Yamaha AN1x El manual del propietario

Marca: Yamaha

Modelo: AN1x

Categoría: Secuenciador

Tipo: El manual del propietario

Contents

Playing Arpeggiated Chords...........................................35

Arpeggio MIDI Output....................................................37

Using The Step Sequencer

..........................................37

Step Sequencer On/Off .................................................38

Step Sequencer Hold Modes...........................................38

Voice Pattern And User Pattern Banks...............................39

Playing Step Sequencer Patterns......................................40

Step Sequencer Edit.......................................................44

Step Sequencer MIDI Output...........................................46

Using The Free EG

......................................................47

Free EG Parameters .......................................................47

Using The Control Features

.........................................49

Real-time Control............................................................49

Utility Control Assign Function.........................................50

Control Matrix...............................................................51

FEATURE REFERENCE

Voice Select

.................................................................52

Knob Edit

....................................................................53

Knob Parameters

.......................................................54

PEG/LFO......................................................................54

SYNC/FM ....................................................................58

VCO1 ..........................................................................61

VCO2 ..........................................................................63

VCF..............................................................................64

MIX/VCF ......................................................................66

VCA.............................................................................68

ASSIGN .......................................................................70

Panel Parameter Edit

..................................................71

Edit Procedure...............................................................71

Edit Parameters

..........................................................72

VOICE SCENE SETUP ....................................................72

VOICE COMMON ........................................................77

VOICE FREE EG ............................................................81

VOICE ARPEGGIO/SEQ ................................................85

SEQ EDIT/SETUP...........................................................89

UTILITY SETUP................................................................92

Voice Recall

................................................................96

Voice Initialize

............................................................97

Store

...........................................................................98

Voice Store....................................................................98

Scene Store...................................................................99

Factory Settings

........................................................100

APPENDIX

Voice Creation Examples

..........................................101

About MIDI

...............................................................109

Error Messages

.........................................................112

Troubleshooting

........................................................113

Blank Chart

..............................................................114

Specifications

............................................................116

Index

........................................................................117

PRECAUTIONS ............................................................

INTRODUCTION

How To Use This Manual

..............................................5

Main Features

...............................................................5

The AN1x At A Glance

.................................................6

The Making Of A Modern Classic

.................................8

What Is A Voice?

..........................................................9

AN1x Memory Structure

..............................................9

ANALOG PHYSICAL

MODELING SYNTHESIS

AN1x Tone Generator

................................................10

GETTING STARTED

System Examples

.......................................................12

Switching On The Power ................................................13

Playing The Demo Songs

............................................13

Basic Operation

..........................................................14

AN1x Operating Modes.................................................14

Selecting Voices.............................................................14

Using The Controllers .....................................................15

CONTROL Knobs And Parameter Groups.........................16

AN1x Quick Tour

........................................................17

Exploring The Factory-set Voices......................................17

Selecting Scenes And Scene Morphing

.......................19

Scene Memories............................................................19

Scene Control................................................................20

Scene Store Function......................................................21

Scene Load Function ......................................................22

Scene Swap Function .....................................................22

Selecting Layer Modes

................................................22

Layer Modes .................................................................22

Portamento Play

.........................................................24

Turning PORTAMENTO On And Off.................................24

Setting Portamento Time..................................................25

Selecting Portamento Modes ...........................................25

Selecting Parameter Groups

.......................................25

Using The CONTROL Knobs

........................................26

Assigning Parameters To Knobs.......................................27

Using The Panel Edit Matrix

.......................................28

Editing Voices

.............................................................29

Voice Edit Procedure ......................................................29

Creating Original Voices ................................................30

Store Operations

........................................................33

Turning ARPEGGIO/SEQ On And off

..........................33

Using The Arpeggiator

...............................................33

Arpeggiator On/Off ......................................................33

Arpeggio Hold Function..................................................34

Arpeggio Pattern Types...................................................34

Arpeggio Subdivide.......................................................34

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

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

WARNING

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

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

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

or modify them in any way. The instrument contains no user-

serviceable parts. If it should appear to be malfunctioning, discontinue

use immediately and have it inspected by qualified Yamaha service

personnel.

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

wet conditions, or place containers on it containing liquids which

might spill into any openings.

• If the AC adaptor 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 adaptor plug

from the outlet, and have the instrument inspected by qualified Yamaha

service personnel.

• Use the specified adaptor (PA-3B or equivalent, recommended by

Yamaha) only. Using the wrong adaptor can result in damage to the

instrument or overheating.

• 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 AC adaptor 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 an outlet, always hold the plug

itself and not the cord.

• 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 adaptor 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.

• 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 adaptor and other

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 or plastic objects on the instrument,

since this might discolor the panel or keyboard.

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

and do not use excessive force on the buttons, switches or connectors.

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

uncomfortable volume level, since this can cause permanent hearing

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

a physician.

■ 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 "Battery

Low" will display in the LCD. When this happens, immediately back up

your data (using an external device such as the floppy disk-based

Yamaha MIDI Data Filer MDF2), 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

• Save all data to an external device such as the Yamaha MIDI Data Filer

MDF2, 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.

The LCD screens and diagrams in this owner's manual are for

instructional purposes only, and may be different from the ones on your

instrument.

How To Use This Manual

This owner’s manual provides your basic keys to unlocking the power of

the AN1x Control Synthesizer. It is divided into the following sections:

INTRODUCTION Provides a brief rundown of the AN1x’s main

features and description of all front and rear panel controls along

with information about the AN1x’s memory

structure

. We

recommend you take a few minutes and read the

INTRODUCTION section carefully before you get started in order

to familiarize yourself with the basic features and capabilities of

the AN1x.

ANALOG PHYSICAL MODELING SYNTHESIS Provides an

overview of the basic concept of the tone generation technology,

plus descriptions of basic terminology and a signal flow block

diagram,

in order to give you an understanding of what’s going on

inside the instrument as you twiddle the knobs and set parameters.

Congratulations! And thank you for choosing Yamaha. You are now the proud owner of the AN1x Control Synthesizer, a

fully-professional digital keyboard with powerful sound and versatile real-time control features. The AN1x is a modern

music dynamo capable of faithfully delivering the warm, fat, punchy sounds of the legendary analog synths—with the

same familiar oscillator, filter and other sound creation elements and intuitive, "hands on" style of operation—plus all the

sophisticated flexibility you'd expect from a professional digital synthesizer.

GETTING STARTED Provides a basic overview of how to set up

your AN1x and quickly familiarize yourself with all its key features

and operations. We recommend you actually be sitting in front of

your AN1x as you read through the GETTING STARTED section,

so you can try out each feature along the way to get a thorough

understanding of how the AN1x works.

FEATURE REFERENCE Provides a comprehensive explanation of

all AN1x features. This is in essence a dictionary which you can

refer to any time you need to know the details about any given

feature.

APPENDIX Provides information related to MIDI, troubleshooting,

and more.

A separate Data List book provides voice, Arpeggiator Type, Effect

Type and other lists and information.

Main Features

The AN1x Control Synthesizer is a truly innovative professional keyboard with enormously flexible

sound and performance capabilities. Following is a brief rundown of the main features:

Analog Physical Modeling synthesis

The AN1x generates amazingly high quality synth sounds in much the same way as traditional

legendary analog synthesizers—using voltage controlled oscillators and filters, low frequency

oscillators, ring modulator and voltage controlled amplifiers—but with the additional benefits

of digital multi-effects, MIDI control and much more.

128 voices and maximum 10 notes polyphony

The AN1x comes with an impressive array of 128 voices preprogrammed and ready to play, each of which

can be edited and overwritten to store your own. Ten notes of polyphony provide for versatile SINGLE,

DUAL and SPLIT play options.

Intuitive interface with "hands on" voice editing and multiple assignable

real-time controllers

The AN1x's eight CONTROL knobs and panel Edit matrix give you direct and instant access to

many parameters as you play. All controllers are assignable, including [PITCH] and

[MODULATION] wheels and various foot pedals, plus the [RIBBON] controller with horizontal slide

(X) and pressure (Z) control of filter, LFO, delay and more. The Control Matrix function permits

easy assignment of up to 16 sets of "source" controllers (MW, FC, Key Touch, etc.) to destination

parameters (VCA, Filter, LFO, etc.) for each Scene, all of which can be stored as voice data for

each voice.

2 Scene memories for each voice, with real-time morphing between Scenes

Each voice has two Scenes, each of which can be selected by pressing a [SCENE] switch. This

provides two distinct sounds within each voice available for instant recall as you play. You can

press both [SCENE] switches to activate the "Scene Control" function, and roll the

[MODULATION] wheel (or press a foot pedal or use any other continuous controller) to morph,

or cross-fade between the sounds of Scene 1 and Scene 2 as you play.

Six types of Layers to choose from for each voice

SINGLE, UNISON, DUAL, DUAL UNISON, SPLIT, and SPLIT UNISON Layer modes give you a

wide choice for control over how the two Scenes are configured to play in relation to each

other for each voice.

Arpeggiator with 30 patterns and various play options, plus MIDI data

output

The Arpeggiator lets you play perfect arpeggiated chords at the simple press of a key. You can

have the Arpeggiator play only one or both Scenes, or play one Scene to the left of the Split

Point while you play the other Scene normally to the right. You can choose from various types

of arpeggio patterns, including Up, Down, and Up&Down across one or more octaves, plus

various special patterns including Techno, House, Random, and more. The arpeggio pattern

data can be output via MIDI on its own MIDI channel.

Easy-play/edit “Step Sequencer” with 128 Voice Patterns and 128 User

Patterns

The Step Sequencer permits quick, easy creation of highly sophisticated looped patterns which

can be triggered from the keyboard in a variety of ways. Each individual step event (Note,

Velocity, Gate Time, and Control Change) can be accessed and edited by a specific CONTROL

knob, over a maximum of 16 steps. There are a variety of handy Step Sequencer edit and

play options, including “Play Effects” which give you detailed control over the “feel” of your

sequence. Pattern event data can be output via MIDI on its own MIDI channel.

4-track “Free EG” records and plays real-time changes of knob positions

for up to four different parameters

The 4-track Free EG lets you record real-time CONTROL knob movements, in order to “hand

draw” filter, resonance, LFO and many other available parameters over time—and have them

play back automatically by simply playing a voice. You can control up to four different

parameters independently, each recorded into its own Free EG track. Ideal for those times

when you wish you had an extra couple of pairs of hands, the Free EG lets you build up an

incredibly complex, completely unique voice.

Programmable multi-effects and 3-band EQ for each voice

The AN1x has three types of programmable multi-effects plus EQ built into the voice

architecture, which lets you customize the effects configuration for each voice. There are 8

Reverb effects, 5 Delay effects, 14 Variation effects (which includes Chorus, Auto Pan, Pitch

Change, Compressor, Distortion effects and more), and a stereo 3-band Equalizer. An Effect

Bypass function lets you bypass all effects or specific ones at the press of a switch.

PITCH

MODULATION

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

PHONES

L / MONO

OUTPUT

DC IN POWER

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

OUT

MIDI

THRU

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ ENTERNO

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

Mode

Poly

Temp

Track

Trigge

Comm

Arp /S

Knob

Event

Syste

Mstr Tu

KNOB PARAMETER GROUP

PEG/ LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

[VOLUME] knob

This knob controls the AN1x’s overall

volume level output from the PHONES

and OUTPUT jacks. Turn the [VOLUME]

between left-most (minimum) and right-

most (maximum) positions to set the

proper listening level whether using

headphones or amplified speakers.

[SCENE] switches

Each of the AN1x's 128 voices has two Scene

memories, each of which are instantly accessible

by pressing the [SCENE 1] or [SCENE 2] switch.

Each Scene can have its own distinct sound.

Pressing both [SCENE] switches simultaneously

activates the Scene Control function, which lets you

"morph", or cross-fade between Scenes in real-

time using the assignable [MODULATION] wheel,

an assignable Foot Controller, or any other

continuous controller.

[RIBBON] controller

The assignable [RIBBON] controller gives you

horizontal slide (X) and pressure (Z) control of

designated controllable parameters as you play,

including filter cutoff, resonance, LFO, panpot,

reverb, and more.

[PITCH] wheel

The [PITCH] wheel lets you bend the pitch up or

down as you play. It is spring-loaded to

automatically return to center position when you let

go of it. You can use the Control Matrix to designate

specific Pitch Bend parameters for the upper and

lower bend ranges for each Scene.

[MODULATION] wheel

The assignable [MODULATION] wheel lets you

apply modulation or another designated

controllable parameter as you play, or morph

between Scenes when the Scene Control function is

active (and the [MODULATION] wheel is

designated as the source controller).

CONTROL knobs with push-switch (knob parameters)

The eight assignable CONTROL knobs are used for real-time control and edit of the various tone

generator parameters, depending on which KNOB PARAMETER GROUP select switch is currently

selected, plus instant access to each step event when the [EDIT ROTARY] switch is set to the SEQ

EDIT/SETUP menu. Press a CONTROL knob (push-switch) to confirm the current parameter in the LCD.

Turn a CONTROL knob left to decrease values or right to increase them. Make fine edit adjustments by

turning a knob while pressing it. Since all CONTROL knobs are assignable, you can have each one

access one of many different available parameters to give you maximum real-time control over specific

aspects of your sound, including versatile control of external instruments via MIDI output.

PROGRAM

The PROGRAM

used for selectin

currently selecte

Other functions

naming a User v

canceling ([NO]

operations.

LCD

The back-lit LCD

Display) provide

of information w

indicates the cu

status of the AN

voices, turn kno

switches.

KNOB PARAMETER GROUP switches

These switches determine which set of parameters are

controlled by the CONTROL knobs. The switches are

color coded in cross-reference to the parameter names

as printed in the same color on the panel beside each

knob. Whenever you select a voice, the [ASSIGN]

switch is automatically selected, to give you instant

access to your assigned CONTROL knob parameters.

The AN1x At A

Front Panel

Rear Panel

1 MIDI terminals

MIDI [IN], [OUT] and [THRU] terminals let you connect external MIDI

devices such as a MIDI keyboard, tone generator, sequencer or

computer or others, using a MIDI cable. [IN] is for input of MIDI data,

including data dumps from another AN1x or MIDI data storage

device. [OUT] is for output of MIDI data, including data dumps to

another AN1x or MIDI data storage device. [THRU] is for “daisy-

chain” connection of additional MIDI instruments, as the MIDI data

received at the AN1x’s [IN] terminal is passed along unchanged to

the [THRU] terminal.

2 [FOOTSWITCH

An optional Yamaha

used to control hold

3 [FOOT CONTRO

An optional Yamaha

used for control of va

assignment.

4 [FOOT VOLUM

An optional Yamaha

to regulate overall vo

5 [POWER] switc

Press the [POWER] s

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

ON OFF

DC IN R L/MONO

OUTPUT PHONES

POWER

ASSIGNABLE

MIDI

OUTTHRU IN

THRU

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ ENTERNO

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

CONTROL SYNTHESIZER

ANALOG PHYSICAL MODELING

CTRL

PEG

LFO2 LFO1

VCO

VCO1

SYNC

MASTER

SLAVE

VCO2

MIX/VCF

MOD

RING

NOISE

VCA

VOLUME

AEG

FEEDBACK

VARI

DLY REV

EFFECT

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT /SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Dly/ Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

Base Unit

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

PROGRAM CHANGE keypad

The PROGRAM CHANGE keypad is primarily

used for selecting a voice or confirming the

currently selected voice name and number.

Other functions include selecting letters when

naming a User voice, and confirming ([YES]) or

canceling ([NO]) specific store and other

operations.

[PORTAMENTO] switch

For turning the portamento function on and off.

[LAYER] switch

For selecting one of the six Layer modes.

[STORE] switch

For initiating Store operations.

[ARPEGGIO/SEQ] switch

For turning the Arpeggiator or Step Sequencer

on and off.

DEMO

Pressing [PORTAMENTO] and [LAYER]

simultaneously lets you access the

Demonstration songs.

[EDIT ROTARY]

switch

The 6-position [EDIT

ROTARY] switch lets you

designate one of the six

Edit menus, as printed on

the panel to the right of

each menu.

LCD

The back-lit LCD (Liquid Crystal

Display) provides various types

of information which clearly

indicates the current operating

status of the AN1x as you select

voices, turn knobs and press

switches.

At A Glance

Synthesis Block Diagram

The Analog Physical Modeling synthesis

block diagram provides a handy visual

reference or reminder of how the signal

flows through the key blocks, or

components of the AN1x's tone

generation architecture, which is helpful

when manipulating the various

parameters during voice editing or real-

time sound control.

Parameter value [UP/DOWN] switches

These ten switches are used to access and edit specific parameters (as printed on the

panel), depending on which Edit menu is currently selected with the [EDIT ROTARY]

switch. Pressing the upper area of a parameter value [UP/DOWN] switch

increments the parameter value or setting, and pressing the lower area decrements

it. Simply pressing a switch once will display the parameter name and current value

or setting in the LCD. Thereafter, pressing or holding the upper or lower area of the

switch will change the value or setting accordingly.

Keyboard

The 61-key touch-sensitive

keyboard features Initial

(velocity) and After Touch

(pressure) control.

al MIDI

DI data,

s to

sy-

data

ed to

2 [FOOTSWITCH] jack

An optional Yamaha FC4 or FC5 Footswitch connected to the [FOOTSWITCH] jack can be

used to control hold on/off, Portamento on/off and other discrete controllers.

3 [FOOT CONTROLLER] jack

An optional Yamaha FC7 foot controller connected to the [FOOT CONTROLLER] jack can be

used for control of various continuous or discrete controllers, depending on controller

assignment.

4 [FOOT VOLUME] jack

An optional Yamaha FC7 foot controller connected to the [FOOT VOLUME] jack can be used

to regulate overall volume (or any other assigned continuous controller function.).

5 [POWER] switch

Press the [POWER] switch to turn the AN1x on and off.

6 [DC IN] terminal

Connect the supplied Yamaha PA-3B Power Adaptor to the [DC IN] terminal.

(CAUTION: Do not attempt to use an AC adaptor other than the Yamaha PA-3B or

equivalent, since the use of an incompatible adaptor may cause irreparable damage to

the AN1x, and may even pose a serious shock hazard.)

7 OUTPUT jacks

The stereo OUTPUT jacks let you connect the AN1x to an external stereo

amplifier/speaker system. When using a mono system, connect it to the [L/MONO]

jack.

8 [PHONES] jack

The [PHONES] jack lets you connect a set of stereo headphones to the AN1x for private

listening.

The History…

Why is the “analog sound” so popular in a digital

age? What long and winding road had to be

traveled—just to end up right back where we started

from? Let’s take a quick look at how we got from there

to here, and where here really is, anyway.

Electronic music synthesis has been around in one form

or another since the beginning of the 20th Century. But

it wasn’t until the early 1970s that developments in

voltage controlled synthesis technology made the

concept practical—and affordable.

As such, the voltage controlled synthesizer became less

and less an experimental curiosity in the world’s great

universities and sound labs and more and more a

valid—and revolutionary—musical instrument in its own

right. It quickly became a staple in professional

recording studios, and its myriad sounds started

gracing the ears of millions through popular recordings

in literally all genres of music.

Then came the 1980s, and the introduction of wildly

popular, affordable-for-the-masses, great-sounding and

easy-to-use digital synths like the famous Yamaha DX7.

What followed was the MIDI revolution, which drove

the rapid development of ever-more-sophisticated multi-

timbral digital synthesizers and tone generators, along

with the overwhelming acceptance of digital sampling

which has literally changed the way we create and

listen to music. And all of which have gone hand-in-

hand with the desktop music revolution.

Most recently there has been the introduction of

breakthrough physical modeling synthesis technology,

which has been successfully applied to the accurate

reproduction of acoustic instrument sounds through

purely electronic means, as well as the creation of new

“hybrid-type” acoustic-oriented sounds.

The Making Of A Modern Classic

The classic analog synth sound is back with a vengeance and more popular than ever. Vintage analog synthesizers are hot

items, recirculating and finding their way into the arsenals of the world’s most innovative music makers, many of whom

weren’t even born when the voltage controlled synthesizer was coming of age more than a quarter of a century ago.

Enter the Yamaha AN1x Control Synthesizer—a modern classic in its own right—complete with the VCO, VCF, and VCA

blocks, or "modules" that give retro synths that famously fat, rich, warm sound, plus multiple knobs for controlling every nuance

of the sound, and even an on-board Arpeggiator and Step Sequencer for generating pattern loops at the press of a key.

What’s much more, however, is that the AN1x incorporates features that vintage synths could only dream about—like three on-

board programmable digital multi-effects units and a 3-band stereo EQ, a multiple controller-to-parameter assignment architecture,

a 4-track Free EG for “hand drawing” real-time knob position movements of up to four different tone generator parameters, plus

real-time morphing between two different sounds, and more—all of which can be customized for each of the 128 voices and

stored as individual voice data.

Enter Analog Physical

Modeling…

The classic analog synth never fell out of favor with the

world's most innovative musicians. That's because it

has a special punch, power, plus important elements of

interactivity that digital synths and samplers have

tended to lack by comparison.

And now, with the demand for that "classic analog

sound" due to the global popularity of techno, trance,

and other modern forms of dance music, it's hardly

surprising that Yamaha—a company consistently at the

very pinnacle of electronic musical instrument

technology—would react to that demand and create a

completely new performance-oriented "control

synthesizer" that takes the company's original

breakthroughs in physical modeling synthesis and uses

it to digitally "model" the analog sound-generating

components which gives voltage controlled synthesis its

unique character and virtually unlimited range of

sound.

And package it with a host of digital extras to bring

the technology full circle with a completeness and utility

never before possible.

In short, the AN1x is a logical—and timely—

development in the evolution of electronic musical

instrument history, based on the modern needs and

demands of the world’s cutting-edge musicians. And

once again, as is often the case with creations from

Yamaha, music history will never be the same.

All the tools are in the box. The rest is up to you….

What Is A Voice?

Over the years, the meaning of the term “voice”, when

applied to synthesizers, has varied depending on

manufacturers and models. In general, it means a sound,

which in some synths is called a “patch”, and in others a

“program”.

With the AN1x, a voice is a configuration of all tone

generator and other parameter settings, including effects

setups and data for a single Voice Pattern, but excluding

system settings or the bank of Step Sequencer User

Patterns. Therefore, each of the 128 voices in memory

can have its own unique configuration of all main

parameters.

AN1x Memory Structure

The AN1x has a simple and straightforward memory structure. There

are only two main types of data: voice data and system data. There

is also a separate memory for the Step Sequencer User Pattern bank.

Voice Data

Voice data is comprised of the various parameter

settings which make up each of the 128 User voices,

as follows:

● Tone generator settings based on CONTROL knob

positions for each KNOB PARAMETER GROUP

parameter, PORTAMENTO switch status, Scene

status and Scene-related parameters, including

Control Matrix assignments, Mode settings and

Variation Effect Dry:Wet setting.

● LAYER mode setting and Layer parameters including

Pan, Separation and Detune settings.

● VOICE COMMON (i.e., parameters which affect

both Scenes) settings including Tempo, Split Point,

Effect configurations and voice Name.

● Free EG parameter settings and track data and

other settings.

● ARPEGGIO/SEQ switch status and the various

Arpeggiator and Step Sequencer parameter

settings, including Play Effect settings, plus Step

Sequencer Voice Pattern data.

System Data

System data is made up of the various “global”

parameter settings which remain in effect regardless of

which voice is selected, as follows:

● UTILITY SETUP parameters, including the settings for

System tuning and keyboard transposition and

velocity, MIDI-related parameters, and Control

device and number assignments.

User Pattern Data

User Pattern data is made up of the Step Sequencer

User Pattern bank which holds 128 User Patterns.

