time): -64 ~ 0 ~ +63 ❏ Settings (Segment): attack:Affects the Hold Time/Attack Time/Decay 1 Time all: Affects all PEG Time parameters ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) PEG Release You can set Release Time and Release Level parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Time and PEG Level settings, these can be used control the change in sound from the moment a note is released. You can set different values for each Element. PEG Time You can set various Time parameters for the Pitch Envelope Generator (PEG). Combined with the PEG Level and PEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released (Page 82). You can set different values for each Element. Attack 127 Decay1 Sustain +127 + 0 ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) ■ Time-Segment Set the velocity sensitivity of the PEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. Hold 127 Attack -128 ■ Hold (Hold Level) Set the Hold Level. ❏ Settings: -64 ~ 0 ~ +63 PEGíTime) EL1234 Voice Mode ❏ Settings: 0 ~ 127 ❏ Settings: -64 ~ 0 ~ +63 Decay1 127 PEGíRelease) EL1234 Decay2 127 81 Time 127 Level +127 ■ Time (Release Time) Set the Release Time. ■ Center (Center Key) Set the basic pitch used by the Pitch parameter. ❏ Settings: 0 ~ 127 ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. ■ Level (Release Level) Set the Release Level. Voice Mode ❏ Settings: -128 ~ 0 ~ +127 (-4800 cents ~ 0 ~ +4800 cents) Large Speed of pitch change + Pitch Envelope Generator Settings Small There are five Time settings (controlling the speed of changes to the sound) and five Level settings (controlling the pitch). The pitch of a note is held at the Hold Level for the length of time defined by the Hold Time. After the Hold Time has elapsed, the pitch changes in accordance with the Attack Time/Level, Decay 1/2 Time and the Decay 1 Level, then settles at the Sustain Level. When the note is released, the change in pitch is governed by the Release Time/Level settings. Velocity Sensitivity and other parameters can also be set if required. Attack Decay1 Sustain Level Level Level Key off — Lower range ❏ Settings: -64 ~ 0 ~ +63 ■ Center (Center Key) Set the basic pitch used by the EGTime parameter. 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 EGTime settings. Pitch Hold Level Time Hold Time Attack Time Decay1 Decay2 Time Time Higher range ■ EGTime The EGTime parameter controls the PEG Times for each Element according to the positions of the notes on the keyboard. The Center 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. Release Level 0 Center (Basic Pitch) Release Time ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. PCH Scale (Pitch Scale) You can set the Pitch Scaling for each Element. Pitch Scaling is used to vary the Element pitch, PEG Levels and PEG Times according to the positions of the notes on the keyboard. Positive value Speed of PEG pitch change + Higher range Lower range PCHíKeyFlw)Pitch-Center EL1234 100% C 3 EGTime--Center +7 C 3 – Basic pitch ■ Pitch Adjust the sensitivity of the Pitch Scaling for each Element according to the position of the note on the keyboard. The Center parameter is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change less and that of higher notes to change more. Negative values will have the opposite effect. Negative value + Higher range Lower range – Basic pitch ❏ Settings: -200% ~ 0 ~ +200% (At +100%, neighboring notes are pitched one semitone (100 cents) apart.) 82 Speed of PEG pitch change Element Filter LPF24D (Low Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic LPF with a strong Resonance. You can set Filter parameters to change the tonal characteristics of each Element. The following ten screens are available. Resonance Voice Mode FLT Type (Filter Type) FLT HPF (High Pass Filter) FLT Sens (Filter Sensitivity) FEG VelSens (FEG Velocity Sensitivity) FEG Time FEG Level FEG Release FLT KeyFlw (Filter Key Follow) FLT Scale (Filter Scale Break Point) FLT Scale (Filter Scale Offset) LPF24A (Low Pass Filter 24dB/oct Analog) A 4-pole (-24db/oct) dynamic LPF with a character similar to those found on analog synthesizers. Resonance FLT Type (Filter Type) ■ Type Set the Filter Type. Parameters will vary according to the Type. FLTíType) Type EL1234 LPF12+HPF Gain 255 Cutoff 255 LPF18 (Low Pass Filter 18dB/oct) A 3-pole (-18db/oct) dynamic LPF. Reso 31 LPF18S (Low Pass Filter 18dB/oct Staggered) Also a 3-pole (-18db/oct) dynamic LPF, but with a shallower frequency curve. ❏ Settings: LPF12+HPF (Low Pass Filter 12dB/oct + High Pass Filter), LPF24D (Low Pass Filter 24dB/oct Digital), LPF24A (Low Pass Filter 24dB/oct Analog), LPF18 (Low Pass Filter 18dB/oct), LPF18S (Low Pass Filter 18dB/oct Staggered), LPF6+HPF (Low Pass Filter 6dB/oct + High Pass Filter), HPF24D (High Pass Filter 24dB/oct Digital), HPF12 (High Pass Filter 12dB/oct), BPF6 (Band Pass Filter 6dB/oct), BPF12D (Band Pass Filter 12dB/oct Digital), BPFW (Band Pass Filter Wide), BEF6 (Band Elimination Filter 6dB/oct) THRU (Bypass) Resonance LPF18 LPF18S LPF12 (Low Pass Filter 12dB/oct) A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter). Filters Resonance To generalize, there are basically four types of filter: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass Filter) and a BEF (Band Elimination Filter). Each available filter has a different frequency response. There are also combinations of LPF and HPF. • LPF (Low Pass Filter): This only passes signals below the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Six types of LPF are available. LPF6 (Low Pass Filter 6dB/oct) A 1-pole (-6db/oct) dynamic LPF with no Resonance, designed to be used in combination with an HPF (High Pass Filter). Level -6db/oct -12db/oct -18db/oct -24db/oct Cutoff Frequency 83 • HPF (High Pass Filter) This only passes signals above the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Two types of HPF are available. BPF6 (Band Pass Filter 6dB/oct) The combination of a -6dB/oct HPF and LPF. Level Cutoff range Range passed Cutoff range -6db/oct Voice Mode Level Frequency BPF12D (Band Pass Filter 12dB/oct Digital) The combination of a -12dB/oct HPF and LPF. -12db/oct Level -24db/oct Cutoff Range Cutoff Range passed Cutoff Range Frequency -12db/oct HPF24D (High Pass Filter 24dB/oct Digital), A 4-pole (-24db/oct) dynamic HPF with a strong Resonance. Frequency BPFW (Band Pass Filter Wide) Also the combination of a –12dB/oct HPF and LPF, but can have a wider frequency band than the BPF12D filter. Resonance Level Cutoff range Range passed Cutoff range width can be increased HPF12(High Pass Filter 12dB/oct), A 2-pole (-12db/oct) dynamic HPF. Frequency • BEF (Band Elimination Filter) This attenuates a band of signals around the Cutoff frequency, but passes everything else. Resonance BEF6 (Band Elimination Filter 6dB/oct) Level Range passed • BPF (Band Pass Filter) This only passes a band of signals around the Cutoff frequency. The width of this band can be varied. Three types of BPF are available. Center frequency Level Cutoff range Range passed Center frequency Cutoff range Range passed Frequency • THRU The filters are bypassed and the entire signal is unaffected. Cutoff range ■ Gain Set the Gain (the amount of boost applied to the signal sent to the Filter Unit). Frequency ❏ Settings: 0 ~ 255 84 ■ EGDepth Set the sensitivity of the Filter to note velocity. A positive setting will produce large filter changes for notes played harder, and a setting of zero will produce no filter changes at all. With a negative setting, the EG envelope will be inverted. ❏ Settings: 0 ~ 255 ■ Reso (Resonance)/Band/Width This parameter’s function varies according to the selected Filter Type. If an LPF or HPF has been selected, this parameter is used to set the Resonance. For the BPF (excluding the BPFW) and the BEF, it is used to select the Band. For the BPFW, it is used to adjust the Width of the band. ❏ Settings: -64 ~ 0 ~ +63 ■ VelCutoff (Velocity Cutoff) Set the sensitivity of the Cutoff frequency to note velocity. A positive setting will raise the Cutoff frequency for notes played harder, and lower it for notes played more softly. A negative setting will have the opposite effect. With the LPF and HPF, the Reso parameter 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. ❏ Settings: -64 ~ 0 ~ +63 ■ VelReso (Velocity Resonance) Set the sensitivity of the selected Resonance parameter to note velocity. A positive setting will produce large Resonance changes for notes played harder, and smaller changes for notes played more softly. A negative setting will have the opposite effect. With the BPF, the Band parameter is used to set the range (band) of signal frequencies passed by the filter. With the BEF, it is used to set the band of signal frequencies attenuated by the filter. In both cases, the Cutoff frequency is the center frequency of the band. ❏ Settings: -64 ~ 0 ~ +63 With the BPFW, the Width parameter is used to adjust the width of the band of signal frequencies passed by the filter. FEG VelSens (FEG Velocity Sensitivity) You can set parameters controlling the sensitivity of the Filter Envelope Generator (FEG) to note velocity. ❏ Settings: 0 ~ 31 FLT HPF (High Pass Filter) FEGíVelSens) EL1234 You can set the Key Follow parameters for the High Pass Filter. This screen is available only when you have one of the “LPF+HPF” settings for the Type parameter in the Filter Type (FLT Type) screen. FLTíHPF) EL1234 Cutoff 255 Time-Segment +63 attack ■ Level Set the sensitivity of the FEG’s Level (its effectiveness) to note velocity. A positive setting will cause larger tonal changes for notes played harder and smaller changes for notes played more softly. A negative setting will have the opposite effect. KeyFlw +200% ■ Cutoff Set the center frequency of the Key Follow parameter. ❏ Settings: -64 ~ 0 ~ +63 ❏ Settings: 0 ~ 255 ■ Time-Segment Set the velocity sensitivity of the FEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ■ KeyFlw (Key Follow) Set the Key Follow for the HPF Cutoff. 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. ❏ Settings (Time): -64 ~ +63 ❏ Settings (Segment): attack: Affects the Hold Time/Attack Time/Decay 1 Time all: Affects all FEG Time parameters ❏ Settings: -200% ~ 0 ~ +200% FLT Sens (Filter Sensitivity) You can set Filter Sensitivity parameters for each Element. FLTíSens)EGDepth EL1234 +63 Level +63 VelCutoff VelReso +7 +7 85 Voice Mode ■ Cutoff Set the Cutoff frequency. This is used as the basic frequency for the selected Filter Type. Voice Mode FEG Time FEG Release You can set various Time parameters for the Filter Envelope Generator (FEG). Combined with the FEG Level and FEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. You can set Release Time and Release Level parameters for the Filter Envelope Generator (FEG). Combined with the FEG Time and FEG Level settings, these can be used control the change in sound from the moment a note is released. FEGíTime) EL1234 Hold 127 Attack 127 Decay1 127 FEGíRelease) EL1234 Decay2 127 Time 127 Level +127 ■ Time (Release Time) Set the Release Time. ■ Hold (Hold Time) Set the Hold Time. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 ■ Level (Release Level) Set the Release Level. ■ Attack (Attack Time) Set the Attack Time. ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ 0 ~ +9600 cents) ❏ Settings: 0 ~ 127 Filter Envelope Generator Settings ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. There are five Time settings (controlling the speed of changes to the sound) and five Level settings (controlling the amount of filtering applied). The tone of a note is held at the Hold Level for the length of time defined by the Hold Time. After the Hold Time has elapsed, the tone changes in accordance with the Attack Time/Level, Decay 1/2 Time and the Decay 1 Level, then settles at the Sustain Level. When the note is released, the change in tone is governed by the Release Time/Level settings. Velocity Sensitivity and other parameters can also be set if required. ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. ❏ Settings: 0 ~ 127 FEG Level You can set a Level parameter for the Filter Envelope Generator (FEG). Combined with the FEG Time and FEG Release settings, these can be used control the change in sound from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. FEGíLevel) Hold EL1234 +127 Attack -128 Level Attack Decay1 Sustain Level Level Level Key off Release Level Decay1 Sustain +127 + 0 Hold Level ■ Hold (Hold Level) Set the Hold Level. 0 Time Hold Time ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents) ■ Attack (Attack Level) Set the Attack Level. Attack Time Decay1 Decay2 Time Time Release Time FLT KeyFlw (Filter Key Follow) ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents) You can set Filter Key Follow parameters for each Element. This parameter controls the Filter Cutoff and FEG behavior according to the position of the notes played on the keyboard. ■ Decay1 (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents) The availability of the Filter Key Follow parameter depends on the Break Point and Offset settings in the FLT Scale screen. ■ Sustain (Sustain Level) Set the Sustain Level. ❏ Settings: -128 ~ 0 ~ +127 (-9600 cents ~ +9600 cents) 86 FLTíKeyFlw)Cutoff-Center EGTime--Center EL1234 +200% (C 3) 63 C 3 ■ Cutoff Set the Filter Key Follow ratio (the amount by which the Filter Cutoff varies according to note position) for each Element. A Center Key setting 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. You can set four Filter Scaling Break Points for each Element. Filter Scaling controls the filter cutoff frequency according to the positions of the notes on the keyboard. There are four Break Points used to divide and assign different settings across the keyboard. The Levels (Offsets) at each of Break Point are set in the FLT Scale screen. ❏ Settings: -200% ~ 0 ~ +200% Details about Filter Scaling are given later in the section “Filter Scaling Settings.” ■ Center (Center Key) This shows that the basic Level is at note C3. At this note, the tone remains unchanged. For other notes, the tone varies according to the Level settings. The Center setting cannot be changed. This parameter is for information only. FLTíScale) EL1234 BP2 C 3 BP3 C#5 BP4 G 8 ■ BP1/BP2/BP3/BP4 (Break Point 1/2/3/4) Set the Break Points for each Element. BP1 to BP4 will be automatically be arranged in ascending order across the keyboard. Large Speed of cutoff frequency change BP1 C-2 + ❏ Settings: BP1 to BP4: C-2 ~ G8 Small FLT Scale (Filter Scale Offset) Lower range Center (Basic Pitch) FLTíScale)Ofst1 EL1234 + 0 Higher range ■ EGTime Set the Time Scale (the speed of change in the FEG over the range of the keyboard) for each Element. The basic speed of change for the FEG is at the note specified in the Center 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. Ofst3 -128 Ofst4 + 0 ■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4) Set the Filter Scaling Offset Levels. These Offsets are used by the Break Points (BP1/BP2/BP3/BP4). Details about Filter Scaling are given below in the section “Filter Scaling Settings.” ❏ Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127 ❏ Settings: -64 ~ 0 ~ +63 Filter Scaling Settings By way of example, you could set the Levels (Offsets) and Break Points (BP1 to BP4) as follows. ■ Center (Center Key) Set the basic note used by the EGTime parameter. When the Center Key note is played, the FEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EGTime settings. FLTíScale) EL1234 ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. + Higher range Lower range Basic Pitch Speed of FEG level change Higher range — Basic Pitch BP3 G 4 BP4 A 5 FLTíScale)Ofst1 EL1234 - 4 Ofst2 + 10 Ofst3 + 17 Ofst4 + 4 The Break Point Levels are Offsets used to increase or decrease the current Cutoff setting at the specified notes. Regardless of the size of these Offsets, the minimum and maximum Cutoff limits (values of 0 and 127, respectively) cannot be exceeded. Negative value Lower range BP2 B 2 The Break Points are automatically arranged in ascending order across the keyboard. For example, BP2 cannot be set to a lower note than that of BP1. — + BP1 E 1 Here, the current Cutoff setting is 64. The Offsets are –4 at BP1 (set to note E1), +10 at BP2 (set to note B2), +17 at BP3 (set to note G4) and +4 at BP4 (set to A5). That is, the Cutoff frequencies at each Break Point are 60, 74, 81 and 68, respectively. For other notes, the Cutoff frequencies will be on the straight line connecting the two adjacent Break Points. Positive value Speed of FEG level change Ofst2 +127 87 A note set below the BP1 will become the BP1 Level. A note set above BP4 will become the BP4 Level. Voice Mode FLT Scale (Filter Scale Break Point) ■ Attack (Attack Time) Set the Attack Time. Element Amplitude You can set Amplitude parameters to affect the output level of each Element. The following seven screens are available. ❏ Settings: 0 ~ 127 ■ Decay1 (Decay 1 Time) Set the Decay 1 Time. Voice Mode AEG VelSens (AEG Velocity Sensitivity) AEG Time AEG Level AEG Release AMP KeyFlw (AMP Key Follow) AMP Scale (AMP Scale Break Point) AMP Scale (AMP Scale Offset) ❏ Settings: 0 ~ 127 ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. ❏ Settings: 0 ~ 127 AEG Level AEG VelSens (AEG Velocity Sensitivity) You can set various Level parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Time and AEG Release settings, these can be used control the change in output level from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. You can set the sensitivity of the Amplitude Envelope Generator (AEG) to note velocity. AEGíVelSens) EL1234 Level +7 Time-Segment +63 attack AEGíLevel) Init EL1234 127 ■ Level Set the sensitivity of the AEG’s Level (its effectiveness) to note velocity. A positive setting will cause larger output level changes for notes played harder and smaller changes for notes played more softly. A negative setting will have the opposite effect. ■ Init (Initial Level) Set the Initial Level. (The Level when a key is pressed.) ❏ Settings: 0 ~ 127 ❏ Settings: -64 ~ 0 ~+63 ■ Attack (Attack Level) This shows the Attack Level. (Fixed at 127.) ■ Time-Segment Set the velocity sensitivity of the AEG’s Time parameters. Use Knob [2] to select the Segment, then use Knob [1] to set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ■ Decay1 (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: 0 ~ 127 ■ Sustain (Sustain Level) Set the Sustain Level. ❏ Settings (Time): -64 ~ 0 ~ +63 ❏ Settings: 0 ~ 127 ❏ Settings (Segment): attack: Affects the Hold Time/Attack Time/Decay 1 Time all: Affects all AEG Time parameters AEG Release You can set Release Time and Release Level parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Time and AEG Level settings, these can be used control the change in output level from the moment a note is released. You can set different values for each Element. AEG Time You can set various Time parameters for the Amplitude Envelope Generator (AEG). Combined with the AEG Level and AEG Release settings, these can be used control the change in output level from the moment a note is pressed on the keyboard to the moment it is released. You can set different values for each Element. AEGíTime) EL1234 Attack 127 Decay1 127 Attack Decay1 Sustain (127) 127 0 AEGíRelease) EL1234 ■ Time (Release Time) Set the Release Time. Decay2 127 ❏ Settings: 0 ~ 127 88 Time 127 Level (0) ■ Level (Release Level) This shows the Release Level. (Fixed at zero.) ■ Center (Center Key) This shows that the basic Level is at note C3. At this note, the output level remains unchanged. For other notes, the output levels vary according to the Level settings. The Center setting cannot be changed. Amplitude Envelope Generator Settings There are four Time settings (controlling the speed of changes in output level) and five Level settings (controlling the output level). The output level changes from the Initial Level to the Attack Level (127) within the Attack Time. It then changes in accordance with the Decay 1/2 Time and the Decay 1 Level, and settles at the Sustain Level. When the note is released, the output level falls to the Release Level (zero) within the Release Time. Velocity Sensitivity and other parameters can also be set if required. Attack Decay1 Sustain Level Level Level Key off Small Lower range Center(Basic Pitch) Higher range ■ EGTime The EGTime parameter controls the AEG Times for each Element according to the positions of the notes on the keyboard. The Center 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. Release Level Level Init Level ❏ Settings: -64 ~ 0 ~ +63 0 Time Attack Time + Decay1 Decay2 Time Time ■ Center (Center Key) Set the basic pitch used by the EGTime parameter. When the Center note 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. Release Time AMP KeyFlw (AMP Key Follow) You can set Amplitude Key Follow parameters for each Element. This parameter controls the AEG behavior according to the positions of notes on the keyboard. ❏ Settings: C-2 ~ G8 You can also set this parameter by pressing the respective note on the keyboard while holding down the [SHIFT] key. The availability of the Amplitude Key Follow parameter depends on the Break Point and Offset settings in the AEG Scale screen. Positive value AMPíKeyFlw)Level-Center EL1234 +200% (C 3) Speed of AEG level change EGTime--Center +63 C 3 ■ Level Set the Amplitude Key Follow ratio (the amount by which the output level varies according to note position) for each Element. A Center 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. + Lower range Center(Basic Pitch) Higher range Negative value + Speed of AEG level change - ❏ Settings: -200% ~ 0 ~ +200% Lower range 89 Center(Basic Pitch) Higher range Voice Mode Large Speed of AEG level change AMP Scale (AMP Scaling Break Point) The Break Point Levels are Offsets used to increase or decrease the current amplitude at the specified notes. Regardless of the size of these Offsets, the minimum and maximum amplitude limits (values of 0 and 127, respectively) cannot be breached. You can set four Amplitude Scaling Break Points for each Element. Amplitude Scaling controls the amplitude according to the positions of the notes on the keyboard. There are four Break Points used to divide and assign different settings across the keyboard. The Levels (Offsets) at each of Break Point are set in the AMP Scale screen. A note set below the BP1 will become the BP1 Level. A note set above BP4 will become the BP4 Level. Details about Amplitude Scaling are given later in the section “Amplitude Scaling Settings.” Voice Mode Element LFO (Low Frequency Oscillator) The Levels of the Elements themselves are set in the OSC Out screen (Page 79). AMPíScale) EL1234 BP1 C-2 BP2 C 3 BP3 C#5 There are various settings for the LFO. The LFO is used to generate low frequency signals and can be used to create vibrato/wah/tremolo/etc. effects when applied to pitch/filter/amplitude parameters. Different LFO parameters can be set for each Element. The following two screens are available. BP4 G 8 LFO Wave LFO Depth ■ BP1/BP2/BP3/BP4 (Break Point1/2/3/4) Set the Break Points for each Element. BP1 to BP4 will automatically be arranged in ascending order across the keyboard. LFO Wave You can set various parameters controlling the LFO waveform. Select the waveform used by the LFO and set the speed of change. ❏ Settings: BP1 to BP4: C-2 ~ G8 You can also set each Break Point by pressing the respective note on the keyboard while holding down the [SHIFT] key. LFOíWave) EL1234 AMP Scale (AMP Scaling Offset) AMPíScale)Ofst1 EL1234 + 0 Ofst2 +127 Ofst3 -128 Wave^ tri ❏ Settings: saw, tri, squ saw (sawtooth wave) Details about Amplitude Scaling are given later in the section “Amplitude Scaling Settings.” ❏ Settings: Ofst1 to Ofst4: -128 ~ 0 ~ +127 Amplitude Scaling Settings tri (triangle wave) By way of example, you could set the Levels (Offsets) and Break Points (BP1 to 4) as follows. BP1 E 1 BP2 B 2 BP3 G 4 BP4 A 5 AMPíScale)Ofst1 EL1234 - 4 Ofst2 + 10 Ofst3 + 17 Ofst4 + 4 squ (square wave) Here, the current amplitude is 80. The Offsets are –4 at BP1 (set to note E1), +10 at BP2 (set to note B2), +17 at BP3 (set to note G4) and +4 at BP4 (set to A5). That is, the amplitudes at each Break Point are 76, 90, 97 and 84, respectively. For other notes, the amplitudes will be on the straight line connecting the two adjacent Break Points. The Break Points are automatically arranged in ascending order across the keyboard. For example, BP2 cannot be set to a lower note than that of BP1. KeySync on ■ Wave Select the LFO waveform used to vary the sound. There are three waveforms available. Ofst4 + 0 ■ Ofst1/Ofst2/Ofst3/Ofst4 (Offset 1/2/3/4) Set the Amplitude Scaling Offset Levels. These Offsets are used by the Break Points (BP1/BP2/BP3/BP4). AMPíScale) EL1234 Speed 63 90 ■ Speed Set the speed of the LFO waveform. A larger setting means a faster speed. ■ AMod (Amplitude Modulation Depth) Set the amount (depth) by which the LFO waveform varies (modulates) the amplitude of the sound. A larger setting means a larger modulation depth. ❏ Settings: 0 ~ 63 ❏ Settings: 0 ~ 127 Element EQ (Equalizer) You can set the following two Equalizer parameters for each Element. Time EQ Type EQ Param (EQ Parameter) Speed = Slow EQ Type Time EQíType) EL1-3* ■ Type Select the Equalizer Type. Various Equalizers are available which can be used not just for altering existing sounds, but also in generating completely new sounds. Some items in the following EQ Param (EQ Parameter) screen may or may not be available, depending on the selected Equalizer Type ■ KeySync Switch Key Sync on or off. When switched on, the LFO waveform is reset every time a note is played. ❏ Settings: off, on Sync off Sync on Time Type EQ L/H ❏ Settings: EQ L/H (EQ Low/High), P.EQ (Parametric EQ), Boost6 (Boost 6dB), Boost12 (Boost 12dB), Boost18 (Boost 18dB), thru Time The parameters for the Filter Type are as follows. Key on Key on • EQ L/H (EQ Low/High) This is a Shelving Equalizer which combines a High Frequency and Low Frequency Band to adjust the signal Level. If you select this Filter, the EQ Parameter screen will be available with the following parameters. LFO Depth Set the amount by which the LFO waveform controls changes in Pitch/Filter/Amp settings. LFOíDepth) EL1234 PMod 127 FMod 127 AMod 127 EQíParam)LoFreq EL1-3* 257.OHz ■ PMod (Pitch Modulation Depth) Set the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound. A larger setting means a larger modulation depth. LoGain HiFreq +32 6.25kHz HiGain +32 + 0 Frequency ❏ Settings: 0 ~ 127 - ■ FMod (Filter Modulation Depth) Set the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. A larger setting means a larger modulation depth. Low Freq ❏ Settings: 0 ~ 127 91 High Freq Voice Mode Speed = Fast ■ LoFreq (Low Frequency) Set the low frequency of the Shelving filter. Frequencies below this point are attenuated or boosted by the Low Gain parameter. ■ Q (Frequency Characteristic) Set the Q (Frequency Characteristic). 32 different Characteristics are available. ❏ Settings: 0 ~ 31 ❏ Settings: 50.1Hz ~ 2.00kHz Voice Mode • 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. The EQ Parameters will be unavailable. ■ LoGain (Low Gain) Set the amount by which the frequencies below the Low Frequency setting are attenuated or boosted. ❏ Settings: -32 ~ 0 ~ +32 • thru If you select this, the equalizers are bypassed and the entire signal is unaffected. ■ HiFreq (High Frequency) Set the high frequency of the Shelving filter. Frequencies above this point are attenuated or boosted by the High Gain parameter. Drum Voices ❏ Settings: 503.8Hz ~ 10.1kHz With Drum Voices, different drum and percussion Waves or Normal Voices are assigned to notes across the keyboard (from C0 to C6) forming an entire drum kit. For editing Drum Voices, there are five Common Edit screens (affecting all the Drum Voices together) and the five Drum Key screens. ■ HiGain (High Gain) Set the amount by which the frequencies above the High Frequency setting are attenuated or boosted. ❏ Settings: -32 ~ 0 ~ +32 When you select a Drum Voice and enter Voice Edit Mode, you will see the Drum Voice Edit screen at which you were previously editing. • P.EQ (Parametric EQ) The Parametric EQ is used to attenuate or boost signal levels around the Frequency setting by the amount specified in the Gain setting. 32 different Frequency Characteristics are available. The following parameters are available for this type of Equalizer. EQíParam) EL1-3* Freq 255 Gain +32 An overview of the Drum Voices is given on Page 37. Most parameters have already been explained for Normal Voices. (The gray items in the tree diagram.) Those parameters not previously covered are explained here. Details about the functions common to both Drum Voices and Normal Voices are given in the section “Normal Voices” (Page 69). Q 31 EQ Param (EQ Parameter) + Gain 0 Frequency - ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings: 139.7Hz ~ 12.9kHz ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ❏ Settings: -32 ~ 0 ~ +32 92 Voice Edit (Drum) Drum Common Drum Common General GEN Name (General Name) Drum Common Quick Edit QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Drum Common Arpeggio ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effects) Drum Common Controllers CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) Drum Common Effects EFF InsEF (Insertion Effects) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) Drum Key Drum Key OSC (Oscillator) OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Other (Oscillator Other) D K Pi h 70 70 71 71 71 72 93 72 72 73 73 73 74 74 74 74 74 74 74 74 78 78 78 78 79 79 94 94 95 95 95 96 Drum Common General 96 96 96 96 96 97 97 91 91 91 For Drum Voices, there is only the one type of Common General shown below. The parameters and settings are the same as for Normal Voices. Details are given on Page 70. GEN Name (General Name) Drum Common Quick Edit The following four screens are available for Drum Voice output level and timbre parameters. Drum Common Edit and Drum Key Edit Each Drum Voice consists of multiple Waves or Normal Voices assigned to notes across the keyboard (C0 to C6) (Page 37). You can use Drum Common Edit for settings that apply to all Drum Keys in the Drum Voice. For individual Waves or Normal Voices settings, Drum Key Edit consists of Edit screens for each Wave or Normal Voice. With Drum Voice Edit, you can use Knob [A] to switch between the Drum Common Edit and Drum Key Edit screens. QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) QED Level (Quick Edit Level) Most parameters and settings have already been explained for Normal Voices. Details are given on Page 71. Drum Common settings QED EffectCtrl (Quick Edit Effect) QEDíEG) Attack VCE*Play) PRE1:128(H16)[Pf:GrandPiano] Decay Common +63 EQ +63 Mid EQ+63 Hi Cutoff RevTime Most parameters and settings have already been explained for Normal Voices. Details are given on Page 71. Common Indicatior Drum Key settings OSCíWave) Key=C 3 Number Ctgry 001[PF:Grand 1 ] Type wave QED Filter (Quick Edit Filter) Drum Key Indicator SHIFT PAGE A B C 1 2 Most parameters and settings have already been explained for Normal Voices. Details are given on Page 72. DATA PART/ELEMENT QED EG (Quick Edit Envelope Generator) The EG (Envelope Generator) can be used to set the transition in the Drum Voice output level over time. The EG has two parameters determining how the output level of the sound changes from the point at which a note is pressed to the point at which the sound has completely faded out. Menu Display The following is displayed if you turn the [PAGE] knob while holding down the [SHIFT] key. The menus for the settings are shown below. Use the [PAGE] knob to move the cursor to the item you are looking for. Then release the [SHIFT] key to jump to the screen at which you were previously editing the item. QEDíEG) Common Attack +63 Decay +63 Cursor EFFíEF1) Common SHIFT PAGE A Com:>GEN≥QED>ARP>CTL Key:>OSC>PCH>FLT>AMP B C 1 >EFF >EQ 2 DATA The [PROGRAM/PART] keys on the S80 can directly select Menus associated to them (Page 70). Attack 93 Decay Voice Mode Drum Key Pitch PCH Tune (Pitch Tune) Drum Key Filter FLT Cutoff (Filter Cutoff) Drum Key Amplitude AMP AEG (Amplitude Envelope Generator) AMP VelSens (Amplitude Velocity Sensitivity) Drum Key EQ (Equalizer) EQ Type (EQ Type) EQ Param (EQ Parameter) ■ Attack Set the Attack time (the time from the moment the note is pressed to the point at which the maximum sound output level is reached). Drum Key OSC (Oscillator) You can change your Drum Voice waveform settings. Each Drum Voice can consist of up to 73 Drum Keys (Page 37), assigned to notes spread across the keyboard (C0 to C6). You can assign waveforms to Drum Keys and set their parameters. The following four screens are available. ❏ Settings: -64 ~ 0 ~ +63 Voice Mode ■ Decay Set the Decay time (the time from the point of maximum sound output level to the point at which it has completely faded out). OSC Wave (Oscillator Wave) OSC Out (Oscillator Out) OSC Pan (Oscillator Pan) OSC Other (Oscillator Other) ❏ Settings: -64 ~ 0 ~ +63 Drum Common Arpeggio OSC Wave (Oscillator Wave) The following four screens are available for Drum Voice arpeggio parameters. The parameters and settings are the same as for Normal Voices. Details are given on Page 72. Assign a Wave/Normal Voice to each Drum Key. Use Knob [A] (or press a note on the keyboard) to select the Drum Key, and use Knob [C] to select the Wave/Normal Voice assigned to it. ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) OSCíWave) Mem Key=C 3 PRE1 Drum Common Controllers Number Ctgry 001[PF:Grand 1 ] Type vce ■ Mem (Memory) This is displayed when you have selected “vce” (Normal Voice) as the Type parameter. Select the Voice Memory for the Normal Voice. Set your Control Settings here. Up to six controllers plus the Pitch Bend wheel can be assigned to each Drum Voice. The following seven screens are available. (The parameter names for all Control Set screens are the same.) ❏ Settings: PRE1, PRE2, INT, EXT You cannot select Plug-in Voices. CTL Bend (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL Set3 (Control Set 3) CTL Set4 (Control Set 4) CTL Set5 (Control Set 5) CTL Set6 (Control Set 6) ■ Number (Wave Number) Select a Wave/Normal Voice Number. The Category and Name are shown to the right of the selected Wave/Normal Voice Number. The selection of Waves/Normal Voices varies according to the Type. ❏ Settings: 000(off) ~ 553 for wave, 001~ 128 for Normal Voice (Details about each Wave/Normal Voice are given in the separate Data List). The parameters are the same as for Normal Voices. Details are given on Page 74. (The Elem Sw parameter is only available for Normal Voices.) If you choose “off,” no Wave/Normal Voice will be assigned to the Drum Key. Drum Common Effects ■ Ctgry (Category) Select the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in that Category will be selected. For Drum Voice Effects, there are two Insertion Effects, plus System Effects (Reverb and Chorus). The following five screens are available. The parameters and settings are the same as for Normal Voices. Details are given on Page 78. ❏ Settings: Details about the Categories are given as a list on Page 70. EFF InsEF (Insertion Effect) EFF EF1 (Insertion Effect 1) EFF EF2 (Insertion Effect 2) EFF Rev (Reverb) EFF Cho (Chorus) ■ Type Select Wave or Normal Voice as the Type. With the Number and Ctgry parameters (above), you can specify the waveform or Normal Voice used by the Type. ❏ Settings: wave, vce (Normal Voice) 94 ■ Pan Set the Pan position for each sound in a Drum Voice (Drum Kit). This will also be used as the basic Pan position for the Alternate and Random settings. OSC Out (Oscillator Out) Set the Wave or Normal Voice output settings for each Drum Key. Level 127 InsEF RevSend ChoSend thru 64 127 ■ Alter (Alternate) Set the amount by which the sound is panned alternately left and right for each note you press. The Pan setting is used as the basic Pan position. ■ Level Set the output level for each Wave or Normal Voice. This can be used to adjust the output of each Drum Key. ❏ Settings: L64 (Left) ~ 0 (Center) ~ R63 (Right) This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” If set to “vce” (Normal Voice), this parameter is unavailable. ❏ Settings: 0 ~ 127 ■ InsEF (Insertion Effect) Select the Insertion Effect to which the output of each Drum Key will be sent. If Thru is selected, the Insertion Effects are bypassed. ■ Random Set the amount by which the sound is panned randomly left and right for each note you press. The Pan setting is used as the basic Pan position. ❏ Settings: thru, ins1 (Insertion Effect 1), ins2 (Insertion Effect 2) ❏ Settings: 0 ~ 127 This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” ■ RevSend (Reverb Send) Set the Send level of the Drum Key signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. ■ Output Assign each Drum Key to an output. ❏ Settings: L&R (OUTPUT L & R), ind1&2 (INDIVIDUAL OUTPUT 1 & 2), ind1 (INDIVIDUAL OUTPUT 1), ind2, ind3, ind4, ind5, ind6 ❏ Settings: 0 ~ 127 This setting plus the Reverb Send level set in the QED Level screen (Page 71) are the final Reverb Send level settings. Settings “ind3” to “ind6” are for future expansion purposes and are currently not available. Details about the Effects are given on Page 55. For example, if you choose “ind1&2,” the left channel will be output through INDIVIDUAL OUTPUT1 and the right channel will be output through INDIVIDUAL OUTPUT2. ■ ChoSend (Chorus Send) Set the Send level of the Drum Key signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. OSC Other (Oscillator Other) ❏ Settings: 0 ~ 127 You can set parameters which govern the sound of each Drum Key making up the Drum Voice. This setting plus the Chorus Send level set in the QED Level screen (Page 71) are the final Chorus Send level settings. OSCíOther) Key=C 3 For a Drum Key with the Insertion Effect set to other than Thru, the Chorus Send level will be determined by the QED Level screen. Details about the Effects are given on Page 55. ■ Assign Set Key Assign to “single” to prevent the doubled playback of the same received notes. Select “multi” to consecutively assign each instance of the same received note to a separate channel. OSC Pan (Oscillator Pan) Assign Pan settings for each Drum Key in the Drum Voice. Different Pan types are available. ❏ Settings: single, multi The Pan, Alter (Alternate) and Random settings will be ignored if you set the output to “ind1” to “ind6.” OSCíPan) Key=C 3 Pan C Alter L63 Random 63 Assign RcvNtOff AltGrp single on off When the Alternate Group (AltGrp) parameter is set to other than “off,” you cannot set this parameter (shown as “----”). Output L&R 95 Voice Mode ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) OSCíOut) Key=C 3 ■ RcvNtOff (Receive Note Off) Select whether MIDI Note Off messages are received by each Drum Key. Drum Key Filter You can apply filter settings to the Drum Voice. A Low Pass Filter and High Pass Filter can be applied per Wave to change its tonal characteristics. ❏ Settings: off, on This parameter depends on the Type of Drum Key Wave chosen in the OSC Wave screen. This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” Voice Mode ■ AltGrp (Alternate Group) Set the Alternate Group to which the Wave 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 Waves 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. FLT Cutoff (Filter Cutoff) FLTíCutoff) LPF VelSens Key=C 3 255 +63 HPF 0 ■ LPF (Low Pass Filter) Set the Cutoff frequency of the Low Pass Filter. Only frequencies below this point are passed. You can then use the Reso (Resonance) parameter to add further character to the sound. ❏ Settings: off, 1 ~ 127 ❏ Settings: 0 ~ 255 Drum Key Pitch Details about the Low Pass Filter are given on Page 83. Set the pitch of each Drum Key. The tunings and Pitch EG parameters can be set for each Drum Key. ■ VelSens (Velocity Sensitivity) Set the velocity sensitivity of the Low Pass Filter Cutoff frequency. Positive settings will cause the cutoff frequency to rise the harder you play the keyboard and negative settings will cause it to fall. PCH Tune (Pitch Tune) PCHíTune) Key=C 3 Reso 31 Coarse + 0 Fine VelSens + 0 +63 ❏ Settings: -64 ~ 0 ~ +63 ■ Reso (Resonance) 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 of the Low Pass Filter to add further character to the sound. ■ Coarse Adjust the pitch of each Drum Key Wave (or Normal Voice) in semitones. ❏ Settings: -48 ~ +48 For a Normal Voice, this parameter adjusts the position of its note (not its pitch) relative to note C3. For example, let’s assume the original Voice consists of a two-Element piano-like sound up to note C3 and a twoElement string-like sound from note C#3 upwards. Adjusting this Coarse setting by +1 would not change the pitch of the piano-like sound to C#3. Instead, note C#3 of the original Voice (i.e., the string-like sound) would be used. ❏ Settings: 0 ~ 31 Details about Resonance are given on Page 85. ■ HPF (High Pass Filter) Set the Cutoff frequency of the High Pass Filter. Only frequencies above this point are passed. ❏ Settings: 0 ~ 255 ■ Fine Fine-tune the pitch of each Drum Key Wave (or Normal Voice). Details about the High Pass Filter are given on Page 84. ❏ Settings: -64 ~ +63 Drum Key Amplitude You can set amplitude (output level) parameters for each Drum Key. The following two parameters are available. ■ VelSens (Velocity Sensitivity) Set the velocity sensitivity of the pitch. Positive settings will cause the pitch to rise the harder you play the keyboard and negative settings will cause it to fall. This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” AMP AEG (Amplitude Envelope Generator) AMP VelSens (Amplitude Velocity Sensitivity) ❏ Settings: -64 ~ 0 ~ +63 This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” 96 AMP AEG (Amplitude Envelope Generator) The Amplitude Envelope Generator has three Time parameters and one Level parameter. These govern the transitions between output levels for the duration of a note. The Attack Time is the time taken for the sound to reach its peak output level from the moment a note is played on the keyboard. The Decay 1/2 Time and the Decay 1 Level parameters are used to set the behavior of the remainder (between the sound’s peak output level and the point at which it fades to zero). Furthermore, you can set these parameters to be sensitive to note velocity. The Amplitude Envelope Generator controls the change in amplitude from the moment a note in pressed on the keyboard to the moment it is released. By setting the Attack Time, Decay 1 Time and the Decay 1/2 Level, you can determine how fast the sound reaches its peak amplitude and how it fades out. Parameters can be set for each Drum Key. This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” The Attack Level is fixed at its maximum value. AMPíAEG) Attack Key=C 3 127 Decay1---Level 127 127 Decay2 126 Attack Level Level Decay1 Level ■ Attack (Attack Time) Set the Attack Time. ❏ Settings: 0 ~ 127 Attack Time Decay1 Time Decay2 Time Time Key on ■ Decay1 (Decay 1 Time) Set the Decay Time. Decay2=hold Attack Level Level ❏ Settings: 0 ~ 127 Decay1 Level ■ Level (Decay 1 Level) Set the Decay 1 Level. ❏ Settings: 0 ~ 127 Attack Time ■ Decay2 (Decay 2 Time) Set the Decay 2 Time. If you select “hold,” the level amplitude will be held until you release the note. Decay1 Time Decay2 Time Time Key on Drum Key EQ (Equalizer) ❏ Settings: 0 ~ 126, hold AMP VelSens (Amplitude Velocity Sensitivity) You can set Equalizer parameters for each Drum Key. The following two screens are available. These parameters are the same as for Normal Voices; details are given on Page 91. You can define how the amplitude (output level) varies according to the velocity of the received notes. EQ Type EQ Param (EQ Parameter) AMPíVelSens) Key=C 3 This parameter is only available if the Type parameter in the OSC Wave screen is set to “wave.” Level +63 ■ Level Set 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 97 Voice Mode Amplitude Envelope Generator Settings Plug-in Voices The Voices held on Plug-in Boards (Single Part) are known as Board Voices. A Plug-in Voice is a Board Voice that has been processed in the synthesizer in Voice Edit Mode. There are six Common Edit screens and four screens for editing the Element of a Plug-in Voice. You can save up to 64 edited Plug-in Voices in Banks A to D of Memory PLG1/2. Voice Mode ( ) CTL AC Modulation (AC Modulation Depth) Plug-in Common LFO (Low Frequency Oscillator) LFO Param (LFO Parameter) Plug-in Common Effect EFF InsEF1 (Insertion Effect) EFF Rev (Reverb) EFF Cho (Chorus) Plug-in Element Plug-in Element OSC (Oscillator) OSC Assign (Oscillator Assign) OSC Velocity (Oscillator Velocity) Plug-in Element Pitch PCH PEG (Pitch Envelope Generator) Plug-in Element EQ (Equalizer) EQ Param (EQ Parameter) Plug-in Element Native PLG-NATIVE (Plug-in Native) After selecting the Plug-in Voice you wish to edit (in Banks A to D of Memory PLG1/2), when you enter Voice Edit Mode, you will see the Voice Edit Mode screen that you had exited from previously. Monitoring Board Voices You can monitor Board Voices without having to enter Edit Mode. Also, if you press the [EDIT] key while monitoring, you will enter Edit Mode with the oscillators of the Board Voice already assigned. 101 101 101 78 78 79 79 102 102 102 102 103 103 103 103 103 Plug-in Common Edit and Editing Each Element 1 While holding down the [PLG1] or [PLG2] key, use Knob [C] to select the Board Voice’s Bank. “PLG INT” is the Bank of the Plug-in Voice (Plug-in Internal) stored in Memory PLG1/2. There are two edit screens for a Plug-in Voice. One is for general Voice settings called Plug-in Common, and the other is for element settings called Plug-in Element. There is only one element available for a Plug-in Voice, but you can make access to parameters in Plug-in Common and Element screens, which are similar to ones for a normal Voice. In Plug-in Voice editing, you can switch between the Common and Element screens using the Knob [A]. 2 Release the [PLG1] or [PLG2] key. Select the Board Voice using the BANK/PROGRAM keys or [DATA] knob as in the same way to select a Voice from another memory. If there is no Voice at the Program Number corresponding with the selected Bank, no sound will be produced. Plug-in Common Edit Screens GENíOther) Mode VCE*Play) PRE1:128(H16)[Pf:GrandPiano] Assign Common +63 EQpoly Mid single EQ Hi Cutoff RevTime To edit the Board Voices on the Plug-in Board, you need to use a computer and the included editor software. Common Indicator Plug-in Element Edit Screens Details about Plug-in Voices and Board Voices are given on Pages 32, 104. OSCíAssign) Elem Bank NORM/001 Number 128[GndPiano] Plug-in Element Indicator SHIFT PAGE Many parameters are the same as for Normal Voices (the gray items in the tree diagram). Only those items that differ are explained here. 70 70 99 71 71 71 72 99 72 72 73 73 73 100 100 100 100 100 100 100 101 101 B C 1 2 DATA PART/ELEMENT Details about the other parameters are given in the Normal Voice explanation on Page 69. Plug-in Voices Plug-in Common Plug-in Common General GEN Name (General Name) GEN Other (General Other) Plug-in Common Quick Edit QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Plug-in Common Arpeggio ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Plug-in Common Controller CTL Pitch (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL MW Control (MW Control Depth) CTL MW Modulation (MW Modulation Depth) CTL AT Control (AT Control Depth) CTL AT Modulation (AT Modulation Depth) CTL AC Control (AC Control Depth) A Menu Display When you use the [PAGE] knob while holding down the [SHIFT] key, you will see the following Menu Display. Then use the [PAGE] knob to move the cursor to the desired item and release the [SHIFT] key to jump to the Edit screen for the selected item. Cursor NTVíPrm1) Com:>GEN≥QED>ARP>CTL>LFO>EFF Common Elem:>OSC>PCH>EQ>PLG-NATIVE SHIFT PAGE A B C 1 2 DATA PART/ELEMENT The [PROGRAM/PART] keys on the S80 can directly select Menus associated to them (page 70). 98 Plug-in Common General QED Filter (Quick Edit Filter) The General parameters are shown in the following two screens. The parameters and settings are the same as for Normal Voices. Details are given on Page 72. GEN Name (General Name) GEN Other (General Other) The EG (Envelope Generator) can be used to control the change in Plug-in Voice volume over time. There are three parameters for this EG, controlling the change in volume from the moment a note is pressed on the keyboard to the moment it is released, or to the point where it has faded to zero. GEN Name (General Name) The parameters and settings are the same as for Normal Voices. See Page 70 for further details. GEN Other (General Other) There are parameters available for Plug-in Board. GENíOther) Mode Common poly QEDíEG) Common Attack +63 Decay +63 Release +63 Assign single Level ■ Mode Select monophonic or polyphonic playback. Select whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). Time Attack Time ❏ Settings: mono, poly Decay Time Key on ■ Assign If you set Key Assign to “single,” the doubled playback of the same note is prevented. The synthesizer will terminate a note when the same note is received again. If you select “multi,” the synthesizer will consecutively assign each instance of the same received note to a separate channel, making multiple part tone generation possible. Release Time Key off ■ Attack Set the Attack Time (the time taken for the volume to reach its peak after a note is pressed on the keyboard). ❏ Settings: -64 ~ 0 ~ +63 ■ Decay Set the Decay Time (the time taken for the volume to change from its peak to a steady level). ❏ Settings: single, multi ❏ Settings: -64 ~ 0 ~ +63 Plug-in Common Quick Edit ■ Release Set the Release Time (the time taken for the volume to fade to zero after the note is released). The parameters here are primarily for Plug-in Voice volume and tone. The following four screens are available. ❏ Settings: -64 ~ 0 ~ +63 QED Level (Quick Edit Level) QED EffectCtrl (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) Plug-in Common Arpeggio In the following four screens, you can set parameters for the Arpeggiator used by the Plug-in Voice. The parameters are the same as for Normal Voices. Details are given on Page 72. QED Level (Quick Edit Level) The parameters and settings are the same as for Normal Voices. Details are given on Page 71. ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) QED EffectCtrl (Quick Edit Effect) The parameters and settings are the same as for Normal Voices. Details are given on Page 71. 99 Voice Mode QED EG (Quick Edit Envelope Generator) Plug-in Common Controller CTL MW Control (MW Control Depth) You can set Pitch Bend Wheel, Modulation Wheel and other Controller parameters for the Plug-in Voices in the following nine screens. Here, you can set the depth of control the Modulation Wheel has over the filter. CTLíMW Control) Common Voice Mode CTL Pitch (Pitch Bend) CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTL MW Control (MW Control Depth) CTL MW Modulation (MW Modulation Depth) CTL AT Control (AT Control Depth) CTL AT Modulation (AT Modulation Depth) CTL AC Control (AC Control Depth) CTL AC Modulation (AC Modulation Depth) ■ Filter Set the depth of control of the Modulation Wheel over the filter cutoff frequency. ❏ Settings: -64 ~ 0 ~ +63 CTL MW Modulation (MW Modulation Depth) CTL Pitch (Pitch Bend) Here, you can set the depth of control the Modulation Wheel has over the pitch, filter and amplitude modulation of the Plug-in Voice. You can set the Pitch Bend Range and Portamento for the Plug-in Voice here. Portamento creates a smooth transition from the pitch of the first note played to the pitch of the next. CTLíPitch) Common Pitch Bend -24 Filter -64 CTLíMW Modulation) PMod Common 127 FMod 127 AMod 127 Portamento Time on 127 ■ PMod (Pitch Modulation Depth) Set the depth of control the Modulation Wheel has over the pitch modulation. The larger the setting, the greater the depth of control. ■ Pitch Bend Set the amount (in semitones) by which the pitch of the note is varied when you move the Pitch Bend Wheel up/down. For example, if you set a value of +12, the pitch will change up by up to an octave when you move the wheel up. Conversely, if you set a negative value, the pitch falls when you move the wheel down. ❏ Settings: 0 ~ 127 ■ FMod (Filter Modulation Depth) Set the depth of control the Modulation Wheel has over the filter cutoff modulation. The larger the setting, the greater the depth of control. ❏ Settings: -24 ~ 0 ~ +24 ❏ Settings: 0 ~ 127 ■ Portamento Switch Portamento on or off. ■ AMod (Amplitude Modulation Depth) Set the depth of control the Modulation Wheel has over the amplitude modulation. The larger the setting, the greater the depth of control. ❏ Settings: off, on ■ Time Set the Portamento Time, which is the speed of the transition in pitch from the first note to the next. ❏ Settings: 0 ~ 127 CTL AT Control (AT Control Depth) ❏ Settings: 0 ~ 127 Here, you can set the depth of control keyboard aftertouch has over the pitch and filter of the Plug-in Voice. CTL Set1 (Control Set 1) CTL Set2 (Control Set 2) CTLíAT Control) Common These parameters are the same as for Normal Voices. Details are given on Page 74 (The Elem SW parameter is only available for Normal Voices). Pitch +24 Filter -64 ■ Pitch Set the depth of control of keyboard aftertouch over the pitch. You can set a value (in semitones) of up to two octaves. ❏ Settings: -24 ~ 0 ~ +24 ■ Filter Set the depth of control of keyboard aftertouch over the filter cutoff frequency. 100 ❏ Settings: -64 ~ 0 ~ +63 ■ PMod (Pitch Modulation Depth) Set the depth of control the Control Change messages (selected in the Source parameter) have over the pitch modulation. The larger the setting, the greater the depth of control. CTL AT Modulation (AT Modulation Depth) Here, you can set the depth of control that keyboard aftertouch has over the pitch, filter and amplitude modulation of the Plug-in Voice. CTLíAT Modulation) PMod Common 127 FMod 127 AMod 127 ■ FMod (Filter Modulation Depth) Set the depth of control the Control Change messages (selected in the Source parameter) have over the filter cutoff modulation. The larger the setting, the greater the depth of control. ■ PMod (Pitch Modulation Depth) Set the depth of control that keyboard aftertouch has over the filter pitch modulation. The larger the setting, the greater the depth of control. ❏ Settings: 0 ~ 127 ■ AMod (Amplitude Modulation Depth) Set the depth of control the Control Change messages (selected in the Source parameter) have over the amplitude modulation. The larger the setting, the greater the depth of control. ❏ Settings: 0 ~ 127 ■ FMod (Filter Modulation Depth) Set the depth of control that keyboard aftertouch has over the filter cutoff modulation. The larger the setting, the greater the depth of control. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 Plug-in Common LFO (Low Frequency Oscillator) ■ AMod (Amplitude Modulation Depth) Set the depth of control that keyboard aftertouch has over the amplitude modulation. The larger the setting, the greater the depth of control. You can set the LFO parameters here. The LFO uses a low-frequency waveform to vary (modulate) the pitch of the sound. The vibrato effect, for example, makes use of the LFO. ❏ Settings: 0 ~ 127 LFO Param (LFO Parameter) CTL AC Control (AC Control Depth) You can set the depth of control the Control Change messages (Assignable Control) have over the filter of the Plug-in Voice. CTLíAC Control) Source Common 04[FootCtrl] LFO Param) Common Speed +63 Delay -64 ■ Speed Set the speed of the LFO waveform. A positive setting will increase the speed and a negative setting will reduce it. Filter -64 ■ Source Set the MIDI Control Change number used to control the filter. ❏ Settings: -64 ~ 0 ~ +63 Speed = Slow ❏ Settings: 0 ~ 95 ■ Filter Set the depth of the filter cutoff frequency controlled by the Control Change set above. Time ❏ Settings: -64 ~ 0 ~ +63 Speed = Fast CTL AC Modulation (AC Modulation Depth) Here, you can set the depth of control the Control Change messages (Assignable Control) have over the pitch, filter and amplitude of the Plug-in Voice. CTLíAC Modulation) PMod Common 127 FMod 127 PMod +63 Time AMod 127 101 Voice Mode ❏ Settings: 0 ~ 127 ■ Delay Set the delay time between the moment you press a note on the keyboard and the moment the LFO comes into effect. As shown in the illustration, a positive setting will lengthen the delay and a negative setting will shorten it. OSC Assign (Oscillator Assign) You can select the Board Voice that make up the Element in a Plug-in Voice. Use Knob [C] to select the Bank and Knob [1] to select the Board Voice. Voice Mode OSCíAssign) Elem ❏ Settings: -64 ~ 0 ~ +63 Bank NORM/001 Number 128[GndPiano] Short Delay ■ Bank Select the Board Voice Bank of the Plug-in Voice. ❏ Settings: (Depends on the Plug-in Board. Refer to the Owner’s Manual for your Plug-in Board.) Key on ■ Number Select the Board Voice Number. The Board Voice Name is displayed to the right of this number. Long Delay ❏ Settings: (Depends on the Plug-in Board. Refer to the Owner’s Manual for your Plug-in Board.) Key on OSC Velocity (Oscillator Velocity) Here, you can set the velocity and note shift for the Board Voice. ■ PMod (Pitch Modulation Depth) Set the amount by which the LFO waveform controls the pitch. A positive setting will increase the amount and a negative value will decrease it. OSCíVelocity) Elem Depth 127 Offset NoteSft 0 -24 ❏ Settings: -64 ~ 0 ~ +63 ■ Depth Set the velocity sensitivity of the Board Voice. If you set a larger value, the volume increase will be greater the harder you play the keyboard. Plug-in Common Effect In the following three screens, you can set the parameters for the Insertion and System Effects used by the Plug-in Voice. The parameters are the same as for Normal Voices. The EFF EF1 (Insertion Effect) parameter is the same as the EFF EF1 (Insertion Effect 1) parameter of the Normal Voices. Details are given on Page 78. ❏ Settings: 0 ~ 127 ■ Offset Set an offset value for the velocity sensitivity of the Board Voice. When you press a note on the keyboard, this offset value is added to the note velocity. EFF EF1 (Insertion Effect) EFF Rev (Reverb) EFF Cho (Chorus) ❏ Settings: 0 ~ 127 ■ NoteSft (Note Shift) Set the amount (in semitones) by which the pitch of the Board Voice is shifted. You can set a value of up to 2 octaves. Plug-in Element OSC (Oscillator) Here, you can set the Element-related parameters for the Plug-in Voice. In the following two screens, you can select the Element’s waveform, then it’s velocity parameters. ❏ Settings: -24 ~ 0 ~ +24 Plug-in Element Pitch OSC Assign (Oscillator Assign) OSC Velocity (Oscillator Velocity) You can set the Pitch Envelope Generator parameters for the Board Voice. The Pitch Envelope Generator controls the change in pitch from the moment a note is pressed on the keyboard to the moment it is released. 102 PCH PEG (Pitch Envelope Generator) EQíParam)LoFreq Elem 2.0k Attack Release---Level +63 +63 -64 LoGain +12 HiFreq 16.0k HiGain -12 + ■ InitLvl (Initial Level) Set the Initial Level. ❏ Settings: -64 ~ 0 ~ +63 0 Frequency ■ Attack Set the Attack Time. Low Freq ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the Release Time. High Freq ■ LoFreq (Low Frequency) Set the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/attenuated by the amount set in the LoGain parameter. ❏ Settings: -64 ~ 0 ~ +63 ■ Level Set the Release Level. ❏ Settings: 32Hz ~ 2.0kHz ❏ Settings: -64 ~ 0 ~ +63 ■ LoGain (Low Gain) Set the amount by which signals below the LoFreq frequency will be boosted/attenuated. Pitch Envelope Generator Settings ❏ Settings: -64 ~ 0 ~ +63 You can set two time (speed) parameters and two level (pitch) parameters controlling the change in pitch from the moment you press a note on the keyboard to the moment you release it. When you press a note on the keyboard, the initial pitch is defined by the InitLvl parameter setting. The pitch then changes from the InitLvl value to the peak pitch within the time set in the Attack parameter. Thereafter, the pitch change is defined by the Release Time/Level settings. Peak Level ■ HiFreq (High Frequency) Set the shelving point for the high frequencies. The levels of signals above this frequency will be boosted/attenuated by the amount set in the HiGain parameter. ❏ Settings: 500Hz ~ 16.0kHz ■ HiGain (High Gain) Set the amount by which signals above the HiFreq frequency will be boosted/attenuated. Release Level ❏ Settings: -64 ~ 0 ~ +63 Pitch InitLvl 0 Plug-in Element Native Time Attack Time With a Plug-in Board installed, you have native and unique parameters to set up a Board Voice from the Plug-in Board. Release Time Key off PLG-NATIVE (Plug-in Native) Native Part Parameters are displayed. Use the [PAGE] knob to switch to the screen for the desired parameter, then use Knob [C] and Knob [2] to enter the settings. Plug-in Element EQ (Equalizer) You can set the equalizer settings for the Wave. This is a shelving equalizer with two bands; one for high frequencies and another for low frequencies. The parameters and number of screens 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. 103 Voice Mode PCHíPEG)InitLvl Elem +63 EQ Param (EQ Parameter) If a Board Voice in the Custom Bank has been edited in Voice Edit Mode, you can store it as a Plug-in Voice in Memory Bank A to D of PLG1 or PLG2. Up to 64 can be stored in each Bank. Editing Plug-in Board Voices Plug-in Voices are based on Board Voices. However, the Board Voices themselves can be edited via computer, using the included editor software. Different editors are available for different Plug-in Boards. Voice Mode However, only the Voice Edit parameters can be stored. The edited Board Voice parameters cannot be stored. Therefore, you will lose all Board Voice edits when you switch your synthesizer off. When using the editor while the synthesizer is in Voice Mode, set the “Part No.” in the editor to “1.” Also, make sure the synthesizer’s Basic Receive channel is the same as that set in the editor’s MIDI channel. To avoid this situation, you should save your Board Voice edits to Memory Card and then load the data as a Plug-in Voice. Your edits made to a Board Voice will be retained in the Custom Bank until you turn off the instrument. Note that the Custom Bank is a temporary memory so that edits in the Bank will be erased when you turn off the instrument. Therefore, it may be necessary to save Board Voice data using a computer. After loading Board Voice data, if you select Plug-in Voice Memories (PLG1/PLG2) A to D, the stored sound (the edited Plug-in Voice based on the Board Voice) is loaded. The “all” setting is not available when saving Board Voice data; it is saved as a “plugin” file type. If the file name is set such that the file loads automatically (Page 143), the Board Voice data can also be loaded up when the synthesizer is switched on. S80 Plug-in Board Custom Bank Plug-in Memory (PLG 1/2) Bulk Dump/ Edit Board Voice PS/V IBM It may take a while to save or load the Board Voice data using Memory Card. Plug-in Voice Details about saving/loading data to/from Memory Card are given on Page 144. Save Computer (Editor) The editor for Plug-in Board is a plug-in program for XGworks(lite). You will need to be running Windows and XGworks(lite) in order to use it. XGworks lite is included on the CD-ROM included with this synthesizer. Details about how to use the editor are given in the on-line help. When bulk-dumping Board Voice data, the edited Board Voices is received in the Custom Bank according to the Bank Select Message (MSB/LSB) unique to each Plug-in Board. Therefore, to play back these Board Voices, you need to select the appropriate Banks in the synthesizer. 1 In Voice Play Mode, select any Voice in a Plug-in Memory (PLG1 or PLG2). 2 The Board Voice you have edited can now be played back if a Custom Bank has been selected at this screen. For details about Custom Banks, Bank Select Numbers (MSB/LSB) and Board Voices, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board. Once you have transmitted the edited Board Voice data to the synthesizer and saved it to Memory Card as a “plugin” file type, you can load the file without having to connect the computer. 104 Voice Job Mode You can reset (initialize) all parameters of a Voice to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Element/Drum Key, and so on. Note that this does not return the Voice to its original state prior to editing. Instead, it is useful when building a completely new Voice from scratch. You can perform various operations (Jobs) in Voice Job Mode. For example, you can “Initialize” Voices (including those currently being edited) or “Recall” previous edits. When you enter Voice Job Mode, you will first see the Initialize screen. The following four screens are available for each Voice Job. Before entering Voice Job Mode and using the Initialize or Recall function, you must select the Voice you wish to operate on (Page 65). VCE Initialize) Job Current Voice 1st screen: VCE Initialize 2nd screen: VCE Edit Recall 3rd screen: VCE Copy 4th screen: VCE Bulk Dump ■ Select type of parameter to Initialize Use Knob [C], the [DATA] knob or the [DEC/NO] and [INC/YES] keys to select the parameter to be initialized. The parameters available for initialization will vary depending on the type of Voice currently selected (Normal/Drum/Plug-in). Details about how to enter Voice Job Mode are given on Page 22. Performing a Job 1In Voice Play Mode, select the Voice Number you wish to perform the Job on. ❏ Settings: normal Voice: Current Voice, Current Common, Current Element 1 ~ 4 2Press the [JOB] key to enter Voice Job Mode. Drum Voice: Current Voice, Current Common (data common to all Drum Keys), Current Key C0 ~ C6 (Drum Key C0 ~ C6) 3Use the [PAGE] knob and switch to the screen showing the Job you wish to perform. Plug-in Voice: Current Voice, Current Common, Current Element VCE Initialize) Job Current Voice VCE Edit Recall If you are editing a Voice but you do not store it before switching to another Voice, the edits you have made will be cleared. In such a situation, you can use the Recall function to reinstate the edits for the Voice. 4Use Knobs [B]/[C] and Knobs [1]/[2] to select the parameter you wish to perform the Job on. (Alternatively, use the [DATA] knob and the [DEC/NO] and [INC/YES] keys.) This step is not applicable for Recall and Bulk Dump Jobs. VCE Edit Recall) Job 5When you press the [ENTER] key, you will be prompted for confirmation. VCE Copy VCE Initialize) << Are You sure? [YES]/[NO] 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. >> 6Press the [INC/YES] key to confirm. The message “Completed.” will be displayed when the Job has completed, and you will be returned to the original screen. This function is not used for copying whole Voices from one location to another. It is used for copying parameter settings from an existing Voice to the current Voice you are editing. Press the [DEC/NO] key to cancel the Job. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power to your synthesizer while this message is displayed, you risk corrupting your data. VCE Copy) Job 7Press the [VOICE] key to exit Voice Job Mode and return to Voice Play Mode. [Pf:GrandPiano] PRE1:128(H16) EL1 1 105 2 3 > Current EL1 4 Voice Mode VCE Initialize ■ 1 Source Voice Memory Select the Voice Memory containing the Voice (source) from which you will copy parameter settings. Voice Store You can store (save) the parameter settings for up to 128 Voices to each of your synthesizer’s Memories (INT: Internal) or to its Memory Card (EXT: External). The procedure is as follows. ❏ Settings: PRE1/2 (Preset 1/2), INT (Internal Normal), EXT (External Normal), PLG1/2 (Plug-in 1/2), PRE (Preset Drum), INT (Internal Drum), EXT (External Drum) Voice Mode Up to 64 plug-in vioces can be stored in Banks A to D of PLG 1/2. ■ 2 Source Voice Number Select the Voice Number of the source Voice. The Voice Name is shown in the top line of the display. When you perform this, the settings for the destination Voice will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. ❏ Settings: 001 ~ 128 (for Preset/Internal/External Normal), 1 ~ 64 (for Plug-in 1/2), DR1 ~ DR8 (for Preset Drum), DR1 ~ DR2 (for Internal/External Drum) 1Press the [STORE] key after editing a Voice. You will see the Voice Store screen. ■ 3 Source Voice Parameter Select the parameter of the source Voice. You can copy parameter settings common to all Elements or those used by individual Elements. VCEí Store [Pf:GrandPiano] >[Pf:Init Voice] EXT:128(H16) 2Use Knob [1] to select the destination Voice Memory (INT or EXT). ❏ Settings: normal Voice: Common (all Elements), EL1 ~ EL4 Drum Voice: Common (all Drum Keys), C0 ~ C6 Plug-in Voice: Common, EL (Element) This is fixed to PLG 1/2 when storing a Plug-in Voice. 3Use Knob [2] to select the destination Voice Number This will set the Voice Memory/Number to which your Voice will be stored. If the parameters of the source Voice (Normal/Drum/Plug-in) differ from those of the Voice you are currently editing (destination), you will only be able to copy Common parameters. You can also use the [DATA] knob or [DEC/NO] and [INC/YES] keys to perform this operation. 4When you press the [ENTER] key, you will be prompted for confirmation. ■ 4 Destination Element/Drum Key Set the Element/Drum Key of the destination Voice. If the source is a Normal or Drum Voice, you can only choose a destination if the Element/Drum Key has been set. VCEí << ❏ Settings: normal Voice: EL1 ~ EL4 Drum Voice: C0 ~ C6 [Pf:GrandPiano] >[Pf:Init Voice] Are You sure? [YES]/[NO] >> 5Press the [INC/YES] key to confirm. The message “Executing…” will be displayed while the Job is being processed. When it has completed, you will see the message “Completed.” and you will be returned to Voice Play Mode. If you choose to copy Common parameters from the source, this screen will change to “Common.” You can press the [DEC/NO] key to cancel the Job. This will return you to the original screen. VCE Bulk Dump You can send all the parameter settings for the current Voice to your computer or some other external MIDI device using Bulk Dump. VCE Bulk Dump) Job Current Voice You must set the correct MIDI Device Number in order to perform a Bulk Dump. Details are given on Page 137. 106 Performance Mode Performance Play In Performance Play Mode, multiple Voices (up to four Parts) can be layered to create thick sounds which you can play in real-time or using a sequencer. 3rd screen: 4th screen: 5th screen: 6th screen: 7th screen: In Performance Mode, up to 19 Parts can be combined in a single Performance, including Voices for the 16 Parts plus A/D Input and Plug-in 1/2 Parts. Depending on the Performance Edit settings (Page 111), you can assign a Normal Voice or Drum Voice (Drum Kit) to each Part. Multiple Parts can be assigned to the same MIDI channel for real-time playback. Alternatively, you can assign each Part to a different MIDI channel for playback using an external sequencer or the synthesizer’s internal sequencer (in Sequence Play Mode). The synthesizer can hold up to 192 Performances, consisting of 128 Internal Performances plus another 64 External Performances on Memory Card. PFM Mlt) Volume (Performance Multi: Volume) PFM Mlt) Pan (Performance Multi: Pan) PFM Mlt) RevSend (Performance Multi: Reverb Send) PFM Mlt) ChoSend (Performance Multi: Chorus Send) PFM Mlt) NoteSft (Performance Multi: Note Shift) 1st Screen: PFM Play (Performance Play) 1 2 3 PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi - 1 + 0 SHIFT The displayed screens, the method of selecting Performances and the Multi Part Edit process in Performance Play Mode are explained here. PAGE A 4 B C 1 2 DATA PART/ELEMENT If a multitimbral Plug-in board is installed, up to 34 Parts can be combined in a single Performance. However, the settings for the Plug-in Parts cannot be stored in memory. 1. Screen Title This shows that you are currently in Performance Play Mode. An overview of Performances is given on Page 39. Performance Play Mode Display 2. Performance Memory/Number (Bank/Number) You will see the following screen when you enter Performance Play Mode. There are seven Performance Play Mode screens, as explained below. Use the [PAGE] knob to switch between screens. The Memory/Performance Program Number (001 to 128) and Bank ([A] to [H])/Program Number ([1] to [16]) are shown for the selected Performance. For example, “INT: 128(H16)” shows that the Memory is “Internal,” the Performance/Program Number is “128,” the Bank is “H,” and the Bank’s Program Number is “16.” Details about how to enter Performance Play Mode are given on Page 21. PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi - 1 + 0 Memory/Performance Program Number SHIFT PAGE A B C 1 2 DATA Internal Memories are shown as “INT” and External Memories are shown as “EXT.” Each Voice within a Memory is assigned a Performance Program Number of 001 to 128. PART/ELEMENT 1st screen: PFM Play (Performance Play) Main Performance screen Details about Performance Memories are given on Page 29. Bank/Program Number 2nd screen: PFM Srch (Performance Search) You can quickly search for a Performance by specifying the Performance Memory and Category. Performance Program Numbers 001 to 128 are related to Banks A to H and Program Numbers 1 to 16 (for the Bank) as explained below. For example, you can select a Performance either directly by its Performance Program Number or by using a combination of Bank and Program keys. 107 Performance Mode In the 3rd to 7th screens, you can set the output levels, stereo pan position and other general parameters for each Part (Multi Part Edit). These are useful when using the synthesizer with a sequencer. Details are given on Page 109. 4. Knob Parameter Display Performance Mode Performance Number Bank Program Number Performance Number Bank Program Number 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B C C C C C C C C C C C C C C C C D D D D D D D D D D D D D D D D 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 E E E E E E E E E E E E E E E E F F F F F F F F F F F F F F F F G G G G G G G G G G G G G G G G H H H H H H H H H H H H H H H H 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 This shows the function/Parameter value assigned to each knob ([A] to [C] and [1]/[2]). Setting/Viewing Knob Parameters In Performance Play Mode, you can use Knobs [A] to [C] and Knob [1]/[2] to adjust parameters assigned to them. When you use each knob, the value of its assigned parameter is displayed briefly ([knob [A] to [C]). PFM Play) INT:128(H16)[Pf:Init Perf ] +63 EQ Mid EQ Hi -1 +0 SHIFT PAGE A B C 1 2 DATA PART/ELEMENT Details about assigning parameters to Knobs [A] to [C] are given on Pages 46, 136. Details about assigning parameters to Knob [1]/[2] are given on Pages 47, 74. Setting/Viewing Octave and MIDI Transmit Channel Parameters In Performance Play Mode, the current Octave and MIDI Transmit Channel settings are shown while you hold down the [SHIFT] key. The display varies, depending on whether Master Keyboard Mode is on or off. Details about Master Keyboard Mode are given on Page 113. Master Keyboard Mode is off Octave MIDI Transmit Channel (Oct= +3) (Tch= 1) SHIFT PAGE INT:128(H16)[Pf:Init Perf ] A 3. Performance Category/Name B C 1 2 DATA PART/ELEMENT Use Knob [A] while holding down the [SHIFT] key to select the MIDI Transmit Channel (1 to 16). Performance Category A two-letter abbreviation of the Performance Category is shown to the left of the Performance Name. This gives you a rough idea of the Performance’s sound. Master Keyboard Mode is on Octave Zone 1 to 4 (Oct= +3) INT:128(H16)[Pf:Init Perf ] (Tch=MKB 1:ch01 2:ch01 3:ch03 4:off) Performance Name The name of a Performance can consist of up to 10 characters. SHIFT PAGE A B C 1 2 DATA PART/ELEMENT Use Knob [B]/[C]/[1]/[2] while holding down the [SHIFT] key to select the MIDI Transmit Channel (1 to 16). The notes you play in Performance Play Mode will be transmitted on this MIDI channel. 108 When the master keyboard mode is turned off, you can use the MIDI Ch screen in Utility Mode to set MIDI transmission channels (Page 137). 3Press a PROGRAM key ([1] to [16]) to select a Program Number. Performances can be selected by setting the Memory, Bank and Program Number as explained in the three steps given above. The display also shows the selected Performance. Performance Program Selection There are four ways in which you can select a Performance. Using the BANK/PROGRAM keys Using the [DEC/NO] and [INC/YES] keys Using the [DATA] knob Using the Category Search Using the [INC/YES] and [DEC/NO] keys, the [DATA] knob or the Category Search function is the same as selecting the Voice directly in Voice Play Mode. Refer to Page 65, replacing the word “Voice” with “Performance.” INT EXT DRUM PLG1 3 4 5 6 7 8 9 10 11 12 13 14 15 16 You can set the output level (volume), stereo pan and other parameters for each Part using the graphic editors on screens 3 to 7. You can, for example, adjust each Part’s Volume and Pan parameters in real-time while using the synthesizer as a multitimbral tone generator with a sequencer. PLG2 DRUM Method of Setting Up The same procedure applies to screens 3 to 7. PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0 PFM Mlt) Volume Part01 127 Ä L ÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇÇ› Details about Performance Memories are given on Page 29. SHIFT 2Press a BANK key ([A] to [H]) to select a Bank. The Bank indicator in the display will blink. Press Bank keys [A] to [D] when selecting an EXT Performance. PLG1 PLG2 C D E F G H E. PIANO ORGAN GTR/BASS STRINGS BRASS SYNTH OTHER 2 3 4 5 6 7 8 10 11 12 13 14 15 16 PRE 2 INT A B A. PIANO 1 9 DRUM A B C 1 2 DATA PART/ELEMENT 1 2 3 1Use the [PAGE] knob to select the screen. EXT PRE1 PAGE DRUM 2Use Knob [A] to select the Part. You can choose from, PartAD (A/D Input Part), PartP1 (Plug-in 1 Part), PartP2 (Plug-in 2 Part), Part01 to Part16 (Voice Part 1 to 16). Apart from the 7th screen (Note Shift), the Common (Layer Common) parameters are the same for all Layer Parts. QUICK ACCESS The parameter settings for each Part are shown as a bar graph, giving you an idea of the overall sound balance. You can also use the MEMORY and PART keys on the front panel to select each Part. The keys relate to each Part as follows. PFM Play) INT:128(H16)[Pf:Init Perf ] EQ Low EQ Mid EQ Hi -1 +0 If you press the [EXIT] key here, the Performance selection process is canceled and the original Performance is reinstated. [PRE1/2] key ......................Common (Layer Common) [EXT] key ............................PartAD (A/D Input Part) [PLG1] key ..........................PartP1 (Plug-in 1 Part) [PLG2] key ..........................PartP2 (Plug-in 2 Part) PART keys [1] to [16] ................Part01 to Part16 (Voice Parts 1 to 16) If the Bank has already been selected, this step is not required. 3Use Knob [B] or the [DATA] knob or the [DEC/NO] and [INC/YES] keys to adjust the parameter settings for each Part. Details about Banks are given on Page 29. 109 Performance Mode (Volume, Pan, Reverb/Chorus Send, Note Shift) 1Press the MEMORY [INT] or [EXT] key and select the Performance Memory. The selected Performance Memory indicator in the display will blink. PRE 2 2 Multi Edit Using the BANK/PROGRAM Keys PRE1 1 4Repeat steps 2 and 3 for each of the other Parts. ■ 3rd Screen: PFM Mlt) Volume (Performance Multi: Volume) Set the output level (volume) of each Part. To avoid losing the settings, make sure you store the Performance before exiting to another Mode or selecting another Performance. Details about how to store Performances are given on Page 131. PFM*Mlt) Volume Part01 127 L * › Reading the Displayed Settings ❏ Settings: 0 ~ 127 Screens 3 to 7 have the following functions. Performance Mode PFM Mlt)NoteSft L * Part01 + 0 -__-_-_ PFM Mlt)ChoSend L * Part01 127 -__-_-_ PFM Mlt)RevSend L Part01 127 -__-_-_ PFM Mlt) Pan L Part01 L63 -__-_-_ PFM Mlt) Volume L Part01 127__ 2 * * * _ 1 3 5 Common ■ 4th Screen: PFM Mlt) Pan (Performance Multi: Pan) Set the stereo pan position for each Part. › PFM Mlt) Part01 › ■ 5th Screen: PFM Mlt) RevSend (Performance Multi: Reverb Send) For each Part, set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. PartP01 ~ 16 1 Parameter: shows the parameter settings 2 Part: shows the currently selected Part 3 Value: shows the setting for the currently selected Part PFM Mlt)RevSend Part01 127 4 Bar graph: shows the settings for each Part as a bar graph L * › ❏ Settings: 0 ~ 127 Common (Layer Common) PartAD (A/D Input Part) PartP1 (Plug-in 1 Part) PartP2 (Plug-in 2 Part) Part01 ~ Part16 (Voice Parts 1 ~ 16) ■ 6th Screen: PFM Mlt) ChoSend (Performance Multi: Chorus Send) For each Part, set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. 5 Layer Switch on/off: displays a “L” mark above the bar graph for Parts which have their Layer Switch set to “on.” PFM Mlt)ChoSend Part01 127 6 Mute on/off: displays a “*” mark above the bar graph for Parts which are muted. Press the [ENTER] key to switch mute on/off for the currently selected Part. L * › ❏ Settings: 0 ~ 127 ■ 7th Screen: PFM Mlt) NoteSft (Performance Multi: Note Shift) Set the amount (in semitones) by which the pitch of each Part is offset. You can adjust the offset up or down by up to two octaves. If a multitimbral Plug-in board is installed in Plug-in Slot 2, PartP2 (Plug-in 2 Part) will no longer be available. However, you will now be able to select Part17 to Part32 (Voice Parts 17 to 32). A “›” mark is displayed to the right of the bar graph, indicating that there are more Parts available. If you select Part17 to Part32, the bar graph shows the settings for those Parts. L * ❏ Settings: L63 ~ C ~ R63 PartP1 PFM Mlt) Volume Part01 127 L 4 6 PartAD PartP2 Pan L63 PFM Mlt)NoteSft Part01 + 0 * ❏ Settings: -24 ~ 0 ~ +24 › PFM Mlt) Volume Part17 127 Part17~Part32 110 L * › When editing individual Parts, the screens you see will vary depending on the Part selected. If the synthesizer is in Master Keyboard Mode (Pages 8, 57), you will be able to set parameters for each Zone. In Performance Edit Mode, use Knob [A] to switch between the screens for Common, Part and Zone settings. Performance Edit You can set Performance Edit parameters. These can roughly be divided into Common parameters, which apply to all Parts, and Part-specific parameters. Also, there are various zone settings for Master Keyboard Mode (Page 113). When you enter Performance Edit Mode, you will see the following screen. The actual display (number of screens) will vary depending on the Part selected. Basically, Knob [A] is used to select the type of parameter you wish to edit (Common/Part/Zone), the [PAGE] knob is used to switch between the parameter screens, and Knobs [B], [C], [1] and [2] are used to enter parameter settings. Alternatively, you can use the [DATA] knob, and [DEC/NO] and [INC/YES] keys to enter settings. Common settings QED Level) Common Vol 127 Pan RevSend ChoSend C +63 -63 Vol 127 Pan RevSend ChoSend C 64 0 Common indicator MIX Level) Part01 Performance Mode Part settings Part indicator Zone settings GEN Name) Ctgry Common SHIFT PAGE A a-Z B C 0-? Cursor [--:Init Perf ] 1 2 MKB Transmit) Zone01 TrnsCh 1 TG on MIDI on Zone indicator DATA SHIFT PAGE A B C 1 2 DATA PART/ELEMENT Switch between screens PART/ELEMENT Enter setting Select Common/Part/Zone Master Keyboard/Tone Generator Mode You can use Knobs [A] to [C] and Knob [1]/[2] while holding down the [SHIFT] key to move the cursor to each respective parameter. The cursor can also be moved using the [DATA] knob or the [DEC/NO] and [INC/YES] keys while holding down the [SHIFT] key. In Performance Mode, the connection with the S80’s internal tone generator (the signal flow) can be changed by pressing the [MASTER KEYBOARD] key on the front panel. If the [MASTER KEYBOARD] key LED is on, the S80 enters Master Keyboard Mode and becomes useful for controlling external tone generators. If the LED is off, the S80 exits Master Keyboard Mode and becomes useful for controlling its internal Parts from the internal tone generator. The signal flow for each Mode is as follows. You must select the Performance you wish to edit before entering Performance Edit Mode (Page 109). All parameter settings for each Performance can be stored. If a multitimbral Plug-in Board has been installed, the parameters for its Parts will not be stored. Details about how to enter Performance Edit Mode are given on Page 21. Master Keyboard Mode: [MASTER KEYBOARD] key LED on Menu Display MIDI IN When you use the [PAGE] knob while holding down the [SHIFT] key, the following menu will be displayed. Use the [PAGE] knob to move the cursor between items, then release the [SHIFT] key to jump to the selected item. Zone Split Layer ARP Cursor MIDI channel Octave Transpose Note Limit etc. MIX Level) Com:>GEN≥QED>ARP>CTL>MEQ>EFF Part01 Part:>MIX>TON>LYR>RCV >MKB SHIFT PAGE A B C 1 2 DATA TG MIDI OUT PART/ELEMENT Part 1 to 16 Common/Part/Zone Edit A Performance can consist of 16 Voice Parts, an A/D Input Part or a Plug-in Part 1/2 (Page 39). The parameters common to all Parts are known as a Common Edit. The Performance Edit Mode screens can be divided into the Common Edit screen and screens for editing each Part individually. 111 Part AD Part P1 Part P2 Tone Generator Mode: [MASTER KEYBOARD] key LED off The “Compare” Function Use this to listen to the difference between the Performance with your edited settings and the same Performance prior to editing. MIDI IN MIDI channel Octave Transpose Note Limit etc. 1 Press the [EDIT/COMPARE] key while in Performance Edit Mode. The í indicator at the top left of the screen will change to the î indicator and the [EDIT/COMPARE] key LED will blink. The Performance settings prior to editing will temporarily be reinstated for comparison purposes. ARP Performance Mode “Compare” indicator TG MIDI OUT MIXîLevel) Com:>GE Part01 Part:>MI Part 1 to 16 Part AD Part P1 Part P2 Editing will not be possible while the “Compare” function is enabled. 2 Press the [EDIT] key again to disable the “Compare” function and restore the settings for your edited Performance. The í Indicator If you alter any parameters in Performance Edit Mode, the í indicator will be displayed in the top left of the screen. This gives a quick indication that the current Performance has been modified but not yet stored. Performance Store The edited settings for the current Performance will be lost if you exit to Performance Play Mode and then select another Performance or Mode. To avoid losing important data, you should always use Performance Store to store your edited Performances after exiting Performance Edit Mode. Details about the Performance Store procedure are given on Page 131. Edit indicator MIXíLevel) Com:>GE Part01 Part:>MI When creating a new Performance from scratch, it is useful, prior to editing, to clear the settings for the current Performance using the Initialize Performance function in Performance Job Mode (Page 130). Even if you exit to Performance Play Mode, the edited settings for the current Performance will not be lost so long as you do not select another Performance. The í indicator will also be displayed in Performance Play Mode. Common (Settings for all Parts) The í indicator will also be displayed in Voice Play Mode if any Assignable knobs are used. Here we explain how to edit common settings for all Parts in a Performance. There are six Menus available, each of which consists of multiple pages. • Common General • Common Quick Edit • Common Arpeggio • Common Controller • Common Master EQ • Common Effect 112 Common General GEN M.Kbd (General Master Keyboard) You can set the Performance Name, MIDI channel and other general parameters in the Common Edit screens. The following three screens are available for general settings. You can set keyboard splits and layers when using a Performance in Master Keyboard Mode. You can set a Performance Name consisting of up to 10 characters (alphabetic or numeric) and/or symbols. You can also select the Category Name to the left of the Performance Name. GENíName) Ctgry C 1234 a-Z split: Splits the keyboard into a left-hand (lower) section and a right-hand (upper) section, assigning a different MIDI channel and Part to each section. Performance Name 0-? Cursor [Pf:Init Voice] 4zone: Splits the keyboard into a maximum of four zones, assigning a different MIDI channel and Part to each zone. Parameters can be set separately for each zone (Page 127) when you press the [ENTER] key. GEN MIDI (General MIDI) layer: Layers up to two Zone (Part) over the keyboard. This is useful for creating rich and thick sounds. You can set the MIDI In/Out channel parameters for the Performance. ArpOut on Point C 3 ❏ Settings: split, 4zone, layer The method of setting the Performance Name is the same as for the Voice Name. Details are given on Page 70. GENíMIDI) Common Upper ch02 ■ Mode Set the keyboard Mode. The following three Modes are available. If the [MASTER KEYBOARD] key LED on the front panel is off, these Modes are not available and brackets are shown in the display. GEN Name (General Name) Category Name Lower ch01 ■ Lower When the Mode (see above) has been set to “split,” this sets the MIDI channel assigned to notes at and below the split point. The Part or Voice set to this MIDI channel will be played when you press notes at and below the split point. When the Mode is set to “layer,” the MIDI channel for one layered Zone (Part) is set here. ArpCh LayerCh 1 BasicCh ■ ArpOut (Arpeggio Out) Switch the Arpeggiator phrase MIDI output on or off. ❏ Settings: off, on ■ ArpCh (Arpeggio Channel) Set the Arpeggiator’s MIDI Channel. The arpeggio will play to Parts and Voices set to this MIDI Channel. If you choose kbd-ch (Keyboard Channel), the Arpeggiator will use the MIDI Transmit Channel set in Utility Mode (Page 137). ❏ Settings: ch01 ~ ch16 You can also quickly set the Upper/Lower MIDI channels using the PART keys [1] to [16]. Press and hold one PART key, then press another. The number of the first key is set as the Upper MIDI channel while the number of the second key is set as the Lower MIDI channel. ❏ Settings: 1 ~ 16, kbdCh (Keyboard Channel) ■ Upper When the Mode (see above) has been set to “split,” this sets the MIDI channel assigned to notes above the split point. The Part or Voice set to this MIDI channel will be played when you press notes above the split point. When the Mode is set to “layer,” the MIDI channel for the other layered Zone (Part) is set here. ■ LayerCh (Layer Channel) Set the MIDI Channel of the Layer Part. All Layer Parts (up to four) will use the same MIDI Channel set here. If you choose BasicCh (Basic Receive Channel), all Layer Parts will use the Basic Receive Channel set in Utility Mode (Page 137). ❏ Settings: 1 ~ 16, BasicCh (Basic Receive Channel) ❏ Settings: ch01 ~ ch16 You can also quickly set the Upper/Lower MIDI channels using the PART keys [1] to [16]. Press and hold one PART key, then press another. The number of the first key is set as the Upper MIDI channel while the number of the second key is set as the Lower MIDI channel. 