Voice Data 128 User Voices

SCENE 1

Utility Setup Parameters

SYSTEM: MASTER TUNE, VELOCITY,

KEYBOARD TRANSPOSE

MIDI: TRANSMIT CHANNEL,

RECEIVE CHANNEL (each Scene),

PATTERN TRANSMIT CHANNEL,

DEVICE NUMBER, LOCAL,

BULK DUMP, EFFECT BYPASS

CONTROL: ASSIGNABLE KNOB CONTROL

CHANGE NUMBERS, CONTROLLER

CONTROL CHANGE NUMBERS

Layer Parameters

PAN, SEPARATE, DETUNE

Voice Common Parameters

TEMPO, SPLIT POINT, EFFECT, NAME

Pattern Parameters

ARPEGGIATOR or SEQUENCER,

ARPEGGIATOR PATTERN NUMBER,

VOICE PATTERN, KEYBOARD MODE, HOLD,

SCENE SWITCH, SUBDIVIDE (Arpeggiator only),

PLAY EFFECT (Arpeggiator = Velocity only)

Free EG Parameters

TRIGGER MODE, LOOP TYPE, LENGTH, KEY TRACK

SCENE 2

LAYER

(SINGLE/UNISON/

DUAL/DUAL UNISON/

SPLIT/SPLIT UNISON)

PORTAMENTO

(On/Off)

ARPEGGIO/SEQ

(On/Off)

Tone Generator Knob Parameters

PEG, LFO1, LFO2, VCO1, VCO2, SYNC, FM, MIXER

(NOISE, RING MODULATOR), VCF (FEG), VCA (AEG)

Scene Setup Parameters

POLY/MONO/LEGATO, PORTAMENTO MODE,

LFO RESET, CONTROL MATRIX (Assignments),

VARIATION EFFECT DRY:WET

System Data

Step Sequencer

(User Pattern Bank)

No (1 ~ 128)

AN1x Tone Generator

As the AN1x Tone Generator Block Diagram

illustrates, the VCO module generates the basic

signal, then passes it along the signal path to

the MIX/VCF module, which processes the signal

in a variety of ways before passing it on to the

VCA module, which amplifies the signal before

passing it along the signal path to the EFFECT

module comprised of three multi-effects units

and a stereo equalizer, after which the signal is

output from the AN1x's stereo outputs. Along

the way, various real-time and other controllers

can be applied to each module in a variety of

ways.

Oscillators, Filters And Amplifiers

What does it take to make a sound? And how does the

AN1x generate sounds?

In the simplest of terms, there are three basic elements which

make up a sound: pitch, or how low or high it is; tone, or

what its overall quality, or timbre is like; and amplitude, or

how loud the volume level is.

Synthesizers rely on three key electronic components to generate

sounds and electronically imitate the soundwaves of familiar musical

instruments, as well as create entirely unique sounds. In traditional

analog synthesis, the source sound pitch is generated by an

oscillator; its tone is created by a filter; and its volume is determined

by an amplifier. With the AN1x, these three elements are termed

the VCO (voltage controlled oscillator), the VCF (voltage controlled

filter), and the VCA (voltage controlled amplifier).

The “signal path” starts at the VCO, flows to the VCF, then

flows to the VCA. The signal is “processed” at each block, or

“module” along the way to the final output.

VCO VCF VCA OUT

The amplifier determines

the volume

The oscillator creates the source pitch

The filter determines the timbre

1 VCO

The VCO module is where the original sound waveform gets

generated. Although a single oscillator is enough to generate

the basic sawtooth, pulse (square) or other waves required

for different types of musical instrument sounds, the AN1x’s

VCO module is much more complex.

First, there’s a VCO1 which includes an additional saw2 and

mix wave, and which can be configured with one of three

“sync algorithms” that syncs “master” and “slave” oscillators

within the VCO1, and can be modulated by FM according to

the algorithm. Thus, when the sync is on, the VCO1 is

actually two oscillators in one, and three additional “inner”

waves are available.

The VCO1 is always fixed as the FM carrier, but the carrier

can either be the master or slave oscillator depending on the

selected algorithm. The FM modulator can be selected from a

second VCO (VCO2), the PEG, FEG, LFO1, LFO2 or others.

The Pitch Envelope Generator (PEG) lets you determine how

the pitch of the VCO changes over time, and the LFO can be

used to modulate the VCO to create vibrato.

For more information, see as follows:

VCO1 — page 61

VCO2 — page 63

SYNC/FM — page 58

PEG/LFO — page 54

2 MIX/VCF

The MIX/VCF module is where the mixing of VCO1,

VCO2, Ring Modulator, Noise and Feedback signals

take place, which can then be filtered by the VCF High

Pass Filter (HPF), Low Pass Filter (LPF), Band Pass Filter

(BPF) and Band Eliminate Filter (BEF). You can

determine the cutoff frequency of the VCF, as well as

amount of Resonance, or emphasis around the

frequency cutoff point. The Filter Envelope Generator

(FEG) lets you determine how the timbre of the signal

changes over time, and the LFO1 can be used to

modulate the VCF to create wah.

For more information, see as follows:

MIX/VCF — page 66

VCF — page 64

HPF — page 67

LPF, HPF, BPF, BEF — page 67

FEG — page 31

PEG/LFO — page 54

RING MODULATOR — page 66

NOISE — page 66

3 VCA

The VCA module is where the overall output level of

the signal gets determined, as well as the Feedback

level which gets “fed back” to the mixer in the

MIX/VCF module. The Amplitude Envelope Generator

(AEG) lets you determine how the volume of the signal

changes over time, and the LFO1 can be used to

modulate the VCA to create tremolo.

For more information, see as follows:

VCA — page 68

VOLUME — page 69

FEEDBACK — page 69

AEG — page 32

PEG/LFO — page 54

4 EFFECT

The EFFECT module is where three different types of

programmable effects, as well as programmable 3-band

EQ, can be applied. The 14 Variation Effects include

Chorus, Flanger, Phaser, Auto Pan, Rotary Speaker,

Pitch Change, Aural Exciter, Compressor, Distortion,

Overdrive, Amp Simulator and more. The 5 Delay

effects include Delay LCR, Delay LR, Echo, and Tempo

Delay, which automatically matches the delay time to the

current tempo setting. The 8 Reverb effects include

various Hall, Room and Stage types and more. Delay

and Reverb effects can be configured in a serial or

parallel connection, and specified effects or all effects

(excluding the EQ) can be bypassed at will. Controllers

can be designated to control specific effect parameters.

For more information, see as follows:

Vari EF/EQ — page 77

Dly/Rev EF — page 79

EF Bypass — page 80

5 CONTROL

Specific parameters of the VCO, MIX/VCF, VCF, VCA

and EFFECT modules, as well as the PEG, LFO1 and

LFO2 can be controlled by many different types of real-

time controllers, including [MODULATION] wheel,

[RIBBON] controller X- or Z-axis, the eight assignable

CONTROL knobs, a connected [FOOT CONTROLLER],

keyboard After Touch, and more, including MIDI

Control Change messages received at the MIDI [IN]

terminal.

The AN1x’s Control Matrix and UTILITY SETUP Control

Assign function work together flexibly to give you

complete authority over which on-board or external

controller controls which individual internal or external

parameter.

For more information, see as follows:

Control Features — page 49

Control Matrix — pages 51, 73

Utility Control Assign — pages 50, 95

VCO

VCO1

SYNC

MASTER

SLAVE

VCO2

VCA

VOLUME

AEG

FEEDBACK

VARI

DLY REV

EFFECT

AN1x Tone Generator Block Diagram

MIX/VCF

MOD

RING

NOISE

FEG

MIX HPF

VCF

CTRL

PEG

LFO2 LFO1

To avoid possible damage to the speakers or other connected electronic devices, before switching on the

power of any device, make sure the AN1x’s [VOLUME] level and the volume levels of the connected

equipment are set to minimum positions.

The AN1x In A MIDI System

It’s easy to create a simple but powerful MIDI music

system with only a few basic components. The

illustration below shows how to connect the AN1x to a

Yamaha QY700 Music Sequencer.

You can have the AN1x’s Tempo setting control the

external sequencer’s clock, or the sequencer’s clock

control the speed of the AN1x’s Arpeggiator or Step

Sequencer.

For details about assigning AN1x MIDI transmit and receive channels, see page 93. For

details about assigning MIDI channels and other settings for the external sequencer or other

devices which may be connected, consult the owner’s manual for each. For more

information about MIDI, see the APPENDIX, page 109.

QY700

MIDI OUT

MIDI IN

AN1x

MIDI OUT

Amp

Mixer

AN1x

Speaker Speaker

Headphones

12345678910111213141516LR

L R INPUT

R OUTPUT

R OUTPUTPHONES

FC4 FC7

System Examples

There are many ways to incorporate the AN1x into

a simple or expanded music system. Following are

a few of the most common examples.

The AN1x By Itself

At the simplest level, all you need to do is connect

stereo headphones to the [PHONES] jack located on

the rear panel, and you’re ready to go. To use the

AN1x as a stand-alone performance instrument, simply

connect it to amplified speakers and optional FC Foot

Controller and Footswitch pedals as shown in the

diagram at right.

Setting Up Your AN1x

The AN1x Control Synthesizer is an ideal stand-alone performance-

based electronic musical instrument as well as a powerful component

in an expanded MIDI music system. Following are instructions for

proper setup of the AN1x and connection to external devices.

1. After carefully taking your new AN1x out of

the box, place it on a keyboard stand or on

top of a sturdy table or desk.

2. Next, connect the supplied Yamaha PA-3B (or

equivalent) Adaptor to the AN1x’s [DC IN]

connector located on the rear panel. Then

connect the adaptor to the nearest electrical

outlet.

3. Before switching on the power, connect any

peripheral devices such as amplified speakers,

FC Foot Controller or Footswitch pedals, or

external MIDI instruments.

Do not attempt to use an AC adaptor other than the PA-3B (or equivalent). Use of an

incompatible adaptor may result in irreparable damage to the AN1x, and could even pose a

serious shock hazard.

Always be sure to disconnect the power adaptor from the electrical outlet when the AN1x is

not in use.

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

ON OFF

DC IN R L/MONO

OUTPUT PHONES

POWER

ASSIGNABLE

MIDI

OUTTHRU IN

PA-3B Adaptor

DC IN

Connecting The AN1x To

A MIDI Data Storage

Device

You can connect the AN1x to a MIDI data storage

device, such as the Yamaha MDF2 MIDI Data Filer, in

order to “bulk dump”, or save AN1x voice, Step

Sequencer and other data to floppy disks. This lets you

build up complete libraries of your favorite sounds,

sequences and settings, which you can easily load

back into the AN1x whenever you wish.

For information about how to perform Bulk Dump operations, see page 94.

Switching On The Power

Once all connections have been properly made, you’re

ready to switch on the power and start making music with

your AN1x.

1. Set the AN1x’s [VOLUME] knob to minimum

position.

2. Press the [POWER] switch, located on the rear

panel.

After a brief greeting message which appears in the LCD,

the AN1x will power up and be ready to go.

3. Gradually turn the [VOLUME] knob to the

right while playing the keyboard until you

achieve a comfortable listening level.

VOLUME

MDR SEO JOB UTIL

MIDI

MIDI DATA FILTER

CURSOR

- FILE DATA +

REC PAUSE START/STOP

TEMPO

MDF2, etc.

AN1x

MIDI IN

MIDI OUT

MIDI IN

MIDI OUT

Playing The Demo

Songs

The AN1x comes preprogrammed with

demonstration songs which provide dynamic

examples of just how powerful the AN1x really

is. To select and play a Demo, perform the

following operation:

1. Press the [PORTAMENTO] and [LAYER]

switches simultaneously. The word “DEMO”

will appear in the LCD.

2. Press a PROGRAM CHANGE switch (0 - 9) to

select one of the 10 Demo songs. After a

brief moment the Demo song will begin, and

continue playing until the end.

3. When the Demo is finished, simply press

[-/NO] to return to normal operating status.

The Demo song will continue playing repeatedly until you stop it. You can stop the

Demo song in the middle of play by pressing [-/NO].

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ENTERNO

DEMO

PORTAMENTO LAYER

Selecting Voices

The AN1x comes with 128 voices already preprogrammed and

ready to play. Not only are these voices first-rate and highly

useful in their own right, they form a dynamic living example of

the AN1x’s vast sonic range and power, as well as provide an

excellent basis for study of how voices are constructed.

They are also great for use as a starting point for creating your

own voices—by making slight or significant modifications to suit

your needs or taste—which you can then store in the AN1x’s

memory for instant recall at any time.

Of course, if you want to roll up your sleeves and get your

hands on the VCO, VCF and VCA to build up an original

voice from scratch, you can easily initialize a voice (i.e.,

reset each parameter value to its initial setting) and start

from there. The AN1x even provides a few handy

templates which save you time and all the tedious effort by

making all the basic settings for certain types of sounds for

you, so you can pick up from there and concentrate on just

the fun and creative stuff. (See page 30).

Voice Select Operation

Each of the 128 voices has a Program Number

between 001 and 128. You select a voice using the

PROGRAM CHANGE keypad. There are two ways to

do so, as follows:

METHOD 1

Input a number between 1 and 128, then press

[ENTER].

METHOD 2

Press [+] or [–] to increment or decrement through

the voices sequentially.

The voice name, as well as voice Category and

Program Number, appears in the LCD.

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ENTERNO

Basic Operation

You'll find the process of getting to know the

AN1x to be fun and inspiring—especially if you

keep a few fundamental things in mind as you

select and play the voices, try out the various

controls and experiment with the panel features

for the first time. Following are some important

aspects about basic operation of the AN1x

which will help you keep things in their proper

context from the very start.

AN1x Operating Modes

For the most part, except when performing a specific Store or

MIDI bulk dump operation, the AN1x is basically always in Voice

Play/Edit mode. This means that during play, as you turn the

various CONTROL knobs, change the parameter values or

settings using the Edit matrix [UP/DOWN] switches, select a

Layer mode, etc., you are actually editing the voice. (The “EDIT”

mark will appear in reverse type in the lower left area of the LCD

the first time any voice data is changed.)

However, these changes only remain in effect as long as the voice

is selected, unless you store the newly edited voice using a Voice

Store operation before selecting another voice. If you don’t store

the changes, they will be lost when you select a different voice.

The AN1x is a very forgiving instrument, however. A Voice

Recall function (see page 96) lets you retrieve the edited data.

Plus, if you turn the power off before storing an edited voice,

when you turn the power back on the edited parameter

settings will still be retained in the voice edit buffer.

There are various other modes, but these are simply sub-modes of

Voice Play/Edit mode (such as Step Sequencer mode for creating

and editing Voice and User Patterns; see page 37), since virtually

all panel settings—including Scene, Layer, Effects, Arpeggiator,

Step Sequencer settings, and more—are stored as voice data for

each voice (excluding system-related settings).

Voice Categories

Voices can be organized into Category types and

assigned a two-letter Category code during the voice

Name operation. For a list of the available Category

types, see page 81.

Scenes

Each voice has two “Scenes”, or two distinct sounds

available for instant recall at the press of a [SCENE]

switch. Since the specific Scene on/off status is stored

as voice data, when you select a voice an LED beside

one of the [SCENE] switches will light to indicate which

Scene is active. (If both Scene LEDs light, the Scene

Control on status has been stored as part of the voice,

which means you can morph, or cross-fade between

Scenes using the assignable [MODULATION] wheel or

any other assigned continuous controller as you play.)

For more information about Scenes, see page 19.

Voice Name Display

As you edit a voice by turning the knobs or changing

parameters in the Edit menu, the information in the

screen changes accordingly. To display the voice name

and number in the LCD at any time, press [-] or [+]

once.

Voice Recall

If you’re editing a voice, and inadvertently select

another voice before performing a Voice Store

operation, or simply change your mind, you can recall

the most recently edited voice data using the Voice

Recall function. For more information, see page 96.

–

YES/ENTERNO

Press once

Indicates a voice

has been edited

but not stored.

Knob position settings 2

Knob position settings 1

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

CTRL

SCENE

Using The Controllers

The AN1x has various on-board controllers which let you

control specific parameters in real-time as you play.

Besides keyboard Initial and After Touch, these include

[PITCH] wheel, [MODULATION] wheel and [RIBBON]

controller, as well as the eight assignable CONTROL

knobs.

PITCH Wheel

The [PITCH] wheel lets you bend the pitch up or down

by an assignable amount. The pitch bend “depth”

(range) can be different for each Scene, as set in the

Control Matrix.

The pitch bend range can be different for each Scene in each voice. You can also

use the [PITCH] wheel to control other parameters. For information, see page 51.

MODULATION Wheel

The [MODULATION] wheel lets you apply varying

amounts of modulation to the sound as you play,

depending on assignment by the Utility Control Assign

function (see page 50) or in the Control Matrix (see

page 51).

You can also assign volume, pan or one of many other parameters to be

controlled by the [MODULATION] wheel. For information, see page 95. The

[MODULATION] wheel can also be used to “morph” between Scenes when the

Scene Control function is activated. For information, see page 20.

MODULATION

Maximum

Minimum

PITCH

Bends the pitch up

Bends the pitch down

RIBBON Controller

The [RIBBON] controller lets you control two different

assignable parameters as you play. You can control

one parameter by sliding your finger along the X-axis,

and another by applying pressure to the Z-axis. You

can assign parameters to the [RIBBON] controller using

the Utility Assign Control function (see page 50) or the

Control Matrix (see page 51).

You can assign different parameters to the [RIBBON] controller for each voice. For

information, see page 75.

To activate the Z-axis you must apply considerable pressure. A light touch will only

apply to the X-axis.

When you release your finger from the [RIBBON] controller, the value may remain

at the same position as at the time of release, or reset to the center position

depending on the Control Matrix setting. (See page 73.)

CONTROL Knobs And

Parameter Groups

Which parameter is edited by each CONTROL knob for

each Scene depends on which KNOB PARAMETER

GROUP switch is currently selected, indicated by a lit LED

to the left of it. Pressing a CONTROL knob (push-switch) or

turning a knob will cause its parameter name and value to

display in the LCD.

When you select a voice the [ASSIGN] switch will

automatically be selected (unless the [EDIT ROTARY] switch

is set to SEQ EDIT/SETUP), which lets you access the eight

parameters assigned to the respective CONTROL knobs.

For more information about the Utility Control Assign function, see pages 50, 95.

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

ASSIGN 4

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

Selected parameter group

Selected CONTROL knob parameter

X-axis

Minimum

Maximum

Z-axis

Apply pressure

When you set the [EDIT ROTARY] switch to the 5th position

(SEQ EDIT/SETUP menu), the CONTROL knobs will be

dedicated to the event parameters of the various steps

(beats) of the Step Sequencer.

In this situation, no LED will be lit in the KNOB

PARAMETER GROUP section, and the name of the current

step event parameters will appear in the LCD when you

turn or press a knob.

Simply pressing a KNOB PARAMETER GROUP switch will

revert the status back to normal tone generator parameter

control, as will selecting a different Edit menu with the

[EDIT ROTARY] switch. As long as the [EDIT ROTARY]

switch is still set to the SEQ EDIT/SETUP menu, however,

you can press the selected KNOB PARAMETER GROUP

switch again to revert to Step Sequencer control by the

knobs (i.e., you can toggle back and forth between knob

parameter control and step event data edit by pressing the

switch.)

For more information about the KNOB PARAMETER GROUP switches, see page 16.

For more information about the CONTROL knobs, see page 16. For information

about the Step Sequencer, see page 37.

Foot Controllers

The AN1x features [FOOT CONTROLLER], [FOOT VOLUME],

and [FOOTSWITCH] jacks for connecting various foot

pedals, each of which can be assigned to control one of

many types of available on-board and external parameters.

For more information about assigning controllers, see page 49.

Layer Modes And Portamento

One of six Layer modes can be assigned to each voice by

pressing the [LAYER] switch, and Portamento on/off status

can be set by pressing the [PORTAMENTO] switch.

For more information about Layer modes, see page 22. For more information

about portamento, see page 24.

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

ASSIGN 4

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

AN1x Quick Tour

This section provides a “hand’s on” journey through the key features you’ll access regularly as you

select voices, tweak sounds and adjust settings for the various parameters.

Exploring The Factory-set Voices

Taking the time to systematically explore various aspects of the 128 factory-set voices is an excellent way to get a thorough

understanding of the AN1x’s sonic range and power. It’s also a natural way to quickly familiarize yourself with some of the

fundamental operations you’ll use during performance as well as in voice, Arpeggiator, Step Sequencer and Free EG creation

and editing sessions.

Try the simple operations which follow as you select and play each preset voice, and take note of what happens to the sound

as you change the various settings. If, along the way, you stumble upon a sound you want to keep, simply perform a Voice

Store operation (see page 98). If, however, you mess up a sound too much, there’s no need to worry: Just reselect the same

voice to retrieve the original sound data and start over again! Unless you perform a Voice Store operation, no changes you

make will be permanent. Even if you do decide to store a voice, you need not worry about losing any of the factory-set

voices permanently, because the entire bank can be recalled (see page 100).

3 Compare Scenes, and morph between Scenes

using Scene Control.

● When you select a voice, the LED beside the

[SCENE 1] or [SCENE 2] switch (or both LEDs) will

be lit, indicating the Scene status which was stored

as voice data. Press each switch to compare the

difference between the sound of Scene 1 and

Scene 2.

● Press both [SCENE] switches simultaneously to

activate the Scene Control function, then roll the

[MODULATION] wheel forward and back to

morph, or cross-fade between Scenes as you play.

For more information about Scenes and Scene morphing, see page 19.

1 Select a voice.

● Use the PROGRAM CHANGE keypad to select a

voice (1 - 128).

For information about selecting voices, see Basic Operation, page 14.

2 Check LCD status.

● When you select a voice, first take a look at the

information which appears in the LCD, such as Poly

mode (“POLY”, “MONO”, “LEGATO”), Layer mode

(“SINGLE”, “UNISON”, “DUAL”, “SPLIT”, etc.), and

whether the Arpeggiator (“ARP”) or Sequencer

(“SEQ”) is on. This reveals the fundamental nature

of a voice at-a-glance.

This area displays Arpeggiator/

Sequencer on/off and hold status

This area displays Layer mode status

This area displays Poly mode status

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

PHONES

L / MONO

OUTPUT

DC IN POWER

FOOT

VOLUME

FOOT

CONTROLLER

FOOT

SWITCH

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

OUT

MIDI

THRU

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ ENTERNO

DEMO

PORTAMENTO

STORE

ARPEGGIO/ SEQ

LAYER

Mode

Poly

Port

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp/ SEQ

Type/No

Knob

Event

1-8/9-16

System

MstrTune

KbdTrans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/ SEQ

SEQ

EDIT /SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/ Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

BaseUnit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

KNOB PARAMETER GROUP

PEG/ LFOSYNC/FM

VCO1

VCO2

MIX/ VCF

VCF

VCA

ASSIGN

4 Turn the CONTROL knobs.

● Press a KNOB PARAMETER GROUP switch and turn

each CONTROL knob as you play each Scene to

hear how it affects the sound. There are eight

different groups of parameters assigned to the

knobs at the factory. These let you edit the tone

generator parameters as printed on the panel

beside each knob. Notice how easy it is to edit

and drastically change the voice.

For more information about using the CONTROL knobs, see page 26.

5 Compare Layer modes.

● Press the [LAYER] switch to compare the difference

of each of the six Layer modes as you play, one at

a time.

For more information about Layer modes, see page 22.

6 Change Poly mode setting.

● To hear how the keyboard Poly setting affects how

the voice can be played, set the [EDIT ROTARY]

switch to the VOICE SCENE SETUP menu and press

the Poly [UP/DOWN] switch to select POLY,

MONO or LEGATO. Then play the keyboard.

For more information about Poly mode, see page 72.

7 Turn [ARPEGGIO/SEQ] on and off.

● If the voice uses the Arpeggiator (“ARP” appears in

the LCD) or Sequencer (“SEQ” appears in the LCD),

press the [ARPEGGIO/SEQ] switch to turn it off

and hear how the voice sounds without the pattern.

● Pay attention to how the arpeggio or sequence is

triggered—either across the entire length of the

keyboard, or only to the left of the Split Point. In the

case of the Step Sequencer, some voices are

programmed to let you trigger a different pattern

from each key to the left of the Split Point.

● Set the [EDIT ROTARY] switch to the VOICE

ARPEGGIO/SEQ menu and press KbdMode

[UP/DOWN] once to confirm the setting which

determines how the pattern is triggered. Next, set

the [EDIT ROTARY] switch to the VOICE SCENE

SETUP menu and press Poly [UP/DOWN] and

compare the way the different Poly mode settings

affect the pattern as you play the keyboard.

● If the voice does not use the Arpeggiator or Step

Sequencer, press [ARPEGGIO/SEQ] to turn on the

Arpeggiator or Step Sequencer and hear how notes

and chords are affected.

For more information about the Arpeggiator, see page 33. For information about

the Step Sequencer, see page 37.

8 Change arpeggio Tempo, Pattern Type,

Subdivision, and Hold status.

● To speed up or slow down the Arpeggiator pattern

(or sequence), set the [EDIT ROTARY] switch to the

VOICE COMMON menu and press Tempo

[UP/DOWN] until you achieve the desired rate.

For more information about Tempo, see page 77.

● To try out the 30 different preset Arpeggiator

pattern types, set the [EDIT ROTARY] switch to the

VOICE ARPEGGIO/SEQ menu and press the

Type/No [UP/DOWN] switch and step through

each pattern.

For more information about the Type/No parameter, see page 34.

● To hear how the timing resolution of a pattern

changes with the 10 different Subdivide settings, set

the [EDIT ROTARY] switch to the VOICE

ARPEGGIO/SEQ menu and press Arpeggio

Subdivide [UP/DOWN] to step through each.

For more information about Arpeggio Subdivide, see page 34.

9 Change Effects and adjust EQ.

● To hear the different Variation and EQ effects and

settings, set the [EDIT ROTARY] switch to the VOICE

COMMON menu and press Vari EF/EQ Param

[UP/DOWN] and Data [UP/DOWN] switches

accordingly. Also press the Vari EF Dry:Wet

[UP/DOWN] to change the balance between “dry”

(normal) and “wet” (effected) signals.

For more information about Vari EF/EQ, see page 77.

● To hear the different Delay and Reverb effects and

settings, press Dly/Rev EF Param [UP/DOWN] and

Data [UP/DOWN] switches accordingly.

For more information about Dly/Rev EF mode, see page 79.

● To bypass specific or all effects and hear how the

voice sounds in its pristine state, press EF Bypass

[UP/DOWN] and change the status accordingly.

EF Bypass is a system parameter, and therefore will remain as you set it

regardless of which voice is selected. For more information, see page 80.

Assignable Real-time Controllers

You can assign specific parameters to the assignable

controller of your choice, including the eight CONTROL

knobs, [MODULATION] wheel, [RIBBON] controller (X-axis

and Z-axis) and keyboard After Touch, as well as (optional)

[FOOT VOLUME], [FOOT CONTROLLER] and

[FOOTSWITCH] pedals. Controller and parameter

assignments are made using the Control Matrix (see page

73) and the Utility Control Assign function (see page 95).

For more information about controllers, see Using The Control Features, page

49.

Selecting Scenes

And Scene Morphing

The AN1x’s Scene select and play functions offer

an exciting range of sophisticated and

convenient real-time sound control options that

let you express yourself musically in completely

unique ways. The [SCENE] switches let you select

a Scene or activate the Scene Control function.

Parameters Stored In Each Scene

• All parameter group CONTROL knob position settings

(except for the [ASSIGN] group).

• VOICE SCENE SETUP Menu Mode and Control Matrix

(excluding common) parameter settings.

• VOICE COMMON menu Vari EF Dry:Wet settings.

Scene Memories

Each voice has two Scene memories, each of which can

have a different edit using the CONTROL knobs. Either

Scene can be recalled at any time during play by pressing

[SCENE 1] or [SCENE 2]. An LED to the left of the selected

switch will light to indicate the active Scene.

Due to the virtually unlimited number of results possible by

selecting KNOB PARAMETER GROUP switches and turning

the CONTROL knobs, each of the two Scenes can be as

similar or radically different as you want. This gives you

two specific sounds to choose from at any time within each

of the 128 voices, at the simple press of a [SCENE]

switch.

Scenes are especially handy for creating slight variations

on the same sound for use during different parts of a

song—say, one with fast attack that cuts through the mix

during rhythmic phrases, and one with a slower attack

that’s more suitable for a pad. And of course, if the two

Scenes are completely different from each other—say one

sound prepared for verse and chorus, and another for a

solo break—it’s a lot simpler to switch back and forth

between Scenes than it is to switch between voices,

especially under the pressure of a live situation.

Knob position settings 2

Knob position settings 1

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

CTRL

SCENE

Scene Edit Buffers

When you select a voice, the two Scenes are loaded into the

Scene edit buffers. Since each Scene has its own buffer, you

can “work” on each Scene separately. For example, if

[SCENE 1] is selected and you edit its parameters by turning

the knobs, this data will be maintained in Scene 1 even if

you select [SCENE 2] and start editing it. When you switch

back to Scene 1, it will recall your edited data (and not the

original Scene 1 data stored with the voice).

There’s also a Scene Control buffer, where parameter

changes by moving the [MODULATION] wheel (as well as

CONTROL knob positions when Scene Control is active) take

place. This sound can be stored in either Scene edit buffer at

any time using the Scene Store operation.

Since Scene editing, as well as Scene Store, Load and Swap

operations (see pages 21, 22), are taking place in the Scene

edit buffers, you need not worry about losing your original

Scene data as stored with the selected voice, unless you

perform a Voice Store operation to the same voice location.

However, since the Scene buffer is volatile, you will lose your

edited Scene data unless you perform a Voice Store

operation before selecting another voice.

For information about performing a Voice Store operation, see page 98.

Scene

Scene Control

Buffer

Tone

Generator

Scene

Control knobs

1-8

Scene Edit

Buffers

Tone

Generator

Scene

Control knobs

1-8

Scene Edit

Buffers

CTRL

SCENE

Scene Control

The Scene Control function lets you “morph”, or cross-fade

between the two Scenes by rolling the assignable

[MODULATION] wheel, or using an assignable Foot

Controller or any other continuous controller.

For information about assigning controllers, see page 95.

The procedure for activating the Scene Control function is

as follows:

1. Press both [SCENE] switches simultaneously.

The LEDs to the left of both switches will light

to indicate that Scene Control is active.

2. Roll the [MODULATION] wheel forward and

back (or use a Foot Controller, etc.) as you

play.

The minimum value of the [MODULATION] wheel (or Foot

Controller, etc.) plays Scene 1; the maximum value plays

Scene 2; any position between the two extremes (between

a range of 0 and 127) will play a blend of both Scenes

accordingly.

MODULATION

Scene 1 setting

Scene 1/2

equal balance

Minimum

Maximum

Halfway

MODULATION

Scene 2 setting

MODULATION

Scene 2 settings

Scene 1 settings

MODULATION

Scene 1

Scene 2

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

CTRL

SCENE

Depending on how different each Scene is, a considerable

number of parameters may get changed simultaneously as

you do the cross-fade. As such, you have an enormous

palette of sound textures available which you can apply in

real-time as you play. Also, you can select KNOB

PARAMETER GROUP switches and turn the CONTROL

knobs to edit the data during the Scene Control. All

parameter changes when both [SCENE] switches are

activated take place in the Scene Control edit buffer.

As you morph between the two Scenes and turn the

CONTROL knobs, you may create a killer sound you

simply must save before risking losing it. Performing a

Scene Store operation lets you store it to one of the Scenes

right then and there.

During Scene Control, Control Matrix settings and some of the Switch parameters

(e.g., VCF Type, LFO Wave, VCO Wave, etc.) will not change. For these

parameters, the Scene 1 settings will remain in effect.

Scene Control In DUAL And SPLIT Modes

Depending on whether the Layer mode is set to DUAL or

SPLIT, the Scene Control will morph in different ways.

In DUAL mode, the Scene Control will morph from the Scene

1 sound to the Scene 2 sound.

In SPLIT mode, the Scene Control will morph from the Scene

1 sound to the Scene 2 sound when the keyboard is played

to the left of the Split Point only. When the keyboard is

played to the right of the Split Point, only the Scene 2 sound

will be played.

For more information about Layer modes, see page 22.

Layer mode = SPLIT

Scene Control

Edit Buffer

SPLIT POINT

Scene 1

Scene 2

Layer mode = DUAL

Scene Control

Edit Buffer

Scene 1

Scene 2

Confirming Controller Assigned To Scene Control

You can confirm at any time which controller is assigned to

perform Scene Control. Simply press and hold both [SCENE]

switches, and the name of the currently assigned controller

will display in the LCD.

For information about assigning a controller for Scene Control, see page 95.

Scene Store Function

The Scene Store function lets you store the data in one Scene

Edit buffer to the other, or the data created during Scene

Control to either of the Scene edit buffers.

1. Hold [STORE] and press the [SCENE 1] or

[SCENE 2] switch, depending on which one

you want to store the current Scene setting

into. “SURE?[Y/N]” flashes in the LCD.

2. Press [YES/ENTER] to execute the Scene Store

operation, or [NO] to cancel it.

Since the Scene Store function stores the data to a Scene edit buffer, be sure to

execute a Voice Store operation before selecting another voice.

CTRL

SCENE

STORE

Scene Load Function

The Scene Load function lets you load Scene data from a

Scene in any voice to the corresponding Scene in the

currently selected voice. This lets you, for example, load

the Scene 1 parameters of one voice to Scene 1 of the

currently selected voice, and load the Scene 2 parameters

of another voice to Scene 2 of the currently selected voice.

1. Hold [SCENE 1] (or [SCENE 2]) and enter the

number of the voice whose Scene data you

want to copy. The selected voice number

flashes in the LCD.

2. Press [YES/ENTER] to execute the Scene Load

operation, or [NO] to cancel it.

Data which is loaded:

•All knob parameter settings (excluding [ASSIGN] group)

•VOICE SCENE SETUP Mode and Control Matrix parameters

•VOICE COMMON Vari EF Dry:Wet parameter

Scene Swap Function

The Scene Swap function lets you exchange the data in

one Scene edit buffer with the other.

1. Hold [STORE] and press both [SCENE 1] and

[SCENE 2] switches. “SURE?[Y/N]” flashes in

the LCD.

2. Press [YES/ENTER] to execute the Scene Swap

operation, or [NO] to cancel it.

Data which is exchanged:

•All knob parameter settings (excluding [ASSIGN] group)

•VOICE SCENE SETUP Mode and Control Matrix parameters

•VOICE COMMON Vari EF Dry:Wet parameter

•VOICE FREE EG Track SceneSw parameter

•VOICE ARPEGGIO/SEQ Common SceneSw parameter

CTRL

SCENE

STORE

Selecting Layer Modes

The LAYER switch is used for selecting a Layer

mode from the six available. Every time you

press the switch, a different Layer mode is

selected. The selected Layer at the time of a

Voice Store operation is saved as voice data.

Each Layer mode determines how Note On messages from

either the AN1x’s keyboard or external MIDI devices (as

received at the AN1x’s MIDI [IN] terminal) are handled.

Depending on which Layer mode is selected, either one or

both Scenes will be played, and the Scene Control

function will behave in specific ways. The selected Layer

also affects available polyphony, and determines

multitimbral status.

Layer Modes

SINGLE

This is the normal play mode for a voice. The sound is

determined by the data of the currently selected Scene.

In this mode the AN1x plays with maximum 10 notes

polyphony.

UNISON

This mode is great for getting those “fat” analog-type

sounds of the legendary vintage synths. In Unison

mode, the data of the currently selected Scene is

multiplied. Polyphony is determined by the Poly mode

setting (see page 72). For example, if Poly mode is set

to “mono” or “legato”, then one Note On message will

use five notes of polyphony; if it is set to “poly”, then

one Note On message will use two notes of polyphony.

The Unison Detune function (see page 76) lets you decide the detuning for the

Unison in order to fatten the sound.

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

DUAL

This mode layers the two sounds of Scene 1 and Scene

2—i.e., it plays both Scenes simultaneously. In this

mode, the AN1x is capable of multitimbral play (max.

2 sounds), where an external MIDI sequencer or device

can play each Scene on separate MIDI channels, as set

by the UTILITY SETUP Rx Ch (Receive Channel)

parameter (see page 93).

To select a Scene for MIDI channel assignment, simply press a [SCENE] switch.

DUAL UNISON

In this mode, each Dual layer plays in Unison (one

Note On message uses five notes of polyphony) when

the Poly mode is set to “mono” or “legato”. If both

Scenes are set to “poly”, the result is the same as

DUAL mode. Multitimbral play from an external MIDI

source (max. 2 sounds) is also possible, as set by the

UTILITY SETUP Rx Ch (Receive Channel) parameter (see

page 93).

MIDI IN

AN1x

QY300

MUSIC SEQUENCER

MIDI OUT

External sequencer

Scene 1 range = MIDI ch. 1

Scene 2 range = MIDI ch. 2

Two incoming MIDI

signals play each Scene

independently across the

entire keyboard according

to Rx Ch settings.

SPLIT

In this mode, Scene 1 is assigned to the keys to the left

of the variable Split Point (see page 77), and Scene 2

is assigned to the keys to the right.

In SPLIT mode the AN1x is capable of multitimbral play

(max. 2 sounds).

SPLIT UNISON

In this mode, each Scene on each side of the variable

Split Point plays in Unison (One Note On message

uses five notes of polyphony) when Poly mode is set to

“mono” or “legato”. If both Scenes are set to “poly”,

the result is the same as SPLIT mode.

Multitimbral play from an external MIDI source (max. 2

sounds) is also possible, determined by the UTILITY

SETUP Rx Ch (Receive Channel) settings.

MIDI IN

AN1x

QY300

MUSIC SEQUENCER

MIDI OUT

External sequencer

SPLIT POINT

Scene 2 range = MIDI ch. 1Scene 1 range = MIDI ch. 1

Two incoming MIDI signals play

each scene independently over a

range determined by the Split Point,

according to Rx Ch settings.

Plays Scene 1 sound Plays Scene 2 sound

SPLIT POINT

Layer Parameters

The AN1x features Layer parameters in the VOICE SCENE

SETUP menu which let you detune the Unison or Dual layers

when UNISON mode or DUAL mode is selected, or separate

the panning between the two layers when UNISON mode,

DUAL mode or SPLIT mode is selected. For more information,

see page 76.

Portamento Play

Portamento is an effect commonly used in singing or when

playing a bowed instrument (glissando), where the sound

is carried in a continuous glide from one note to the next,

through all the intermediate pitches.

The portamento is applied not only to the AN1x’s voice as

audio output from the internal tone generator, portamento

data is also output from the MIDI [OUT] terminal, which

means it can affect a voice of an external tone generator

assigned to the same MIDI channel as the AN1x, or be

recorded as Control Change data in an external MIDI

sequencer.

Turning PORTAMENTO

On And Off

Pressing the [PORTAMENTO] switch turns the portamento

on or off. Portamento on/off status is stored as voice data.

Pressing [PORTAMENTO] outputs a Control Change

message via the MIDI [OUT] terminal, which can be

recorded as Control Change data in an external MIDI

sequencer.

You can designate the assignable Footswitch to turn the

portamento on and off by foot, using the UTILITY SETUP

Control function (see page 95).

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

C1 C2

Key pressed

Normal play

Portamento

Pitch glides from

note to note

Setting Portamento Time

You can determine the Portamento time by pressing

[PEG/LFO] and turning CONTROL knob 4.

When the [PORTAMENTO] switch is turned off, “– – –” will flash in the LCD.

For more information, see page 56.

Selecting Portamento

Modes

There are various Portamento modes available depending

on Poly mode setting. These are accessed by the VOICE

SCENE SETUP menu.

For more information, see page 73.

Mode

Poly

Por t

VOICE

SCENE SETUPLFO Rst

Ctrl Matrix

Set No

Param Source

Depth

Layer

Pan

Separate

Unison

Detune

ASSIGN 4

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

Selecting

Parameter Groups

The KNOB PARAMETER GROUP switches

determine which group of tone generator

parameters you can edit by turning the

CONTROL knobs. You can change the voice

drastically by editing the various parameters.

Simply press a switch to access a group of

parameters. The selected switch will be indicated

by a lit LED to the left of it.

The name of each parameter in the group is printed on the

panel next to the knob by which it is edited, color coded

and arranged in relation to each KNOB PARAMETER

GROUP switch. A description of each parameter group,

along with available parameters and settings available

within each group, is provided in the REFERENCE section.

For details, see as follows:

1PEG/LFO — page 54

2SYNC/FM — page 58

3VCO1 — page 61

4VCO2 — page 63

5VCF — page 64

6MIX/VCF — page 66

7VCA — page 68

(ASSIGN — page 70)

For details about assigning parameters to CONTROL knobs, see page 95. For

information about the AN1x’s tone generator, see page 10.

CTRL

PEG

LFO2 LFO1

VCO

VCO1

SYNC

MASTER

SLAVE

VCO2

MIX/VCF

MOD

RING

NOISE

FEG

VCA

VOLUME

AEG

FEEDBACK

VARI

DLY REV

EFFECT

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

Using The

CONTROL Knobs

The eight CONTROL knobs give you direct access

to dozens of tone generator parameters that let

you coax literally an unlimited range of sounds

from the AN1x in real-time. They also let you

access and edit the individual events in each

step of the Step Sequencer (when the [EDIT

ROTARY] switch is set to the SEQ EDIT/SETUP

menu).

The CONTROL knobs are assignable, so you can

designate a specific parameter to be controlled by each

knob. You can use the Control Matrix to designate each

knob parameter for each Scene in each voice. Plus, you

can use the UTILITY SETUP menu Control function to

designate specific Control Change parameters to be

controlled by each knob when the [ASSIGN] switch is

selected, which not only is routed to the internal tone

generator, but is output via the MIDI [OUT] terminal, and

therefore can be used to simultaneously control an external

MIDI device.

When you turn a knob to edit a parameter, its parameter

name and value will automatically appear in the LCD, and

the knob data graph will track knob movements

accordingly. If you simply press a knob (push-switch)

without turning it, the parameter name and value will

appear in the LCD for visual confirmation, without

changing its value.

Turning a knob left decreases numeric values (or scrolls

toward the top of a list of available parameters), and

turning a knob right increases numeric values (or scrolls

toward the bottom of a list of available parameters).

For information about assigning controllers, see page 95.

ASSIGN 4

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

If the [EDIT ROTARY] switch is set to positions 1 - 4 or

position 6, when you select a voice the [ASSIGN] switch

will automatically be selected (the LED beside it will light),

which means the group of parameters assigned to the

knobs by the UTILITY SETUP menu Control function can be

edited or controlled by turning the CONTROL knobs. To

access another group of knob parameters, simply press a

KNOB PARAMETER GROUP switch.

For more information about the knob parameters, see page 54.

The Knob Data Graph

During tone generator or sequence event parameter editing,

a horizontal 11-segment “knob data graph” appears in the

lower area of the LCD. When you press a knob’s push-switch

for data confirmation (before turning the knob), the data

graph provides you with a visual reference of the parameter

value in relation to the current physical position of the knob.

A flashing segment in the data graph indicates the actual

value of the parameter, whereas shaded segments to the left

or right of the flashing segment indicate the current physical

position of the knob. As you turn the knob to the left or right,

the data graph will move left or right in accordance with the

knob movements.

Coarse/Fine Edit

You can edit CONTROL knob parameters in coarse or fine

increments and decrements, depending on how you turn the

knob. The knob data graph will display differently for each

method.

Simply turning a knob will increase or decrease the

parameter value in coarse (large) amounts. In this case, the

flashing indicator in the knob data graph will be canceled.

Turning a knob while pressing it will increase or decrease the

parameter value in fine (small) amounts. In this case, the

flashing indicator in the knob data graph will position as you

turn the knob, and will remain flashing when you release the

knob.

Actual value (flashing)Current knob position

Assigning Parameters

To Knobs

You can assign one of many available Control Change

parameters to each knob. After pressing the [ASSIGN]

switch, these parameters will be available for edit in real-

time using the CONTROL knobs.

Knob assignments are made using the Control function

(Device and Control Number) parameters located in the

UTILITY SETUP menu. When you press [ASSIGN] and turn

a CONTROL knob, the MIDI Control Change data is sent

to both the internal tone generator as well as to MIDI

[OUT], where it can control external devices. The Control

function assignments are system parameter settings, which

means they will remain as set and be available regardless

of which voice is selected.

You can also assign various other parameters to the

knobs using the Control Matrix located in the VOICE

SCENE SETUP menu, which only affects parameters for

the internal tone generator (as well as incoming MIDI

messages). And since Control Matrix parameters are

voice settings, they are stored as voice data, which

means that each voice can have customized knob

assignments for each Scene!

For details on how to assign Control function parameters to the CONTROL knobs,

see page 95. For details on how to assign Control Matrix parameters to the

CONTROL knobs, see page 73.

For a list of available parameters which can be assigned to each CONTROL knob,

see the separate Data List book.

Step Sequencer Event Edit

If you set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP

menu (position 5), or if you select a voice when the [EDIT

ROTARY] switch is already set there, no LED will be lit beside

a KNOB PARAMETER GROUP switch, and turning a

CONTROL knob will edit the selected event data of the

Sequencer step assigned to that knob.

When you turn a knob to edit an event, the step event name

and value (and step number) will automatically appear in the

LCD, and the knob data graph will track knob movements

accordingly. Also, if you simply press a knob (push-switch)

without turning it, the information will display in the LCD for

confirmation.

Pressing a KNOB PARAMETER GROUP switch will activate its

group of tone generator parameters (its LED will light), and

pressing the same switch again will return to Step Sequencer

edit status. Setting the [EDIT ROTARY] switch to another

position will also disengage Step Sequencer edit.

For more information about the Step Sequencer, see page 37.

Using The Panel

Edit Matrix

The AN1x’s panel matrix of Edit menus gives

you quick and easy access to hundreds of

parameter settings. All you have to do is set the

[EDIT ROTARY] switch to one of the six menus

and press the parameter value [UP/DOWN]

switch located beneath the name of the

parameter you want to edit.

Press the [UP/DOWN] switch once to display the name of

the parameter and current value setting in the LCD. Press

the upper or lower area of the switch repeatedly to

increment or decrement through the settings, or hold the

upper or lower area of the switch to scroll through the

settings.

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT/SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

Base Unit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

Press this area to decrement settings (hold to scroll)

Select a menu (1 - 6)

Press once to display information in LCD

Press this area to increment settings (hold to scroll)

1 Voice Menus

The four Voice menus are primarily dedicated to parameters

which affect the tone generator.

VOICE SCENE SETUP Includes Scene Mode and Control

Matrix parameters plus Layer-related parameters for the

voice.

VOICE COMMON Includes Tempo, Split Point, Effect and

voice naming parameters which are common to both Scenes,

and Variation Effect Dry:Wet balance parameter which can

be set for each Scene.

VOICE FREE EG Includes Trigger and Length setting, Track

and Parameter select, plus recording and other parameters

related to the Free EG function.

VOICE ARPEGGIO/SEQ Includes common and specific

parameters related to the Arpeggiator and Step Sequencer.

For a description of each parameter and available settings, see the REFERENCE

section, page 72. For information about the Arpeggiator, see page 33.

2 Step Sequencer Menu

The SEQ EDIT/SETUP menu includes Knob event and

sequence editing-related parameters, as well as Pattern Bank

and Number select, and other parameters related to the Step

Sequencer.

For a description of each parameter and available settings, see the REFERENCE

section, page 89. For information about the Step Sequencer, see page 37.

3 Utility Menu

The UTILITY SETUP menu includes “global” parameters,

including System tuning and keyboard transpose and velocity

parameters, MIDI channel transmit, receive and other

settings, and Control function assignment-related parameters.

For a description of each parameter and available settings, see the REFERENCE

section, page 92. For more information about the Control function, see page

50.

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT /SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

Base Unit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

3 Utility Menu

2 Step Sequencer Menu

1 Voice Menus

Editing Voices

If you’ve read through all the preceding

sections, and especially if you’ve been trying out

the various features along the way, you should

have a pretty solid grounding in how the AN1x

creates and enhances sound, as well as how the

various controls work to manipulate the many

features. This section provides an overview of

the steps required for the procedure of editing a

voice, along with the key procedures required to

build up your own voices from scratch.

Voice Edit Procedure

The AN1x is so naturally intuitive, the procedure for

editing a voice is extremely simple. There are only a few

basic steps, as follows:

1. Select a voice using the PROGRAM CHANGE

keypad.

2. Set the status of Layer mode with the [LAYER]

switch and Poly mode (located in the VOICE

SCENE SETUP menu).