113 Performance Mode GENíM.Kbd) Mode Common (split) GEN Name (General Name) GEN MIDI (General MIDI) GEN M.Kbd (General Master Keyboard) ■ Point When the Mode (see earlier) has been set to “split,” this sets the split point. The actual note of the split point will be assigned to the upper section. QED Level (Quick Edit Level) You can set output level and pan parameters for each Layer Part. The settings are also available in the Part Edit screens. You can also select the split point by pressing the note while holding down the [SHIFT] key. QEDíLevel) Common ❏ Settings: C-2 ~ G8 Vol 127 Pan RevSend ChoSend C 63 63 Master keyboard setting list (on split/layer) Split Prameter Name ■ Vol (Volume) Set the output level of the Layer Part. Layer Zone1 Zone2 Zone3 Zone4 Zone1 Zone2 Zone3 Zone4 Performance Mode TrnsCh ch ch+1 ch ch ch ch+1 ch ch TG on on off off on on off off MIDI on on off off on on off off Octave +0 +0 +0 +0 +0 +0 +0 +0 Transpose +0 +0 +0 +0 +0 +0 +0 +0 Note Limit Low C-2 p C-2 C-2 C-2 C-2 C-2 C-2 Note Limit High p G8 G8 G8 G8 G8 G8 G8 Transmit Switch PB on on on on on on on on Transmit Switch MW on on on on on on on on Transmit Switch KnobA-C on on on on on on on on Transmit Switch Knob1/2 on on on on on on on on Transmit Switch RB on on on on on on on on Transmit Switch FC on on on on on on on on Transmit Switch BC on on on on on on on on Transmit Switch AT on on on on on on on on Transmit Switch FS on on on on on on on on Transmit Switch Sus on on on on on on on on Transmit Switch Vol/FV on on on on on on on on Transmit Switch Pan on on on on on on on on Transmit Switch Bank Select off off off off off off off off Transmit Switch Program Change off off off off off off off off Transmit Preset Volume 100 100 100 100 100 100 100 100 Transmit Preset Pan 40 40 40 40 40 40 40 40 Transmit Preset Bank MSB 0 0 0 0 0 0 0 0 Transmit Preset Bank LSB 0 0 0 0 0 0 0 0 Transmit Preset PC 0 0 0 0 0 0 0 0 CS Control Number Assign 7 7 7 7 7 7 7 7 ❏ Settings: 0 ~ 127 ■ Pan Set the stereo pan position of the Layer Part. ❏ Settings: L63 (Left) ~ C (Center) ~ R63(Right) ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the by-passed signal) to the Reverb effect. ❏ Settings: 0 ~ 127 ■ ChoSend (Chorus Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the by-passed signal) to the Chorus effect. ❏ Settings: 0 ~ 127 QED EF (Quick Edit Effect) You can set the amount of Chorus applied to the Layer Part, as well as Portamento settings. ch: Keyboard transmit channel p: split point Details about each parameter are given on page 127 QEDíEF) Common For more information about the master keyboard mode, refer to page 57 in Basics Section. Common Quick Edit Chorus Portamento-Time -63 off 127 ■ Chorus Set the Return level of the Chorus effect as an offset value. You can set various parameters governing the sonic properties of the Layer Part, The following four screens are only available when the Layer switch (Page 123) for each Part is set to on. ❏ Settings: -64 ~ 0 ~ +63 ■ Portamento Switch Portamento on or off. QED Level (Quick Edit Level) QED EF (Quick Edit Effect) QED Filter (Quick Edit Filter) QED EG (Quick Edit Envelope Generator) ❏ Settings: off, on ■ Time Set the pitch transition time. Higher values mean longer transition times. ❏ Settings: -64 ~ 0 ~ +63 114 ■ Attack Set the transition time from the moment a key on the keyboard is pressed to the point at which the output level of the Layer Part reaches its peak. QED Filter (Quick Edit Filter) These parameters control filters which govern the tonal quality of the Voice. If you are using LPF (Low Pass Filter) and HPF (High Pass Filter) combined together, the parameters in the QED Filter screen only affects LPF. Cutoff +63 ■ Decay Set the transition time from the point at which the output level of the Layer Part reaches its peak to the point at which it levels off. Reso +63 ■ Cutoff Raise or lower the Cutoff frequency for each Voice of a Layer Part. ❏ Settings: -64 ~ 0 ~ +63 ■ Sustain Set the output level of the Layer Part maintained while the key on the keyboard is being held down. ❏ Settings: -64 ~ 0 ~ +63 ■ Reso (Resonance) Set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the transition time from the point at which the key on the keyboard is released to the point at which the output level of the Layer Part reaches zero. ❏ Settings: -64 ~ 0 ~ +63 QED EG (Quick Edit Envelope Generator) ❏ Settings: -64 ~ 0 ~ +63 The EG (Envelope Generator) controls the transition in output level over time for each Voice in a Layer Part. There are four parameters governing the transition in output level from the moment a note is pressed on the keyboard to the moment it is released or the point at which the output level has faded to zero. These Layer Part settings make use the each of the Part Edit settings. QEDíEG) Common Attack +63 Common Arpeggio The following four screens govern the behavior of the Arpeggiator. The parameters are the same as those used in Voice Edit Mode. Details are given on Page 72. To use the Arpeggiator in Performance Mode, the Arpeggio and Layer Switches (Page 123) must be set to “on.” Decay Sustain Release +63 +63 +63 The Note Limit parameters in Performance Mode are different to those in Voice Mode, and notes outside the set range will not sound. The Arpeggiator Switch parameter (Page 123) for each Part should be set to “on,” except for the Part which you wish to use to play the melody. Then, if necessary, use the Note Limit parameter (Page 123) to restrict the keyboard range for that Part. Level Sustain Level ARP Type (Arpeggio Type) ARP Limit (Arpeggio Note Limit) ARP Mode (Arpeggio Mode) ARP PlayEF (Arpeggio Play Effect) Time Attack Time Key on Decay Time Release Time Key off Common Controller You can assign MIDI Control Change Numbers to the controls and front panel knobs. For example, Knob [1]/[2] can be set to control the amount of effect applied to a sound and the Foot Controller can be set to control modulation. You can set different Control Set assignments for each Performance. The following two Control Set screens are available. CTL Assign1 (Controller Assign 1) CTL Assign2 (Controller Assign 2) 115 Performance Mode QEDíFilter) Common ❏ Settings: -64 ~ 0 ~ +63 CTL Assign1(Controller Assign 1) Common EQ (Equalizer) Use Knobs [C], [1] and [2] to assign Control Numbers to the Breath Controller, Knob [1] and Knob [2], respectively. The selected function is shown on the left of the display. You can assign any of five different Equalizer bands to the entire Performance. The following five screens are available. Control Change Name CTLíAssign1) Common [FootCtrl] SHIFT PAGE A B EQ Low EQ LowMid (Low-Middle Range) EQ Mid (Middle Range) EQ HighMid (High-Middle Range) EQ High Control Change Numbers BC 02 C Knob1 16 1 Knob2 17 2 DATA Performance Mode Q (Frequency Characteristic) Gain PART/ELEMENT ■ BC (Breath Controller) Set Control Change Number assigned to the Breath Controller. The Breath Controller is connected to the BREATH jack (Page 18). 0 Freq (Frequency) ❏ Settings: Details are given in the separate Control List. ■ Knob1/2 Set Control Change Numbers assigned to Knobs [1] and [2] on the front panel. EQ Low This Equalizer covers low frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). CTL Assign2 (Controller Assign 2) Use Knobs [C] and [1] to assign Control Change Numbers to the Foot Controller and Ribbon Controller, respectively. The selected function is shown on the left of the display. Control Change Name PAGE A B FC 04 C RB 22 1 2 Shape peak Gain +12dB Freq 50Hz Q 12.0 ■ Shape Select either a Shelving or Peaking equalizer. 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. Control Change Number CTLíAssign2) Common [FootCtrl] SHIFT MEQíLow) Common DATA ❏ Settings: shelv (Shelving), peak (Peaking) PART/ELEMENT shelv (Shelving) + ■ FC (Foot Controller) Assign a Controller Change Number to the Foot Controller. The Foot Controller is connected to the FOOT CONTROLLER jack on the rear panel (Page 18). 0 ❏ Settings: Details are given in the separate Control List. — EQ Low EQ Low Freq1 Freq2 ■ RB (Ribbon Controller) Assign a Control Change Number to the Ribbon Controller. ❏ Settings: Details are given in the separate Control List. 116 Frequency ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. peak (Peaking) + ❏ Settings: 100Hz ~ 10.0kHz 0 Gain ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. Frequency — ❏ Settings: 0.1 ~ 12.0 Freq This Equalizer covers high frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). ❏ Settings: -12dB ~ 0dB ~ +12dB MEQíHigh) Shape Common peak ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ❏ Settings: 0.1 ~ 12.0 ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. 0.1 12.0 0 ❏ Settings: -12dB ~ 0dB ~ +12dB Frequency ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. — Freq ❏ Settings: 500Hz ~ 16.0kHz ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. EQ LowMid (Low-Middle Range) EQ Mid (Middle Range) ❏ Settings: 0.1 ~ 12.0 EQ HighMid (High-Middle Range) These Equalizers cover low-to-middle, middle and highto-middle frequency ranges. They can be used to adjust the signal level around the specified frequency. Common Effect You can set two types of Insertion Effects, plus two System Effects (Reverb and Chorus). The following three screens are available. Low Mid Gain +12dB Freq 100Hz Q 12.0 Gain +12dB Freq 100Hz Q 12.0 EFF Part EFF Rev (Reverb) EFF Cho (Chorus) Mid EFF Part High Mid MEQíHighMid) Common Q 12.0 ❏ Settings: shelv (Shelving), peak (Peaking) + MEQíMid) Common Freq 0.5kHz ■ Shape Select either a Shelving or Peaking equalizer. 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. ❏ Settings: 32Hz ~ 2.0kHz MEQíLowMid) Common Gain +12dB Gain +12dB Freq 100Hz Q 12.0 EFFíPart) Common ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ❏ Settings: -12dB ~ 0dB ~ +12dB 117 ---- InsEF ---part16 partP1 PLG-EF part10 Performance Mode EQ High ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ■ InsEF (Insertion Effect) Assign a Part to an Insertion Effect. Select “off” if you do not wish to assign the Part to an Insertion Effect. Furthermore, if Plug-in Boards have been installed, they will also be selectable as Plug-in Parts 1 and 2. ■ Type (Chorus Effect Type) Set the Chorus Effect Type. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ toRev (To Reverb) Set the Send level of the signal sent from the Chorus Effect to the Reverb Effect. ❏ Settings: normal Part: Part01 ~ Part16, PartAD (A/D Input Part), off ❏ Settings: 0 ~ 127 Plug-in Part (if installed): PartP1 (Plug-in Part 1), PartP2 (Plug-in Part 2), off Performance Mode ■ Return Set the Return level of the Chorus Effect. ■ PLG-EF (Plug-in Effect) Assign a Part to the Plug-in Effect. Select “off” if you do not wish to assign the Part to a Plug-in Effect. These parameters are only available if an Insertion Effect Plug-in board has been installed. ❏ Settings: 0 ~ 127 If an Insertion Effect Plug-in Board has been installed, you will see the EFF Plg (Plug-in) screen following the EFF Cho (Chorus) screen. ❏ Settings: normal Part: Part01 ~ Part16, PartAD (A/D Input Part), off Effect Parameter Settings The EFF Rev and EFF Cho parameter screens are available when you select the Effect and press the [ENTER] key. If an Insertion Effect Plug-in Board has been installed, you can enter the parameters for the Plug-in Effect at the EFF Plg (Plug-in) screen. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen. EFF Rev (Reverb) You can select the Reverb Effect Type and set its parameters by pressing the [ENTER] key. EFFíRev) Type Common Basement Return [ENTER] 127 to Edit ■ Type (Reverb Effect Type) Set the Reverb Effect Type. EFFíRev) Type Common Basement Return [ENTER] 127 to Edit ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ Return Set the Return level of the Reverb Effect. EXIT ENTER ❏ Settings: 0 ~ 127 EFF Cho (Chorus) EFFíRev)RevTime InitDly Basement 0.6s 4.8ms You can select the Chorus Effect Type and set its parameters by pressing the [ENTER] key. EFFíCho) Type Common Chorus1 toRev 127 SHIFT Return [ENTER] 127 to Edit PAGE A B C RevDly 5.05ms 1 Pan C 2 DATA PART/ELEMENT The number of Parameters and the contents of each screen will vary depending on the selected Effect Type. Details are given in the Effect Type List/Effect Parameter List of the separate Data List. 118 Part (Settings for each Part) and the MSB/LSB (Plug-in Board’s Bank), and use Knob [C] to select the Program Number. You can edit each Part in a Performance. Use Knob [A] to select the Part, then set its parameters. The following six screens are available, though their contents will vary according to the Part selected. MIXíVce) Bank Number Ctgry Search PartP1 NORM/001:128(H16)[Pf:GrandPiano] • Part Mixer • Part Tone • Part Layer • Part Receive switch • Part Controller • Part Insertion Effect ■ Bank Part Mixer ■ Number (Program Number) ❏ Settings: PartP1/P2 (Plug-in 1/2): PLG1/2 INT (Plug-in 1/2 Internal), MSB/LSB (Plug-in Bank) ❏ Settings: PLG1/2 INT (Plug-in 1/2 Internal): 1 ~ 64 MSB/LSB (Plug-in Bank): 1 ~ 128 You can set various Voice output parameters for each Part. The following two screens are available. MIX Vce (Mix Voice) MIX Level There may be a delay when changing programs for Plug-in Parts (since voice data and default settings need to be sent). To change Voices for Plug-in Parts in a song, you should insert the Program Changes in the less data-intensive areas of the song. When selecting a Plug-in Board Voice, you should use the Program Number of the Parameter Change (multi-part). Details are given in the Owner’s Manual that comes with the Plug-in Board. The MIX Vce (Mix Voice) screen will change to the Mix Template screen if PartAD (A/D Input Part) has been selected. MIX Vce/Template (Mix Voice/Template) In Performance Mode, the Part assignments for Plug-in Boards are fixed at “16” for PLG1 and “15” for PLG2. You can assign a Voice/Template to each Part. Use Knob [A] to select the Part, then set its Voice/Template parameters. The display will vary as follows according to the Part selected. For details about Plug-in Voices, refer to the Owner’s Manual that came with your Plug-in Board. • If Part17 to Part32 has been selected • If Part01 to Part16 has been selected You can set Voices for Parts 17 to 32 if you have a multitimbral Plug-in board installed. Use Knob [B] to select the Voice Bank and Knob [C] to select the Program Number. You can use the same method as the Category Search (Page 67) to set the Voice. MIXíVce) Bank Number Part17 NORM/001:001(A01)[Pf:GrandPno] MIXíVce) Memory Number Ctgry Search Part01 PRE1:128(H16)[Pf:GrandPiano] ■ Bank/Number (Bank/Program Number) ■ Memory (Voice Memory) ❏ Settings: Refer to the Owner’s Manual that came with the Plug-in board. ❏ Settings: PRE1 (Preset 1), PRE2 (Preset 2), INT (Internal Normal), EXT (External Normal), PRE (Preset Drum), INT (Internal Drum), EXT (External Drum) This setting is only held temporarily and cannot be stored with the Performance. ■ Number (Program Number) • If PartAD (A/D Input Part) has been selected ❏ Settings: 1 ~ 128 (for Normal Voices), DR1 ~ DR8 (for Preset Drum), DR1 ~ DR2 (for Internal/External Drum) An audio source connected to the A/D INPUT jack can be used as a Part. There are 13 different templates for Effect Type and Gain settings. Select the A/D Input Part source and the template. Details about Categories are given in the Category List on Page 70. • If PartP1/PartP2 (Plug-in 1/2) has been selected MIXíTemplate)Src Number PartAD keybaord --[InsEF off ] Set the Voice for the Plug-in 1/2 Part. This screen is only displayed if a Plug-in Board has been installed. Use Knob [B] to select PLG1/2INT (internal memory) 119 Performance Mode For details about Plug-in Banks (Bank Select MSB/LSB), refer to the Owner’s Manual that came with your Plug-in Board. ■ Src (Source) Select the source connected to the A/D INPUT jack. ■ RevSend (Reverb Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. ❏ Settings: mic (microphone), guitar, keyboard, audio ❏ Settings: 0 ~ 127 ■ Number (Template Number) Select the Template Number. You can choose from 13 templates for each source. ■ ChoSend (Chorus Send) Set the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. ❏ Settings: 0 ~ 12 Number Src 0 1 2 3 4 5 6 Performance Mode MIC PresetName Off InputGain mic VariType - Mic mic - Reverb mic - Chorus mic - Cho+Rev Karaoke1 Karaoke2 mic mic mic Karaoke1 Karaoke2 GUITAR PresetName Off InputGain mic VariType - Guitar mic - Reverb mic - Chorus mic - Cho+Rev Tube Stack mic mic mic AmpSim. AmpSim. KEYBOARD PresetName Off InputGain line VariType - Keyboard Reverb line line - Chorus line - Cho+Rev PhaserEP PanEP line line line Phaser1 AutoPan AUDIO Audio line - Reverb line - Chorus line - Cho+Rev Audio line line - 8 9 10 11 Vocal mic Stage1 Studio mic Exciter OctUp OctDown mic mic PitChange1 PitChange1 PresetName Off InputGain line VariType - Number Src 7 MIC PresetName Karaoke3 Echo InputGain mic mic VariType Karaoke3 Echo GUITAR PresetName FlangGtr CleanGtr FuncGtr Tremolo InputGain mic mic mic mic VariType Flanger1 Celeste3 TouchWah2 Tremolo Phaser mic Phaser1 ❏ Settings: 0 ~ 127 Part Tone You can set Filter, Envelope Generator and other parameters controlling the tonal characteristics of each Part. The following four screens are available. Audio line - TON Filter (Tone Filter) TON EG (Tone Envelope Generator) TON Portamento (Tone Portamento) TON Other (Tone Other) 12 TON Filter (Tone Filter) 5thGuitar mic PitChange1 You can use filters to adjust the tone of each Part. If the filter is an LPF and HPF combination, the Cutoff parameter applies to the LPF. These parameters are also available in the Common Quick Edit screens. KEYBOARD PresetName WahClavi RotaryOrg SynthStr SynthPad SynthLead SFX InputGain line line line line line line VariType TouchWah1 RotarySp. Symphonic Flanger2 DelayLCR PitChange1 AUDIO PresetName Audio InputGain line VariType - Audio line - Audio line - Audio line - Audio line - Audio line - TONíFilter) Part01 If you attempt to select a Number from within “5” to “12” while you have a setting other than “PartAD” for the Insert Effect (Ins EF) parameter in the Effect Part (EFF Part) page, it will be disabled with “InsEF off” shown for the Number parameter. Details about the Filter are given on Page 83. ■ Cutoff Raise or lower the Cutoff frequency for each Element of a Part. You can set output level, pan, effect send and other parameters for each Part. This is useful when setting up the levels of each Part in a mix. Vol 127 Reso +63 This screen is not available for the A/D Input Part. MIX Level MIXíLevel) Part01 Cutoff +63 For each Element, if a combined Low Pass and High Pass Filter is being used, this parameter adjusts the Cutoff frequency of the Low Pass Filter. Pan RevSend ChoSend C 64 0 ❏ Settings: -64 ~ 0 ~ +63 ■ Reso (Resonance) Set the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. This adds further character to the sound. ■ Vol (Volume) Set the output level of the Part. ❏ Settings: 0 ~ 127 ❏ Settings: -64 ~ 0 ~ +63 ■ Pan Set the stereo pan position of the Part. ❏ Settings: L63 (Left) ~ C (Center) ~ R63 (Right) 120 TON EG (Tone Envelope Generator) TON Portamento (Tone Portamento) You can set EG (Envelope Generator) parameters for each Part. There are four parameters governing the transition in output level from the moment a note is pressed on the keyboard to the moment it is released or the point at which the output level has faded to zero. You can set the following three Portamento parameters for each Part. This screen is not available for A/D Input or Drum Voice Parts. For more information, refer to a diagram that illustrate the concept of Envelope Generator, which you can find in Voice Edit Mode sections. TONíPortamento) Part01 Part 1 to 16 TONíEG) Part01 Attack + 0 Switch on Time Mode 127 fulltime Switch on Time 127 Plug-in 1/2 Part Multi Plug-in Part Decay Sustain Release + 0 + 0 + 0 TONíPortamento) Part17 Plug-in 1/2 Part Multi Plug-in Part TONíEG) PartP1 Attack + 0 Decay + 0 ■ Switch (Portamento switch) Switch Portamento on or off. With Portamento switched on, there will be a smooth transition in pitch from the first note played to the next note. Release + 0 Drum Voice Part TONíEG) Part10 Attack + 0 ❏ Settings: off, on Decay + 0 ■ Time (Portamento Time) Set the pitch transition time. Higher values mean longer transition times. ■ Attack Set the transition time from the moment a key on the keyboard is pressed to the point at which the output level of the Part reaches its peak. A positive value will lengthen the transition time and a negative value will shorten it. ❏ Settings: 0 ~ 127 ■ Mode (Portamento Mode) Select the Portamento Mode. The Portamento Mode behavior varies according to the Part Mode (mono/poly) setting in the LYR Mode screen (Page 123). ❏ Settings: -64 ~ 0 ~ +63 This parameter is not available for Plug-in 1/2 and Multi Plug-in Parts. ■ Decay Set the transition time from the point at which the output level of the Part reaches its peak to the point at which it levels off. A positive value will lengthen the transition time and a negative value will shorten it. ❏ Settings: fingered, fulltime If Part Mode is set to “mono”: fingered: Portamento is applied when the keyboard is played legato (a note is played before the previous note is released). ❏ Settings: -64 ~ 0~ +63 full: Portamento is applied for all playing styles. ■ Sustain Set the output level of the Part maintained while the key on the keyboard is being held down. If Part Mode is set to “poly”: Portamento is applied to multiple notes. This parameter is not available for Plug-in or Drum Voice Parts. ❏ Settings: -64 ~ 0 ~ +63 ■ Release Set the transition time from the point at which the note on the keyboard is released to the point at which the output level of the Part reaches zero. A positive value will lengthen the transition time and a negative value will shorten it. This parameter is not available for Drum Voice Parts. ❏ Settings: -64 ~ 0 ~ +63 121 Performance Mode Part 1 to 16 This screen is not available for the A/D Input Part. offset (Velocity Offset) TON Other (Tone Other) As illustrated below, the velocity will be increased by the specified amount. You can set Pitch Bend Range and Velocity Sensitivity parameters for each Part. Changes to velocity curve according to VelDepth (with offset set to 64) These screens are not available for the A/D Input Part. Velocity at tone generator Part 1 to 16 TONíOther) Part01 Pitch Bend -12 - +12 VelDepth-Offset 127 64 Performance Mode Pitch Bend +12 Depends on offset Offset=64 Velocity=1 Depends on offset Depth=64 Offset=32 Part Layer You can set various MIDI parameters for each Part, including MIDI Receive Channel, Arpeggiator switch, note limit and velocity. These parameters are largely used when layering multiple Parts. The following four screens are available. LYR Mode (Layer Mode) LYR Limit (Layer Limit) LYR Tune (Layer Tune) LYR Out (Layer Out) Lower (Left): -48 ~ 0 ~ +24 Upper (Right): -48 ~ 0 ~ +24 (or –24 ~ 0 ~ +24 for Plug-in 1/2 and Multi Plug-in Parts) LYR Mode (Layer Mode) ■ VelDepth-Offset (Velocity Sensitivity Depth/Offset) Set the velocity sensitivity and velocity offset for each Part. You can set the method by which each Part is output. The parameters will vary according to the Part selected. Part 1 to 16 Plug-in 1/2 Part ❏ Settings: VelDepth (Velocity Sensitivity): 0 ~ 127 offset (Velocity Offset): 0 ~ 127 LYRíMode) Part01 VelDepth (Velocity Sensitivity Depth) As illustrated below, a large setting will cause large changes in velocity when you play the keyboard. Mode poly Arp on Layer off RcvCh 1 Drum Voice Part Changes to velocity curve according to VelDepth (with offset set to 64) Depth=127 Offset=64 Received Velocity Offset=-32 ❏ Settings: LYRíMode) Part01 Arp on Layer off RcvCh 1 Depth=64 Offset=64 A/D Input Part Multi Plug-in Part LYRíMode) PartAD Depth=32 Offset=64 Depth=0 Offset=64 Offset=64 Offset=96 VelDepth-Offset 127 64 ■ Pitch Bend Set the amount (in semitones) by which the Voice pitch changes when the Pitch Bend Wheel is moved. For example, a Lower setting of -12 means that the pitch of the Voice drops by up to an octave when the Pitch Bend Wheel is moved downwards. An Upper setting of +12 means that the pitch of the Voice rises by up to an octave when the Pitch Bend Wheel is moved upwards. The Lower parameter is only available for Normal Voice Parts (Parts 1 to 16). Velocity at tone generator Depth=64 Offset=64 Offset=127 Plug-in 1/2 Part Multi Plug-in Part Drum Voice Part TONíOther) PartP1 Depth=64 Offset=96 Received Velocity 122 RcvCh 1 ■ Mode Select whether each Part is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ■ Vel Limit Set 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. This parameter is only available for Normal Voice Parts 1 to 16 and Plug-in 1/2 Parts. ❏ Settings: 1 ~ 127 (for the minimum and maximum values) ❏ Settings: mono, poly 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.” ■ Arp (Arpeggio switch) Switch the Arpeggiator for the currently selected Part on or off. You can set note shift and tuning parameters for each Part. ❏ Settings: off, on These parameters are not available for the A/D Input Part. ■ Layer (Layer switch) When switched on, you can layer up to four Parts. LYRíTune) Part01 NoteShift +24 Detune +12.7 This parameter is not available for A/D Input and Multi Plug-in Parts. ❏ Settings: off, on ■ NoteShift Adjust the pitch of each Part in semitones. You can also set the overall output level and stereo pan position of the Layer when this is switched on (Page 109). ❏ Settings: -24 ~ +24 Layers may be slow to sound, depending on their component Parts. ■ Detune Offset (detune) the pitch of each Part by a very small amount. If you turn five or more Layer Switches “on”, only four Parts are enabled for the layer. These four Parts are determined in the priority of Part01 to Part16, PartAD, PartP1, then PartP2. For disabled Parts, their Layer switch values will be shown in brackets like “(on).” ❏ Settings: -12.8Hz ~ +12.7Hz LYR Out (Layer Out) ■ RcvCh (MIDI Receive Channel) Set the MIDI Receive Channel for each Part. Select “off” for Parts that you do not want to respond to MIDI. You can select outputs for each Part. ❏ Settings: 1 ~ 16, off LYRíOut) Part01 Output L&R InsEF (off) LYR Limit (Layer Limit) You can set note ranges and velocity limits for each Part. ■ Output Assign each Part to an output. These parameters are not available for the A/D Input Part. LYRíLimit) Part01 Note Limit C-2 - G 8 ❏ Settings: L&R (Left and Right outputs), ind 1&2 (Individual Output 1&2) ind1 (Individual Output 1), ind2, ind3, ind4, ind5, ind6, drum Vel Limit 1 - 127 For example, if you choose “L&R,” the left channel will be output through OUTPUT L and the right channel will be output through OUTPUT R. Alternatively, if you choose “ind1,” the left and right signals will be merged and output monaurally through INDIVIDUAL OUTPUT 1. ■ Note Limit Set 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 “ind3 to “ind6” are for future expansion purposes and are currently not available. ❏ Settings: C-2 ~ G8 (for the lowest and highest notes) You can select “drum” for Drum Voice Parts. If you select “drum” for a Drum Voice Part, the output settings for each Drum Key (Page 95) are used. 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.” You can set the lowest and highest notes in the range by pressing notes on the keyboard while holding down the [SHIFT] key. 123 Performance Mode LYR Tune (Layer Tune) This parameter is not available for A/D Input and Multi Plug-in Parts. ■ InsEF (Insertion Effect) Shows the on/off status of the Insertion Effects. If “on” is displayed, this means that the Part’s signal is being sent to the Insertion Effect Unit. Parts 1 to 16 Drum Voice Part RCVíSw2) Part01 Insertion Effect switches for each Part are set in the EFF Part screen (Page 117). Performance Mode Each Part can be set to receive Control Change and Program Change messages. The following four screens are available. Parts 1 to 16 RCVíSw3) Part01 When set to “on,” each Voice in each Part will receive Control Settings (PB, MW, RB,AT) and Control Change messages. The Controller parameters will vary according to the Part selected. RCVíSw3) Part01 RCVíSw3) PartAD PB on MW off Pan off Sus on Vol on Pan off Sus on Vol on Pan off FS off Drum Voice Part A/D Input Part Parts 1 to 16 Drum Voice Part RB on Vol on Plug-in 1/2 Part Multi Plug-in Part This screen is not available for the A/D Input Part. AT off FS off ❏ Settings: Vol (Volume): off, on Pan: off, on Sus (Sustain): off, on FS (Foot Switch): off, on Plug-in 1/2 Part Multi Plug-in Part RCVíSw1) PartP1 FC off When set to “on,” each Voice in each Part will receive volume, pan, sustain pedal, foot switch and Control Change messages. RCV Sw1 (Receive Switch 1) MW off BC on RCV Sw3 (Receive Switch 3) RCV Sw1 (Receive Switch 1) RCV Sw2 (Receive Switch 2) RCV Sw3 (Receive Switch 3) RCV Sw4 (Receive Switch 4) PB on Knob2 off ❏ Settings: Knob1 (Knob [1]): off, on Knob2 (Knob [2]): off, on BC (Breath Controller): off, on FC (Foot Controller): off, on Part Receive Switch RCVíSw1) Part01 Knob1 on RCV Sw4 (Receive Switch 4) AT off When set to “on,” each Voice in each Part will receive Program Change and Control Change messages when you change Performance Bank/Program. ❏ Settings: PB (Pitch Bend Wheel): off, on MW (Modulation Wheel): off, on RB (Ribbon Controller): off, on AT (Aftertouch): off, on RCVíSw4) Part01 BankSel PgmChng CtrChng off on off ❏ Settings: BankSel (Bank Select): off, on PgmChng (Program Change): off, on CtrChng (Control Change): off, on RCV Sw2 (Receive Switch 2) When set to “on,” each Voice in each Part will receive messages from Knob [1]/[2], plus Breath Controller, Foot Controller and Control Change messages. This screen is only available for Parts 1 to 16 (including Drum Voice Parts). 124 You can set various Controller parameters for the A/D Input Part and Multi Plug-in Parts 17 to 32. The following two screens for A/D Input Part parameters and six screens for the Multi Plug-in Part parameters are available. CTL Set1 (Controller Set 1) (A/D Input Part only) CTL Set2 (Controller Set 2) (A/D Input Part only) CTL MW Control (MW Control Depth) (Multi Plug-in Parts only) CTL MW Modulation (MW Modulation Depth) (Multi Plug-in Parts only) CTL AT Control (AT Control Depth) (Multi Plug-in Parts only) CTL AT Modulation (AT Modulation Depth) (Multi Plug-in Parts only) CTL AC Control (AC Control Depth) (Multi Plug-in Parts only) CTL AC Modulation (AC Modulation Depth) (Multi Plug-in Parts only) CTL Set1/CTL Set2 (Control Set 1/2) (A/D Input Part only) The controllers and knobs on the front panel, the keyboard, and so on can be assigned a variety of uses. For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control Resonance. These control assignments are called “Control Sets.” You can assign up to two different Control Sets to the A/D Input Part. Thus there are two screens, each for a separate controller: CTL Set1 and CTL Set2. CTLíSet1) Src PartAD FC(04) Dest off SET 1 Depth +63 SET 2 Src Src MW (Modulation Wheel) KN1 (Knob 1) ■ Dest (Destination) Set the parameter to be controlled by the Controller specified in Src. ❏ Settings: see the separate Control List. ■ Depth (Depth) Set the amount by which the parameter selected in Dest can be controlled. ❏ Settings: -64 ~ 0 ~ +63 Using Voice Control Sets 1 and 2, you can assign individual Src (Source) controllers to multiple Dest (Destination) parameters, or multiple Src controllers to individual Dest parameters. Details are given on Page 75. CTL MW Control (MW Control Depth) (Multi Plug-in Parts only) The Modulation Wheel can be used to control Filter and Amp parameters for each Multi Plug-in Part (17 to 32). CTLíMW Control) Part17 Dest Dest ChoSend Amp +63 ■ Filter Set the amount by which the Modulation Wheel can be used to adjust the filter’s Cutoff frequency. ❏ Settings: -64 ~ +63 ■ Amp Set the amount by which the Modulation Wheel can be used to adjust the output level (amplitude). ❏ Settings: -64 ~ +63 CTL MW Modulation (MW Modulation Depth) (Multi Plug-in Parts only) The Modulation Wheel can be used to control the amount of pitch/filter/amplitude modulation applied to each Multi Plug-in Part (17 to 32). CTLíMW Modulation) PMod Part17 127 RevSend Filter +63 FMod 127 AMod 127 ■ PMod (Pitch Modulation Depth) Set the amount by which the pitch modulation changes when the Modulation Wheel is used. A/D Input ■ Src (Source) Set the Controller used to control the parameter specified in Dest. The following controllers are available. ❏ Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel ), AT (Aftertouch), FC (Foot Controller), FS 125 (Foot Switch), RB (Ribbon Controller), BC (Breath Controller), KN1/2 (Knob [1]/[2]) ❏ Settings: 0 ~ 127 Performance Mode Part Controller ■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when the Modulation Wheel is used. ■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when aftertouch is used. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 ■ AMod (Amplitude Modulation Depth) Set the amount by which the amplitude modulation changes when the Modulation Wheel is used. ■ AMod (Amplitude Modulation Depth) Set the amount by which the amplitude modulation changes when aftertouch is used. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 Performance Mode CTL AT Control (AT Control Depth) (Multi Plug-in Parts only) CTL AC Control (AC Control Depth) (Multi Plug-in Parts only) Keyboard aftertouch can be used to control the pitch/filter/amplitude parameters for each Multi Plugin Part (17 to 32). Control Changes (Assignable Controllers) can be used to control the filter/amplitude parameters for each Multi Plug-in Part (17 to 32). CTLíAT Control) Part17 Pitch +24 Filter +63 Amp +63 CTLíAC Control) Source Filter Part17 04[FootCtrl] +63 ■ Pitch Set the amount (in semitones) by which the pitch changes when aftertouch is applied. Amp +63 ■ Source Set the MIDI Control Change number used to control the Filter/Amp parameters. ❏ Settings: -24 ~ +24 ❏ Settings: off, 1 ~ 95 ■ Filter Set the amount by which the filter Cutoff frequency changes when aftertouch is applied. ■ Filter Set the amount by which the filter Cutoff frequency changes when the controller (Source) is used. ❏ Settings: -64 ~ +63 ❏ Settings: -64 ~ +63 ■ Amp Set the amount by which the output level (amplitude) changes when aftertouch is applied. ■ Amp Set the amount by which the output level (amplitude) changes when the controller (Source) is used. ❏ Settings: -64 ~ +63 ❏ Settings: -64 ~ +63 CTL AT Modulation (AT Modulation Depth) (Multi Plug-in Parts only) CTL AC Modulation (AC Modulation Depth) (Multi Plug-in Parts only) Keyboard aftertouch can be used to control the amount of pitch/filter/amplitude modulation applied to each Multi Plug-in Part (17 to 32). CTLíAT Modulation) PMod Part17 127 FMod 127 Control Changes (Assignable Controllers) can be used to control the amount of pitch/filter/amplitude applied to each Multi Plug-in Part (17 to 32). AMod 127 CTLíAC Modulation) PMod Part17 127 ■ PMod (Pitch Modulation Depth) Set the amount by which the pitch modulation changes when aftertouch is used. FMod 127 AMod 127 ■ PMod (Pitch Modulation Depth) Set the amount by which the pitch modulation changes when the controller (Source) is used. ❏ Settings: 0 ~ 127 ❏ Settings: 0 ~ 127 126 ■ FMod (Filter Modulation Depth) Set the amount by which the filter Cutoff frequency changes when the controller (Source) is used. Effect Parameter Settings These parameters are available when you press the [ENTER] key for certain Effect Types. Use the [PAGE] knob to switch between screens, and use the other knobs and the [INC/YES] and [DEC/NO] keys to set each parameter. When you press the [EXIT] key, you will be returned to the Effect Type selection screen. ❏ Settings: 0 ~ 127 ■ AMod (Amplitude Modulation Depth) Set the amount by which the amplitude modulation changes when the controller (Source) is used. ❏ Settings: 0 ~ 127 Select Effect Type EFFíEF1) Ctgry Type Dry/Wet [ENTER] PartAD DLY:DelayLCR D<W63 to Edit You can set parameters for the Insertion Effects used by the A/D Input Part. If you have selected the A/D Input Part, as the InsEF (Insertion Effect) in the EFF Part screen, the following screens will be available. EXIT EFF EF1/2 (Insertion Effect 1/2) Performance Mode Part Insertion Effect (A/D Input Part only) ENTER Parameters Choose the type of effect used for the A/D Input Part. You can select the Effect Category for Insertion Effect 1/2 with the Ctgry parameter and the Effect Type with the Type parameter. After selecting the Effect Type, you can start setting its parameters by pressing the [ENTER] key. EFFíEF1) PartAD SHIFT PAGE A Delay 333.3 B Lch 500.0 C Cch 500.0 1 Rch 166.7 2 DATA PART/ELEMENT The number of parameters and the contents of each screen will vary depending on the selected Effect Type. Details are given in the Effect Type list of the separate Data List. EFFíEF1) Ctgry Type Dry/Wet [ENTER] PartAD DLY:DelayLCR D<W63 to Edit The connection between Insertion Effects 1 and 2 is fixed as 1 ➝ 2 (Serial). Zones ■ Ctgry (Effect Category) Set the Category of the Effect. The first Effect Type of the selected Category will blink. You can edit the zones used by Performances in Master Keyboard Mode. Use Knob [A] (or BANK [A]~[D] keys) to select the zone (1 to 4), then set the zone’s parameters. The following eight screens are available for Master Keyboard parameters. You can choose zones if “4zone” has been selected as the Mode at the GEN M.Kbd screen (Page 113), and if the [MASTER KEYBOARD] key LED is lit. ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ Type (Effect Type) Set the type of Effect. This depends on the selected Category. For certain Categories, the Effect Type will blink. In this case, you can press the [ENTER] key to set the Effect Type. • Master keyboard MKB Transmit (Master Keyboard Transmit) MKB Note (Master Keyboard Note) MKB TxSw1 (Master Keyboard Transmit Switch 1) MKB TxSw2 (Master Keyboard Transmit Switch 2) MKB TxSw3 (Master Keyboard Transmit Switch 3) MKB TxSw4 (Master Keyboard Transmit Switch 4) MKB TxPreset1 (Master Keyboard Transmit Preset 1) MKB TxPreset2 (Master Keyboard Transmit Preset 2) MKB Assign (Master Keyboard Assign) ❏ Settings: Details are given in the Effect Types list of the separate Data List. ■ Dry/Wet Set the mix level of the wet signal (which has been passed through the Effects Unit) and the dry signal (which has not been passed through the Effects Unit). This may be unavailable, depending on the selected Effect Type. ❏ Settings: D63>W ~ D=W ~ D<W63 127 Master keyboard MKB TxSw1 (Master Keyboard Transmit Switch 1) MKB Transmit (Master Keyboard Transmit) For each zone, you can enable/disable the transmission of messages for the Pitch Bend Wheel, Modulation Wheel, Knobs [A] to [C] and Knob [1]/[2]. You can set parameters for transmitting keyboard data when in Master Keyboard Mode. MKBíTransmit) Zone01 TrnsCh 1 TG on MIDI on MKBíTxSw1) Zone01 PB off MW KnobA-C Knob1-2 on on on ❏ Settings: PB (Pitch Bend Wheel): off, on MW (Modulation Wheel): off, on KnobA-C (Knobs [A] to [C]): off, on Knob1/2 (Knob [1]/[2]): off, on ■ TrnsCh (Transmit Channel) Set the MIDI Transmit Channel for each zone. Performance Mode ❏ Settings: 1 ~ 16 ■ TG (Tone Generator) Select whether or not to transmit MIDI messages for each zone to each Part’s tone generator. MKB TxSw2 (Master Keyboard Transmit Switch 2) For each zone, you can enable/disable the transmission of messages for the Ribbon Controller, Foot Controller, Breath Controller and Aftertouch. ❏ Settings: off, on ■ MIDI (MIDI Transmit) Select whether or not to transmit MIDI messages to each zone’s MIDI Out port. MKBíTxSw2) Zone01 RB on FC on BC on AT on ❏ Settings: off, on ❏ Settings: RB (Ribbon Controller): off, on FC (Foot Controller): off, on BC (Breath Controller): off, on AT (Aftertouch): off, on MKB Note (Master Keyboard Note) You can set Octave, Transpose, Note Limit (key range) for each zone in Master Keyboard Mode. MKBíNote)Octave Transpose Zone01 +1 +11 MKB TxSw3 (Master Keyboard Transmit Switch 3) Note Limit C-2 - G 8 For each zone, you can enable/disable the transmission of messages for the Sustain Pedal, Foot Switch, Volume/Foot Volume and Pan. ■ Octave Shift the note range of each zone up or down (in octaves). MKBíTxSw3) Zone01 ❏ Settings: -3 ~ 0 (Default) ~ +3 Sus on FS on Vol/FV on Pan on ❏ Settings: Sus (Sustain): off, on FS (Foot Switch): off, on Vol/FV (Volume/Foot Volume): off, on Pan: off, on ■ Transpose Transpose the note range of each zone up or down (in semitones). ❏ Settings: -11 ~ 0 (Default) ~ +11 MKB TxSW4 (Master keyboard Transmit Switch 4) ■ Note Limit Set the upper and lower notes in each zone’s note range. For each zone, you can enable or disable the transmission of Bank Select and Program Change messages when you switch Performance Banks or Programs. ❏ Settings: C-2 ~ G8 (for both upper and lower notes) You can also select this parameter by pressing each note while holding down the [SHIFT] key. MKBíTxSw4) Zone01 ❏ Settings: Bank (Bank Select): off, on PC (Program Change): off, on 128 Bank on PC on ■ PC (MIDI Program Change) Set the Program Number transmitted when changing Bank/Program. MKB TxPreset1 (Master Keyboard Transmit Preset 1) You can set each zone’s initial volume and stereo pan settings when changing Performance Bank/Program. Volume 127 Program Numbers 001 to 128 directly relate to MIDI Program Change Numbers 000 to 127. That is, Program Numbers and Program Change Numbers differ by a value of 1. Remember to take this into consideration. Pan C This setting is not transmitted if the PC (Program Change) parameter at the MKB TxSw4 screen has been set to “off.” ■ Vol (Volume) Set the output level of the zone. ❏ Settings: 0 ~ 127 MKB Assign (Master Keyboard Assign) This setting is not transmitted if the Vol/FV (Volume/Foot Volume) parameter of the MKB TxSw3 screen has been set to “off.” You can assign a different Control Slider function (Control Change) to each zone. ■ Pan Set the stereo pan position of the zone. MKBíAssign) Zone01 ControlSlider 07[Main Vol] ❏ Settings: L64 (Left) ~ C (Center) ~ R63 (Right) ❏ Settings: off, 1 ~ 95 This setting is not transmitted if the Pan parameter at the MKB TxSw3 screen has been set to “off.” MKB TxPreset2 (Master Keyboard Transmit Preset 2) For each zone, you can set the Bank Select and Program Change parameters transmitted when changing Bank/Program in a Performance. MKBíTxPreset2) Zone01 BankMSB BankLSB 127 127 PC 1 ■ BankMSB (MIDI Bank Select MSB) Set the Bank Select MSB transmitted when changing Bank/Program. ❏ Settings: 0 ~ 127 ■ BankLSB (MIDI Bank Select LSB) Set the Bank Select LSB transmitted when changing Bank/Program. ❏ Settings: 0 ~ 127 “Bank Select” is a type of MIDI message transmitted when changing Voice Bank. Control Change MSB and LSB messages are combined to form Bank Select messages, which are used to specify the Voice Bank. These message values will vary according to synthesizer. For more details, refer to the documentation that came with your synthesizer. This setting is not transmitted if the Bank (Bank Select) parameter at the MKB TxSw4 screen has been set to “off.” 129 Performance Mode MKBíTxPreset1) Zone01 ❏ Settings: 1 ~ 128 Performance Job Mode PFM Initialize You can reset (initialize) all parameters of a Performance to their default settings. You can also selectively initialize certain parameters, such as Common settings, settings for each Part, and so on. Note that this is not the same as editing an existing Performance. Instead, it is useful when building a completely new Performance from scratch. You can execute various actions (Jobs) in Performance Job Mode. For example, you can “Initialize” Performances (including those currently being edited) or “Recall” previous edits. When you enter Performance Job Mode, you will first see the Initialize screen. The following four screens are available for each Performance Job. PFM Initialize) Job Current Perform Performance Mode Before entering Performance Job Mode and using the Initialize or Recall function, you must select the Performance you wish to operate on (Page 109). 1st screen: PFM Initialize 2nd screen: PFM Edit Recall 3rd screen: PFM Copy 4th screen: PFM Bulk Dump ■ Select type of parameter to Initialize Use Knob [B], the [DATA] knob or the [DEC/NO] and [INC/YES] keys to select the parameter to be initialized. Details about how to enter Performance Job Mode are given on Page 22. ❏ Settings: Current Perform, Current Common (Common Data: Data common to all Layer Parts), Current Part01 to Part16, Current PartAD (A/D Input Part), Current PartP1/P2 (Plug-in Part 1/2), Zone1 to Zone4 Executing a Job 1In Performance Play Mode, select the Performance Number on which you will execute the Job. PFM Edit Recall 2Press the [JOB] key to enter Performance Job Mode. If you are editing a Performance but you do not store it before switching to another Performance, the edits you have made will be cleared. In such a situation, you can use the Recall function to reinstate the edits for the Performance. 3Use the [PAGE] knob and switch to the screen showing the Job you wish to execute. PFM Initialize) Job Current Perform PFM Edit Recall) Job 4Use Knobs [B]/[C] and Knobs [1]/[2] to select the parameter on which you will execute the Job. (Alternatively, use the [DATA] knob and the [DEC/NO] and [INC/YES] keys.) PFM Copy You can copy each Part’s parameters and Effects parameters from any Performance to the Performance you are editing. This is useful if you are creating a Performance and wish to use some parameter settings from another Performance. This step is not applicable for Recall and Bulk Dump Jobs. 5When you press the [ENTER] key, you will be prompted for confirmation. PFM Bulk Dump) << Are you sure? [YES]/[NO] This function is not used for copying whole Performances from one location to another. It is used for copying parameter settings from an existing Performance to the current Performance you are editing. >> 6Press the [INC/YES] key to confirm. The message “Completed.” will be displayed when the Job has completed, and you will be returned to the original screen. PFM Copy) Job [Pf:GrandPiano] Current INT:128(H16) Part10 > Part16 1 Press the [DEC/NO] key to cancel the Job. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power to your synthesizer while this message is displayed, you risk corrupting your data. 2 3 4 1Source Performance Memory Select the Performance Memory containing the Performance (source) from which you will copy parameter settings. 7Press the [PERFORM] key to exit Performance Job Mode and return to Performance Play Mode. ❏ Settings: INT (Internal), EXT (External) 130 2Source Performance Number Select the Performance Number of the source Performance. The Performance Name is shown in the top line of the display. Performance Store You can store the parameter settings for up to 128 Performances to each of your synthesizer’s Memories (INT: Internal) or up to 64 Performances to Memory Card (EXT: External). The procedure is as follows. ❏ Settings: 001 ~ 128 (INT), 001 ~ 064(EXT) When copying, you can set the current Performance number (destination) for the source Performance number. In this case, if you have edited several settings of the current Performance, you will copy those recent settings, not stored ones (before editing). Therefore, you can edit a Part and copy all edits to another Part. 1Press the [STORE] key after editing a Performance. You will see the Performance Store display. 3Source Performance Part Select the Part of the source Performance. ❏ Settings: Part01 to Part16, PartAD (A/D Input Part), PartP1/P2 (Plug-in Part 1/2) PFMí Store The Memory, Bank Select and Program Number settings cannot be copied if you have set the source or destination to something other than Part01 to Part16. [Pf:GrandPiano] >[Pf:Init Perf ] INT:128(H16) 2Use Knob [1] to select the destination Performance Memory (INT or EXT). 4Destination Part Set the Part of the destination Performance. 3Use Knob [2] to select the destination Performance Number. This will set the Performance Memory/Number to which your Performance will be stored. ❏ Settings: Part01 to Part16, Arp (Arpeggio), Effect, PartAD (A/D Input Part), PartP1/P2 (Plug-in Part 1/2) If you choose Arp (Arpeggio) or Effect, the Arpeggio and Effect settings for the Voice assigned to the source Part will be copied. You can also use the [DATA] knob or [DEC/NO] and [INC/YES] keys to execute this operation. 4When you press the [ENTER] key, you will be prompted for confirmation. The Memory, Bank Select and Program Number settings cannot be copied if you have set the source or destination to something other than Part01 to Part16. PFMí << PFM Bulk Dump You can send all the parameter settings for the current Performance to your computer or some other external MIDI device using Bulk Dump. [Pf:GrandPiano] >[Pf:Init Perf ] Are you sure? [YES]/[NO] >> 5Press the [INC/YES] key to confirm. The message “Executing…” will be displayed while the Job is being processed. When it has completed, you will see the message “Completed.” and you will be returned to Performance Play Mode. PFM Bulk Dump) Job Current Perform You can press the [DEC/NO] key to cancel the Job. This will return you to the original screen. You must set the correct MIDI Device Number in order to execute a Bulk Dump. Details are given on Page 137. 131 Performance Mode When you execute this, the settings for the destination Performance will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. Sequence Play Mode In this Mode, you can play back the built-in demo songs and Song files stored on Memory Card. Up to 100 Song files can be played back end-to-end by using the Chain Step feature. This Chain Step data can also be saved to Memory Card. The Demo Songs contain preset tempos by default. When you switch to another Demo Song, its preset tempo will be used. You can change the playback tempo. To restore the default tempo, select “***” as the tempo setting. 3Press the [PLAY/STOP] key to play back the selected Demo Song from the beginning. A Memory Card containing Song files must already be slotted in the Card Slot. 4Press the [PLAY/STOP] key again to stop the Demo Song playback. Basic details about the sequencer are given on Page 31. When you enter Sequence Play Mode, you will see the 1st screen (Demo Song). The following two screens are available. If you press the [PLAY/STOP] key once again, playback will resume from the current position. Demo Songs will playback continuously until stopped. Sequence Play Mode 1st screen: SEQ Demo (Sequence Demo) 2nd screen: SEQ (Sequence Chain) SEQ (Sequence Chain) If you load Sequence Chain data in Card Mode (Page 145) or using the Auto Loading feature (Page 143), the 2nd screen will be displayed first. You can set up to 100 Steps in a Chain here. Each Chain Step is assigned a Song file and a Performance (Voices for each Part used in the Song). You can play back one particular Chain Step or multiple Chain Steps end-to-end. Details about how to enter Sequence Play Mode are given on Page 22. Chain Step Number 1~100 SEQ Demo (Sequence Demo) The Demo Song data is contained in internal memory. When you attempt to enter the SEQ Demo (Sequence Demo) screen, you will have an alert screen shown below, since you lose your data for System, internal Voices by loading the demo song. Song File Sequence Track 1 MIDI CH 1 2 3 16 16 Performance MIDI CH 1 Part 1 2 2 2 3 16 3 SEQ Demo)<< Are you sure? [YES]/[NO] >> System,IntVoice will be changed. Press the [YES] key to accept the alert and proceed to the SEQ Demo screen. You can play the demo song in this screen. 5 16 3 Plug-in Part 1 4 Plug-in Part 2 6 A/D Input Part Chain settings can be saved to Memory Card. Demo Song Name Song File Name SEQ Demo) Song:[DEMOSONG] ≥ 001 ⁄= 120 SEQ) Chain00 Demo Song Number Playback tempo Chain Step Number ■ Playback Tempo File:[ 001 ⁄= 120 Playback tempo ] Perf Meas=001 INT:128 Measure Performance Bank/Number ■ Chain Step Number Change each Chain Step. If you choose a Step Number here, the screen for the selected Chain Step will be displayed. ❏ Settings: *** (default tempo), 25 ~ 300 1Use Knob [B] and the [ENTER] key to select the Demo Song Number. ❏ Settings: 00 ~ 99 2Set the tempo (if necessary). You can jump to the next Chain Step screen and change the Chain settings in advance, even while a Song is being played back. A “ë” indicator is displayed to the right of the Chain Step Number at the Chain Step screen of the Song file currently being played back. 132 ■ Song File Number Assign a Song file to the Chain Step. Any Song files with the “.MID” extension can be selected. When you select a file Number here, the file name is shown in the top line of the display. For continuous (chained) playback of multiple Chain Steps, you can specify how to play this Chain Step after playback of a previous one by selecting an option from among “skip,” “end” and “stop.” If you select “skip,” the Chain Step is skipped and playback will jump to the next Chain Step. If you choose to skip the 99th Chain Step, playback will jump back to the first Chain Step after the 98th Chain Step. If you select “end,” when the Song reaches this Chain Step, chained playback is stopped and you are returned to the first Chain Step. If you select “stop,” the Song stops when it reaches this Chain Step. When the Song playback is resumed, it starts at the next Chain Step. Performances can be changed while Songs are playing or have been stopped. However, it does not change in real time during playback if you specify a Chain Step other than the current one. In stead, it changes when playback reaches the song at the specified Chain Step. Song File Playback 1Use Knob [B] to select the Song file you wish to play back. When playing back a single Song, you do not need to select a Chain Step Number (You can have any Chain Step screen open). Regarding the types of files that can be played back, details are given in the section “SMF (Standard MIDI Files)” on Page 143. 2Set the tempo (if necessary). ❏ Settings: skip, end, stop, 001 ~ 997 3Set the starting point (measure) for the Song (if necessary). ■ Playback Tempo Set the playback tempo of the Chain Step. When you start playback of the song, it is normal that a tempo value contained in the song file is automatically set to this parameter. If necessary, you can change the playback tempo here. To restore the Song’s own playback tempo, select “***.” 4Select the Performance Bank/Number (if necessary). 5Press the [PLAY/STOP] key to playback the Song from the set position (or from the beginning). 6Press the [PLAY/STOP] key again to stop the Song playback. ❏ Settings: *** (default tempo), 25 ~ 300 When playing back a Song file using its own tempo data, the tempo setting is shown in brackets. These brackets disappear when you change the tempo. Chained Playback 1Use Knob [A] to select the Chain Step Number of the first Song you wish to play back. ■ Meas (Measure) The Song measure in the current Chain Step is shown during playback. If you stop playback, you can use Knob [1] to enter a measure number and press the [ENTER] key to resume playback at that measure. You need to enter Card Mode beforehand and specify the directory containing the song files you wish to play back. Details about how to change directory are given in the section “File Directories” on Page 144. Regarding the types of files that can be played back, details are given in the section “SMF (Standard MIDI Files)” on Page 143. ❏ Settings: 001 ~ 999 ■ Performance Bank/Number Set the Performance (Bank/Program Number) to be used in the Chain Step. The Voices of each Part in the selected Performance will be used when playing back the Song file. Use Knob [2], the MEMORY [INT]/[EXT] keys, BANK keys [A] to [H] and PROGRAM keys [1] to [16] to select the Memory Bank and Program Number of the Performance. 2Set the tempo (if necessary). 3Set the starting point (measure) for the Song (if necessary). 4Select the Performance Bank/Number (if necessary). 5Press the [PLAY/STOP] key to play back the Song from the set position (or from the beginning). When the Chain Step playback has finished, the Song of the next Chain Step Number will automatically be started. Songs can be played back continuously this way. ❏ Settings: *** (not set), INT/EXT (Bank), 1 ~ 128 (Program Number) If no Performance changes are contained within a Song file, “***” is displayed as the Bank/Number when the Song File is selected. In this case, the Song file will use the Program set in the currently selected Mode (Voice Mode/Performance Mode). 6Press the [PLAY/STOP] key again to stop the chained playback. 133 Also, if an “end” or “stop” Chain Step is reached, playback will stop. Sequence Play Mode You need to enter Card Mode beforehand and specify the directory containing the song files you wish to play back. Details about how to change directory are given in the section “File Directories” on Page 144. Utility Mode The parameters in Utility Mode are explained here. Utility Mode can roughly be divided into a screen for settings common to the entire system, a screen for Voice Mode settings and a screen for Plug-in Board settings. MSTR (System Master) You can set the overall parameters, including volume and pitch, which mainly relate to the synthesizer’s tone generator section. The following four screens are available. You will first see the following screen when you enter Utility Mode. Each of the three Utility Mode screens contain further sub-screens. Basically the [PAGE] knob is used to switch between parameter screens and Knobs [B], [C] and [1]/[2] are used to set the values for each parameter. You can also use the [DATA] knob or the [DEC/NO] and [INC/YES] keys to enter values. MSTR TG (Master Tone Generator) MSTR Kbd (Master Keyboard) MSTR EF Bypass (Master Effect By-pass) MSTR Other (Master Other) MSTR TG (Master Tone Generator) Set the parameters which control the synthesizer’s tone generator section. Sys (System): System settings MSTR TG) Sys Vol 127 NoteShift Tune +24 +102.3c MSTR TG) Sys • Master • Control • MIDI Vol 127 NoteShift Tune +24 +102.3c ■ Vol (Master Volume) Set the synthesizer’s overall volume. Utility Mode Vce (Voice): Voice Mode settings M.EQ Low) Shape Vce peak Gain +12dB ❏ Settings: 0 ~ 127 Freq 50Hz Q 12.0 ■ NoteShift (Master Note Shift) Set the amount (in semitones) by which the note pitch is shifted. This parameter only affects the synthesizer’s internal tone generator. It does not affect information transmitted via MIDI. • Master Equalizer • Control Plg (Plug-in): Plug-in Settings PLG Status) Plugin PLG1:PLG100-VH PLG2:PLG150-AN ❏ Settings: -24 ~ 0 ~ +24 Expand part ■ Tune (Master Tune) Adjust the keyboard tuning (in 0.1 cent steps). • Plug-in Board Status • Plug-in Board 1 System • Plug-in Board 2 System ❏ Settings: -102.4 ~ +102.3 Details about how to enter Utility Mode are given on Page 22. MSTR Kbd (Master Keyboard) Set the parameters related to the keyboard. Menu Display MSTR Kbd) Sys When you use the [PAGE] knob while holding down the [SHIFT] key, the following menu will be displayed. Use the [PAGE] knob to move the cursor (≥) between items, then release the [SHIFT] key to jump to the selected item. SHIFT PAGE A C 127 ❏ Settings: -3 ~ 0 ~ +3 Sys:>MSTR≥CTRL>MIDI Vce:>M.EQ>CTRL Plg:>PLG>1>2 B Vel fixed = ■ Oct (Master Octave Shift) Shift the octave range of the keyboard up or down. Cursor MSTR TG) Sys Oct Trnspose +3 +11 1 2 ■ Trnspose (Master Transpose) Transpose the pitch of the keyboard up or down (in semitones). This affects information transmitted via MIDI. DATA ❏ Settings: -11 ~ +11 PART/ELEMENT If you transpose beyond the note range limits (C-2 and G8), the notes will be wrapped over. 134 ■ Vel (Keyboard Velocity Curve) Set the Velocity Curve determining how the strength of the notes played will affect the sound output. MSTR EF Bypass (Master Effect By-pass) Set the parameters related to the [EF BYPASS] key on the front panel. ❏ Settings: norm, soft, hard, wide, fixed norm (Normal) The velocity is in proportion to the strength. MSTR EF Bypass) Sys Insert off Reverb on Chorus on Volume ■ Insert (Insertion), Reverb, Chorus When the [EF BYPASS] key is pressed (its LED is lit), various effects can be bypassed. Keyboard Playing Strength soft A softer playing style increases the volume level. Volume ❏ Settings: off, on (for Insert (Insertion), Reverb and Chorus effects) Plug-in Board Variations (Variation Effects) will be bypassed according to the Insert setting. MSTR Other (Other Setup) Set other parameters common throughout the system. Keyboard Playing Strength MSTR Other) PowerOnMode Sys Voice(INT) Ctrl BCCurve hold thru Volume ■ PowerOnMode Select the Mode entered when you switch the synthesizer on. Keyboard Playing Strength wide A softer playing style lowers the volume level and a stronger playing style increases the volume level. As a result, you feel a wider dynamic range. Volume ❏ Settings: Performance: Performance Play Mode is entered and the first Program Number (INT: 001) is selected automatically. Voice (INT): Voice Play Mode is entered and the first Program Number of the Internal Memory (INT: 001) is selected automatically. Quick Access: Voice Play Mode is entered with Quick Access enabled, and the first Program Number (A.PIANO) is automatically selected. Keyboard Playing Strength fixed Select this curve when you want the tone generator to respond (sound) in a specific volume, tone or the like. With this setting, any velocity value will be changed into a fixed one you specify with the Fixed (Keyboard Fixed Velocity) parameter below. Volume Keyboard Playing Strength ■ Fixed (Keyboard Fixed Velocity) The velocity is fixed at the Vel setting. The sound output is always the same, regardless of how hard or gently you play the keyboard. The Vel parameter is only available if you select the “fixed” Velocity Curve. ❏ Settings: 1 ~ 127 (Only available if Vel is set to “fixed” ) 135 last: The Voice/Performance Program selected before you switched the power off is recalled. ■ Ctrl (Controller) Select whether or not the controller (Modulation Wheel, Aftertouch, Foot Controller, Breath Controller, Knobs) state/position is maintained (hold) or reset when you switch between Voices. ❏ Settings: hold, reset 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 Utility Mode hard A stronger playing style increases the volume level. ■ BCCurve (TG Breath Curve) Set the Breath Curve determining how the strength with which you blow into the Breath Controller will affect the sound output. ■ CC# (Control Number) Assign MIDI Control Change Numbers to Assignable Knobs [A] to [C]. ❏ Settings: 000 ~ 095 (see the separate Data List for details) ❏ Settings: thru, soft, hard, wide ■ Dest (Control Destination) Set the function to be controlled by Assignable Knobs [A] to [C]. Adjusted Breath Control ❏ Settings: see the separate Data List for details thru The positions of Knobs [A]/[B]/[C] can be memorized for each Voice, Performance. Received Breath Control If a Master Equalizer parameter is selected as the destination, the M.EQ settings of “vce” (in Utility Mode) are increased/decreased Using Knobs [A]/[B]/[C]. Adjusted Breath Control soft CTRL Other (Controller Other) Set the Foot Switch and Foot Volume parameters. Received Breath Control Adjusted Breath Control CTRL Other) Sys FS 65[Porta Sw] FV volume Utility Mode hard ■ FS (Foot Switch) Assign a Control Change message to the Foot Switch. Received Breath Control ❏ Settings: 000 ~ 100 (000/032 = off, 096 = Arp Sw, 097 = Arpeggio Hold, 098 = Sequence PLAY/STOP, 099/100 = Program Change INC/DEC) Adjusted Breath Control Details about Control Numbers and Control Changes are given in the separate Data List. wide ■ FV (Foot Volume) Select whether Foot Volume controls the Main Volume or Expression parameter. Received Breath Control ❏ Settings: volume (Main Volume), expression CTRL (System Controller) Details about the Main Volume and Expression parameters are given in the separate Data List. In Voice Mode, you can set parameters for Controllers. The following four screens are available. CTRL KnobA (Control Knob [A]) CTRL KnobB (Control Knob [B]) CTRL KnobC (Control Knob [C]) CTRL Other (Control Other) CTRL Knobs [A] to [C] You can assign various control functions to Assignable Knobs [A] to [C] on the front panel. CTRL KnobA) Sys CC# 67[--------] Dest EQLow-G 136 ■ Switch Select the Control Change Number used to control the ARPEGGIO [ON/OFF] key. MIDI (System MIDI) You can set overall MIDI parameters for the system. The following five screens are available. ❏ Settings: 000 ~ 095 (000, 032 = off) MIDI Ch (MIDI Channel) MIDI Arp (MIDI Arpeggio) MIDI Sw (MIDI Receive Switch) MIDI Other MIDI GM/XG Receive ■ Hold Select the Control Change Number used to control the ARPEGGIO [HOLD] key. MIDI Ch (MIDI Channel) ■ Out (Vce) Enable/disable the output or Arpeggiator data to external MIDI devices through the MIDI Out. ❏ Settings: 000 ~ 095 (000/032 = off) Set the MIDI Channel parameters. ❏ Settings: off (disabled), on (enabled) Recv omni Trans 1 Local on ■ Ch (Vce) (Arpeggio Transmit Channel) Select the MIDI channel through which Arpeggio data will be sent. DevNo all ❏ Settings: 1 ~ 16 ■ Recv (Basic Receive Channel) Set the MIDI Receive channel for using the synthesizer with an external sequencer, computer and so on, and for using it as a MIDI tone generator. MIDI Sw (MIDI Receive Switch) Set the MIDI Receive parameters. ❏ Settings: 1 ~ 16, omni (all channels), off MIDI Sw)RcvBulk BankSel PgmChng Control Sys on perform off mode1 ■ Trans (Keyboard Transmit Channel) Set the MIDI Transmit channel for transmitting MIDI from the keyboard, controllers and so on. ■ RcvBulk (Receive Bulk) Select whether or not Bulk Dump data can be received. ❏ Settings: Ch1 ~ Ch16, off ❏ Settings: protect (off), on ■ BankSel (Bank Select) Set to enable or disable transmission and reception of Bank Select messages between the instrument and an external MIDI device. With any setting other than “off,” the instrument can receive a Bank Select massage coming in, and it can also send a Bank Select massage out to an external MIDI device when you select a Bank using a MEMORY key or the like on its front panel. ■ Local (Local On/Off) If you set Local to “off,” the keyboard and controllers are internally disconnected from the synthesizer’s tone generator section so that no sound is output when you play the keyboard or use the controllers. However, the data will be transmitted through the MIDI OUT. Also, the tone generator section will respond to messages received at the MIDI IN. ❏ Settings: off on, ❏ Settings: off, all, part, perform off: Ignores (does not receive) a Bank Select message. The instrument does not send this message, either. ■ DevNo (Device Number) Set the MIDI Device Number. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it. all: Receives all Bank Select messages coming in. When the instrument receives only a Program Change message in Performance Mode, that message selects a Part’s Voice. ❏ Settings: 1 ~ 16, all, off part: Receives only Bank Select messages for selecting a Voice Bank, whichever mode you are working in. MIDI Arp (MIDI Arpeggio) perform: Receives only Bank Select messages for selecting a Performance Bank when you are working in Performance Mode. When you are working in Voice Mode, the instrument only receives Bank Select messages for selecting a Voice Bank. Set the arpeggiator’s MIDI parameters. MIDI Arp) Sys[ Switch ] 67 Hold Out(Vce)Ch(Vce) 68 off 16 137 Utility Mode MIDI Ch) Sys ■ PgmChng (Program Change) Set to enable or disable reception of a Program Change message coming in. With this parameter set to “on,” the instrument can receive a Program Change massage coming in, and it can also send a Program Change out to an external MIDI device when you select a Voice or Performance (using a [PROGRAM/PART] key, etc.) on its front panel. MIDI GM/XG Receive (if a Multi-Part Plug-in Board has been installed) Set GM On and XG Reset Receive parameters. This screen is only available if a Multi-Part XG Plug-in Board has been installed. MIDI GM/XG Receive) Sys Sw on InternalPart layer-part ❏ Settings: off (disable), on (enable) ■ Sw (Receive Switch) Select whether or not to receive GM On and XG Reset messages. The XG Plug-in Board will receive GM On and XG Reset messages if you set this to “on.” ■ Control Set the MIDI transmit/receive parameters controlling the Sustain parameter of the QED EG. ❏ Settings: mode1, mode2 mode1: Messages are received as Parameter Change messages. ❏ Settings: off, on ■ InternalPart The sound for each of the synthesizer’s Parts can be output in the following three ways. when a GM On/XG Reset message is received. Whichever setting you choose, the Parts of the XG Plug-in Board will always be output. mode2: Messages are receives as Control Change messages. MIDI Other Set other MIDI parameters. Utility Mode MIDI Other) In ThruPort Sys MIDI 1 ❏ Settings: all part: All Parts of the synthesizer and the Plug-in Board will be output when MIDI messages are received. Sync SeqCtrl int on layer part: Parts which have their Layer Switch parameters set to “on” and all XG Plug-in Board Parts will be output when MIDI messages are received. ■ In (MIDI Input) Select whether to use the MIDI In/Out/Thru connectors or other (future) connectors. At present, you can only select “MIDI.” all off: No Parts of the synthesizer will be output but all XG Plugin Board Parts will be output when MIDI messages are received. ❏ Settings: MIDI ■ ThruPort You can connect your synthesizer to a computer via a dedicated serial cable on the TO HOST connector. In which case, MIDI messages received via the TO HOST connector can be passed through the MIDI OUT connector of the synthesizer. Set the port number here. By default the Sw parameter is set to “on” and the InternalPart parameter is set to “all off.” If you play a song file containing a GM On message, the XG Plug-in Board will be used to play back the song. M.EQ (Voice Master Equalizer) ❏ Settings: 1 ~ 8 You can assign any of five different Equalizer bands in Voice Mode. The following five screens are available. ■ Sync To synchronize playback with an external MIDI device, you can use either the synthesizer’s internal clock (int) or MIDI clock signals from the external device (midi). Select “int” if you are using the synthesizer as the master, or if you have no other MIDI devices connected to it. Select “MIDI” when slaving your synthesizer to another MIDI Clock source connected to the MIDI IN connector. M.EQ Low M.EQ LowMid (Low-Middle) M.EQ Mid (Middle) M.EQ HighMid (High-Middle) M.EQ High Q (Frequency Characteristic) Gain ❏ Settings: MIDI, int (internal) ■ SeqCtrl (Sequencer Control) Select whether or not to transmit/receive Song Start, Stop and Continue messages via MIDI. This also switches the transmission of MIDI Clock messages on and off. 0 Freq (Frequency) ❏ Settings: off, on 138 M.EQ Low (Master EQ Low) ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. This Equalizer covers low frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). M.EQ Low) Shape Vce peak Gain +12dB Freq 50Hz ❏ Settings: -12dB ~ 0dB ~ +12dB ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. Q 12.0 ❏ Settings: 100Hz ~ 10kHz ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ■ Shape Select either a Shelving or Peaking equalizer. 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. ❏ Settings: 0.1 ~ 12.0 M.EQ High (Master EQ High) ❏ Settings: shelv (Shelving), peak (Peaking) This Equalizer covers high frequencies. You can adjust the signal level at the specified frequency. You can also select different Equalizer types (Shapes). ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. M.EQ High)Shape Vce peak ❏ Settings: -12dB ~ 0dB ~ +12dB Gain +12dB Freq 0.5kHz Q 12.0 ■ Shape Select either a Shelving or Peaking equalizer. 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. ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings: 32Hz ~ 2.0kHz ❏ Settings: shelv (Shelving), peak (Peaking) ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ■ Gain Set the Gain. This attenuates or boosts frequencies around the Frequency setting. ❏ Settings: 0.1 ~ 12.0 ❏ Settings: -12dB ~ 0dB ~ +12dB M.EQ LowMid (Master EQ Low-Middle Range) ■ Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. M.EQ Mid (Master EQ Middle Range) ❏ Settings: 500Hz ~ 16kHz M.EQ HighMid (Master EQ High-Middle Range) ■ Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. These Equalizers cover low-to-middle, middle and highto-middle frequency ranges. They can be used to adjust the signal level around the specified frequency. M.EQ LowMid) Vce Gain +12dB Freq 100Hz ❏ Settings: 0.1 ~ 12.0 CTRL (Voice Controller) Q 12.0 M.EQ Mid) Vce Gain +12dB Freq 100Hz Q 12.0 M.EQ HighMid) Vce Gain +12dB Freq 100Hz Q 12.0 You can assign MIDI Control Change Numbers to the controllers and front panel knobs. For example, Knob [1]/[2] can be set to control the amount of effect applied to a sound and the Foot Controller can be set to control modulation. These Control Change Number assignments are known as “Controller Assign.” The following two screens are available. CTRL Assign1 (Controller Assign 1) CTRL Assign2 (Controller Assign 2) 139 Utility Mode Details about the shapes of the Shelving and Peaking Types are given on Page 116. ■ RB (Ribbon Controller) Assign a Control Change Number to the Ribbon Controller. CTRL Assign1 (Controller Assign 1) Use Knobs [C], [1] and [2] to assign Control Change Numbers to the Breath Controller, Knob [1] and Knob [2], respectively. The selected Control Change Name is shown on the left of the display. CTRL Assign1) Vce [FootCtrl] BC 02 Control Change Name Knob1 16 ❏ Settings: 00 ~ 95 (see the separate Data List for details) Details about Controller Assign settings in Performance Mode are given on Page 116. Knob2 17 PLG (Plug-in) (if a Plug-in Board has been installed) Control Change Number If you have a Plug-in Board installed, the following three screens are available for setting its parameters. However, the number of sub-screens and parameters will vary depending on the type of Plug-in Board installed. ■ BC (Breath Controller) Assign Control Change Number to the Breath Controller. The Breath Controller is connected to the BREATH connector (Page 18) on the rear panel. When the Breath Controller is used, this Control Change Number is transmitted. Also, if this Control Change Number is received, the destination parameter of the Breath Controller is controlled. PLG Status (Plug-in Status) PLG1/2 MIDI (Plug-in 1/2 MIDI) PLG1/2 System (Plug-in 1/2 System) PLG Status (Plug-in Status) The name of the Plug-in Board is displayed. ❏ Settings: 00 ~ 95 (see the separate Data List for details) PLG Status) Plugin Utility Mode ■ Knob1/2 (Knob [1]/[2]) Assign Control Change Numbers to Knobs [1] and [2] on the front panel. ■ PLG2 (Plug-in 2) The name of the Plug-in Board in the Plug-in 2 slot is displayed. CTRL Assign2 (Controller Assign 2) Use Knobs [C] and [1] to assign Control Change Numbers to the Foot Controller and Ribbon Controller, respectively. The selected function is shown on the left of the display. Use Knob [2] to select the Ribbon Controller Mode. Control Change Name FC 04 Expand ---- ■ PLG1 (Plug-in 1) The name of the Plug-in Board in the Plug-in 1 slot is displayed. ❏ Settings: 00 ~ 95 (see the separate Data List for details) CTRL Assign2) Vce [--------] PLG1:PLG100-VH PLG2:PLG150-AN Nothing is displayed for vacant Plug-in slots. ■ Expand This parameter is accessible only when you have two identical Plug-in boards installed on the instrument. The “part” setting enables two boards to work separately (you can select them in two different Parts). The “poly” setting enables two boards to work together to double polyphonic notes (you can only use them in a single Part with double polyphony). RB 22 Control Change Number ❏ Settings: part, poly PLG1 MIDI (Plug-in 1 MIDI) ■ FC (Foot Controller) Assign a Control Change Number to the Foot Controller. The Foot Controller is connected to the FOOT CONTROLLER connector on the rear panel (Page 18). PLG2 MIDI (Plug-in 2 MIDI) Set the MIDI parameters of the Plug-in Board. ❏ Settings: 00 ~ 95 (see the separate Data List for details) PLG2 MIDI) PLG150-AN 140 Clock on DevNo all ■ Clock Select whether or not to transmit MIDI Clock messages to the Plug-in Board. Now, the tempo of the Plug-in Board is synchronized with the MIDI clock signal received from the S80. To synchronize with an external MIDI clock source, enter Utility Mode and set the Sync parameter of the MIDI Other screen to “MIDI.” ❏ Settings: off, on ■ DevNo (Device Number) Set 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 to/from it. Utility Job Mode In Utility Job Mode, you can restore your synthesizer’s factory default settings (Factory Set). There is only one screen in this Mode. ❏ Settings: 1 ~ 16, all, off PLG1/2 System (Plug-in 1/2 System) Factory Set (Restore Factory Defaults) Set the system parameters for each Plug-in Board. Use Knob [C]/[2] to change the parameter. The number of screens and parameters will vary depending on the type of Plug-in Board installed. In the following example, a PLG150-AN Plug-in Board has been installed in the Plug-in 2 slot. Once you edit any settings, their factory defaults will be overwritten and lost. You can restore the factory default settings as follows. Mrph CtrlNo off When you restore the factory default settings, all the current settings for the all the Internal Voices and Performances will be overwritten with the factory defaults. Make sure you are not overwriting any important data. You should back up any important data to Memory Card, or to some external device beforehand. The system settings for the PLG100-VH Plug Board (Harmony Channel and Melody Channel) are set in Performance Mode. Select an effect type using knob [1] in the EFF plg screen of Common Effect. Then press the [ENTER] key to enter the settings screen. 1Press the [JOB] key in Utility Mode. You will see the Factory Set screen. Part Assign (assignment) for a Single-Part Plug-in Board is fixed as follows: • Voice Mode: 1 • Performance Mode: PLG1:16 PLG2:15 MODE Synchronize the tempo settings of the S80 and the Plug-in Board. If you are using a Plug-in Board capable of generating arpeggio patterns, you can synchronize its tempo with that of the S80. VOICE PERFORM UTILITY CARD SEQ PLAY JOB PLAY/ STOP EDIT STORE COMPARE 1 Enter Utility Mode and select either PLG1 MIDI screen or the PLG2 MIDI screen for the respective Plug-in Board. Then use the appropriate knob to set the Clock parameter to “on.” UTIL Factory Set) Job 2 Enter Voice Mode, select the Plug-in Voice of the respective Plug-in Memory, then enter Voice Edit Mode. 3 Use knob [A] to select “Elem,” as shown at the bottom left of the screen. 2When you press the [ENTER] key, you will see a confirmation message. 4 Use the [PAGE] knob to select the name of the Plug-in Board, as shown at the bottom left of the screen. Then enter the Plug-in native part parameter screen. 3Press the [INC/YES] key to execute the Factory Set job. You will see the “Completed.” message displayed after the job has completed. You can cancel a job while it is being executed by pressing the [DEC/NO] key. 5 Use the [PAGE] knob to select the Plug-in native part parameter for the tempo. Then use the appropriate knob to select MIDI (midi). 4Press the [EXIT] key to return to Utility Mode. 141 Utility Mode PLG2 System) Vel Curve norm You can restore the synthesizer’s default Internal Voices and Performances, as well as its System and other settings. Card Mode In Card Mode, you can use Memory Card, a SmartMedia™ card available at a consumer electronics shop, etc., to save or load data from/to the instrument or perform other data exchange operations between memories on the instrument and the Card. Using the included Card Filer software, you can use a computer to manage data on Memory Card. You can also use it to exchange data between the computer and Memory Card. ■ Formatting Memory Cards Before using a Memory Card with your instrument it must first be formatted. Once it is formatted all data on it will be erased. Be sure to check if the data is unnecessary for you or not, beforehand. The Memory Cards formatted with this instrument may become unusable with other instruments. ■ About the Memory Cards • To handle Memory Cards with care: Handling the Memory Card(SmartMedia™*) Be sure to handle Memory Cards with care. Follow the important precautions below. There are times when static electricity affects Memory Cards. Before you handle Memory Cards, to reduce the possibility of static electricity, touch the metal parts such as a door knob and aluminum sash. Be sure to remove the Memory Card from the Memory Card slot when it is not in use for a long time. Do not expose the Memory Card to direct sunlight, extremely high or low temperatures, or excessive humidity, dust or liquids. Do not place heavy objects on a Memory Card or bend or apply pressure to the Memory Card in any way. Do not touch the metal part (gold) of the Memory Card or put any metallic plate onto the metal part. Do not expose the Memory Card to magnetic fields, such as those produced by televisions, speakers, motors, etc., since magnetic fields can partially or completely erase data on the Memory Card, rendering it unreadable. Do not attach anything other than the provided labels to a Memory Card. Also make sure that labels are attached in the proper location. * SmartMedia is a trademark of Toshiba Corporation. ■ Compatible Memory Card Type 3.3V(3V) Memory Cards can be used. 5V type Memory Cards are not compatible with this instrument. ■ Memory Capacity There are five types of Memory Cards: 2MB/4MB/8MB/16MB/32MB. A Memory Card with the memory capacity exceeding 32MB can also be used if it conforms to the standards of SSFDC (Solid State Memory Card Card: another name of SmartMedia) Forum. ■ Inserting/Removing Memory Cards • To insert a Memory Card: Hold the Memory Card so that the connector section (gold) of the Memory Card is facing downward and forward, towards the Memory Card slot. Carefully insert the Memory Card into the slot, slowly pushing it all the way in until it is fitted in place. • To protect your data (Write-protect): - Don’t insert the Memory Card in wrong direction. Card Mode To prevent inadvertent erasure of important data, stick the write-protect seal (provided in the Memory Card package) onto the designated area (within a circle) of the Memory Card. Conversely speaking, to save data on the Memory Card, make sure to remove the write-protect seal from the Card. Do not reuse the seal that is peeled off. - Don’t insert anything other than a Memory Card in the slot. • To remove a Memory Card: Make sure to turn the instrument off and pull the Memory Card out of the slot. ■ Data Backup Always the instrument must be turned off before removing the Memory Card. For maximum data security Yamaha recommends that you keep two copies of important data on separate Memory Cards. This gives you a backup if one Memory Card is lost or damaged. However, if the Memory Card's memory is full and you want to exchange it with a new one to save your currently edited data, follow the following procedure: Before removing the Memory Card, be sure to confirm that the Memory Card is not in use, or it is not being accessed by the instrument. Then pull the Memory Card out slowly by hand. If the Memory Card is being accessed*, a message indicating that it is in use appears on the instrument's display. * ■ Burglarproof Lock This instrument is equipped with a burglarproof lock for the Memory Card. If necessity arises, mount the burglarproof lock onto the instrument. To mount the burglarproof lock: It includes saving, loading, formatting, deleting and making directory. Also, be aware that the instrument will automatically access the Memory Card to check the media type when it is inserted while the instrument is turned on. 1 Remove the metallic part using a Phillips screwdriver. 2 Turn the metallic part upside down and then mount it again. Never attempt to remove the Memory Card or turn the power off during accessing. Doing so can damage the data on the instrument/Memory Card and possibly the Memory Card itself. 142 ■ SMF (Standard MIDI Files) Format 0 Standard MIDI Files (SMFs) can be played back in Song Mode. However, they cannot be saved. You will see the 1st screen (Status) when you enter Card Mode. The following seven screens are available, each for a different operation. ❏ Extension: “.MID” 1st screen: Status 2nd screen: Save 3rd screen: Load 4th screen: Rename 5th screen: Delete 6th screen: MkDir (Make Directory) 7th screen: Format The SMF is a standardized sequence file format used by musical instrument manufacturers, computer software companies and other parties. An SMF can easily be exchanged between SMF-compatible sequencers, regardless of the manufacturer. The following two types of SMF exist, though this synthesizer will only play back Format 0 SMFs. Details about how to enter Card Mode are given on Page 22. • Format 0: Data for multiple MIDI channels is contained within a single track. File Types • Format 1: Data for multiple MIDI channels is contained within multiple tracks. If the SMF you wish to play back is in Format 1, use the included Card Filer software to convert to Format 0 via computer. Details of how to convert SMFs are given in the Card Filer documentation (in PDF format). Details about installing the Card Filer software are given in the separate Installation Guide. You can handle the following five types of files to your synthesizer. ■ all (All Data) All data in the synthesizer and in External Memory data are treated as a single file, and can be saved/loaded as such. Plug-in Board data cannot be saved. Automatically Loading Files System, Performance and Plug-in voice data can only be saved in this format. The synthesizer can automatically load certain files (All/Plug-in data) when you switch it on. Name the file to be loaded automatically as follows, then save it to the highest directory of the Memory Card. Insert the card into the CARD slot before switching the synthesizer on. ■ all-voice (All Voice Data) All Voice data in the synthesizer (128 Normal Voices + 2 Drum Voices) and in External Memory (128 Normal Voices + 2 Drum Voices) are treated as a single file, and can be saved/loaded as such. Plug-in Voice data is not included. Data will be loaded automatically and any existing data in memory will be overwritten. Therefore, you should save important data to Memory Card (or other media) beforehand. ❏ Extension: “.S2V” ■ plugin All Plug-in Board data is treated as a single file, and can be saved/loaded as such. Data for Plug-in Voice settings are not included. To prevent the automatic loading of files, hold down the [EXIT] key when powering up the synthesizer. Release the key when the “Now checking plug-in board.” message is displayed. ❏ Extension: “.S2B” ■ All (all data): Name the file “AUTOLOAD.S2A” to automatically load all data. ■ chain (Sequence Chain) Chain data for Standard MIDI Files (SMFs) are treated as a single file, and can be saved/loaded as such. This data is used for playing back multiple songs in succession. ■ Plugin (Plug-in data): Name the file “AUTOLD1.S2B” to automatically load Plug-in 1 Board data, or “AUTOLD2.S2B” for Plug-in 2 Board data. ❏ Extension: “.S2C” 143 Card Mode ❏ Extension: “.S2A” Card Mode Operations Status 1Insert the Memory Card into the CARD slot. You can view the amount of free and used on the Memory Card. There are no settings. 2Press the [CARD] key to enter Card Mode. 3Use the [PAGE] knob to switch to the screen for the operation you wish to perform. Save) Card SHIFT PAGE A Type all B Status) Card File A-? Cursor ***[NEWFILE .S2A] C 1 2 DATA ■ Free Shows the amount of free memory on the Memory Card. In the first “Status” screen, you don’t need any further operation described in step 2 and after. 4Use Knobs [B], [C], [1] and [2] to set each parameter. Alternatively, you can use the [DATA] knob and the [DEC/NO] and [INC/YES] keys. Save You can save files to Memory Card as follows. To save, load, rename or delete a file, use Knob [B] to select the File Type and Knob [C] to select the File Number. Save) Card Type all Data to be saved (File Type) File Directories Card Mode Directories are denoted by “DIR” next to the directory name. To open a directory, use Knob [C] to move the cursor to it and press the [ENTER] key. All the files in the directory are displayed. If you select File Number 000, “up dir” will be displayed. By pressing the [ENTER] key, you will be returned to the parent directory (i.e., moved up one directory level). File:/VOICEDIR/SUBDIR-1/ 001[NEWFILE .S2A] File number of file to be saved New file name ■ Type (File Type) ❏ Settings: all (all data), all-voice, chain (Sequence Chain), plugin1, plugin2 Details about each File Type are given on Page 143. The Memory Card must be formatted before you can save data to it (Page 147). When saving or renameing, the directory for the currently selected file is displayed if you press the [SHIFT] key. 1Use Knob [B] to select the File Type to which the data will be saved. 5When you press the [ENTER] key, you will see a confirmation message. 2To overwrite an existing file, use Knob [C] to select the File Number. To save a file with a new name, use Knob [2] to move the cursor. Then use Knob [1] or the [DATA] knob or [DEC/NO] and [INC/YES] keys to enter the new file name (see next Page). Type File:/VOICEDIR/SUBDIR-1/ Are you sure? [YES]/[NO] >> If you press the [SHIFT] key, the directory for the currently selected file is displayed. Further details are given in the section “Card Mode Operations”. 6Press the [INC/YES] key to execute the operation. The message “Completed.” will be displayed after it has executed, and you will be returned to the previous screen. 3When you press the [ENTER] key, the file will be saved. If an existing file will be overwritten when saving, a confirmation message will be displayed and the following step will be necessary. The operation will be canceled if you press the [DEC/NO] key during execution. If the operation takes some time to execute, you will see the message “Executing...” If you switch the power off in this state, the data may be damaged. The steps in the procedure may vary slightly, depending on the operation being performed. Refer to the explanation of each operation for details. Free 1.1MB ■ Used Shows the amount of Memory Card memory used. The amount is shown as a percentage in parentheses. PART/ELEMENT Load) << Used 2.9MB(70%) 144 4Press the [INC/YES] key to save the file. The message “Completed.” will be displayed after it has been saved, and you will be returned to the previous screen. The save operation will be canceled if you press the [DEC/NO] key during execution. 1Use Knob [B] to select the File Type of the data to be loaded. 2Use Knob [C] to select the File Number. 3When you press the [ENTER] key, the following will be displayed, depending on the selected File Type. When saving a file, the “Card full” message will be displayed if the space left on the Memory Card is insufficient. Free up space by deleting unwanted data and so on, then try saving the file again. • If you have selected a File Type other than “perf” or “voice”: A confirmation message is displayed before loading. If you enter the name of a file that already exists, you will see the “Overwrite? Are you sure?” confirmation message before saving. Load) << Take care not to overwrite important data held on Memory Card. The synthesizer will automatically select an appropriate location in its internal memory, according to the file type being loaded. File Name Settings The procedure for renaming files is basically the same as for renaming Voices. However, you cannot use symbols or lower case characters, and the name can only be up to eight characters in length. Details about renaming Voices are given on Page 70. • If you have selected “perf” or “voice” as the File Type: You will further have to specify the type of data and the location to which the file will be loaded. 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. The types of data that you can select for each File Type, and the locations to which they will be loaded, are as follows. You can load files from Memory Card to the synthesizer is as follows. perf (Performance) Load) Type File:/VOICEDIR/SUBDIR-1/ Card all-voice 001[NEWFILE .S2V] Load) Card File Number of file to be loaded [Pf:Init Perf ] [Pf:Init Perf ] EXT:064(D16) > INT:128(H16) Performance Memory of file to be loaded (source) Performance Memory to which file will be loaded (target) Performance Number of file to be loaded (source) ■ Type (File Type) Performance Number to which file will be loaded (target) ❏ Settings: all (all data), perf (Performance), all-voice, voice, chain (Sequence Chain), plugin1, plugin2, ❏ Settings: Source Performance Memory: INT (Internal), EXT (External) Source Performance Number: all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT) Target Performance Memory: INT (Internal), EXT (External) Target Performance Number: all (all Performances), 1 ~ 128 (INT), 1 ~ 64 (EXT) If you set the source Performance Number to “all,” the target Performance Number will also be set to “all.” 145 Card Mode Use Knobs [B], [C], [1] and [2] to select the file and the location to which it will be loaded. Alternatively, you can use the [DATA] knob and the [DEC/NO] and [INC/YES] keys. When you press the [ENTER] key, you will see a confirmation message. Load Data to be loaded (File Type) Type File:/VOICEDIR/SUBDIR-1/ Are you sure? [YES]/[NO] >> ■ Type (File Type) voice Load) Card ❏ Settings: all (all data), all-voice, chain (Sequence Chain), plugin, other [Pf:Init Voice] [Pf:Init Voice] EXT:064(D16) > INT:128(H16) Details about File Types are given on Page 143. Voice Memory of Voice Memory to file to be loaded (source) which file will be loaded (target) Voice Number of file to be loaded (source) Voice Number to which file will be loaded (target) 1Use Knob [B] to select the File Type and Knob [C] to select the File Number. If you press the [SHIFT] key, the directory for the currently selected file is displayed. Further details are given in the section “Card Mode Operations” (Page 144). ❏ Settings: Source Voice Memory: INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2 (Plug-in 2) Source Voice Number: all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64 (PLG1/PLG2) Target Voice Memory: INT (Internal), EXT (External), PLG1 (Plug-in 1), PLG2 (Plug-in 2) Target Voice Number: all (all Voices), 1 ~ 128 ~ DR1/2 (INT/EXT), 1 ~ 64 (PLG1/PLG2) 2To rename the file, use Knob [2] to move the cursor. Then use Knob [1] or the [DATA] knob and [DEC/NO] and [INC/YES] keys to enter the new file name. The procedure for renaming files is basically the same as for renaming Voices. However, you cannot use symbols or lower case characters, and the name can only be up to eight characters in length. Details about renaming Voices are given on Page 70. 3Press the [ENTER] key to rename the file. The message “Completed.” will be displayed after it has been renamed, and you will be returned to the previous screen. If you select PLG1/PLG2 as the source (or target) Voice Memory, the target (or source) Voice Memory will also be set to PLG1/PLG2. If you set the source Voice Number to “all,” the target Voice Number will also be set to “all.” 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. 4Press the [INC/YES] key to load the file. The message “Completed.” will be displayed after it has been loaded, and you will be returned to the previous screen. The load operation will be canceled if you press the [DEC/NO] key during execution. Delete Card Mode The synthesizer can automatically load files when you switch it on. (You will need to insert the card into the CARD slot before switching the synthesizer on.) Details are given in the section “Automatically Loading Files” (Page 143). You can delete files saved on Memory Card. Delete) Type Card all File Type If there is already data in the synthesizer, it will be completely lost when you load a file. File:/VOICEDIR/SUBDIR-1/ 001[NEWFILE .S2A] File Number File Name ■ Type (File Type) Take care not to erase important data when performing operations. ❏ Settings: all (all data), all-vioce, chain (Sequence Chain), plugin, other When loading a file, the “Memory full!” message will be displayed if the space left in your synthesizer’s internal memory is insufficient. Free up space by deleting unwanted data and so on, then try loading the file again. To delete a directory, delete any files within that directoryand then delete the directory itself. Details about File Types are given on Page 143. 