Mode

Poly

Por t

VOICE

SCENE SETUPLFO Rst

Ctrl Matrix

Set No

Param Source

Depth

Layer

Pan

Separate

Unison

Detune

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ENTERNO

3. Edit the various tone generator parameters

for each Scene, using the KNOB PARAMETER

GROUP switches and CONTROL knobs.

4. Depending on your needs, use the panel Edit

matrix to designate effects configuration and

settings, record real-time knob movements

for one or more parameters using the 4-track

Free EG function, designate Arpeggiator

settings, create a Step Sequence, assign

Control Matrix sets, and set any other voice

parameters.

5. Store the voice data to a voice memory

location (1 - 128) using the Voice Store

operation (see page 98).

Parameters which you can edit at any time but which are not stored as voice data

include system-related parameters accessible from the UTILITY SETUP menu, as

well as Effect Bypass status (VOICE COMMON menu) and MIDI Pattern Transmit

Channel (VOICE ARPEGGIO/SEQ menu). As such, they will remain as set

regardless of which voice is selected.

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT/SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

Base Unit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

CREATING ORIGINAL

VOICES

Following is an overview of the key procedures required to

build up your own voices from scratch. For step-by-step

examples of how to create specific types of voices,

including analog synth classics like Synth Bass and Synth

Brass, as well as traditional Electronic Organ and Electric

Piano voices and more, see page 101.

Tone Generator and

Panel Parameter Editing

By editing the tone generator parameters you can

determine the fundamental characteristics of the voice.

These are accessed by pressing a KNOB PARAMETER

GROUP switch and turning specific CONTROL knobs.

There are four key steps in the process of editing the

tone generator parameters, as follows:

1. VCO edit to select the fundamental

waveform and determine the pitch

2. VCF edit to apply filtering and determine

the tone, or timbre

VCA edit to apply amplification to the voice

4. LFO edit to apply modulation to the VCO,

VCF and VCA

Tone generator parameter editing affects the selected Scene (loaded in the Scene

edit buffer) or the Scene Control sound (in the Scene Control buffer). For details,

see page 20.

By editing the various panel Edit menu parameters you

can determine a voice's keyboard and Scene related

modes, configure effect types and settings, record Free

EG tracks, create and assign Step Sequencer patterns

or configure the Arpeggiator. (For details, see page

71.)

Certain panel parameters apply to individual Scenes or both Scenes equally for the

voice. For details about each menu and available parameters, see page 72.

1. VCO Edit

Pressing the [VCO1] KNOB PARAMETER GROUP

switch gives you access to the main voltage controlled

oscillator parameters, which let you select the basic

waveform and determine the fundamental pitch of the

sound. Pressing the [VCO2] switch gives you access to

the second oscillator, which contains the same set of

parameters as VCO1, and lets you add extra

dimension to the voice.

No sound will be produced if the VCO1 Level or VCO2 Level settings in the

[MIX/VCF] group are too low.

Wave

By turning CONTROL knob 1 you can select the

waveform for the VCO1 oscillator—from a list which

includes sawtooth, square (pulse) and a variety of

others—which determines the fundamental

characteristics of the voice.

For details about the available waves, see page 61.

Pitch And Fine

By turning CONTROL knobs 2 (Pitch) and 3 (Fine) you

can determine the fundamental pitch of the wave.

Using both oscillators you can slightly “detune” the

pitch of each with the Fine parameter to fatten the

sound, or create intervals by setting different Pitch

parameters for each.

For details about the Pitch and Fine parameters, see pages 61, 62.

Edge, Pulse Width And Pmod

Depth

By turning CONTROL knob 4 you can adjust how

sharp or smooth the "edge" of the wave is. CONTROL

knob 5 lets you determine the width of the wave's

pulse to control the amount of harmonics present.

CONTROL knob 8 lets you adjust the Pitch Modulation

Depth to create a vibrato effect. Other parameters let

you apply modulation to the pulse width with the LFO1

and other waves.

For details about the Edge, Pulse Width and Pmod Depth parameters, see pages

62, 63.

Saw Wave Pulse Wave

Sync Algorithm

Pressing the [SYNC/FM] KNOB PARAMETER GROUP

switch lets you use the CONTROL knobs to access the

parameters which affect the "master" and "slave"

oscillators which are part of the VCO1, as well as

configure how the FM (Frequency Modulation) signal is

applied to the master and/or slave oscillators. When

the "sync" is enabled VCO1 literally becomes two

oscillators in one, with the slave synced to the master.

By turning CONTROL knob 1 you can configure the

sync Algorithm, which either turns off the sync and

makes only the FM signal available, or lets you apply

the FM signal to either master or slave or both

oscillators. CONTROL knob 2 lets you access the Sync

Pitch parameter to create a difference in pitch between

the master and slave oscillators and control the

resulting harmonic interval. Other parameters available

let you apply modulation to the VCO1 oscillators with

the LFO1 and other waves.

For details about the [SYNC/FM] parameters, see page 58.

PEG

Pressing the [PEG/LFO] KNOB PARAMETER GROUP

switch let you use the CONTROL knobs to access

parameters which control the Pitch Envelope Generator

(PEG), which determines how the pitch of a voice

changes over time—from when a key is pressed, held,

then release, and how long it takes for the sound to

terminate. CONTROL knob 2 lets you set the PEG

Depth, or pitch in semitones. CONTROL knob 1 lets

you adjust the PEG Decay, or time required for the

sound to reach its basic pitch from the PEG Depth

setting. CONTROL knob 3 lets you set the PEG Switch

to determine which VCO the PEG is applied to.

For more information about PEG Depth, PEG Decay, and PEG Switch parameters,

see page 55.

VCO

VCO1

SYNC

MASTER

SLAVE

VCO2

2. VCF Edit

Pressing the [VCF] KNOB PARAMETER GROUP switch

gives you access to the voltage controlled filter

parameters, which let you determine the characteristics

of the tone, or timbre of the voice, and configure the

Filter Envelope Generator (FEG).

VCF Cutoff And Resonance

By turning CONTROL knob 5 you can set the cutoff

frequency of the VCF Type (as designated in the

MIX/VCF group), which determines the point at which

specified frequencies are passed or cut off—i.e.,

filtered out. CONTROL knob 6 lets you boost the

harmonics near the cutoff frequency to apply

resonance. These two parameters are critical in

determining the timbre of the voice.

FEG

CONTROL knobs 1-4 let you determine the Attack,

Decay, Sustain and Release values, respectively, to give

you precision control over how the timbre of the voice

changes over time—from when a key is pressed, held,

then released, and subsequently how long it takes for

the sound to terminate. CONTROL knob 7 lets you set

the FEG Depth, or range of movement of the cutoff

frequency.

For more information about [VCF] parameters, see page 64.

Key on Key off

Attack ReleaseDecay

Time

Cutoff frequency

Sustain

Range passed

Cutoff frequency Frequency

Cutoff range

VCF Type = Low Pass Filter

Ring Modulator, Noise And Mixer

Pressing the [MIX/VCF] KNOB PARAMETER GROUP

switch lets you use CONTROL knobs 1-4 to determine

the levels of the VCO1, VCO2, Ring Modulator and

Noise signals, respectively. CONTROL knob 5 lets you

determine the cutoff frequency of the High Pass Filter

applied to the signal which is output from the mixer,

and CONTROL knob 6 lets you select the VCF filter

type (LPF, HPF, BPF, BEF) which is controlled by the VCF

Cutoff frequency (in the [VCF] parameter group).

CONTROL knob 7 lets you adjust the Filter Modulation

Depth to create a wah effect.

For more information about [MIX/VCF] parameters, see page 66.

3. VCA Edit

Pressing the [VCA] KNOB PARAMETER GROUP switch

gives you access to the voltage controlled amplifier

parameters, which let you determine the volume of the

sound and configure the Amplitude Envelope

Generator (AEG).

AEG

CONTROL knobs 1-4 let you determine the Attack,

Decay, Sustain and Release values, respectively, to give

you precision control over how the volume of the voice

changes over time—from when a key is pressed, held,

then released, and subsequently how long it takes for

the sound to terminate. The diagrams which follow

show the difference in envelope generator

characteristics for some common instruments.

For more information, see page 68.

Piano Violin

Key on Key off

Attack ReleaseDecay

Time

Level

Sustain

Amod Depth And Vel Sens

CONTROL knob 7 lets you adjust Amplitude

Modulation Depth to create a tremolo effect by using

LFO1. CONTROL knob 8 lets you set the Velocity

Sensitivity to determine the amplitude of the VCA in

relation to playing strength, to either increase dynamic

range with a heavier or lighter touch.

For more information about Amod Depth and Vel Sens parameters, see page 70.

Feedback And Volume

CONTROL knob 5 lets you determine the feedback

level which is output from the VCA and then "fed

back" into the input of the mixer, causing the signal to

become fat. CONTROL knob 6 lets you determine the

overall output level from the VCA before the signal

passes to the Effect block.

For more information about Feedback and Volume parameters, see page 69.

4. LFO Edit

The Low Frequency Oscillator is an oscillator which

generates low frequency signals to let you apply a

modulation signal to specific aspects of the voice. For

example, applying the LFO to the VCO creates vibrato,

applying it to the VCF creates wah, and applying it to

the VCA creates tremolo. The AN1x has two separate

LFOs which give you a wide range of control over

modulation.

Wave And Speed

Pressing the [PEG/LFO] KNOB PARAMETER GROUP

switch lets you use CONTROL knob 5 to select the

LFO1 Wave from 21 types available. CONTROL knob

6 lets you adjust LFO1 Speed, and CONTROL knob 7

lets you determine the LFO1 Delay time of the

modulation. CONTROL knob 8 lets you adjust the

LFO2 Speed for the LFO2 wave, which is fixed to a

triangle wave.

For more information about LFO parameters, see page 54.

Storing A Voice

As you edit your voice, depending on whether you're

working on Scene 1, Scene 2 or the Scene Control sound,

you may want to perform Voice Store operations.

Store Operations

The [STORE] switch is used for performing Voice

Store operations.

For information about performing a Voice Store operation,

see page 98.

For information about types of data stored in a voice, see page 9.

For information about Scene-related Store functions, see page 21. For information

about SEQ Store, see page 46.

Turning ARPEGGIO/SEQ

On And Off

The [ARPEGGIO/SEQ] switch is used to turn the

Arpeggiator or Step Sequencer on and off. Either

“ARP” or “SEQ” will appear in the LCD to

indicate which one is active for the voice,

determined by the Common Arp/SEQ setting in

the VOICE ARPEGGIO/SEQ menu.

For information about the Arpeggiator, see page 33. For information about the

Step Sequencer, see page 37. For information about the Arp/SEQ setting, see

page 85.

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

DEMO

PORTAMENTO

STORE

ARPEGGIO/SEQ

LAYER

Using The Arpeggiator

The Arpeggiator lets you play arpeggiated chord

patterns at the simple press of a key. There are

30 arpeggio pattern Types to choose from.

Between the 10 Arpeggio Subdivide (timing

resolution) settings, Play Effect Velocity

parameter and number of notes played, you

have a wide range of control and customization

over length, rhythm and feel of a voice’s

arpeggio.

You can control which Scene plays the arpeggiated

patterns, turn the Arpeggio Hold function on and off at

will, and even designate an independent MIDI channel on

which to output the Arpeggiator pattern data.

The specific Arpeggiator-related parameters are available

in the VOICE ARPEGGIO/SEQ menu, but a few others will

also have a bearing on your arpeggiated performances,

including Tempo and Poly mode settings, and depending

on Layer mode, the Split Point assignment as well.

For information about each VOICE ARPEGGIO/SEQ menu parameter, see page 85.

Arpeggiator On/Off

The Arpeggiator can only be activated when the Arp/SEQ

parameter (VOICE ARPEGGIO/SEQ menu) is set to

“Arpeggio”.

You can turn the Arpeggiator on and off by pressing the

[ARPEGGIO/SEQ] switch. When the Arpeggiator is turned

on, “ARP” will appear in the lower right area of the LCD.

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Setting The Arpeggiator Tempo

Set the [EDIT ROTARY] switch to VOICE COMMON and

press Tempo [UP/DOWN] to set the tempo of the

Arpeggiator in BPM (Beats Per Minute).

If you want the clock of an external MIDI sequencer or drum

machine to control the AN1x’s tempo, then set the Tempo to

“MIDI” (the first value located before “40”) so that the two

devices will play in synchronization with each other.

Arpeggio Hold Function

Pressing Hold [UP/DOWN] lets you turn the Arpeggio

Hold function on and off. When Hold is set to "on",

"HOLD" will appear in reverse type in the lower right

corner of the LCD. After triggering the Arpeggiator by

playing the keyboard, the arpeggio will continue playing

automatically when you release the keys, until you switch

the Hold setting to "off", or press [ARPEGGIO/SEQ] to

stop the Arpeggiator. When set to "off", the Arpeggiator

will stop when you release the keys.

The Arpeggio Hold function is especially useful during live

performances when the Layer mode is set to “SPLIT” and

Keyboard Mode is set to “chrd&norm” (see page 35),

since you can trigger the arpeggio with notes to the left of

the Split Point, and use both hands to play chords or fills to

the right. Arpeggio Hold is also handy when trying out

different Arpeggiator Types or Subdivide settings, and is

literally indispensable for tweaking the tone generator

parameters for your arpeggios with the CONTROL knobs.

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Arpeggio Pattern Types

The 30 arpeggio pattern Types are selected by pressing

Type/No [UP/DOWN]. The available Types are basically

divided into two groups, separated chords (Types 1-15),

and special arpeggios (Types 16-30).

Types 1-15 separate the chords you play in a variety of

ways, either generating arpeggios which occur up, down,

up and down, or randomly—over one, two or four

octaves. Types 16-30 are special types which vary in tone

or add subtle shifts or more complex dynamics and

rhythmic elements to the arpeggio.

For more information about Type/No, see page 85. For a list of available

Arpeggiator Types, see the Arpeggiator Type List in the separate Data List book.

Arpeggio Subdivide

Pressing Arpeggio Subdivide [UP/DOWN] lets you

designate one of the ten timing subdivision (rhythm

resolution) settings for the Arpeggiator pattern.

Available Subdivide settings are as follows:

3/8=q., 1/4=q, 3/16=e., 1/6= , 1/8=e, 3/32=x.,

1/12= , 1/16=x, 1/24= , 1/32=r

For more information about Arpeggio Subdivide, see page 88.

qqq

hhh

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Playing Arpeggiated

Chords

Trying out the various arpeggios is a lot of fun. Turn on the

Arpeggio Hold function, play an even-numbered note

chord, and see how the different pattern Types and

Subdivide settings react. Then play an odd-numbered note

chord and repeat the process.

There are a wealth of combinations available at your

fingertips—with relatively straightforward or even

unconventional results awaiting you. And only by rolling

up your sleeves and exploring all the options at hand can

you become an expert at how to get just the right

arpeggio for just the right track.

Keyboard Mode

Press KbdMode [UP/DOWN] to designate how the

Arpeggiator patterns respond to notes played on the

keyboard. Select “chrd” (Chord) if you want to play

arpeggiated chords across the entire keyboard. Select

“chrd&norm” (Chord & Normal) if you want to play

arpeggiated chords to the left of the Split Point and

normal chords to the right.

For information about setting the Split Point, see page 77.

Scene Switch

Press SceneSw [UP/DOWN] to designate which Scene

will play the Arpeggiator pattern. Scenes will play in

accordance with Layer mode and Keyboard Mode

settings.

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

“scne1” or “scne2”

When the Scene Switch is set to “scne1” or “scne2”,

Scene 1 or Scene 2 will play as follows:

Layer mode = DUAL

● If KbdMode is set to “chrd”, you can play both

Scenes simultaneously across the entire keyboard.

The selected Scene plays the arpeggio, and the

other plays normally.

● If KbdMode is set to "chrd&norm", you can play

both Scenes simultaneously across the entire

keyboard. The selected Scene plays arpeggios

when you play chords to the left of the Split Point,

and plays the Dual voice normally when you play

to the right of the Split Point.

Layer mode = SPLIT

● If “scne1” is selected and KbdMode is set to

“chrd”, you can play arpeggios with Scene 1 to the

left of the Split Point, and arpeggios with Scene 1

and normal chords with Scene 2 to the right.

● If “scne2” is selected and KbdMode is set to

“chrd”, you can play arpeggios with Scene 2 and

normal chords with Scene 1 to the left of the Split

Point, and arpeggios with Scene 2 to the right.

Arpeggiator

Scene 1:

Pad sound

Scene 2:

Decay sound

Scene 2 only

● If “scne1” is selected and KbdMode is set to

“chrd&norm”, you can play arpeggios with Scene

1 to the left of the Split Point, and play normally

with Scene 2 to the right.

● If “scne2” is selected and KbdMode is set to

“chrd&norm”, you can play arpeggios with Scene

2 and normal chords with Scene 1 to the left of the

Split Point, and play normally with Scene 2 to the

right.

Layer mode = SINGLE

● If KbdMode is set to “chrd”, you can play

arpeggios with the selected [SCENE] switch only

(or Scene Control sound) across the entire

keyboard.

● If KbdMode is set to “chrd&norm”, you can play

arpeggios with the sound of the selected [SCENE]

switch only (or Scene Control sound) to the left of

the Split Point and normal chords with the sound of

the selected [SCENE] switch only (or Scene Control

sound) to the right.

“both”

When the Scene Switch is set to “both”, both Scenes

will play as follows:

Layer mode = DUAL

● If KbdMode is set to “chrd”, you can play

arpeggios with Scene 1 and Scene 2 across the

entire keyboard.

● If KbdMode is set to “chrd&norm”, you can play

arpeggios with Scene 1 and Scene 2 to the left of

the Split Point, and play normally with Scene 1 and

Scene 2 to the right.

Arpeggiator

Scene 1:

Scene 1 only

Bass sound

Scene 2:

Solo sound

Layer mode = SPLIT

● If KbdMode is set to “chrd”, you can play

arpeggios with Scene 1 to the left of the Split Point,

and play normally with Scene 2 to the right.

● If KbdMode is set to “chrd&norm”, you can play

arpeggios with Scene 1 to the left of the Split Point

and normal chords to the right.

When SceneSw “both” is set in SPLIT mode, depending on selected arpeggio

Type, as well as Split Point setting and the position at which you play the keys,

certain notes of the arpeggiated chords may cross the Split Point, i.e., lower notes

will play Scene 1 and higher notes will play Scene 2.

Layer mode = SINGLE

(Same as for “scne1” or “scne2”, page 35.)

Arpeggio Pattern Length

The length of an AN1x arpeggio pattern is determined by

three factors which work together simultaneously: Arpeggio

Type, Arpeggio Subdivide setting, and the total number of

notes you play for an arpeggiated chord.

For example, say you play an arpeggiated pattern with a

four-note chord, such as a C major triad with an octave in

the root. If Subdivide is set to “1/8”, the Arpeggiator breaks

down the chord into 8ths, and then arpeggiates it based on

the Type setting. If Type is set to “UpOct2” the arpeggio will

climb over two octaves, and will repeat after four beats.

Then, if you change Subdivide to “1/16”, the arpeggio will

repeat after 2 beats. Furthermore, if you then change Type to

“UpOct1”, the arpeggio will repeat after only one beat.

Because the number of notes you play in the chord has a

direct relationship on the pattern length based on Subdivide

resolution, sometimes unwanted syncopations may be

generated. As a general rule, you can avoid this by choosing

an even number of chord notes for even-numbered subdivide

resolutions (1/4, 1/8, 1/16 and 1/32) and an odd number

of notes (e.g., three-note or five-note chords) with odd-

numbered resolutions (1/6, 1/12, 1/24).

However, this doesn’t apply for dotted note rhythms (3/8,

3/16 and 3/32). These resolutions are particularly

interesting for odd-numbered beats (e.g., 3/8 or 6/8), so

you will need to play chords with an even number of notes to

correctly play back these three-part rhythms.

As an example, set Type to “UpOct2” and Subdivide to

“3/8” resolution. Playing a triad will place the root note on

the first beat in the 4th bar, generating irregular cycles. A

four-note chord, however, generates symmetrical 4 bar

cycles. The root note will be repeated after the first cycle on

bar 3, after the second cycle on bar 5 and after the third

cycle on bar 7, and so on, always landing on the first beat.

In the case of the special Arpeggiator Types (16-30), you will

notice that these aren’t particularly effective with triplet

rhythms. Best results are achieved with a 4/4 beat and a

Subdivide resolution of “1/16”, “1/8” or “1/32”.

Play Effect Velocity

Press the Play Effect Velocity [UP/DOWN] switch to set

the ratio between the lower and higher velocity values

of the Arpeggiator pattern, over a range between 1%

and 200%.

A setting of “100%” maintains the original velocity

relationship between the notes. Lower values adjust

velocities downward at playback, and higher values

adjust velocities upward at playback. A setting of

“real” (Real-time) will cause the velocity values of the

pattern to be determined by the velocity at which you

play the keyboard.

Arpeggio MIDI Output

You can use the MIDI Pattern Transmit Channel (“PtnTxCh”)

parameter to designate a MIDI channel on which to output

the Arpeggiator pattern data, to either play an external

tone generator or record the data into a MIDI sequencer or

computer.

This setting is independent from the MIDI Transmit Channel

(“MIDI Tx Ch”) setting in the UTILITY SETUP menu (see

page 93), but you can either set them both to the same

channel or different channels, depending on your

requirements. The diagram below shows an example of

how they can be set to different channels to control two

different external tone generators.

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SE

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

For information about setting the MIDI Pattern Transmit Channel (“MIDI

PtnTxCh”), see page 87.

The MIDI PtnTxCh setting is a system parameter, and will not be saved as voice

data.

Using The Step

Sequencer

The Step Sequencer lets you create your own

16-step looped patterns by setting Note,

Velocity, Gate Time and Control Change event

values for each step (beat) in the sequence using

the CONTROL knobs, where each knob gives

you access to the events in a specific step when

the [EDIT ROTARY] switch is set to the SEQ

EDIT/SETUP menu.

Each of the 128 voices has its own “Voice” Pattern

memory for storing a single sequence. There is also a

separate bank of 128 “User” Patterns. Patterns can be

triggered from the keyboard in a variety of ways.

The specific Step Sequencer-related parameters are

available in the SEQ EDIT/SETUP menu. Also, Pattern

Number, Keyboard Mode, Hold, Scene Switch and Play

Effect parameters in the VOICE ARPEGGIO/SEQ menu

have special functions related to the Step Sequencer. Other

settings which will have a bearing on your sequences

include Tempo and Poly mode settings, and depending on

Layer mode, the Split Point assignment as well.

For information about each SEQ EDIT/SETUP menu parameter, see page 89.

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold Length

SEQ

Store

Pattern

Bank

BaseUnit

LoopType Ctrl No

VOLUME

CTRL

SCENE

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

Arpeggiator

Ext. TG 2

(Attack sound)

Ext. TG 1

(Pad sound)

Rcv. Ch2

Ptn TxCh2

Rcv. Ch1

MIDI TxCh1

Step Sequencer On/Off

The Step Sequencer can only be activated when the

Arp/SEQ parameter (VOICE ARPEGGIO/SEQ menu) is set

to “Step SEQ”.

You can turn the Step Sequencer on and off by pressing

the [ARPEGGIO/SEQ] switch. When the Step Sequencer is

turned on, “SEQ” will appear in the lower right area of the

LCD.

When Arp/SEQ is set to “Arpeggio”, the various parameters in the SEQ

EDIT/SETUP menu cannot be accessed.

Setting The Step Sequencer Tempo

Set the [EDIT ROTARY] switch to VOICE COMMON and

press Tempo [UP/DOWN] to set the tempo of the Step

Sequencer in BPM (Beats Per Minute).

If you want the clock of an external MIDI sequencer or drum

machine to control the AN1x’s tempo, then set the Tempo to

“MIDI” (the first value located before “40”), so that the two

devices will play in synchronization with each other.

Tempo Split Pnt

VOICE

COMMON

Vari EF/EQ

Param Data

Vari EF

Dry:Wet

Dly/Rev EF

Param

Data

Bypass

Name

Cursor Char

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Step Sequencer Hold

Modes

Pressing Hold [UP/DOWN] lets you turn the SEQ Hold

function on and off. Depending on Keyboard Mode

setting, there are two additional Hold modes.

When SEQ Hold is set to “on”, “HOLD” will appear in

reverse type in the lower right corner of the LCD. After

triggering the Step Sequencer by playing the keyboard,

the sequence will continue playing automatically when you

release the key, until you switch the Hold setting to “off”,

or press [ARPEGGIO/SEQ] to stop the Step Sequencer.

When KbdMode is set to “sel&norm” or “sel&shift”, two

additional SEQ Hold mode settings are available:

“mode1”, which triggers a pattern every time a key is

pressed, and “mode2”, which triggers a pattern after the

current sequence finishes, even if you press a key during

the middle of the current sequence.

The SEQ Hold function, used in conjunction with Layer

mode and Keyboard Mode settings, greatly expands your

live performance options. It’s also indispensable for

searching for Voice and User Patterns, as well as for

editing a pattern or tweaking various tone generator

parameters for your sequence sound with the CONTROL

knobs.

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Voice Pattern And

User Pattern Banks

In addition to the voice-related data stored in a voice

memory location, each voice has “Voice Pattern” data for

a single Step Sequencer pattern. Since there are 128

voices in memory, the collection of 128 patterns as stored

in the voices is called the Voice Pattern bank. In addition

to the Voice Pattern bank, there is a separate bank of 128

“User Patterns” called the User Pattern bank.

The Voice and User Patterns can be played from the

keyboard in a variety of ways, depending on the

Keyboard Mode setting in the VOICE ARPEGGIO/SEQ

menu. The individual Keyboard Mode settings are

explained on page 41, but first let’s take a look at the two

main methods of Step Sequencer play—Single Pattern Play

and Pattern Select Play—and see what’s happening inside

the AN1x’s memory structure as you select, edit and store

patterns.

Single Pattern Play

During Single Pattern Play, you can play a single Step

Sequencer pattern from the keyboard. For Single

Pattern Play, the Keyboard Mode parameter (VOICE

ARPEGGIO/SEQ menu) must be set to either “norm” or

“shift&norm”.

As the Single Pattern Play diagram illustrates, when

you select a voice with the PROGRAM CHANGE

keypad, Voice Pattern data is loaded into the Voice

Pattern edit buffer.

When you press a key on the keyboard, you are

tiggering the Voice Pattern stored with the voice,

located in the buffer. You can set the [EDIT ROTARY]

switch to the VOICE EDIT SETUP menu and press Bank

[UP/DOWN] to select either the Voice or User Pattern

bank, and every time you press No [UP/DOWN] to

select a pattern number, that pattern will load into the

Voice Pattern edit buffer.

Voice Patterns (128)

Voice Pattern Edit Buffer

(Pattern loaded into the Voice Pattern edit buffer will be played)

Voice Bank

User Patterns (128)

User Bank

SINGLE PATTERN PLAY

All editing of the pattern will of course be taking place

in the buffer. If you want, you can use SEQ Store

[UP/DOWN] to store the edited pattern to any User

Pattern bank memory (1 - 128). If you perform a Voice

Store operation, the edited voice will become the new

Voice Pattern for the voice.

Pattern Select Play

During Pattern Select Play, you can trigger more than

one Step Sequencer pattern from the keyboard. Each

pattern is assigned to a different key. For Pattern Select

Play, the Keyboard Mode parameter (VOICE

ARPEGGIO/SEQ menu) must be set to either

“sel&norm” or “sel&shift”.

As the Pattern Play Select diagram illustrates, when you

select a voice with the PROGRAM CHANGE keypad,

Voice Pattern data is loaded into the Voice Pattern edit

buffer, and all 128 User Patterns are loaded into the

User Pattern Edit buffer.

Pressing different keys on the keyboard will “select”

different patterns, and C1 will always play the Voice

Pattern for the current voice. C#1 and above will select

and trigger different User Patterns in ascending order

across the Key Code (keyboard notes) up to the Split

Point, based on which User Pattern number is assigned

to C#1. If you set the [EDIT ROTARY] switch to the SEQ

EDIT/SETUP menu and press (Pattern) No [UP/DOWN]

once, the pattern number will appear in the LCD each

time you press the corresponding key.

Voice Patterns (128)

Voice Pattern

Edit Buffer

1 to Split Point

SPLIT POINT

User Pattern

Edit Buffer (128)

Voice Bank

User Patterns (128)

User Bank

PATTERN SELECT PLAY

Since the triggered Voice and User Patterns are

selected and played from edit buffers, you can edit any

pattern at will—i.e., you can trigger one pattern and

edit it, trigger a second pattern and edit it, go back to

the first one and tweak it some more, and so on, in

order to edit various patterns in context with each

other.

If you want, you can use SEQ Store [UP/DOWN] to

store any edited pattern to any User Pattern bank

memory (1 - 128). If the User Pattern has been edited,

the "All Ptn" (All Patterns) store confirmation message

will appear in the LCD, and you can press

[YES/ENTER] to overwrite all patterns, or press [NO]

to cancel the operation.

C#1 Assign

C#1 is always the base note assignment for the first User

Pattern to be selected. As shown in the Pattern Select Play

diagram (page 39), if “Usr001” (User 001) is assigned to

C#1, then pressing C#1 selects User Pattern 001, pressing

D1 selects Pattern 002, pressing D#1 selects Pattern 003,

and so on. The User Patterns are always selected in

ascending order according to pattern number (001 - 128).

The C#1 Assign feature lets you “shift” the starting pattern

number. For example, if you assign “Usr003” to C#1, then

pressing C#1 selects User Pattern 003, pressing D1 selects

Pattern 004, pressing D#1 selects Pattern 005, and so on.

To assign a User Pattern number to C#1, set the [EDIT

ROTARY] switch to VOICE ARPEGGIO/SEQ and press

Type/No [UP/DOWN]. Arp SEQ must be set to “Step SEQ”,

and KbdMode must be set to “sel&norm” or “sel&shift”. (See

page 85.)

Playing Step

Sequencer Patterns

The AN1x comes with 128 Voice Patterns and 128 User

Patterns ready to go. All patterns can be overwritten to

store your own.

Selecting Pattern Banks

And Numbers

To select a Pattern Bank, set the [EDIT ROTARY] switch

to SEQ EDIT/SETUP and press Bank [UP/DOWN].

During Single Pattern Play, either the Voice or User

Pattern bank can be selected. During Pattern Select

Play, only the User Pattern bank can be selected.

To select a Pattern Number, press No [UP/DOWN].

You can select from 128 patterns in each bank.

Keyboard Mode

The Keyboard Mode setting (VOICE ARPEGGIO/SEQ

menu) determines Single Pattern Play (“norm” or

“shift&norm”) or Pattern Select Play (“sel&norm” or

“sel&shift”) status.

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

norm (Normal): Lets you play the Voice Pattern

of the currently selected voice at its base pitch from

any key on the keyboard. You can play regular

notes and chords across the keyboard while the

sequence is looping.

shift&norm (Shift & Normal): Playing a key to

the left of the Split Point will shift the pitch of the

Voice Pattern accordingly (with C2 as the original

base pitch), and playing keys to the right of the

Split Point will play notes normally, without affecting

the sequence. If you set the Split Point to a very

high setting (above C6, for example), you can shift

the pattern from any key, with C2 as the base pitch

of the programmed pattern.

sel&norm (Select & Normal): Playing a key to

the left of the Split Point will trigger (“select”) a

specific User Pattern based on C#1 Assign setting

(C1 will trigger the Voice Pattern for the current

voice), and playing keys to the right of the Split

Point will play notes normally, without affecting the

sequence. Each User Pattern will play at its

programmed pitch. If you set the Split Point to a

very high setting (above C6, for example), you can

select a different pattern from any key.

SPLIT POINTBase pitch

Shifts pattern Normal play

Triggers current Voice Pattern

sel&shift (Select & Shift): Playing a key to the

left of the Split Point will trigger (“select”) a specific

User Pattern based on C#1 Assign setting (C1 will

trigger the Voice Pattern for the current voice), and

playing keys to the right of the Split Point will shift

the pitch of the selected pattern accordingly. C4

always determines the base pitch of the selected

pattern. For example, if the Split Point is set to C3,

then C1 plays the Voice Pattern for the selected

voice, and 23 different User Patterns can be

selected by playing keys C#1 ~ B2, and shifted in

pitch by pressing C3 and above, with C4

triggering the original base pitch of the sequence.

When “sel&shift” is selected and the Split Point is assigned above C4, then

sequence pitch can only be shifted above the base pitch.

For more information about Keyboard Mode, see page 86. For information about

assigning the Split Point, see page 77.

User Patterns (128)

User Bank

SPLIT POINT

Base pitch

Voice Pattern

User Patterns

Shifts pattern notes

SPLIT POINT

User Patterns (128)

User Bank

Normal playUser Patterns

Voice Pattern

Base Unit And Length

The Base Unit parameter, together with the current

Tempo setting (see page 77) designates and completes

the timing resolution for the sequence pattern.

The Length parameter setting determines the length of

the sequence pattern based on number of steps. One

step is equivalent to one note, so based on the Base

Unit setting, you can also select odd-numbered steps to

create odd-numbered beats (such as setting the Length

to "3" for 3/4-time, or to "5" for 5/4-time), as well as

create completely unconventional rhythms.

For more information about Base Unit and Length, see page 91. Also see the

section on Arpeggio Subdivide, which is similar to Base Unit, page 34.

Loop Type

The Loop Type parameter lets you determine the type of

loop cycle for the sequence pattern. The pattern always

loops, and you can designate it to loop either forward,

backward, or designate one of two alternating

forward/backward types.

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

For more information about Loop Type, see page 91.

Scene Switch

The Scene Switch setting (in the VOICE ARPEGGIO/SEQ

menu) determines whether the Step Sequencer Pattern will

play Scene 1, Scene 2, or both Scenes. The current Scene

status will also affect how the Scenes play.

Control Number

The Control Number setting determines the type of

MIDI Control Change message which can be output by

each event upon sequencer play. Once the Control

Number is set, the Control Change event is selected

with (Knob) Event [UP/DOWN], and the value to be

output via each step is edited with the corresponding

CONTROL knob.

For more information, see page 91. For more information about MIDI Control

Change messages, see page 109.

Knob

Event

1-8/9-16

SEQ

EDIT/SETUP

Step Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Play Effects

The Play Effect (“Play EF”) parameters let you designate

settings which can permit the Step Sequencer pattern to

obtain a more human “feel”. (Or even a less one, if

that’s what you’re going for!) There are three Play

Effect parameters, Swing, Velocity and Gate Time.

Swing: Lets you create a “swing” feel by slightly

shifting certain beats.

Velocity: Lets you set the ratio between lower and

higher velocity values of each step.

Gate Time: Lets you adjust the note length (the

duration of the note) either shorter or longer, as a

percentage of the original.

For more information about Play Effects and available settings, see page 88.

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

Exploring The Factory-set Patterns

To help get a clearer understanding of how the various Step

Sequencer-related parameters and settings work, you may

want to take some time and systematically examine the

details of some of the factory-set voices which are specially

programmed to demonstrate the power and range of the Step

Sequencer, and change the various settings to analyze the

possible effects.

As an example, use the PROGRAM CHANGE keypad to

select “Sq:011 Alan”, then trigger the pattern.

This voice uses the Hold function, so the pattern will play

repeatedly as you check the various settings, as follows:

1. Notice which Layer mode appears in the LCD.

Check KbdMode and Scene Switch settings, as

well as Play Effect settings in the VOICE

ARPEGGIO/SEQ menu.

2. Check the Split Point in the VOICE COMMON

menu.

3. Set the [EDIT ROTARY] switch to the SEQ

EDIT/SETUP menu and check the Base Unit,

Length and Loop Type settings.

4. Repeat the basic process above for each voice

which uses the Step Sequencer.

While you’re at it, why not go ahead and step through some

of the factory-set Voice and User Pattern while the sequence

is looping? Press (Pattern) Bank [UP/DOWN] to select the

Voice or User Pattern bank, then press (Pattern) No

[UP/DOWN] to select and listen to each pattern.

And don’t be shy about playing around with the different

parameter settings and see what effect they have on the

sequence. If you stumble upon something that sounds good

along the way, you might want to go ahead and store the

edited voice to another voice location before you lose it! If

things get too far out of hand, simply reselect the same voice

with the PROGRAM CHANGE keypad and start over! It

won’t take too long to get a clear understanding of how the

different settings work together to let you create and play

your own hot sequences.

Step Sequencer Edit

Creating your own Step Sequencer patterns is a simple

and straightforward process. When the [EDIT ROTARY]

switch is set to the SEQ EDIT/SETUP menu, each

CONTROL knob is used to edit Note, Velocity, Gate Time

and Control Change values for a single step.

First decide the Base Unit and Length for the sequence

pattern. Then, editing each step is simple.

Each knob as positioned on the panel (1-8) relates to the

corresponding sequence step (either 1-8 or 9-16,

respectively). Press 1-8/9-16 [UP/DOWN] to toggle back

and forth between which series of steps are available for

data entry using the eight CONTROL knobs.

Simply pressing a CONTROL knob will display the

currently selected step and Knob Event parameter name,

as well as the current parameter value setting, in the LCD.

Turning a knob will edit the value.

Event parameter name:

Select with (Knob) Event

parameter

Step number:

Depends on selected

knob and (Knob)

1-8/9-16 setting

Event parameter value:

Turn the knob to edit

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Knob Event Parameters

To designate which type of event to edit by the

CONTROL knobs, set the [EDIT ROTARY] switch to the

SEQ EDIT/SETUP menu and press Event [UP/DOWN].

There are four types of events to choose from.

Note (C-2 ~ G8):

Lets you select the note for the step.

You can choose a note to assign to each step by turning the knobs during Step

Sequencer playback.

Velocity (0 ~ 127): Lets you set the velocity level

for the step.

Step 1 or 9 Step 2 or 10 Step 3 or 11 Step 4 or 12

Step 5 or 13 Step 6 or 14 Step 7 or 15 Step 8 or 16

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Gate Time (1 ~ 200%): Lets you determine the

note duration for the step.

Control Change (0 ~ 127): Lets you set the

value of the MIDI Control Change message to be

output by the step.

Control Change setting (off, CC1~95, After Touch) is determined by the Control

No (Number) parameter in the SEQ EDIT/SETUP menu. For more information, see

page 91.

For more information about Event parameters, see page 89.

Step Hold

The Step Hold function is used during step event

editing. When you press Step Hold [UP/DOWN] and

set it to “on”, a single step will play repeatedly, based

on the Tempo and Pattern Base Unit settings, in order

to fine-tune the events for the specific step. This lets you

adjust the various event settings in context with the

speed and resolution of the sequence.

Each time you press a different CONTROL knob’s push

switch while Step Hold is active, that step will be

played, and its information will appear in the LCD.

Turning a CONTROL knob will edit the current event

value of the selected step.

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

While Step Hold is active, you can press Event

[UP/DOWN] to select the type of event you want to

edit, then turn the CONTROL knob accordingly.

To turn the Step Hold function off, simply press Step

Hold [UP/DOWN] again and switch it to “off”.

For more information, see page 89.

1-8/9-16

Press 1-8/9-16 [UP/DOWN] to choose the step series

within which the step you want to edit is, then press a

CONTROL knob’s push-switch to select a specific step.

Current information about the step will display in the

LCD.

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Storing Step Sequences

Depending on whether the Step Sequencer is in Single

Pattern Play or Pattern Select Play status, you can do the

following:

• Perform a Voice Store operation to store the current Voice

Pattern data in the Voice edit buffer as voice data (in

Single Pattern Play status).

For information about performing a Voice Store operation, see page 98.

• Perform a Sequence Store operation to store the currently

selected pattern to any User Pattern memory (in Single

Pattern Play or Pattern Select Play status).

SEQ Store Operation

1. Press SEQ Store [UP/DOWN] to select the user

pattern location. “SURE? [Y/N]” and “Bank

User” flash alternately in the LCD.

2. Press [YES/ENTER] to store the pattern, or [NO]

to cancel the operation

The SEQ Store operation temporarily stores the pattern currently playing to the

pattern edit buffer, so be sure to perform a Voice Store operation (see page 98)

before selecting another voice.

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Step Sequencer MIDI

Output

You can use the MIDI Pattern Transmit Channel (“PtnTxCh”)

parameter to designate a MIDI channel on which to output

the Step Sequencer pattern data, to either play an external

tone generator or record the data into a MIDI sequencer or

computer.

This setting is independent from the MIDI Transmit Channel

(“MIDI Tx Ch”) in the UTILITY SETUP menu (see page 93),

but you can either set them both to the same channel or

different channels, depending on your requirements. The

diagram below shows an example of how they can be set

to different channels to control two different external tone

generators.

For information about setting the MIDI Pattern Transmit Channel (“MIDI

PtnTxCh”), see page 87.

The MIDI PtnTxCh setting is a system parameter, and will not be saved as voice

data.

Step

Sequencer

Ext. TG 2

(Attack sound)

Ext. TG 1

(Pad sound)

Rcv. Ch2

Ptn TxCh2

Rcv. Ch1

MIDI TxCh1

(Depends on Keyboard Mode setting)

Common

Arp/SEQ

Type/No

VOICE

ARPEGGIO/SEQ

KbdMode Hold

SceneSw

MIDI

Ptn Tx Ch

Arpeggio

Subdivide

Play EF

Swing

Velocity

GateTime

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

Track 1

Track 2

Track 3

Track 4

MIX/VCF

SYNC/FM

VCF

Noise Level

Sync Pitch

Resonance

Values relative to knob movements

VCF Cutoff

Parameter changes over time (bars or seconds)

Using The Free EG

The Free EG is a special 4-track recorder for

recording real-time knob position movements,

one parameter per track. Subsequently, when

you play the voice, the data of the parameter

assigned to each track will automatically change

in accordance with the way you recorded it.

Track Common

Trigger

LoopType

VOICE

FREE EG

Length

Key Track

Param

Track

Track No

Scene Sw

Track Job

Rec Copy Undo

Free EG Parameters

There are three categories of Free EG parameters: (1)

Track Common, which includes settings that affect all four

tracks of data for recording and play; (2) Track, or settings

which determine the current Free EG track, the parameter

assigned to each track, and which Scene the Free EG will

play; and (3) Track Job, for recording a track (or all tracks)

and performing track copy operations. Following is a brief

description of parameters available in each category.

Track Common Parameters

Trigger: Determines how the track playback is

triggered, either by pressing a key on the AN1x’s

keyboard after selecting a voice (“free”), a Note

On message from the keyboard or an external MIDI

device (“kbd”), or by a Note On message from

either the keyboard, an external device, the

Arpeggiator or Step Sequencer (“all”).

The Free EG is extremely flexible. You can record each

parameter in separate track passes, or all tracks

simultaneously in one pass. You can specify the length of

time the Free EG will record or play back, either in

measures (up to eight bars, based on Tempo setting), or

“absolute” time (up to 16.0 seconds), as well as have the

Free EG loop in one of four ways as you hold the keys.

You can copy Free EG data from another track to the

current track, within the same voice as well as from

another voice. And since Free EG track data and settings

are voice parameters, they are stored as voice data when

you perform a Voice Store operation.

For information about the Free EG recording procedure, see page 84.

For more information, see page 81.

Track Common

Trigger

LoopType

VOICE

FREE EG

Length

Key Track

Param

Track

Track No

Scene Sw

Track Job

Rec Copy Undo

Track Parameters

Track No (Track Number): Selects a Free EG

track (“Trk1” ~ “Trk4”).

For more information, see page 83.

Param (Parameter): Determines which knob

parameter will be played by the data in the track.

For more information, see page 83.

Only one parameter can be selected for a track. For information about available

parameters, see the separate Data List book.

SceneSw (Scene Switch): Determines which

Scene (or if both Scenes) will be played by the

selected Free EG track.

For more information, see page 83.

Track Common

Trigger

LoopType

VOICE

FREE EG

Length

Key Track

Param

Track

Track No

Scene Sw

Track Job

Rec Copy Undo

Loop Type: Determines the type of loop for play

of the Free EG sequence, either to play once but

not loop (“off”), to loop forward from beginning to

end (“fwd”), to loop forward from middle to end

(“half”), to Alternate, i.e., loop from beginning to

end then end to beginning (“ alt”), or to Half

Alternate, i.e., loop from middle to end then end to

middle (“ half”).

For more information, see page 82.

Length: Determines the time for recording and

play of the Free EG sequence, either by number of

measures (between 1/2 and 8 bars; determined by

Tempo setting) or in absolute time (between 1.0

and 16.0 seconds).

For more information, see page 82.

Key Track: Determines the length of the Free EG

in relation to notes played on the keyboard, using

C3 as the basic note length, where positive values

decrease the length when you play in the higher

when you play in the lower register. (A setting of

“0” has no effect.)

For more information, see page 82.

Track Job Parameters

Rec (Record): Determines how a Free EG record

operation will be executed (i.e., either the selected

track or all tracks). Pressing a key on the keyboard

starts recording.

For more information, see page 83.

Copy: For copying the Free EG data of a track in

the current voice to the currently selected track, or

copying the data of any track in any voice to the

currently selected track of the current voice.

For more information, see page 83.

Undo: Lets you “undo” as well as “redo” the most

previous Free EG copy or record operation.

For more information, see page 84.

When copying a track, only track data is copied. Scene status is not copied.

Free EG Base Position

Knob positions are recorded in a Free EG track as increases

(positive values) and decreases (negative values) to the

“base” position of the knob, or the position at which the

knob is located when you first move it. After Free EG

recording, if you change the knob parameter, you also

change the base position accordingly. For example, if the

knob base position is set too high, the Free EG data changes

may occur out of the range of the assigned track parameter.

Therefore, take care not to set the knob base position too

high.

Track Common

Trigger

LoopType

VOICE

FREE EG

Length

Key Track

Param

Track

Track No

Scene Sw

Track Job

Rec Copy Undo

Using The Control

Features

The AN1x is equipped with a variety of control

features that can be used while playing (or

editing) the instrument, and flexible controller

assignment features which determine the

parameter that will be controlled by any given

controller. These functions work together to give

you sophisticated expressive control over the

sound of both the AN1x itself as well as any

connected MIDI instruments.

Real-time Control

The AN1x's real-time controllers include all on-board

sound control features manipulated by hand or foot, which

also can output continuous Control Change data via MIDI,

including the eight CONTROL knobs, the [MODULATION]

wheel, the [PITCH] wheel, the [RIBBON] controller (with

both horizontal X-axis and Z-axis push control), and [FOOT

CONTROLLER], [FOOT VOLUME] and controllers (as

assigned in the Utility Control Assign function).

Also included are the various switches, such as the

[FOOTSWITCH] and [PORTAMENTO] and other panel

switches, which output a specific discrete (on/off) MIDI

Control Change message each time they are pressed. The

PROGRAM CHANGE keypad outputs MIDI Program

Change messages each time a voice is selected.

Continuous And Discrete Controllers

Continuous type controllers send a continuous stream of

Control Change data (between 000, or minimum, and 127,

or maximum) as you move them.

The [FOOT CONTROLLER] and [FOOT VOLUME] jacks on

the AN1x’s rear panel is for use with “continuous” Foot

Controllers (such as the Yamaha FC7). The [FOOTSWITCH]

jack is for use with “discrete” on/off Footswitches (such as

the Yamaha FC4 or FC5). These can be used to control

various AN1x functions as well as external MIDI devices.

Continuous parameters which can be controlled include

Modulation Depth, Volume, Panpot, Expression, Pitch Control,

Attack, Decay, Release, Vibrato Speed, Pan Range, Effect

Depth, Reverb Depth, and much more, if you make

appropriate settings in the Control Matrix.

Continuous/discrete parameters which can be controlled

include Sustain, Sostenuto and Soft.

You can use a continuous controller to send discrete

messages, where 000~063 represents “off” and 064~127

represents “on”, but for best results and ease of operation,

use an on/off Footswitch.

Step Sequencer Event

Control

The Step Sequencer’s Ctrl No (Control Number)

parameter lets you determine the type of MIDI Control

Change which can be output upon sequencer play.