1Use Knob [B] to select the File Type and Knob [C] to select the File Number. When loading a file, the “File not found!” message will be displayed if the File Type you have selected does not exist on the Memory Card. 2When you press the [ENTER] key, you will see a confirmation message. Rename You can rename files using up to eight alphabetic and numeric characters. Rename) Type Card all File Type 3Press the [INC/YES] key to delete the file. The message “Completed.” will be displayed after it has been deleted, and you will be returned to the previous screen. The delete operation will be canceled if you press the [DEC/NO] key during execution. File: A-? Cursor 001[NEWFILE .S2A] File Number File Name 146 MkDir (Make Directory) Format You can create new directories and subdirectories (new directories within existing ones). This allows you to store files in separate directories according to File Type. Before you can use a new Memory Card with the synthesizer, you will need to format it. Format) Card MkDir) /VOICEDIR/SUBDIR-1/ A-? Cursor Card Dir:***[NEWDIR-3] Directory Name Press [ENTER] Insert a new Memory Card into the CARD slot. When you press the [ENTER] key, you will see a confirmation message. Press the [INC/YES] key to start formatting the Card. You will see the “Executing...” message while the Card is being formatted. The directory hierarchy can have up to 27 levels. You cannot create a directory with the same name as one that already exists. The hierarchy display (directory path) will not be shown if the Memory Card has no directory other than the “root” directory. If there is already data on the Memory Card, it will be completely lost when you format it. 1Use Knob [C] to select an existing directory and repeat until you have reached the level in the hierarchy at which you wish to create a new directory. Do not remove the Memory Card while it is being formatted, since this could result in damage to the synthesizer and the card. 2To create a new directory, use Knob [2] to move the cursor. Then use Knob [1] or the [DATA] knob and [DEC/NO] and [INC/YES] keys to enter the new directory name. After formatting, an EXT Memory file will automatically be created. During this process, the message “Now saving...” will be displayed. Card Mode The procedure for renaming files is basically the same as for renaming Voices. However, you cannot use symbols or lower case characters. Details about renaming Voices are given on Page 70. Directory names can only be up to 8 characters long. 3Press the [ENTER] key to create the directory. The message “Completed” will be displayed after it has been created, and you will be returned to the previous screen. Directories are denoted by “Dir” next to the directory name. To open a subdirectory, use Knob [C] to move the cursor to it and press the [ENTER] key. All the files in the subdirectory are displayed. If you select File Number 000, “up dir” will be displayed. By pressing the [ENTER] key, you will be returned to the parent directory (i.e., moved up one directory level). 147 About the Plug-in Boards (Optional) A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument. The following types of Plug-in boards can be used with your instrument. ● ● ● ● ● ● PLG150-AN PLG150-PF PLG100-XG PLG150-VL PLG150-DX PLG100-VH How to Install the Optional Plug-in Board 1 Turn the keyboard power off, and disconnect the power cord. Also, if the keyboard is connected with other external device(s), disconnect the device(s). n See page 32 for detailed explanations for each board. Available slot (PLG1, PLG2) differs depending on the type of the Plug-in boards. Please take it into consideration before installation. PLG1/PLG2 Single-part Plug-in Boards (PLG150-AN, PLG150-PF, PLG150-VL, PLG150-DX) PLG1 only Effect Plug-in Board (PLG100-VH) PLG2 only Multi-part Plug-in Board (PLG100-XG) n Although the PLG100-VL and PLG100-DX can also be installed, some of the functions are not available. Precautions When Installing the Optional Boards 2 Move to a position facing the rear panel of the keyboard, and remove the screws from the Plug-in board cover at the bottom center side with a coin or a Phillips screwdriver (three SILVER screws only). Do not remove the other screws. n Keep the removed screws in a safe place. They will be used when attaching the Plug-in board cover to the keyboard again. 3 Remove the Plug-in board cover by pulling it to your side. The plate incorporated with the Plug-in board cover will appear. The plate can accommodate two Plug-in boards, on its top and bottom: PLG1 (top) and PLG2 (bottom). Remember the following precautions and install the Plug-in boards properly by following the steps as written. Appendix • Handle the Plug-in boards with care. Dropping or subjecting the Plug-in board to any kind of shock may cause damage or result in a malfunction. • Be careful of static electricity. There are times when static electricity affects the IC chips on the Plug-in board. Before you lift 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. • Before starting installation, be sure that you have a coin or a Phillips screwdriver at hand. • 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. • When inserting Plug-in boards and connecting cables, make sure that you check that they are inserted and connected properly. Improperly inserted Plug-in boards and cables may cause faulty contacts and an electrical short circuit which may cause damage or result in a malfunction. • After mounting the Plug-in board be sure to tighten the screws as directed so it is completely stable and does not move in any way. 148 Those two can be identified by the color of the connector cable. PLG1: One of the cables is ORANGE and the others are blue. PLG2: One of the cables is YELLOW and the others are blue. Available slot (PLG1, PLG2) differs depending on the type of the Plug-in boards. For details, refer to the table above in the left column. Top (PLG1) Bottom (PLG2) When installing the optional Plug-in board (from when you remove the cover to when the cover is replaced securely) all operations must be done with the AC power cord disconnected. 6-3 Carefully plug the cable connector into the Plug-in board connector until the two notches on the cable connector lock into the sockets on the board. 4 Remove the tape which is used to fasten the cable to the plate. tape 5 Take out the Plug-in board from the anti-static bag. When installing the board, the side with a connector and ICs must be on top. 6 Mount the Plug-in board onto the plate as detailed in the following steps. 6-1 Insert one side of the Plug-in board (the side opposite to the connector) into the hooks 1 as shown in the illustration. Removing the Plug-in board from the keyboard 1 Pull out the cable connector from the Plug-in board connector. Hooks 1 Hooks 1 6-2 Press down the other side until it is securely settled on the hooks 2. 2 Press down the hooks 2 in the direction as shown in the illustration and take the board out from the hooks 2 by lifting up the one side. Appendix Hooks 2 3 Pull out the other side of the board from the hooks 1. Hooks 2 149 7 Insert the plate into the keyboard. 8 Replace the Plug-in board cover by fastening the three SILVER screws you removed in the step 2 above. Appendix 150 Display Messages >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> << << << << << << << << << << << Executing... Now working... Now loading... Now saving... Now checking plug-in board. MIDI bulk receiving... MIDI bulk transmitting... C 3:128[ ] Stored. Completed. Are you sure ? [YES]/[NO] Overwrite? [YES]/[NO] >> >> >> >> >> >> >> >> >> >> >> Meaning Failed to process the MIDI data because too much data was received at once. Error occurred when receiving MIDI data. Error occurred when receiving bulk data. Internal backup battery needs to be replaced. No more available memory on the Memory Card. Can t find the specified type of file. Memory Card is faulty. Memory Card has not been inserted, or an incompatible card (5V type) has been inserted. Memory Card has not been formatted. Memory Card is write protected. Memory Card has been wrongly formatted. File with the same name already exists. Data in the file is corrupted and cannot be used. The specified file name is not in MS-DOS format. File is a read-only type, and cannot be deleted, renamed or saved. A file could not be created on the Memory Card. No further directories can be created. Directory cannot be entered because it is too deep. File format is not recognized. Bulk data cannot be received because protection is enabled. Bulk data cannot be transmitted/received because the device number is set to "off." Bulk data cannot be transmitted/received because the device numbers don t match. Cannot be used because Slot 1 contains a Multi-Part Plug-in Board. Cannot be used because Slot 2 contains a Effect Plug-in Board. Plug-in Board in Slot 1 is not working properly. Plug-in Board in Slot 2 is not working properly. Sound requires a different Plug-in Board to that inserted in Slot 1. Sound requires a different Plug-in Board to that inserted in Slot 2. When used with a PLG100 series Plug-in Board, a data file of which File Type is plugin cannot be stored on a Memory Card. Operation is being executed. Memory Card operation is being executed. File is being loaded from Memory Card. File is being saved to Memory Card. Plug-in Board(s) is/are being checked (after powering up the synthesizer). MIDI Bulk data is being received. MIDI Bulk data is being transmitted. Sound has been stored. Operation has completed. Final confirmation. There is a file already stored with the same name. Replace it with a newer one with that name? 151 Appendix Message << ! MIDI buffer full. << ! MIDI data error. << ! MIDI checksum error. << ! Change internal battery. << ! Card full. << ! File not found. << ! Bad card. << ! Card not ready. << ! Card unformatted. << ! Card write protected. << ! Illegal card. << ! File already exists. << ! Illegal file. << ! Illegal file name. << ! Read only file. << ! Can't make "EXT" file. << ! Can't make directory. << ! Too deep directory. << ! Unknown file format. << ! Bulk protected. << ! Device number is off. << ! Device number mismatch. << ! Multi plugin in slot 1. << ! Effect plugin in slot 2. << ! Plugin1 communication error. << ! Plugin2 communication error. << ! Plugin1 type mismatch. << ! Plugin2 type mismatch. << ! PLG100 not supported. Troubleshooting The following table provides troubleshooting hints and page references for some common problems. Most problems may be simply the result of incorrect settings. Before calling for professional service, refer to the troubleshooting advice below to see if you can find and correct the cause of the problem. No sound. • • • • • • • • • • • • • • • • • • • Is the volume set appropriately? (Pages 6 and 20) With the S80, if a Foot Controller has been connected to the FOOT VOLUME jack, has it been fully depressed? (Page 18) Is the Vol (volume) parameter of the QED Level screen of Voice Edit Common sufficiently high? (Page 71) Has the WaveNumber parameter of the OSC Wave screen of Voice Edit Element been set to 000 (off)? (Page 79) Is the Level parameter of the OSC Out screen in Voice Edit Element sufficiently high? (Page 79) Have the note range/velocity (note) range of the ZONE, OSC screen in Voice Edit been set appropriately? (Page 80) Are any of the Elements muted? (Page 51) Have the Element filters been set to cut almost all the sound? (Page 83) Have the effects parameters been set appropriately? (Pages 71, 78, 79, 117, 120) Have the MIDI receive channels been set correctly? (Pages 123 and 137) Has the audio equipment been connected correctly? (Page 13) Has the Local switch been set to OFF? (Page 137) Have the Velocity Sensitivity, Note Limit and Velocity Limit parameters been set appropriately? (Pages 80, 102, 123 and 128) When playing back a song using the internal sequencer or an external MIDI device, have the volume and expression parameters been set appropriately? When playing performances using the internal sequencer or an external MIDI device, have the transmit channels for each sequencer track and the receive channels for each Part in the Performance, been set correctly? (Page 123) For Performances, is the volume of each Part sufficiently high? (Page 120) For Performances, has the output for each Part been set correctly? (Page 123) Have you selected EXT Memory without having inserted a Memory Card? (Page 28) With the Arpeggiator enabled, has the Arpeggio Category parameter been set to “Ct” and the Key Mode parameter set to something other than “direct”? (Page 72) There is no arpeggiator sound. Appendix • Has the Arpeggiator’s note range been set appropriately? (Page 73) • In Performance Mode, have the Layer Switch and Arpeggio Switch parameters for the Part(s) been set to ON? (Page 123) • Has the Tempo parameter in the ARP Type screen been set to “MIDI,” despite no MIDI clock signals being received? Arpeggiator settings (On/Off, Hold, Tempo) cannot be changed. • Plug-in Boards feature their own built-in arpeggio pattern generators. Details are given on Page 141, and also in the Owner’s Manual that comes with each Plug-in Board. (For the PLG150-AN Plug-in Board the settings are found in the Arp/SEQ Sw screen. Details are given on Page 29 of the PLG150-AN Owner’s Manual.) Sounds are distorted sounds. • Have the effects been set appropriately? (Pages 71, 78, 79, 117, 120) • Has the volume been set too high? (Pages 6 and 20) • Has the GAIN knob of the A/D INPUT been turned up too high? (Page 11) 152 Sound is very quiet. • Has the MIDI volume or MIDI expression been set too low? • Has the filter cutoff frequency been set too high/low? (Pages 72, 96, 115, 120) The pitch is wrong. • • • • • • • Have the NoteShift and Tune parameters in the MSTR TG screen of Utility Mode been set correctly? (Page 134) Have the Oct and Trnspose parameters in the MSTR Kbd screen of Utility Mode been set appropriately? (Page 134) Have the pitch related parameters in PITCH menu (Voice Edit) been set appropriately? (Page 80) Has the Micro Tuning parameter in Voice Edit Mode been set to an unconventional scale? (Page 71) Has the Pitch Modulation Depth in the LFO screen (Voice Edit Mode) been set too high? (Page 91) For Performances, has the Note Shift parameter in the LYR (Layer) screen been set to a value other than 0? (Page 123) For Performances, has the Detune parameter for each Part been set to a value other than 0? (Page 123) Sound is choppy and intermittent. • Has the maximum polyphony been exceeded? (Page 33) Only one note sounds at a time. • Has the Mode parameter in the GEN Other screen of Voice Edit Common been set to “mono”? (Page 71) • In Performance Mode, has the Mode parameter in the LYR Mode screen been set to “mono” for each Part? (Page 122) • Has the [EF BYPASS] key been set to OFF? (Page 56) • Has the Insertion Effect Element Switch parameter in the EFF screen of Voice Edit been set to ON? Also in this Mode, has the effect type been set to something other than “thru” or “off”? (Page 78) • For Performances, have the Insertion Effect Parts been specified? (Page 117) • For Reverb and Chorus, have the effect types in the Common Edit screens been set to ON? (Pages 79, 118) • If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance been set to something other than OFF? (Page 117) • If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance been set to something other than “THRU”? (Page 118) The Element switches do not work for the Control Set • Have Element-specific parameters been selected as Dest (Destination)? (Page 75) The Plug-in Board does not work. • Has the Effect Plug-in Board been installed in PLG2? (Page 148) • Has the Multi-Part-type Plug-in Board been installed in PLG1? (Page 148) • If an Effect Plug-in Board has been installed, has the PLG-EF parameter in the EFF Part screen of the Performance’s Common Effect been set to something other than “off”? (Page 118) • If an Effect Plug-in Board has been installed, has the setting in the EFF Plg screen of the Performance’s Common Effect been set to something other than “THRU”? (Page 118) 153 Appendix No effects are applied. Cannot find the Drum Voice. • Drum Voices are selected differently to Normal Voices (Page 66). Cannot enter small values. • Have you only tried entering values using Assignable Knobs [A] to [C] or Knob [1]/[2]? (Page 24) Cannot move the cursor without the settings being affected. • Hold down the [SHIFT] key while using Knobs [A] to [C], Knob [1]/[2], and the [DATA] knob or the [INC/YES] and [DEC/NO] keys (Page 24). You selected another mode, Voice, or Performance without storing, and have inadvertently erased the data. • If you’ve selected another mode, Voice, or Performance without storing the edited Voice or Performance, you can use the Recall function (in the Job mode) to restore the last edited data (Pages 105, 130). The Quick Access function doesn’t work. • When a program change message is received from a connected MIDI device (such as a computer or MIDI keyboard), the Quick Access function is automatically disabled. When using the Quick Access function, set Program Change (PgmChng) to “off” in the MIDI Receive Switch (MIDI Sw) parameter in the Utility mode (Page 138). Cannot receive bulk data. • When using the S80 Voice Editor, have you set a sufficient Dump Interval? The Dump Interval in the Voice Editor Setup dialog must be set to 10ms or greater. Appendix Macintosh users: Card Filer for Macintosh does not work correctly. • Are you using MIDI Time Piece? Card Filer is not compatible with MIDI Time Piece. You need to disable the use of MIDI Time Piece on the Macintosh. 154 Specifications KEYBOARD Number of Keys 88 Touch Initial touch, After touch AWM2, Modular Synthesis Plug-in System TONE GENERATION SYSTEM Tone Generators 64 Polyphony VOICE Number of Voice Normal voices (256 Presets, 128 Internals [Users], 128 Externals [Memory Cards]), Drum voices (8 presets, 2 Internals [Users], 2 Externals [Memory Cards]), Plug-in voices (64 x 2 Plug-in Boards [If installed]) 24 MByte Wave ROM PERFORMANCE EFFECT Multi-Timbres 19 (16 Voice Parts, A/D Input Part, Plug-in 1/2 Parts) Number of Performance 128 Internals, 64 Externals Master Keyboard Mode 4 Zones 12 Reverb 23 Chorus Insertion 24 (Insertion 1), 92 (Insertion 2), 24 (Insertion for Plug-in Voices) 4 Master EQ SEQUENCE PLAY Format SMF Format 0 (Direct Play only), Sequence Chain (Load/Save) 100 Steps (100 Songs) Number of Sequence Chains ARPEGGIATOR Number of Arpeggios Card File Type Functions CONTROLS 128 All Data, All Voice, Plug-in, Sequence Chain, SMF Save, Load, Rename, Delete, Make Directory, Format Volume Slider, 4 Control Sliders, Pitch, Modulation, Shift, Page, Knob A/B/C/1/2, Data, Effect Bypass, Master Keyboard, Exit, Enter, Dec/No, Inc/Yes, 7 Mode Keys, Sequence Play, Sequence PLAY/STOP, 6 Memory Keys, Quick Access, 8 Bank Keys, 16 Program/Part Keys, Power, Card Slot, Gain, Host Select CONNECTORS & TERMINALS MIDI In, Out, Thru, To Host, Breath, Footswitch, Sustain, Foot Controller, Foot Volume, Individual Output 1, 2, Output L/Mono R, Phones, A/D Input, AC Inlet, 2 Connectors for Plug-in Boards INCLUDED ACCESSORIES Owner s Manual, Data List, CD-ROM, AC Power Cord OPTIONAL ACCESSORIES PLG150 Plug-in Boards Series, PLG100 Plug-in Boards Series, FC4/5 Footswitch, FC7 Foot Controller, BC3 Breath Controller 16W POWER CONSUMPTION OUTPUT IMPEDANCE Output: +18.1 –2dbm (10k ohms), Phones: +17.2 –2dbm (33 ohms) 1329(W) x 371(D) x 157(H) mm DIMENSIONS 24.3 kg WEIGHT * 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. 155 Appendix 40 x 2 (Backlit) DISPLAY Index 0~9 Connections ...............................................................................................13 Control Sets ...............................................................................................45 Control Sets and External MIDI Control ................................................46 Controller Section ...............................................................................31, 43 Controlling Parameters by Foot Controller ............................................48 CONTROL SLIDER .......................................................................6, 44, 61 CTL AC Control (AC Control Depth)....................................................101 CTL AC Control (AC Control Depth) (Multi Plug-in Parts only) .......126 CTL AC Modulation ...............................................................................101 CTL AC Modulation (AC Modulation Depth) (Multi Plug-in Parts only) ......126 CTL Assign1(Controller Assign 1) ........................................................116 CTL Assign2 (Controller Assign 2) .......................................................116 CTL AT Control (AT Control Depth) ...................................................100 CTL AT Control (AT Control Depth) (Multi Plug-in Parts only) .......126 CTL AT Modulation ...............................................................................101 CTL AT Modulation (AT Modulation Depth) (Multi Plug-in Parts only) ......126 CTL Bend (Pitch Bend) ............................................................................74 CTL MW Control (MW Control Depth) ...............................................100 CTL MW Control (MW Control Depth) (Multi Plug-in Parts only).......125 CTL MW Modulation.....................................................................100, 124 CTL Pitch (Pitch Bend) ..........................................................................100 CTL Portamento........................................................................................74 CTL Set1 (Control Set 1) to CTL Set6 (Control Set 6) ..........................74 CTL Set1 (Control Set 1)/CTL Set2 (Control Set 2) ............................100 CTL Set1/CTL Set2 (Control Set 1/2) (A/D Input Part only) ............125 CTRL (System Controller) ....................................................................136 CTRL (Voice Controller) ........................................................................139 CTRL Assign1 (Controller Assign 1) ....................................................140 CTRL Assign2 (Controller Assign 2) ....................................................140 CTRL Knobs [A] to [C] ..........................................................................136 CTRL Other (Controller Other) ............................................................136 4 Zones.......................................................................................................58 A A/D INPUT jack .......................................................................................11 About Memory Cards .......................................................................20, 142 About Modular Sysnthesis Plug-in System .............................................33 About Note Limit (Key Range) ................................................................61 About the Modes.......................................................................................35 About the Plug-in Boards (Optional) ..............................................32, 148 About the Tone Generator .......................................................................32 AC Control Depth ...........................................................................101, 126 AC INLET terminal ..................................................................................10 AC Modulation Depth ....................................................................101, 126 AEG Level..................................................................................................88 AEG Release ..............................................................................................88 AEG Time .................................................................................................88 AEG VelSens (AEG Velocity Sensitivity)................................................88 Aftertouch .................................................................................................45 AMP AEG (Amplitude Envelope Generator) .........................................97 AMP KeyFlw (AMP Key Follow) ............................................................89 AMP Scale (AMP Scaling Break Point)...................................................90 AMP Scale (AMP Scaling Offset) ............................................................90 AMP VelSens (Amplitude Velocity Sensitivity)......................................97 An Overview of the S80 ..........................................................................31 An Overview of Voices/Waves .................................................................37 ARP Limit (Arpeggio Note Limit)...........................................................73 ARP Mode (Arpeggio Mode) ...................................................................73 ARP PlayEF (Arpeggio Play Effects).......................................................73 ARP Type (Arpeggio Type) .....................................................................72 Arpeggiator ................................................................................................41 Assigning Parameters to Knobs [1] and [2] ............................................47 Assigning Parameters to Knobs [A], [B] and [C] ...................................46 AT Control Depth ...........................................................................100, 126 AT Modulation Depth ....................................................................101, 126 Automatically Loading Files...................................................................143 D [DATA] Knob..................................................................................7, 25, 66 [DEC/NO] key ................................................................................8, 24, 66 Delete .......................................................................................................146 Demo Playback..........................................................................................26 Display Messages.....................................................................................151 Drum Common Arpeggio .........................................................................94 Drum Common Controllers......................................................................94 Drum Common Edit and Drum Key Edit ...............................................93 Drum Common Effects .............................................................................94 Drum Common General ...........................................................................93 Drum Common Quick Edit ......................................................................93 Drum Key Amplitude ...............................................................................96 Drum Key EQ (Equalizer)........................................................................97 Drum Key Filter ........................................................................................96 Drum Key OSC (Oscillator) ....................................................................94 Drum Key Pitch.........................................................................................96 Drum Voices ........................................................................................66, 92 B Appendix BANK [A] to [H] keys ................................................................................9 Bank/Program Number ....................................................................64, 107 Breath Controller.......................................................................................44 BREATH jack ............................................................................................11 C Card Mode...................................................................................22, 35, 142 CARD slot..................................................................................................10 Chained Playback ....................................................................................133 Chorus Unit.................................................................................55, 79, 118 Common (Settings for all Parts) .............................................................112 Common Arpeggio ............................................................................72, 115 Common Controller .........................................................................74, 115 Common Edit and editing each Element...........................................50, 68 Common Effect..................................................................................78, 117 Common EQ (Equalizer) ........................................................................116 Common General ..............................................................................70, 115 Common LFO (Low Frequency Oscillator).............................................75 Common Quick Edit .........................................................................71, 114 Common/Part/Zone Edit ......................................................................111 Connecting a Microphone or Other Audio Equipment..........................14 Connecting External MIDI Equipment ...................................................15 Connecting to a Mixer ..............................................................................13 Connecting to a Personal Computer ........................................................16 Connecting to External Audio Equipment..............................................13 Connecting Various Controllers ...............................................................18 E Edit Modes.................................................................................................21 Editing Plug-in Board Voices ..................................................................104 [EF BYPASS] key.........................................................................................8 EFF Cho (Chorus).............................................................................79, 118 EFF EF1/2 (Insertion Effect 1/2)....................................................78, 127 EFF InsEF (Insertion Effect) ...................................................................78 EFF Part ...................................................................................................117 EFF Rev (Reverb)..............................................................................79, 118 Effect Bypass .............................................................................................56 Effect Parameter Settings .........................................................78, 118, 127 Effect Plug-in Boards ...............................................................................33 Effects ..................................................................................................34, 55 Effects in Performance Mode ...................................................................55 156 L Effects in Voice Mode ...............................................................................55 Element Amplitude ...................................................................................88 Element Filter............................................................................................83 Element Pitch ............................................................................................80 Element EQ (Equalizer) ...........................................................................91 Element LFO (Low Frequency Oscillator) ..............................................90 Element OSC (Oscillator) .........................................................................79 Entering Data ............................................................................................24 [ENTER] Key..................................................................................8, 24, 25 EQ High ...................................................................................................117 EQ HighMid (High-Middle Range)........................................................117 EQ Low ...................................................................................................116 EQ LowMid (Low-Middle Range)..........................................................117 EQ Mid (Middle Range) .........................................................................117 EQ Param (EQ Parameter) .....................................................................103 EQ Type.....................................................................................................91 Example of Control Set Assignment........................................................75 [EXIT] Key ............................................................................................8, 23 Layer (Master keyboard Mode)................................................................60 Layer (Performance Mode).....................................................................122 LCD (Liquid Crystal Display) ....................................................................7 LFO Depth ................................................................................................91 LFO Dest1 (LFO Destination 1) ..............................................................77 LFO Dest2 (LFO Destination 2) ..............................................................77 LFO Fade ...................................................................................................77 LFO Param (LFO Parameter) .................................................................101 LFO Wave ............................................................................................75, 90 Load ........................................................................................................145 LYR Limit (Layer Limit).........................................................................123 LYR Mode (Layer Mode)........................................................................122 LYR Out (Layer Out) ..............................................................................123 LYR Tune (Layer Tune).........................................................................123 M.EQ (Voice Master Equalizer).............................................................138 M.EQ High (Master EQ High)...............................................................139 M.EQ HighMid (Master EQ High-Middle Range)................................139 M.EQ Low (Master EQ Low).................................................................139 M.EQ LowMid (Master EQ Low-Middle Range)..................................139 M.EQ Mid (Master EQ Middle Range) .................................................139 Master keyboard .......................................................................57, 128, 134 Master Keyboard/Tone Generator Mode ..............................................111 [MASTER KEYBOARD] key.....................................................................8 Maximum Polyphony................................................................................33 MEMORY keys............................................................................................9 Memory/Performance Program Number...............................................107 Memory/Voice Program Number .............................................................64 Menu Display..........................................................51, 70, 93, 98, 111, 134 Micro Tuning ............................................................................................71 MIDI (System MIDI) ..............................................................................137 MIDI Arp (MIDI Arpeggio) ...................................................................137 MIDI Ch (MIDI Channel) ......................................................................137 MIDI GM/XG Receive (if a Multi-Part Plug-in Board has been installed) .....138 MIDI IN, OUT, and THRU connectors...................................................10 MIDI Interface to MIDI IN and OUT .....................................................17 MIDI Other..............................................................................................138 MIDI Sw (MIDI Receive Switch) ..........................................................137 MIX Level ................................................................................................120 MIX Vce/Template ..................................................................................119 MKB Assign (Master Keyboard Assign) ...............................................129 MKB Note (Master Keyboard Note)......................................................128 MKB Transmit (Master Keyboard Transmit) .......................................128 MKB TxPreset1 (Master Keyboard Transmit Preset 1) .......................129 MKB TxPreset2 (Master Keyboard Transmit Preset 2) .......................129 MKB TxSw1 (Master Keyboard Transmit Switch 1)...........................128 MKB TxSw2 (Master Keyboard Transmit Switch 2)...........................128 MKB TxSw3 (Master Keyboard Transmit Switch 3)...........................128 MKB TxSW4 (Master keyboard Transmit Switch 4) ..........................128 MkDir (Make Directory)........................................................................147 MODE keys .................................................................................................8 MODULAR SYNTHESIS PLUG-IN SYSTEM .......................................33 MODULATION wheel ...............................................................................6 Monitoring Board Voices ..........................................................................98 Moving the Cursor ..............................................................................24, 25 MSTR (System Master)..........................................................................134 MSTR EF Bypass (Master Effect By-pass)............................................135 MSTR Kbd (Master Keyboard) ..............................................................134 MSTR Other (Other Setup) ...................................................................135 MSTR TG (Master Tone Generator) ....................................................134 Multi Edit ................................................................................................109 Multi-Part Plug-in Board...........................................................................33 MW Control Depth .........................................................................100, 125 MW Modulation Depth ..................................................................100, 125 F Factory Set (Restore Factory Defaults)..................................................141 FEG Level (FEG Level).............................................................................86 FEG Release (FEG Release) .....................................................................86 FEG Time ..................................................................................................86 FEG VelSens (FEG Velocity Sensitivity) .................................................85 File Name Settings ..................................................................................145 File Types ................................................................................................143 Filter Envelope Generator Settings..........................................................86 Filter Scaling Settings ...............................................................................87 FLT Cutoff (Filter Cutoff) ........................................................................96 FLT HPF (High Pass Filter) .....................................................................85 FLT KeyFlw (Filter Key Follow) ..............................................................86 FLT Scale (Filter Scale Break Point)........................................................87 FLT Scale (Filter Scale Offset) .................................................................87 FLT Sens (Filter Sensitivity) ....................................................................85 FLT Type (Filter Type) ............................................................................83 Foot Controller .........................................................................................44 FOOT CONTROLLER jack .....................................................................10 Foot Switch ...............................................................................................44 FOOT SWITCH jack.................................................................................11 Foot Volume ..............................................................................................44 FOOT VOLUME jack ...............................................................................10 Format......................................................................................................147 G GAIN knob ................................................................................................11 GEN M.Kbd (General Master Keyboard) ..............................................113 GEN MIDI (General MIDI)....................................................................113 GEN Name (General Name)......................................................70, 90, 113 GEN Other (General Other) ..............................................................71, 99 H HOST SELECT switch..............................................................................11 I [INC/YES] key ................................................................................8, 24, 66 INDIVIDUAL OUTPUT 1 and 2 jacks ...................................................10 Insertion Effects..................................................................................55, 78 J Job Modes ..................................................................................................22 K Knob Parameter.................................................................................65, 108 Knobs [A], [B], [C], [1] and [2] ......................................................7, 24, 44 157 Appendix M N Q Normal Voice .............................................................................................69 [Quick Access] key ......................................................................................9 QED EF (Quick Edit Effect) ..................................................................114 QED EffectCtrl (Quick Edit Effect) ............................................71, 93, 99 QED EG (Quick Edit Envelope Generator) .......................72, 93, 99, 115 QED Filter (Quick Edit Filter) ............................................72, 93, 99, 115 QED Level (Quick Edit Level).............................................71, 93, 99, 114 O Octave and MIDI Transmit Channel Settings ................................65, 108 OSC Assign (Oscillator Assign) .............................................................102 OSC Limit (Oscillator Limit)....................................................................80 OSC Other (Oscillator Other) ..................................................................95 OSC Out (Oscillator Out)...................................................................79, 95 OSC Pan (Oscillator Pan) ...................................................................80, 95 OSC Velocity (Oscillator Velocity) .........................................................102 OSC Wave (Oscillator Wave)..............................................................79, 94 OUTPUT L/MONO and R jack ...............................................................11 R RCV Sw1 (Receive Switch 1) .................................................................124 RCV Sw2 (Receive Switch 2) .................................................................124 RCV Sw3 (Receive Switch 3) .................................................................124 RCV Sw4 (Receive Switch 4) .................................................................124 Reading the Displayed Settings ..............................................................110 Rename ....................................................................................................146 Reverb Unit .................................................................................55, 79, 118 P Appendix [PAGE] Knob.........................................................................................7, 23 Part (Settings for each Part) ...................................................................119 Part Controller ........................................................................................125 Part Insertion Effect (A/D Input Part only) ........................................127 Part Layer ................................................................................................122 Part Mixer ...............................................................................................119 Part Receive Switch ...............................................................................124 Part Tone .................................................................................................120 PCH PEG (Pitch Envelope Generator) ..................................................103 PCH Scale (Pitch Scale) ............................................................................82 PCH Tune (Pitch Tune).....................................................................80, 96 PEG Level ..................................................................................................81 PEG Release...............................................................................................81 PEG Time ..................................................................................................81 PEG VelSens (PEG Velocity Sensitivity) .................................................81 Performance Category.............................................................................108 Performance Edit ..............................................................................21, 111 Performance Job Mode .....................................................................22, 130 Performance Memory/Number (Bank/Number)..................................107 Performance Name..................................................................................108 Performance Play Mode Display ............................................................107 Performance Program Selection .............................................................109 Performance Store ...........................................................................112, 131 Performances.......................................................................................29, 39 PFM Bulk Dump .....................................................................................131 PFM Copy ................................................................................................130 PFM Edit Recall ......................................................................................130 PFM Initialize..........................................................................................130 PFM Play (Performance Play) ................................................................107 PHONES jack ............................................................................................11 PITCH bend wheel......................................................................................6 Pitch Envelope Generator Settings ..................................................82, 103 Play Modes.................................................................................................21 PLG (Plug-in) (if a Plug-in Board has been installed)..........................140 PLG Status (Plug-in Status) ...................................................................140 PLG-NATIVE (Plug-in Native) ..............................................................103 PLG1 MIDI (Plug-in 1 MIDI) ................................................................140 PLG1/2 System (Plug-in 1/2 System)....................................................141 PLG2 MIDI (Plug-in 2 MIDI) ................................................................140 Plug-in Common Arpeggio .......................................................................99 Plug-in Common Controller ...................................................................100 Plug-in Common Effect...........................................................................102 Plug-in Common General .........................................................................99 Plug-in Common LFO (Low Frequency Oscillator)..............................101 Plug-in Common Quick Edit ....................................................................99 Plug-in Element EQ (Equalizer) ............................................................103 Plug-in Element Native...........................................................................103 Plug-in Element OSC (Oscillator) ..........................................................102 Plug-in Element Pitch .............................................................................102 Plug-in Voices ............................................................................................98 Power Supply.............................................................................................12 POWER switch..........................................................................................10 Powering Up ..............................................................................................19 PROGRAM/PART [1] to [16] keys......................................................9, 23 S Save ..........................................................................................................144 Screen Title........................................................................................64, 107 Selecting a Menu .......................................................................................70 Selecting a Mode........................................................................................21 Selecting a Screen......................................................................................23 Selecting Preset Drums (PRE:DR1~DR8) ...........................................66 Selecting the Arpeggio Type ..............................................................41, 72 Selecting User Drums (INT:DR1/2 and EXT:DR1/2)...........................66 SEQ (Sequence Chain) ...........................................................................132 SEQ controls................................................................................................8 SEQ Demo (Sequence Demo) ................................................................132 Sequence Play Mode...................................................................22, 35, 132 Setting the Note Limit ..............................................................................42 Setting the Tempo .....................................................................................42 Setting the Voice Name.............................................................................70 Setting/Viewing Knob Parameters...................................................65, 108 [SHIFT] Key ..........................................................................................7, 23 Single Part Plug-in Boards ........................................................................32 SmartMedia™.....................................................................................20, 142 Song File Playback ............................................................................63, 133 Split ............................................................................................................57 Status .......................................................................................................144 Sustain ......................................................................................................44 SUSTAIN jack ...........................................................................................11 Switching Between Programs by Foot Switch ........................................48 Switching Elements On/Off ....................................................................51 T The “Compare” Function .................................................................69, 112 The í Indicator .................................................................................69, 112 TO HOST connector...........................................................................11, 16 TON EG (Tone Envelope Generator) ...................................................121 TON Filter (Tone Filter)........................................................................120 TON Other (Tone Other).......................................................................122 TON Portamento (Tone Portamento)....................................................121 Tone Generator Section............................................................................32 Types of Parameters (Absolute and Relative).........................................25 U Using the A/D Input Part.........................................................................63 Using the Arpeggiator Hold .....................................................................43 Using the BANK/PROGRAM Keys ................................................65, 109 Using the Voice Category Search ............................................................67 Using the Quick Access ......................................................................28, 68 Utility Job Mode................................................................................22, 141 Utility Mode................................................................................22, 35, 134 158 V VCE Bulk Dump......................................................................................106 VCE Copy.................................................................................................105 VCE Edit Recall.......................................................................................105 VCE Initialize ..........................................................................................105 Voice Category ...........................................................................................65 Voice Edit ......................................................................................21, 50, 68 Voice Job Mode .................................................................................22, 105 Voice Memory/Number (Bank/Number) Display ..................................64 Voice Mode ..........................................................................................35, 64 Voice Name................................................................................................65 Voice Play Mode Display ....................................................................21, 64 Voice Program Selection ...........................................................................65 Voice Store .........................................................................................69, 106 Voices ...................................................................................................27, 36 [VOLUME] Slider........................................................................................6 W Waves .........................................................................................................38 Z Appendix Zones........................................................................................................127 159 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. FRANCE ASIA Yamaha Musique France, Division Professionnelle 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 Electronica Musical, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid) Spain Tel: 91-201-0700 GREECE Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33 BRAZIL Yamaha Musical do Brasil LTDA. Av. Rebouças 2636, São Paulo, Brasil Tel: 011-853-1377 ARGENTINA Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha de Panama 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 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 YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 KOREA Cosmos Corporation 1461-9, Seocho Dong, Seocho Gu, Seoul, Korea Tel: 02-3486-0011 MALAYSIA Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900 Yamaha Music Asia Pte., Ltd. 11 Ubi Road #06-00, Meiban Industrial Building, Singapore Tel: 65-747-4374 F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511 TAIWAN Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 THAILAND Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317 OCEANIA AFRICA AUSTRALIA Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 MIDDLE EAST THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 SINGAPORE FINLAND GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 INDONESIA Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 ICELAND THE UNITED KINGDOM Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 PHILIPPINES DENMARK Yamaha Music Argentina S.A. Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-371-7021 HONG KONG TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Australia Pty. Ltd. 17-33 Market Street, South Melbourne, Vic. 3205, Australia Tel: 3-699-2388 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, International Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: 971-4-81-5868 HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2445 SY21 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. 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 lightening 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: 4. a. The power supply cord has been damaged; or 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. 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 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. (class B) * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. IMPORTANT NOTICE FOR THE UNITED KINGDOM ADVARSEL! WARNING: THIS APPARATUS MUST BE EARTHED Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: VARNING Connecting the Plug and Cord GREEN-AND-YELLOW :EARTH BLUE :NEUTRAL BROWN :LIVE Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enlight fabrikantens instruktion. 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. (3 wires) NEDERLAND / THE NETHERLANDS • Dit apparaat bevat een lithium batterij voor geheugen back-up. • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 • For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address : Kanaalweg 18-G, 3526 KL UTRECHT Tel : 030-2828425 • Gooi de batterij niet weg, maar lever hem in als KCA. • Do not throw away the battery. Instead, hand it in as small chemical waste. (lithium disposal) VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. (lithium caution) Analog Physical Modeling Plug-in Board PLG150-AN Piano Plug-in Board PLG150-PF Reproduce the fat and funky sounds of vintage analog synths! This board gives you a synth engine similar to the one featured in Yamaha’s amazing AN1x analog physical modeling synthesizer. On top of its full array of wave algorithms, resonant filters, LFOs, and envelope generators, it also has distortion and a 3-band equalizer. With the PLG150-AN, project and professional studios alike will be able to produce the killer synth sounds featured in today’s hot dance tracks. For the serious piano player, this Plug-in Board is loaded with hundreds of painstakingly sampled piano and keyboard voices—from concert grands and uprights to electric pianos and harpsichords. Two piano boards can be used together, effectively doubling piano polyphony to an incredible 128 notes! For professional recording studios that demand authentic piano sound but don’t want to bother with a real piano, an S80 loaded with the PLG150-PF makes a perfect solution. Tone Generator Type Polyphony Voices Effects Interface Dimensions (W) x (D) x (H) Weight AN (Analog Physical Modeling Synthesis ) 5 notes 256 Preset 128 User Guitar Amp. Simulator (Distortion), 3-Band EQ, XG Part EQ Plug-in Connector (15-pin digital I/F connector) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 65g (2.3oz) Tone Generator Type Polyphony Voices Effects Interface Dimensions (W) x (D) x (H) Weight AWM2 64 notes 136 Preset Reverb, Chorus, Insertion, 2-Band EQ Plug-in Connector (15-pin digital I/F connector) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 72g (2.5oz) Virtual Acoustic Plug-in Board PLG150-VL Advanced DX/TX Plug-in Board PLG150-DX The Virtual Acoustic Modular Synthesis Plug-in Board lets you create incredibly expressive, natural-sounding voices by digitally simulating the physical characteristics of acoustic instruments. Thanks to its fabulous synthesis architecture, extensive realtime performance control of the voices is possible, making it the ideal Plug-in Board for keyboard soloists. Add the classic sounds of Yamaha’s world-famous DX-7 synthesizer to the S80. The PLG150DX features the same 6-operator 16-note polyphonic FM tone generation system that took the synthesizer industry by storm. This board is a must-have for performing keyboard players and producers of contemporary music. Tone Generator Type Polyphony Voices Interface Dimensions (W) x (D) x (H) Weight S/VA (Self-oscillating Virtual Acoustic Synthesis) 1 note monophonic 256 Preset 70 User Plug-in Connector (15-pin digital I/F connector) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 56g (2.0oz) Tone Generator Type Polyphony Voices Effects Interface Dimensions (W) x (D) x (H) Weight FM Synthesis 16 notes 912 Preset 64 User Part EQ, Lowpass, Highpass Plug-in Connector (15-pin digital I/F connector) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 63g (2.2oz) Vocal Harmony Plug-in Board PLG100-VH XG Plug-in Board PLG100-XG The PLG100-VH adds powerful harmony or vocoder effects to your voice by simply plugging a microphone into the S80’s A/D input and playing chords on the keyboard. Harmony interval changes can be recorded in a sequencer track for automated playback—a dream tool for performing vocalists or for singer/songwriters who want to compose and record songs at home. This Plug-in Board gives you over 400 professional-quality sampled voices and 12 drum kits as well as 32 additional notes of polyphony. Plus it fully supports XG MIDI specifications, so you can use it to play back XG SMF MIDI song files from an external sequencer or the S80’s internal sequencer. Home recording hobbyists in particular will find this Plug-in Board an indispensable addition to the S80. Maximum Harmony Effects Voice Control Interface Dimensions (W) x (D) x (H) Weight S80_e 3 voices Vocoder Harmony, Detune Harmony Chordal Harmony, Chromatic Harmony Gender change (male → female, female → male) Vibrato, Volume, Pan, Detune Plug-in Connector (15-pin digital I/F connector) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 53g (1.9oz) Tone Generator Type Polyphony Voices Effects Connector Dimensions (W) x (D) x (H) Weight AWM2 32 notes Preset normal: 480, drum kits: 12 Reverb, Chorus, Variation Plug-in Connector (15-pin digital I/F connector) 138.5 x 89.0 x 8.5 mm (5 9/16" x 3 5/8" x 3/8") 56g (2.0oz) OWNER’S MANUAL This document is printed on chlorine free (ECF) Paper. M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation © 1999 Yamaha Corporation V419010 012MWCP2.3-04D0 Printed in Japan