Once the Control Number is set, the Control Change

event is selected with Knob Event parameter

[UP/DOWN] and the value to be output via each step

is edited with the CONTROL knobs. For more

information, see page 91.

Utility Control Assign

Function

Control parameters in the UTILITY SETUP menu let you

designate the type of Control Change messages which can

be controlled by the [MODULATION] wheel, each of the

eight CONTROL knobs, the [RIBBON] controller (X-axis

and Z-axis), etc., by assigning Control Change numbers to

specific "Device" controllers. For more information, see

page 95.

System

MstrTune

KbdTrans

UTILITY

SETUP

Kbd Vel

MIDI

Tx Ch

Rx Ch

DeviceNo Local

BulkDump

Ctrl

Device

Ctrl No

Knob

Event

1-8/9-16

SEQ

EDIT/SETUPStep Hold

Pattern

Bank

BaseUnit

Length LoopType Ctrl No

SEQ

Store

Based on settings in the Control Assign function as well as

in the Control Matrix, you can use a single controller to

control one parameter of the internal tone generator and

another parameter of an external MIDI device, both at the

same time. It also lets you determine which device (MW,

FC, etc.) to use for Scene Control (see page 20).

Controllers which can be assigned using the UTILITY

SETUP Control function:

MW — Modulation Wheel

FV — Foot Volume

FC — Foot Controller

FS — Footswitch

RbnX — Ribbon Controller X-axis

RbnZ — Ribbon Controller Z-axis

Knob1~8 — Assign group knobs 1 ~ 8

SCENE — Scene Control controller

Between the Control Assign function (system) knob

assignments and Control Matrix (voice) knob assignments,

you can configure a monster knob control system where

each knob simultaneously controls either the same Control

Change parameter for the internal tone generator as for

an external tone generator, or different parameters for the

internal and external tone generator.

For more information about each parameter, see the separate Data List book. For

information about the procedure for assigning controllers, see page 95.

AN1x Tone Generator

MIDI IN

MIDI OUT

UTILITY SETUP

Control CC

VOICE SCENE SETUP

Control Matrix

Control Matrix parameters apply to the internal tone

generator only. It determines how MIDI Control Change

messages generated by the on-board controllers (eight

CONTROL knobs, [MODULATION] wheel, [FOOT

CONTROLLER], [RIBBON] controller, etc.), as well as

messages generated by external devices received at the

MIDI [IN] terminal, are routed to the AN1x’s tone

generator, as well as the depth range of control.

The Control Matrix is a configuration of 16 Sets of

control setup, plus Pitch Bend parameters and two sets

of Common parameters. The 16 parameter Sets and

Pitch Bend parameters apply to each Scene separately,

and the Common parameters apply to the voice.

Following is a brief description of each.

Set No: For selecting Pitch Bend Pitch Up and

Down (each Scene), the number of the Set (1-16;

for each Scene), and Common (1 and 2; both

Scenes) parameter assignments.

Parameter: Determines which parameter is

assigned to the Scene Set Number (1-16) or Pitch

Bend, or Common Set (1-2).

Mode

Poly

Por t

VOICE

SCENE SETUPLFO Rst

Ctrl Matrix

Set No

Param Source

Depth

Layer

Pan

Separate

Unison

Detune

Source: Determines which controller (by Control

Change number) is assigned to control the

corresponding Parameter.

Depth: Determines the control range of the Source

controller. When set to "Dirct" (0 setting), the Direct

Control function is activated, and you can directly

edit the parameter assigned to the controller within

its original range. For more information, see page

75.

For more information about each parameter, available settings, and how to assign

parameters and controllers using the Control Matrix, see page 73.

For information about MIDI and MIDI Control Change messages, see page 109.

Voice Select

You can select a voice for play from among the

128 voices in memory. There are two procedures

for doing so, as listed below.

Procedure 1

1. Enter a number between [1] and [128] in

the PROGRAM CHANGE keypad. The voice

number that you enter will start flashing

in the LCD.

When the voice number is flashing, pressing [NO] will cancel the voice select

operation and the LCD will revert to the previous condition.

2. When the voice number is flashing,

pressing [YES/ENTER] will call up the voice

assigned to the number which you

entered.

The voice name, voice Category and voice number will

display in the LCD, along with the Poly mode, Layer

mode and Arpeggiator/Sequencer (on/off) status.

For additional information see Poly mode, page 72, Layer mode, page 22,

Arpeggiator, page 33, and Step Sequencer, page 37.

ABC

VWX

MNO

PQR

GHI

–

DEF

OTHERS

STU

JKL

YES/ENTERNO

Voice Category

Voice name

Poly mode, Layer mode

and Arp/SEQ status

Voice number

ABC

VWX

MNO

PQR

GHI

–

DEF

OTHERS

STU

JKL

YES/ENTERNO

Procedure 2

1. Press [+] to increment through the voices

sequentially.

2. Press [-] to decrement through the voices

sequentially.

In this case you do not need to press [YES/ENTER], as

the voice is called up with each press of the [+] or [-]

key.

When a voice is selected, a MIDI Program Change

message is transmitted to the AN1x’s internal tone

generator and the MIDI [OUT] terminal. Voice numbers

001 ~ 128 correspond to Program Change numbers

000 ~ 127, respectively. (For information about MIDI,

see page 109.)

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ENTERNO

This section provides a list of the many AN1x parameters and a description of each for reference

purposes. Check the CONTENTS or INDEX to locate the page number of the parameter you need.

Knob Edit

The eight CONTROL knobs let you edit various

characteristics of each voice in real-time. Edited

data of the selected voice can be stored to any

voice memory (1 ~ 128).

The function of each knob depends on which KNOB

PARAMETER GROUP switch is selected. Available

parameter groups are as follows:

SYNC/FM: Sync function/Frequency Modulation

PEG/LFO: Pitch Envelope Generator/Low Frequency

Oscillator

VCO1: Voltage Controlled Oscillator 1

VCO2: Voltage Controlled Oscillator 2

VCF: Voltage Controlled Filter

MIX/VCF: Mixer/Voltage Controlled Filter

VCA: Voltage Controlled Amplifier

ASSIGN: Assigned knob parameters

For more information about the CONTROL knobs, see page 26.

A blank chart for writing down parameter values of user voices is provided on

page 114.

1. Press a KNOB PARAMETER GROUP switch.

The LED to the left of the selected switch

lights.

The parameter available to control or edit for each

knob is printed on the panel by each knob, color

coded to match the related KNOB PARAMETER

GROUP switch. For example, if [VCA] (white switch) is

selected, each knob accesses the parameter printed in

the white area to the lower left of the knob: Attack,

Decay, Sustain, Release, Feedback, Volume, Amod

Depth, and Vel Sens, respectively.

Level

LFO1 Wave LFO1 Spd

LFO1 Dly

ASSIGN 5

ASSIGN 6 ASSIGN 7 ASSIGN 8

VCF

Cutoff

Sync

Pmod Sw

Sync Pitch

Pitch Pitch

PEG Depth

Decay

VCO2

Level

FM Depth

FM Src1

Sync Pitch

Depth

Sustain

Ring

Mod

Sustain

Sync Pitch

Src

Edge

Port Time

Edge

Release

Noise

Level

HPF

Feedback

VCF

PWM Depth

PWM Src PWM Src

PWM Depth

Type

Reso

nance

Volume

FEG

Depth

Fmod

Depth

Amod Depth

Vel

Sens

Key

Track

Vel Sens

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

Algorithm

Wave

Attack

ASSIGN 1 ASSIGN 2

ASSIGN 3

ASSIGN 4

PEG Decay

Wave

VCO1

Fine

PEG Sw

FM Src2

LFO2 Spd

PmodDepth PmodDepth

KNOB PARAMETER GROUP

PEG/LFOSYNC/FM

VCO1

VCO2

MIX/VCF

VCF

VCA

ASSIGN

2. Press a CONTROL knob without turning it.

The parameter name, current value and a horizontal

knob data graph will display in the LCD. A flashing

segment in the data graph indicates the value position

of the knob, whereas shaded segments indicate the

actual current position of the knob.

3. Turn the knob one way or the other to edit

the value of the parameter.

Turning the knob to the right increases the value and

turning it to the left decreases the value.

The knob data graph provides a visual reference of the

current knob position as you turn the knob. Leftward

positions are indicated by a shorter horizontal bar, and

rightward positions are indicated by a longer bar.

You can omit step 2 and edit the parameter directly by turning the knob. Edit

information will display in the LCD accordingly.

Simply turning a knob will increase or decrease the parameter value in coarse

values (large amounts), and will cancel the flashing indicator. Turning a knob

while pressing it will increase or decrease the parameter value in fine values

(small amounts), and will position the flashing indicator, which will remain

flashing when you subsequently release the knob. The range will be narrower

than that available by coarse edit.

4. Edit other parameters.

To confirm and edit other parameters in the same

group, simply repeat steps 2 and 3. To edit parameters

in other groups, repeat steps 1 through 3.

All the changes made here take place in the selected Scene.

Length of graph indicates

current knob position

Parameter name

Parameter value

Data graph

Knob position of the

parameter value

(flashing segment)

Actual knob position

5. Store the edited voice.

When you’ve completed the editing procedure and

wish to store the edited knob parameters, you can store

it as a new voice in any desired voice location (1 ~

128). For details, see Voice Store, page 98.

If you turn off the AN1x, or if the adaptor gets disconnected by accident, your

edited data will still remain in memory when you turn the power back on. Always

be sure to store important voice data.

Always be sure to store your edited voice before selecting a different voice, or you

will lose your edited data (see Voice Store, page 98). If you should inadvertently

forget to store your edited data before selecting a different voice, you can use the

Voice Recall function to retrieve the edited data. For details, see page 96.

While you’re editing, you can confirm the current voice number and name at any

time by pressing [+] or [-] once to display it in the LCD. Subsequently, you can

continue editing by pressing or turning a knob.

Edit Mark

When a voice parameter is changed, the Edit mark will

display in reverse type in the LCD. The Edit mark indicates

that voice data has been changed from the original but has

not yet been stored.

Voice Recall

If you select a different voice before storing important voice

data, you can use the Voice Recall function to retrieve the

edited voice data. For details, see page 96.

Indicates a

voice has been

edited but not

stored

Knob Parameters

This section provides a description of each parameter available for control or edit in each KNOB

PARAMETER GROUP.

KNOB PARAMETER GROUP

ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4 ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8

PEG/LFO

PEG Decay PEG Depth PEG Sw Port Time LFO1 Wave LFO1 Spd LFO1 Dly LFO2 Spd

SYNC/FM

Algorithm Sync Pitch Sync Pitch Depth Sync Pitch Src Sync Pmod Sw FM Depth FM Src 1 FM Src 2

VCO1

Wave Pitch Fine Edge PW PWM Depth PWM Src PmodDepth

VCO2

Wave Pitch Fine Edge PW PWM Depth PWM Src PmodDepth

VCF

Attack Decay Sustain Release VCF Cutoff Resonance FEG Depth Vel Sens

MIX/VCF

VCO1 Level VCO2 Level Ring Mod Noise Level HPF VCF Type Fmod Depth Key Track

VCA

ASSIGN

Attack Decay Sustain Release Feedback Volume Amod Depth Vel Sens

PEG/LFO

When KNOB PARAMETER GROUP switch [PEG/LFO] is

selected, the eight CONTROL knobs will access specific

Pitch Envelope Generator- and Low Frequency Oscillator-

related parameters.

The PEG controls the envelope of how the pitch of a voice

changes over time, from when a key is pressed, held, then

released, and how long it takes for the sound to terminate.

The LFO is an oscillator that generates low frequency

signals used to modulate the VCO (for pitch modulation, or

vibrato), the VCF (for filter modulation, or wah) or the VCA

(for amplitude modulation, or tremolo). The AN1x has two

separate LFOs, LFO1 and LFO2.

For more information about the PEG and LFOs, see pages 31, 32.

PEG Decay

The PEG Decay setting determines the time required for

a sound to reach its basic pitch from the PEG Depth

level while the key is held.

The following graph shows how the decay changes

when a key is pressed if a positive PEG Decay value is

set.

The following graph shows how the decay changes

when a key is pressed if a negative PEG Decay value is

set.

Settings: -64 ~ 0 ~ +63

PEG Decay =

High

Pitch

PEG Depth

Time

PEG Depth

Low

Pitch

PEG Decay = Negative setting

PEG Decay =

High

Pitch

PEG Depth

Time

PEG Depth

Low

Pitch

PEG Decay = Positive setting

PEG Depth

The PEG Depth setting determines the pitch in

semitones. When PEG Decay (see above) is set to a

positive value, the PEG Depth setting represents the

start pitch. When PEG Decay is set to a negative

value, the PEG Depth setting represents the end pitch.

Turning the knob to the left lowers the pitch, while

turning it to the right raises the pitch. When the knob is

set to center position (basic pitch), the pitch will not

change.

Settings: -64 ~ 0 (basic pitch) ~ +63

See the PEG Decay graphs (at left) for an illustration of the relationship between

PEG Depth and PEG Decay.

PEG Sw (PEG Switch)

The PEG Switch setting determines which VCO the PEG

is applied to, VCO1, VCO2, or both VCO1 and

VCO2. Applying the PEG to the VCO1 or VCO2 can

simulate the delicate pitch change of a wind

instrument.

Settings: VCO1, VCO2, both

Port Time (Portamento Time)

Portamento is an effect commonly used in singing or

when playing a bowed instrument, where the sound is

carried in a continuous glide from one note (or more)

to the next, through all the intermediate pitches.

The Portamento Time setting determines the time it takes

for the pitch to reach the subsequent note played.

Lower values result in a faster pitch change, and higher

values result in a slower pitch change.

Settings: 0 ~ 127

For more information about Portamento, see page 24.

When the Portamento is turned off (by the [PORTAMENTO] switch), "– – –" will

flash in the LCD, to indicate that the portamento function is not available for

confirmation.

LFO1 Wave

The LFO1 Wave setting determines the type of wave

for LFO1. The wave set here determines the

characteristics of the modulation applied to the VCO

(vibrato), VCF (wah) and VCA (tremolo). There are 21

wave types, as shown at right and the following pages.

Settings:

sine, sine↑, sine ↑↑, sine180↑, sine180↑↑, tri, tri↑, tri↑↑,

tri180↑, tri180↑↑, squ, squ↑↑, squ180↑↑, saw dwn, saw

dwn↑↑, saw up, saw up ↑↑, s/h, s/h↑↑, s/h2, s/h2↑↑

Sine

Sine180

Sine Wave

Triangle

Triangle180

Tri (Triangle) Wave

Saw down

Saw up

Saw (Sawtooth) Wave

Square

Square180

Squ (Square) Wave

Compared with "s/h", s/h2 is biased to the positive range.

LFO1 Spd (LFO1 Speed)

The LFO1 Speed setting determines the rate of LFO1.

Turning the knob to the left results in slower rates and

turning it to the right results in faster rates. (For details

about the LFO Reset function, see page 73.)

Settings: 1 ~ 256

Slow Speed Fast Speed

s/h

s/h (Sample & Hold) Wave

s/h2

LFO1 Dly (LFO1 Delay)

The LFO1 Delay setting determines the delay time of

the modulation. Turning the knob to the left results in

shorter LFO1 Delay times, and turning it to the right

results in longer Delay times.

Settings: 0 ~ 127

LFO2 Spd (LFO2 Speed)

Description, parameters and values for LFO2 Speed

are the same as for LFO1 Speed, above.

The LFO2 wave is fixed to “triangle”, and cannot be changed.

SYNC/FM

When KNOB PARAMETER GROUP switch [SYNC/FM] is

selected, the eight CONTROL knobs will access specific

Sync function- and Frequency Modulation-related

parameters.

Sync parameters are related to the synchronization status

of the two VCO1 oscillators (master and slave), which are

the fundamental waveform generating elements in the

AN1x.

A Frequency Modulation (FM) signal (“modulator”) can be

applied to the VCO1 in one of several ways to change its

frequency, in which case the output of the oscillator will

become the modulated signal (“carrier”).

For more information about Sync and FM, pages 31, 59.

Short Delay Long Delay

Algorithm

The Algorithm setting determines how the two VCO1

oscillators (master and slave) are connected in relation

to the FM signal. There are four types of connections,

or “algorithms”, as shown in the diagrams below.

Settings: only FM, Sync+FMbth, Sync+FMmst, Sync+FMslv

When set to "only FM", the master and slave oscillators are disabled and the

VCO1 becomes a single oscillator.

For more information about Sync and FM, see pages 31, 59.

Sync+FMslv

Master of VCO1 Slave VCO1

Master of VCO1

VCO2

LFO1, 2

EG, etc.

Sync

(Sync is enabled and FM is applied to

the slave oscillator)

Sync+FMmst

VCO2

LFO1, 2

EG, etc.

Master of VCO1 Slave VCO1

Sync

(Sync is enabled and FM is applied to

the master oscillator)

Sync+FMbth

Master of VCO1 Slave VCO1

Master of VCO1

VCO2

LFO1, 2

EG, etc.

Sync

(Sync is enabled and FM is applied to both master

and Slave oscillators)

only FM (Sync is disabled)

VCO1

Master of VCO1

VCO2

LFO1,2

EG, etc.

Sync Pitch

The Sync Pitch setting determines the pitch of the slave

oscillator in semitones, available only when the Sync is

on. This lets you create a difference in pitch between

master and slave oscillators and control the resulting

harmonic interval.

When the knob is in the center position, the pitch is the

same as the master oscillator. Turning the knob to the

right increases the interval, and turning it to the left

results in a softer sound.

Settings: -64 ~ 0 ~ + 63

To achieve a discernible result, make sure the VCO1 Level (page 66) is turned up

high enough.

The Sync Pitch function is effective only when the Algorithm type is set to one

besides "only FM".

Sync Pitch Depth

The Sync Pitch Depth setting determines the amount of

depth of control from the Sync Pitch Source (determined

by the Sync Pitch Source setting, below) over time.

Turning the knob to the right increases the Depth.

Settings: -64 ~ 0 ~ + 63

Sync Pitch Src (Sync Pitch Source)

The Sync Pitch Source setting determines the source

which applies the modulation over time to the slave

oscillator.

Settings: fixed, PEG, FEG, LFO1, LFO2

When set to “fixed”, there is no change in modulation over time.

Sync Pmod Sw (Sync Pitch

Modulation Switch)

The Sync Pitch Modulation Switch setting determines

which oscillator (master, slave, or both) is modulated

by the LFO1. Depth rate is determined by the VC01

Pmod Depth setting (see page 63).

Settings: mastr, slave, both

Pitch Modulation cannot be controlled by LFO2.

FM Depth

The FM Depth setting determines the amount of

modulation created by FM Source 1 (see next

parameter). Turning the knob to the right increases the

Depth.

Settings: -64 ~ 0 ~ +63

This is a different type of parameter than that used in the Yamaha DX-series FM

synthesizers. Too deep of a setting will change the pitch of the voice. Adjust the

pitch using the VCO1 Pitch and Fine parameters (see pages 61, 62).

FM Src1 (FM Source 1)

The FM Source 1 setting determines the modulation

source which controls the FM Depth (see previous

parameter).

Settings: fixed, PEG, FEG, LFO1, LFO2

When set to “fixed”, there is no change in modulation over time.

FM Src2 (FM Source 2)

The FM Source 2 setting determines the source wave

which modulates the VCO1 wave.

Settings: VCO2, VCO1, VCO1s (sub oscillator), PEG, FEG,

LFO1, LFO2

VCO1

When KNOB PARAMETER GROUP switch [VCO1] is

selected, the eight CONTROL knobs will access specific

Voltage Controlled Oscillator 1-related parameters,

including wave selection, pitch specification and wave

control.

For more information about VCO1, see pages 10, 30.

Wave

The Wave setting determines the VCO1 wave.

Available waves depend on the current SYNC status

(on/off).

Settings:

When SYNC = off: saw, pulse, saw2, mix

When SYNC = on: saw, pulse, Innrl, Innr2, Innr3

The difference between saw/pulse Sync on and Sync off is only a slight nuance in

sound which becomes especially distinctive when the Pulse Width (see page 62)

is set to a value other than 64.

saw (Sawtooth)

The saw (sawtooth) wave derives its name from its shape,

and is used to create a trumpet or violin sound. Since it

contains all harmonics in the spectrum, it produces a full, rich

sound. When used with the Pulse Width function (see page

62), increasing the even harmonics can raise the pitch to a

maximum of a full octave.

pulse (Square)

The pulse (square) wave is used to make woodwind (clarinet-

type) sounds. Its spectrum is similar to a sawtooth wave, but

since every second (even-numbered) harmonic is missing, the

waveform contains only odd-numbered harmonics when Pulse

Width (see page 62) is set to "64".

PW = below 64

saw2 (Sawtooth2)

The spectrum of the saw2 wave is created by a sawtooth

wave combined with a pulse wave, and therefore is slightly

different than the saw1 wave. When the Pulse Width (see

page 62) is set to 64, the shape of the wave is the same as

saw1. Even if you increase the even-numbered harmonics by

the Pulse Width, the basic pitch remains the same.

mix

The mix wave is formed by a combination of saw and pulse

waves.

innr1, innr2, innr3

When SYNC is set to “on”, three “inner” waves (Innr1-3) are

available. This wave is effective when used with Pulse Width

(see page 62).

Pitch

The Pitch setting determines the pitch of the VCO1 in

semitones. Turning the knob to the right raises the Pitch,

while turning it to the left lowers the Pitch. The center

position (value = 0) is the basic pitch.

Settings: -64 ~ 0 ~ +63

Pulse Saw Mix

PW = below 64

Fine

The Fine (fine tune) setting determines the pitch of the

VCO1 in 1-cent steps over a range of 100 cents, or

one semitone. Turning the knob to the right raises the

pitch, while turning it to the left lowers the pitch. The

center position (value = 0) is the basic pitch.

Settings: -50 ~ 0 ~ +50 (cents)

Edge

The Edge setting adjusts the sharpness or smoothness

of the edge of the VCO1 wave. Turning the knob to the

right produces a sharper wave, resulting in a harsher

sound. Turning it to the left produces a rounder wave,

resulting in a softer sound. A value of “0” results in a

sine wave.

Settings: 0 ~ 127

Sharper wave Rounder wave Sine wave

PW (Pulse Width)

The PW setting determines the width of the VCO1

pulse wave. Turning the knob to the right produces

more harmonics, resulting in a fatter sound. In general,

pulse width is used to control the pulse wave; however,

the AN1x can use PW with other waves as well, for a

wider possible variety of sounds than usual.

When set to 64, the Pulse Width is equally balanced,

generating only odd-numbered harmonics.

Settings: 0 ~ 64 ~ 127 (0% ~ 50% ~ 99%)

PWM Depth (Pulse Width

Modulation Depth)

The PWM Depth setting determines the amount of

depth of the pulse width modulation of the VCO1,

based on the PWM Source wave (see next page).

Turning the knob to the right produces a deeper

modulation.

Settings: -64 ~ +63

Basic Pulse Wave

(with only odd-

numbered harmonics)

More HarmonicsMore Harmonics

Pulse Width is

Small

Pulse Width is

64 (50%)

Pulse Width is

Large

PWM Src (Pulse Width Modulation

Source)

The PWM source setting selects the source wave which

changes the VCO1’s pulse width over time, thus

determining the behavior of the pulse width.

Settings: fixed, PEG, FEG, LFO1, LFO2, LFO2p, LFO2f

When set to “fixed”, there is no change in modulation over time.

The Low Frequency Oscillator 2 Phase (LFO2p) shifts the LFO2 wave later by 60

degrees. The Low Frequency Oscillator 2 Fast (LFO2f) slightly speeds up the LFO2

cycle.

PmodDepth

(Pitch Modulation Depth)

The Pitch Modulation depth setting determines the

depth of the pitch modulation of VCO1 by the LFO1.

Pitch Modulation adds a cyclical change to the pitch to

create a vibrato effect. Turning the knob to the right

widens the range of the pitch change. Negative value

settings reverse the phase of the LFO1 by 180 degrees.

Settings: -127 ~ +127

VCO2

When KNOB PARAMETER GROUP switch [VCO2] is

selected, the eight CONTROL knobs will access specific

Voltage Controlled Oscillator 2-related parameters,

including wave selection, pitch specification and wave

control.

For more information about VCO2, see pages 10, 30.

Wave

The Wave setting determines the VCO2 wave when the

SYNC (see page 59) is turned off.

Settings: saw, pulse, saw2, mix

Available waves are the same as for VCO1. For a description, see page 61.

Pitch

Fine

Edge

PWMDepth

PWM Src

PmodDepth

(All parameter descriptions are the same as for VCO1;

see page 61.)

VCF

When KNOB PARAMETER GROUP switch [VCF] is

selected, the eight CONTROL knobs will access specific

Voltage Controlled Filter-related parameters.

The VCF is a filter which permits a specific range of

frequencies to pass, while cutting off the rest, thus giving

you considerable control over many aspects of the timbre.

Available parameters include cutoff frequency range of the

VCF and range of the resonance.

The VCF can also be controlled by the attack time, decay

time, sustain level and release time of the FEG (Filter

Envelope Generator), which lets you shape how the timbre

of the voice changes over time, from when a key is

pressed, held, then released, and subsequently how long it

takes for the sound to terminate.

For more information about the VCF and FEG, see page 31.

Attack

The Attack setting determines the attack time of the

FEG, which is the time it takes for the signal to reach

its maximum cutoff frequency level after a key is

pressed (key on). Turning the knob to the right

produces a longer Attack time.

Settings: 0 ~ 127

Decay

The Decay setting determines the decay time of the

FEG, which is the time it takes for the signal to reach

its sustain level from the maximum level while a key is

held. Turning the knob to the right produces a longer

Decay time.

Settings: 0 ~ 127

Sustain

The Sustain setting determines the level of sustain of the

FEG, which is the fixed level of the cutoff frequency

maintained as long as the key is held. Turning the knob

to the right increases the Sustain level.

Settings: 0 ~ 127

Release

The Release setting determines the release time of the

FEG, which is the time it takes for the signal to reach a

level of “0” after a key is released (key off). Turning the

knob to the right increases the Release time.

Settings: 0 ~ 127

Key on Key off

Attack ReleaseDecay

Time

Cutoff

frequency

Sustain

VCF Cutoff

The VCF Cutoff setting determines the cutoff frequency

of the VCF. The value set here is related to the assigned

VCF Type in the MIX/VCF parameter group (see page

67).

For example, when the filter type is set to Low Pass

Filter, the lower frequencies are passed while higher

frequencies are cut off. Turning the knob to the right

increases the VCF Cutoff frequency, as shown in the

graph below.

Settings: 0 ~ 127

Resonance

The Resonance setting determines the amount of

resonance boost, or emphasis of harmonics near the

cutoff frequency. Turning the knob to the right produces

a higher resonant peak (producing sharper high tones),

while turning it to the left produces a relatively flat

response. A setting of “0” applies no resonance.

Settings: -12 ~ 0 ~ +102

Cutoff frequency Frequency

Level

102

-12

Range passed

Cutoff frequency Frequency

Cutoff range

VCF Type = Low Pass Filter

FEG Depth

The FEG Depth setting determines the range of

movement of the cutoff frequency. Turning the knob to

the right increases the FEG Depth. Negative values

reverse the shape of the envelope. When not using the

FEG, set the value to “0”.

Settings: -128 ~ +127

Vel Sens (Velocity Sensitivity)

The Velocity Sensitivity setting determines how the VCF

responds to velocity, or keyboard playing strength.

Turning the knob to the right increases dynamic range

according to how hard you strike the keys, and turning

it to the left produces the opposite effect (i.e., a lighter

touch increases the dynamic range and a heavier touch

decreases it). A setting of "0" creates no change in

dynamic range by playing strength.

Settings: -64 ~ 0 ~ +63

Cutoff

frequency

Time

Level

MIX/VCF (Mixer/VCF)

When KNOB PARAMETER GROUP switch [MIX/VCF] is

selected, the eight CONTROL knobs will access specific

Mixer- and Voltage Controlled Filter-related parameters,

including VCO1 and VCO2 signal level, Noise and Ring

Modulator levels, VCF Type and HPF (High Pass Filter),

and Key Track settings, and depth of frequency

modulation.

For more information about the VCF, see page 31.

VCO1 Level

The VCO1 Level setting determines the balance of the

VCO1 level in relation to the VCO2, Ring Modulator,

Noise, and VCA Feedback levels. Turning the knob to

the right increases the VCO1 Level. When using the

VCO2 only, set this value to “0”.

Settings: 0 ~ 127

VCO2 Level

The VCO2 Level setting determines the balance of the

VCO2 level in relation to the VCO1, Ring Modulator,

Noise, and VCA Feedback levels. Turning the knob to

the right increases the VCO2 Level. When using the

VCO1 only, set this value to “0”.

Settings: 0 ~ 127

Ring Mod (Ring Modulator Level)

The Ring Modulator setting controls the balance of the

Ring Modulator level in relation to the VCO1, VCO2,

Noise, and VCA Feedback levels. Turning the knob to

the right increases the Ring Modulator level. When not

using the Ring Modulator, set this value to “0”.

Settings: 0 ~ 127

The Ring Modulator combines the VCO1 and VCO2 signals and outputs the sums

and differences of all the frequency components of both inputs. It is particularly

effective for producing dissonant interval sounds with a clangorous, or metallic

effect.

Noise Level

The Noise Level setting determines the balance of the

Noise signal in relation to the VCO1, VCO2, Ring

Modulator, and VCA Feedback levels. Turning the knob

to the right increases the Noise Level. When not using

Noise, set the level value to “0”.

By mixing in Noise and selecting an appropriate Filter Type (VCF, HPF, etc.), you

can create a wide variety of unique “special effect” sounds.

Settings: 0 ~ 127

HPF (High Pass Filter Cutoff)

The HPF setting determines the cutoff frequency of the

High Pass Filter. Frequencies above the setting are

passed while those below are cut off. Turning the knob

to the right increases the HPF Cutoff frequency,

resulting in a brighter sound.

Settings: 0 ~ 127

This High Pass Filter is applied to the signal after the mixer, and is different than

the one available in the VCF Type.

VCF Type

The VCF Type setting determines the type of filter used

by the VCF. The VCF passes only a specified range of

frequencies while cutting off the rest, to give you

versatile control over the timbre. There are six types of

filters, as described below.

Settings: LPF24, LPF18, LPF12, BPF, HPF12, BEF

LPF24, LPF18, LPF12

The Low Pass Filter passes only those frequencies below the

specified cutoff point. A cutoff curve of 24dB/octave (LPF24),

18dB/octave (LPF18) and 12dB/octave (LPF12) can be

selected.

Cutoff frequency

Frequency

Level

Cutoff range

12dB/oct

18dB/oct

24dB/oct

Range passed

Cutoff frequency

Frequency

Level

Cutoff range

BPF

The Band Pass Filter passes only those frequencies in the

specified range, with a cutoff curve of 12dB/octave.

HPF12

The High Pass Filter passes only those frequencies above the

specified cutoff point, with a cutoff curve of 12dB/octave.

BEF

The Band Eliminate Filter passes only those frequencies

outside the specified frequency range. The Resonance setting

(see page 65) determines the eliminate range.

The filters listed above apply to the signal output from the HPF located between

the Mixer and VCA. For more information about the signal path, see page 10.

Cutoff range

Frequency

Level

Range passed Range passed

Center frequency

Range passed

Frequency

Level

Cutoff range

Cutoff frequency

Range passed

Frequency

Level

Cutoff range Cutoff range

Center frequency

Fmod Depth (Filter Modulation Depth)

The Filter Modulation Depth setting determines the

depth of the filter modulation of the VCF by the LFO1.

Filter Modulation adds a cyclical change to the filter

cutoff frequency to create a wah effect. Turning the

knob to the right widens the range of the cutoff

frequency change. Negative value settings reverse the

phase of the LFO1 by 180 degrees.

Settings: -64 ~ +63

Key Track

The Key Track setting determines the key tracking of the

VCF, raising or lowering the cutoff frequency point in

accordance with the notes played on the keyboard.

When Key Track is applied, the cutoff range shifts

accordingly at every note, with C3 as the base.

Turning the knob to the right (positive values) will cause

higher notes to have a higher cutoff point. Turning it to

the left (negative values) causes higher notes to have a

lower cutoff frequency. A value setting of “0” will apply

no key tracking.

Settings: -32 ~ +63

Key Track–

–

Cutoff

Lower

Keyboard

Upper

Keyboard

Cutoff

Key Track+

–

Lower

Keyboard

Upper

Keyboard

VCA

When KNOB PARAMETER GROUP switch [VCA] is

selected, the eight CONTROL knobs will access specific

Voltage Controlled Amplifier-related parameters.

The VCA is an amplifier used to increase the gain of the

input signal as received from the VCF, which is then

passed to the Effect block in the signal path. Available

parameters include level controls for feedback, volume and

keyboard velocity sensitivity, as well as depth control for

amplitude modulation.

The VCA can also be controlled by the attack time, decay

time, sustain level and release time of the AEG (Amplitude

Envelope Generator), to let you shape how the volume

level changes over time, from when a key is pressed, held,

then released, and subsequently how long it takes for the

sound to terminate.

For more information about the VCA, see pages 11, 32.

Attack

The Attack setting determines the attack time of the

AEG, which is the time it takes for the signal to reach

its maximum volume level after a key is pressed (key

on). Turning the knob to the right produces a longer

Attack time.

Settings: 0 ~ 127

Decay

The Decay setting determines the decay time of the

AEG, which is the time it takes for the signal to reach

the sustain level from a maximum volume level while

the key is held. Turning the knob to the right produces

a longer Decay time.

Settings: 0 ~ 127

Sustain

The Sustain setting determines the level of sustain of the

AEG, which is the level at which the volume will be

maintained for as long as a key is held. Turning the

knob to the right increases the Sustain level.

Settings: 0 ~ 127

Release

The Release setting determines the release time of the

AEG, which is the time it takes for the signal to reach a

level of “0” after a key is released (key off). Turning the

knob to the right increases the Release time.

Settings: 0 ~ 127

Key on Key off

Attack ReleaseDecay

Time

Level

Sustain

Feedback

The Feedback setting determines the level of feedback

output from the VCA and “fed back” into the input of

the mixer, causing the signal to build up in amplitude

according to the level you set. Turning the knob to the

right increases the Feedback level, resulting in a fatter

sound.

Settings: 0 ~ 127

Feedback should be applied slowly and with caution. Too much feedback can

create extremely high frequencies, potentially resulting in damage to your

speakers.

Too much feedback may drastically change the VCF characteristics.

Volume

The Volume setting determines the overall output level

from the VCA before the signal passes to the Effect

block. Turning the knob to the right increases Volume

level.

Settings: 0 ~ 127

VCO Mixer HPF

Feedback

VCF VCA OUT

Amod Depth (Amplitude Modulation

Depth)

The Amplitude Modulation Depth setting determines the

depth of the amplitude modulation of the VCA by the

LFO1. Amplitude Modulation adds a cyclical change to

the volume level to create a tremolo effect. Turning the

knob to the right widens the range of the volume

change. Negative value settings reverse the phase of

the LFO1 by 180 degrees.

Settings: -64 ~ +63

Vel Sens (Velocity Sensitivity)

The Velocity Sensitivity setting determines the amplitude

range of the VCA according to playing strength, or

how fast you strike the keys. Turning the knob to the

right (positive values) results in a higher sensitivity,

requiring greater playing strength to increase

amplitude. Turning it to the left (negative values)

requires a lighter touch to increase amplitude. A value

setting of “0” maintains the same amplitude regardless

of playing strength.

Settings: -64 ~ 0 ~ +63

ASSIGN

When KNOB PARAMETER GROUP switch [ASSIGN] is

selected, each of the eight CONTROL knobs can be used

as an individual controller for specified Control Change

parameters which can be freely assigned.

Assign 1-8

As MIDI controllers, knob movements output control

data from the MIDI [OUT] terminal. Turning each knob

to the right increases the value setting for the assigned

parameter. Turning it to the left decreases the value

setting.

Settings: 0 ~ 127

A Control Change parameter can be assigned to each CONTROL knob using the

Control Device and Control Number parameters located in the UTILITY SETUP

menu. For details, see page 95.

You can assign Tempo and Data Entry to be controlled directly by the CONTROL

knobs.

You can confirm the parameter name by pressing the knob’s push-switch.

Panel Parameter

Edit

The AN1x’s matrix of panel Edit parameters

gives you quick and easy access to voice, Scene,

Free EG, Arpeggiator, Step Sequencer and

System parameters. All voice-related parameters

can be stored as voice data in each of the 128

user voices.

There are six menus of Edit parameters, as follows:

VOICE SCENE SETUP: Includes Scene- and Layer-related

parameters for the voice.

VOICE COMMON: Includes Tempo, Effect and other

parameters common to the voice.

VOICE FREE EG: Includes Track select, recording and

other parameters related to the Free EG function.

VOICE ARPEGGIO/SEQ: Includes common and specific

parameters related to the Arpeggiator and Step

Sequencer.

SEQ EDIT/SETUP: Includes Knob and Pattern parameters

related to the Step Sequencer.

UTILITY SETUP: Includes “global” parameters which

affect the AN1x’s system, including MIDI settings, Control

Change-related assignments and others.

Utility parameter settings cannot be stored as voice data.

For a blank chart of all available parameters which you can use when editing your

own voices, see page 114.

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT/SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

Base Unit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

Edit Procedure

The procedure for editing a voice is outlined below.

1. Select a voice using the PROGRAM CHANGE

keypad.

Enter the number of the voice you want, followed by

[YES/ENTER], or select the voice by pressing [+] / [-].

2. Select the edit menu.

Set the [EDIT ROTARY] switch to the menu with the

parameter that you want to edit.

3. Select the parameter that you want to edit.

Press the [UP/DOWN] switch located beneath the

parameter name once to display the parameter name

and current value or setting in the LCD.

4. Set the parameter value or setting.

Each time you press the upper area of the

[UP/DOWN] switch the parameter or value setting will

increment by a unit, and each time you press the lower

area of the switch the parameter or value setting will

decrement by a unit. Holding down the upper or lower

area of the switch lets you quickly scroll through the

values or settings.

Tempo Split Pnt

VOICE

COMMON

Vari EF/EQ

Param Data

Vari EF

Dry:Wet

Dly/Rev EF

Param

Data

Bypass

Name

Cursor Char

Tempo Split Pnt

VOICE

COMMON

Vari EF/EQ

Param Data

Vari EF

Dry:Wet

Dly/Rev EF

Param

Data

Bypass

Name

Cursor Char

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT/SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

Base Unit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

PROGRAM CHANGE

VWX

MNO

PQR

GHI

–

DEF

ABC

OTHERS

STU

JKL

YES/ENTERNO

5. Select another parameter and set the value

for it.

Repeat steps 3 and 4, above, to select and set other

parameters in the same menu.

6. Execute a Store operation.

When you've finished editing the data, you can store

the voice to a user voice memory (1 - 128) using the

Voice Store operation. You can also store Scene-related

parameters for the voice to Scene 1 or Scene 2 at any

time using a Scene Store operation. For information

about storing voices, see page 98. For information

about storing Scenes, see page 99.

Edited voice data will be retained in memory even if you switch off the power

before storing the voice. When you turn the power back on, you can continue

editing the voice.

Be sure to store your edited voice before selecting a different voice, or you could

lose your edited data (see page 98). If you forget to store your edited data

before selecting another voice, use the Voice Recall function (see page 96).

During the editing process, you can confirm the name and number of the current

voice at any time by pressing [-] or [+] once to display the information in the

LCD. You can then continue editing by selecting an Edit menu and pressing an

[UP/DOWN] switch.

Edit Mark

The first time a voice parameter is changed, the Edit mark

will display in reverse type in the LCD. The Edit mark

indicates that voice data has been changed from the original

but has not yet been stored.

Voice Recall

If you select a different voice before storing important voice

data, you can use the Voice Recall function to retrieve the

edited voice data. For details, see page 96.

Indicates a

voice has been

edited but not

stored

Edit Parameters

Following is a description of each parameter in

each of the six Edit menus, along with a listing

of available settings.

VOICE SCENE SETUP

This menu includes Mode, Control Matrix and Layer

parameters, which can be set and stored as voice data.

Mode and Control Matrix parameters can be stored as

Scene data for each voice.

A Scene memory is simply a “snapshot” of the parameters as set by the eight

CONTROL knobs. There are two Scene memories which you can store in each

voice, and easily recall by pressing the [SCENE 1] or [SCENE 2] switch as you

play. For more information about Scenes, see page 19.

Mode

Mode settings determine the way the AN1x’s tone

generator responds as you play the keyboard. There

are three groups of parameters, including Poly mode

setting, Portamento characteristics, and LFO Reset

setting.

● Poly

The Poly mode setting determines the polyphony, or

number of notes the tone generator will sound when

notes are played on the keyboard or Note On

messages are received at the MIDI [IN] terminal. There

are three Poly mode settings.

Mode

Poly

Por t

VOICE

SCENE SETUPLFO Rst

Ctrl Matrix

Set No

Param Source

Depth

Layer

Pan

Separate

Unison

Detune

Mode

Poly

Por t

Tempo Split Pnt

Track Common

Trigger

LoopType

Common

Arp /SEQ

Type/No

Knob

Event

1-8/9-16

System

Mstr Tune

Kbd Trans

VOICE

SCENE SETUP

VOICE

COMMON

VOICE

FREE EG

VOICE

ARPEGGIO/SEQ

SEQ

EDIT /SETUP

UTILITY

SETUP

LFO Rst

Ctrl Matrix

Set No

Vari EF/EQ

Param Data

Length

Key Track

KbdMode Hold

Step Hold

Pattern

Bank

Kbd Vel

MIDI

Tx Ch

Param Source

Vari EF

Dry:Wet

Dly/Rev EF

Param

Track

Track No

SceneSw

MIDI

Ptn Tx Ch

Base Unit

Rx Ch

DeviceNo Local

BulkDump

Length LoopType

Arpeggio

Subdivide

Play EF

Swing

Scene Sw

Track Job

Rec

Data

Depth

Bypass

Layer

Pan

Separate

Unison

Detune

Name

Cursor Char

Copy Undo

Velocity

GateTime

Ctrl No

SEQ

Store

Ctrl

Device

Ctrl No

Stored as System data

Stored in each voice

Stored in Scenes

Settings:

poly: You can play maximum 10 notes polyphony when

Layer mode is set to SINGLE.

mono: Plays one (monophonic) note.

legat (Legato): Plays one (monophonic) note, and provides

for legato phrasing, or solo passages played without any

perceptible interruption between notes. Legato occurs when

you press the next key before releasing the preceding key.

● Port (Portamento)

The Portamento mode setting determines the

characteristics of the portamento (sometimes called

glissando), or how the tone glides from one tone to the

next through all the intermediate pitches, when the

PEG/LFO Portamento Time (see page 56) is set to a

value other than “0”. Available parameters depend on

the Poly mode setting.

To enable the Portamento function, press the [PORTAMENTO] switch on the panel

(see page 24). If the PEG/LFO Portamento Time parameter (see page 56) is set

to "0", Portamento will have no effect.

Settings:

When Poly = Poly:

normal: Normal portamento play.

sus-key: With this setting, the Hold tone (by a sustain pedal)

is specified as the starting pitch of the portamento.

When Poly = Mono, Legato:

fingerd (Fingered): Portamento is only enabled by legato

performance.

full time: Portamento is always enabled.

The Portamento setting mode here is effective and can be heard when the panel

[PORTAMENTO] switch is set to "ON".

● LFO Rst (LFO Reset)

The LFO Reset mode setting determines the start point

of the LFO1 and LFO2 cycle.

Settings:

off: LFO1 and LFO2 do not reset, but modulate continuously.

ky-on (Key On): LFO1 and LFO2 reset every time a key is

pressed.

Ctrl Matrix (Control Matrix)

Control Matrix (“Ctrl Matrix”) parameter settings

determine which MIDI Control Change number

“source” controller (eight panel CONTROL knobs,

Modulation Wheel, Foot Controller, Ribbon-X,

Keyboard After Touch, etc.) is assigned to control

which AN1x “parameter” (VCF Cutoff, Resonance,

FEG Depth, Variation Effect Wet:Dry balance, etc.).

The Control Matrix gives you the freedom to configure

sources and parameters for each voice. You can, for

example, configure the AN1x to use After Touch to

apply vibrato, or the Modulation Wheel to change the

resonance while you play, determine the range for both

Pitch Bend up and down, and much more.

The Control Matrix is a configuration of 16 sets of

control setup parameters and 2 sets of common

parameters. The 16 parameter sets apply to each

Scene and the common parameters apply to the voice.

Each set consists of Set Number, Parameter, Source,

and Depth parameters.

A blank chart is available for writing down Parameter and Source settings of the

Control Matrix; see page 114.

Convenient Parameter Control

You can use the Control Matrix sets to assign a single

controller to control more than one parameter, or multiple

controllers to control the same parameter.

[Ex. 1]

One controller to control more than one parameter

[Ex. 2]

Multiple controllers to control the same parameter

Procedure For Using The Control Matrix

1. Select the Set No (1-16).

2. Select the Parameter you want to control.

3. Select the Source (controller) for the parameter

control.

4. Set the Depth value.

5. Repeat steps 1-4 to assign additional controller

sets.

For more information about the Control Matrix, the separate Data List book.

Set Param Source Depth

1 VCF Cutoff A.MW +20

2 VCF Cutoff A.RbX -10

Set Param Source Depth

1 VCF Cutoff A.MW +25

2 Resonance A.MW +30

● Set No (Set Number)

The Set Number parameter lets you select Pitch Bend

Pitch Up and Down, the number of the Set (1-16), and

Common (1 and 2) parameter assignments.

Settings:

PB Pitch ↑: Selects the Pitch Bend Up parameter for setting

the range over which the pitch bends up (above a value of

64) when rolling the Pitch Bend wheel between center and

maximum forward position (for the selected Scene).

PB Pitch ↓: Selects the Pitch Bend Down parameter for

setting the range over which the pitch bends down (below a

value of 64) when rolling the Pitch Bend wheel between

center and maximum back position (for the selected Scene).

Set 1 ~ 16: Selects the Set Number to which you want to

assign Parameter, Source and Depth settings (for the selected

Scene).

Comn 1 ~ 2 (Common Set 1 ~ 2): Selects the Common

Set number to which you want to assign Parameter (Off,

Common Volume, Common Pan, Variation Parameter, Delay

Return, Reverb Return), Source and Depth settings (applied to

both Scenes).

● Parameter

The Parameter setting determines which parameter is

assigned to the Set Number (1-16) or Common Set (1-

2). When Set No is set to “PB

↑” or “PB↓” you don’t

need to select the Parameter because these are the

parameters for Pitch Bend.

Settings:

For a list of Control Matrix parameters, see the separate Data

List book.

● Source

The Source setting determines which controller (by

Control Change number) is assigned to control the

corresponding Parameter.

You can set the source by Control Change number or by controller name, as

shown in the Settings listed below.

Settings:

CcOff: No controller assigned.

CC1 ~ 95: Selects the Source controller according to Control

Change number, when received by on-board controllers or

incoming MIDI messages.

AT (After Touch): For controlling with keyboard After Touch.

PB (Pitch Bend): For controlling with the Pitch Bend wheel.

KyTrk (Key Track): For controlling with note number

messages generated by pressing the keys.

Vel (Velocity): For controlling with keyboard velocity, or the

strength with which you strike the keys.

KyRnd (Key Random): For controlling with random note

number messages generated by pressing the keys.

A.MW (Assign Modulation Wheel): For controlling with

the Modulation Wheel, and/or by incoming MIDI messages

with the same Control Change number as assigned to the

MW.

A.FV (Assign Foot Volume): For controlling with a

connected Foot Volume controller, and/or by incoming MIDI

messages with the same Control Change number as assigned

to the FV.

A.FC (Assign Foot Control): For controlling with a

connected foot controller, and/or by incoming MIDI messages

with the same Control Change number as assigned to the FC.

A.FS (Assign Footswitch): For controlling with a

connected Footswitch, and/or by incoming MIDI messages

with the same Control Change number as assigned to the FS.

A.RbX (Assign Ribbon Controller-X): For controlling

with the Ribbon controller X-axis (left and right), and/or by

incoming MIDI messages with the same Control Change

number as assigned to the RbX.

A.RbZ (Assign Ribbon Controller-Z): For controlling

with the Ribbon controller Z-axis (push), and/or by incoming

MIDI messages with the same Control Change number as

assigned to the RbZ.

Kn1~8 (Knob 1 ~ 8): For controlling with a specified

CONTROL knob (when KNOB PARAMETER GROUP

[ASSIGN] is on).

Depending on selected Parameter, the available Source for assignment may be

different. For details of available parameters, see the table of Control Matrix

parameters in the separate Data List book.

You cannot assign the same Source controller and Parameter to more than one

set. If you attempt to, lower-numbered sets will take priority, and "– – –" will

appear in the LCD for higher-numbered sets.

When you select [RIBBON] controller "A.RbX" as the "Source" controller and Pitch

Up/Pitch Down as the "Parameter", the [RIBBON] controller value will be reset to

the center position when you release your finger from the [RIBBON]. The sets

with different Parameters (other than Pitch Up/Pitch Down) keep the position at

which you release your finger.

● Depth

The Depth setting determines the control range of the

Source controller.

Settings:

Depending on the selected Parameter, the available settings

may be different. For details, see the table of Control Matrix

parameters in the separate Data List book.

Direct Control Function

When Depth "Dirct" is selected (0 setting), the Direct Control

function is activated, and you can directly edit the parameter

assigned to the controller within its original range.

Relationship Between Control Matrix And

Utility Control Assign Function

There are two types of Control Change assignment

functions—the Control Matrix and the Utility Control Assign

function. Between the Control Matrix and Utility Control

Assign function (see page 95), you can configure a

sophisticated controller setup to control specific parameters of

the internal tone generator and an external tone generator at

the same time by the eight CONTROL knobs and other

controllers. Control Change assignments made in the Utility

Control Assign function are sent to both MIDI [OUT] as well

as the Control Matrix, where it can be rerouted at will before

reaching the internal tone generator. External Control

Change signals received at MIDI [IN] can be routed through

the Control Matrix to control the AN1x tone generator

parameter of your choice.

AN1x Tone Generator

MIDI IN

MIDI OUT

Utility Control

Assign

Control Matrix

Control Signal Flow

If Pan setting = “alt” or “rnd”:

• The Separate setting adjusts the Pan separation range.

Higher values result in a wider separation. When the

value is set to maximum setting (“32”), then left, center

and right are completely separated.

The Separate function does not apply to the Vari EF Wet signals, so if the Wet

setting is too high, the Separate effect will be weakened.

● Unison Detune

When UNISON mode is selected (see Layer mode,

page 22), multiple sounds are played, with the pitch of

each sound slightly detuned. Unison Detune adjusts the

detuning of the VCO1 pitch in fine increments, letting

you create an even thicker UNISON sound by

applying higher settings, but be careful not to apply

too much or you’ll change the basic pitch of the voice.

(This function only works when Layer mode is set to

UNISON, DUAL UNISON or SPLIT UNISON.)

Settings: 1 ~ 32

Layer

Layer parameter settings apply to the selected Layer

mode, and affect both Scenes. These settings are

stored as voice data. There are three parameters,

including Pan, Separate, and Unison Detune.

For more information about Layer modes, see page 22.

● Pan

The Pan parameter sets the type of stereo panning, or

the way the sound moves between the left and right

speakers.

Settings:

off: When Layer mode is set to SINGLE (see page 22), Pan

control does not function. When set to DUAL, DUAL UNISON,

SPLIT or SPLIT UNISON, you can change the pan width for

Scene 1 and Scene 2 using the Separate function (see below).

alt (Alternate): Causes the sound to alternate between left,

right and center each time a key is played. Use the Separate

function to determine pan width.

rnd (Random): Causes the sound to move at random. Use

the Separate function to determine pan width.

● Separate

The Separate parameter adjusts the amount of

amplitude between left and right outputs. The result

depends on Pan type setting (see above).

Settings: 0 (no effect) ~ 32

If Pan setting = “off”:

• When Layer mode (see page 22) is set to SINGLE, the

panning will have no effect.

• When Layer mode is set to UNISON, higher values create

a wider stereo dimension by separating the two to up to

five sounds. (Poly mode generates two sounds with each

key pressed, and Mono/Legato mode generates five

sounds with each key pressed.)

• When Layer mode is set to DUAL/DUAL UNISON, or

SPLIT/SPLIT UNISON, higher values create a wider stereo

dimension by separating Scene 1 and Scene 2 sounds.

VOICE COMMON

This menu includes parameters common to the voice (both

Scenes) including Tempo for Arpeggiator and Step

Sequencer, plus Effect-related settings and voice naming

parameters. The Vari EF Dry:Wet parameter can be edited

for each Scene.

Tempo

The Tempo setting determines the tempo for the AN1x’s

internal clock in beats per minute (BPM), between a

range of 40 and 240 BPM. The Tempo setting controls

both Arpeggiator and Step Sequencer play.

Settings: MIDI, 40 ~ 240

When Tempo is set to “MIDI”, the AN1x’s clock can be controlled by the clock of

an external MIDI device such as a music sequencer, connected to the MIDI [IN]

terminal.

When the Free EG Length parameter is set to "bar", the Free EG sequence will be

synchronized with the Tempo set here. For more information, see page 82.

Tempo Split Pnt

VOICE

COMMON

Vari EF/EQ

Param Data

Vari EF

Dry:Wet

Dly/Rev EF

Param

Data

Bypass

Name

Cursor Char

Split Pnt (Split Point)

The Split Point setting determines the note at which the

keyboard divides into lower (Scene 1) and upper

(Scene 2) zones for Split mode play (SPLIT/SPLIT

UNISON mode). It also determines the division for the

Arpeggiator or Step Sequencer depending on

Keyboard Mode setting.

For information about Split modes, see page 23.

Settings: C-2 ~ G8

Vari EF/EQ

(Variation Effect/Equalizer)

Variation Effect/Equalizer settings determine the

Variation Effect type and data settings, as well as EQ

data settings, for the voice. There are three parameters,

including Param (Parameter), Data, and Variation Effect

Dry:Wet.

The signal enters the Effect block from the VCA output, and passes to the

Variation Effect and Equalizer in a serial connection. For more information, see

page 11. Also see the separate Dat List book.

● Param (Parameter)

The Parameter setting determines the Variation Effect

type and select parameters of the selected effect as

well as the EQ.

● Data

The Data parameter lets you select the Variation Effect

type and change data values of the selected effect or

EQ Parameter.

Settings:

For information about each Parameter and available settings,

see the Effect Type List in the separate Data List book.

Setting the Variation Effect

1. Press the lower area of the Param [UP/DOWN]

switch to select Variation Effect.

2. Press Data [UP/DOWN] to select the type of

Variation Effect. (There are 14 types; see the

Data List book.)

3. Press Param [UP/DOWN] again to select the

specific parameter that you want to set. (The

parameters for the Variation Effect which you

selected in step 2 will be available.)

4. Press Data [UP/DOWN] again to set the

Parameter value.

5. Repeat steps 3 and 4, above, to set data values

for other parameters of the selected Variation

Effect.

For more information about the Variation Effect, see the separate Data List book.

Setting the Equalizer

1. Press Param [UP/DOWN] to select an EQ

parameter. (There are seven EQ parameters; see

the separate Data List book.)

2. Press Data [UP/DOWN] to set the value of the

selected parameter as desired.

3. Repeat steps 1 and 2, above, as many times as

necessary to select other parameters and set

their data values.

For more information about the EQ parameters, see the separate Data List book.

● Vari EF Dry:Wet

The Variation Effect Dry:Wet setting determines the

balance between wet (effect) and dry (original) signal

levels. A setting of “D63” will pass the dry signal only,

and a setting of “W63” will pass the wet signal only.

A setting of “D=W” represents an equal balance of

wet and dry signals.

Settings: D63 ~ D=W ~ W63

When Vari EF Param type is set to “AuralExc” or “Comprssr”, Data “dry” and

“wet” settings are available. When Vari EF Param type is set to “OvrDrive” or

“Amp Sim”, Data “dry”, “both” and “wet” settings are available.

Aural Exciter is a registered trademark of and is manufactured under license from

Aphex Systems Ltd.

Dly/Rev EF (Delay/Reverb Effect)

Delay/Reverb Effect settings determine the Delay and

Reverb effect types and data settings. There are two

parameters available, Param (Parameter) and Data.

The Delay and Reverb effects are located after the EQ output, and can be

connected in series or parallel. For more information, see the separate Data List

book.

● Param (Parameter)

The Parameter setting lets you select the Connect,

Delay effect (and parameters) and Reverb effect (and

parameters).

● Data

The Data parameter lets you select the Connect

settings, Delay type (and change data values for Delay

parameters) and Reverb type (and change data values

for Reverb parameters).

Settings:

For information about available parameters and value settings

for Delay and Reverb effects, see the separate Data List book.

Setting Delay and Reverb

1. Press the lower area of the Param [UP/DOWN]

switch to select the Connect parameter.

2. Press Data [UP/DOWN] to select serial (“seri”)

or parallel (“para”) and set the configuration of

the Delay and Reverb effects.

3. Press Param [UP/DOWN] again to select either

the Delay (“DlyEF”) or Reverb (“RevEF”) page.

4. Press Data [UP/DOWN] again to select the Delay

type (1 ~ 5) or Reverb type (1 ~ 8; see the Data

List book).

5. Press Param [UP/DOWN] again and select the

Delay or Reverb parameter to set (depending on

selected Delay or Reverb type, available

parameters will be different).

6. Press Data [UP/DOWN] again to set the

parameter value as desired.

7. Repeat steps 5 and 6, above, as many times as

necessary to set all parameter values.

When Delay is

selected, “DlyEF”

appears here

EF Bypass (Effect Bypass)

Effect Bypass settings let you bypass specific effects,

which is convenient when creating an original voice.

Bypassed effects will not be applied to the original

sound, and when the EF Bypass is “off”, the signal will

flow through all effects units.

You can choose to bypass all effects, or only Delay

and Reverb, or only Reverb. Since EF Bypass is a

system parameter, it will not be saved as voice data,

and therefore will remain as you set it regardless of

which voice is selected.

Settings:

off: Turns off the Effect Bypass, so the signal flow will bypass

the effects units.

OnlyRev: Only the Reverb effect will be bypassed.

Only Dly: Only the Delay effect signal will be bypassed.

Dly&Rev: Both Delay and Reverb effects will be bypassed.

AllEF: The signal bypasses all effects in the Effect block,

including Variation Effect, Delay and Reverb (excluding EQ).

Effect Bypass Mark

The Effect Bypass mark will appear in the LCD when the

Effect Bypass is active.

Name

Name parameters let you select a voice Category and

up to ten characters to give a customized name to your

edited voice. There are two parameters, Cursor and

Char (Character).

● Cursor

The Cursor parameter lets you position the cursor at the

voice Category field or any of the ten character fields

for the voice name.

● Char (Character)

The Character parameter lets you select a voice

Category (when the cursor is positioned at the voice

category field) or a character (when the cursor is

positioned at a voice name character field).

Available characters:

ABCDEFGHIJKLMNOPQRSTUVWXYZ“abcdefghijklmnop

qrstuvwxyz0123456789*_!”#$%&’()+,-=

(space)

Character Cursor

Naming A Voice

1. Press the lower area of the Cursor [UP/DOWN]

switch to position the cursor at the voice

Category field (the current cursor position will be

flashing).

2. Press Char [UP/DOWN] to select the two-letter

voice category code.

3. Press Cursor [UP/DOWN] again as many times

as necessary to position the cursor at a voice

name character field, then press Char to select

an alphabet, numeric or symbol character.

You can also use the PROGRAM CHANGE keypad to enter

alphabet and numeric characters, by pressing each 0-9 key

once or more, as indicated above each key. For example,

pressing the 0 key toggles repeatedly between the following

characters: 0-A-B-C-a-b-c-0, etc.

# LCD

0--

1Pf

2Cp

3Or

4Gt

5Ba

6St

7En

8Br

9Rd

10 Pi

11 Ld

12 Pd

13 Fx

14 Et

15 Pc

16 Se

17 Dr

18 Sc

19 Vo

20 Co

21 Wv

22 Sq

Transcripción de documentos

2 Contents PRECAUTIONS ............................................................4 Playing Arpeggiated Chords ...........................................35 INTRODUCTION Using The Step Sequencer ..........................................37 How To Use This Manual ..............................................5 Step Sequencer On/Off .................................................38 Main Features...............................................................5 Step Sequencer Hold Modes ...........................................38 The AN1x At A Glance .................................................6 Voice Pattern And User Pattern Banks...............................39 The Making Of A Modern Classic .................................8 Playing Step Sequencer Patterns ......................................40 What Is A Voice? ..........................................................9 Step Sequencer Edit .......................................................44 Arpeggio MIDI Output....................................................37 AN1x Memory Structure ..............................................9 Step Sequencer MIDI Output ...........................................46 Using The Free EG ......................................................47 Free EG Parameters .......................................................47 ANALOG PHYSICAL MODELING SYNTHESIS Using The Control Features.........................................49 Real-time Control............................................................49 AN1x Tone Generator ................................................10 Utility Control Assign Function .........................................50 Control Matrix ...............................................................51 GETTING STARTED System Examples .......................................................12 FEATURE REFERENCE Switching On The Power ................................................13 Voice Select.................................................................52 Playing The Demo Songs............................................13 Knob Edit ....................................................................53 Basic Operation ..........................................................14 Knob Parameters .......................................................54 AN1x Operating Modes.................................................14 PEG/LFO ......................................................................54 Selecting Voices.............................................................14 SYNC/FM ....................................................................58 Using The Controllers .....................................................15 VCO1 ..........................................................................61 CONTROL Knobs And Parameter Groups .........................16 VCO2 ..........................................................................63 AN1x Quick Tour........................................................17 VCF..............................................................................64 Exploring The Factory-set Voices ......................................17 MIX/VCF ......................................................................66 Selecting Scenes And Scene Morphing .......................19 VCA .............................................................................68 Scene Memories ............................................................19 ASSIGN .......................................................................70 Scene Control................................................................20 Panel Parameter Edit..................................................71 Scene Store Function ......................................................21 Edit Procedure ...............................................................71 Scene Load Function ......................................................22 Edit Parameters ..........................................................72 Scene Swap Function .....................................................22 VOICE SCENE SETUP ....................................................72 Selecting Layer Modes................................................22 VOICE COMMON ........................................................77 Layer Modes .................................................................22 VOICE FREE EG ............................................................81 Portamento Play.........................................................24 VOICE ARPEGGIO/SEQ ................................................85 Turning PORTAMENTO On And Off.................................24 SEQ EDIT/SETUP ...........................................................89 Setting Portamento Time..................................................25 UTILITY SETUP................................................................92 Selecting Portamento Modes ...........................................25 Voice Recall ................................................................96 Selecting Parameter Groups.......................................25 Voice Initialize ............................................................97 Using The CONTROL Knobs ........................................26 Store ...........................................................................98 Assigning Parameters To Knobs .......................................27 Voice Store....................................................................98 Using The Panel Edit Matrix .......................................28 Scene Store...................................................................99 Editing Voices .............................................................29 Factory Settings ........................................................100 Voice Edit Procedure ......................................................29 Creating Original Voices ................................................30 Store Operations ........................................................33 APPENDIX Turning ARPEGGIO/SEQ On And off ..........................33 Voice Creation Examples ..........................................101 Using The Arpeggiator ...............................................33 About MIDI ...............................................................109 Arpeggiator On/Off ......................................................33 Error Messages .........................................................112 Arpeggio Hold Function..................................................34 Troubleshooting ........................................................113 Arpeggio Pattern Types...................................................34 Blank Chart ..............................................................114 Arpeggio Subdivide .......................................................34 Specifications ............................................................116 Index ........................................................................117 3 PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep these precautions in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: • Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no userserviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualified Yamaha service personnel. • Use the specified adaptor (PA-3B or equivalent, recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating. • Before cleaning the instrument, always remove the electric plug from the outlet. Never insert or remove an electric plug with wet hands. • 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. • Check the electric plug periodically and remove any dirt or dust which may have accumulated on it. • If the AC adaptor 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 adaptor plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following: • Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. • Do not 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. • When removing the electric plug from an outlet, always hold the plug itself and not the cord. ■ 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 "Battery Low" will display in the LCD. When this happens, immediately back up your data (using an external device such as the floppy disk-based Yamaha MIDI Data Filer MDF2), 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. • Do not connect the instrument to an electrical outlet using a multipleconnector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet. • Remove the adaptor 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. • 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. ■ SAVING USER DATA • 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. • Save all data to an external device such as the Yamaha MIDI Data Filer MDF2, 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. Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed. • Before moving the instrument, remove all connected adaptor and other 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 or plastic objects on the instrument, since this might discolor the panel or keyboard. Always turn the power off when the instrument is not in use. The LCD screens and diagrams in this owner's manual are for instructional purposes only, and may be different from the ones on your instrument. • 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. 4 Congratulations! And thank you for choosing Yamaha. You are now the proud owner of the AN1x Control Synthesizer, a fully-professional digital keyboard with powerful sound and versatile real-time control features. The AN1x is a modern music dynamo capable of faithfully delivering the warm, fat, punchy sounds of the legendary analog synths—with the same familiar oscillator, filter and other sound creation elements and intuitive, "hands on" style of operation—plus all the sophisticated flexibility you'd expect from a professional digital synthesizer. How To Use This Manual GETTING STARTED Provides a basic overview of how to set up your AN1x and quickly familiarize yourself with all its key features and operations. We recommend you actually be sitting in front of your AN1x as you read through the GETTING STARTED section, so you can try out each feature along the way to get a thorough understanding of how the AN1x works. This owner’s manual provides your basic keys to unlocking the power of the AN1x Control Synthesizer. It is divided into the following sections: INTRODUCTION Provides a brief rundown of the AN1x’s main features and description of all front and rear panel controls along with information about the AN1x’s memory structure. We recommend you take a few minutes and read the INTRODUCTION section carefully before you get started in order to familiarize yourself with the basic features and capabilities of the AN1x. FEATURE REFERENCE Provides a comprehensive explanation of all AN1x features. This is in essence a dictionary which you can refer to any time you need to know the details about any given feature. APPENDIX Provides information related to MIDI, troubleshooting, and more. ANALOG PHYSICAL MODELING SYNTHESIS Provides an overview of the basic concept of the tone generation technology, plus descriptions of basic terminology and a signal flow block diagram, in order to give you an understanding of what’s going on inside the instrument as you twiddle the knobs and set parameters. A separate Data List book provides voice, Arpeggiator Type, Effect Type and other lists and information. Arpeggiator with 30 patterns and various play options, plus MIDI data output The Arpeggiator lets you play perfect arpeggiated chords at the simple press of a key. You can have the Arpeggiator play only one or both Scenes, or play one Scene to the left of the Split Point while you play the other Scene normally to the right. You can choose from various types of arpeggio patterns, including Up, Down, and Up&Down across one or more octaves, plus various special patterns including Techno, House, Random, and more. The arpeggio pattern data can be output via MIDI on its own MIDI channel. Main Features The AN1x Control Synthesizer is a truly innovative professional keyboard with enormously flexible sound and performance capabilities. Following is a brief rundown of the main features: Analog Physical Modeling synthesis The AN1x generates amazingly high quality synth sounds in much the same way as traditional legendary analog synthesizers—using voltage controlled oscillators and filters, low frequency oscillators, ring modulator and voltage controlled amplifiers—but with the additional benefits of digital multi-effects, MIDI control and much more. Easy-play/edit “Step Sequencer” with 128 Voice Patterns and 128 User Patterns The Step Sequencer permits quick, easy creation of highly sophisticated looped patterns which can be triggered from the keyboard in a variety of ways. Each individual step event (Note, Velocity, Gate Time, and Control Change) can be accessed and edited by a specific CONTROL knob, over a maximum of 16 steps. There are a variety of handy Step Sequencer edit and play options, including “Play Effects” which give you detailed control over the “feel” of your sequence. Pattern event data can be output via MIDI on its own MIDI channel. 128 voices and maximum 10 notes polyphony The AN1x comes with an impressive array of 128 voices preprogrammed and ready to play, each of which can be edited and overwritten to store your own. Ten notes of polyphony provide for versatile SINGLE, DUAL and SPLIT play options. Intuitive interface with "hands on" voice editing and multiple assignable real-time controllers The AN1x's eight CONTROL knobs and panel Edit matrix give you direct and instant access to many parameters as you play. All controllers are assignable, including [PITCH] and [MODULATION] wheels and various foot pedals, plus the [RIBBON] controller with horizontal slide (X) and pressure (Z) control of filter, LFO, delay and more. The Control Matrix function permits easy assignment of up to 16 sets of "source" controllers (MW, FC, Key Touch, etc.) to destination parameters (VCA, Filter, LFO, etc.) for each Scene, all of which can be stored as voice data for each voice. 4-track “Free EG” records and plays real-time changes of knob positions for up to four different parameters The 4-track Free EG lets you record real-time CONTROL knob movements, in order to “hand draw” filter, resonance, LFO and many other available parameters over time—and have them play back automatically by simply playing a voice. You can control up to four different parameters independently, each recorded into its own Free EG track. Ideal for those times when you wish you had an extra couple of pairs of hands, the Free EG lets you build up an incredibly complex, completely unique voice. 2 Scene memories for each voice, with real-time morphing between Scenes Each voice has two Scenes, each of which can be selected by pressing a [SCENE] switch. This provides two distinct sounds within each voice available for instant recall as you play. You can press both [SCENE] switches to activate the "Scene Control" function, and roll the [MODULATION] wheel (or press a foot pedal or use any other continuous controller) to morph, or cross-fade between the sounds of Scene 1 and Scene 2 as you play. Programmable multi-effects and 3-band EQ for each voice The AN1x has three types of programmable multi-effects plus EQ built into the voice architecture, which lets you customize the effects configuration for each voice. There are 8 Reverb effects, 5 Delay effects, 14 Variation effects (which includes Chorus, Auto Pan, Pitch Change, Compressor, Distortion effects and more), and a stereo 3-band Equalizer. An Effect Bypass function lets you bypass all effects or specific ones at the press of a switch. Six types of Layers to choose from for each voice SINGLE, UNISON, DUAL, DUAL UNISON, SPLIT, and SPLIT UNISON Layer modes give you a wide choice for control over how the two Scenes are configured to play in relation to each other for each voice. 5 The AN1x At A Front Panel [SCENE] switches Each of the AN1x's 128 voices has two Scene memories, each of which are instantly accessible by pressing the [SCENE 1] or [SCENE 2] switch. Each Scene can have its own distinct sound. Pressing both [SCENE] switches simultaneously activates the Scene Control function, which lets you "morph", or cross-fade between Scenes in realtime using the assignable [MODULATION] wheel, an assignable Foot Controller, or any other continuous controller. [VOLUME] knob KNOB PARAMETER GROUP switches LCD This knob controls the AN1x’s overall volume level output from the PHONES and OUTPUT jacks. Turn the [VOLUME] between left-most (minimum) and rightmost (maximum) positions to set the proper listening level whether using headphones or amplified speakers. These switches determine which set of parameters are controlled by the CONTROL knobs. The switches are color coded in cross-reference to the parameter names as printed in the same color on the panel beside each knob. Whenever you select a voice, the [ASSIGN] switch is automatically selected, to give you instant access to your assigned CONTROL knob parameters. The back-lit LCD Display) provide of information w indicates the cu status of the AN voices, turn kno switches. PHONES DC IN R L / MONO POWER FOOT FOOT VOLUME CONTROLLER FOOT SWITCH IN OUT THRU MIDI OUTPUT Mode Poly Algorithm PEG Decay Sync Pitch PEG Depth Sync Pitch Depth PEG Sw Sync Pitch Src Port Time Temp Wave Wave Pitch Pitch Fine Fine Edge Attack VCO1 Level Decay VCO2 Level Sustain Ring Mod Release Attack [RIBBON] controller VOLUME The assignable [RIBBON] controller gives you horizontal slide (X) and pressure (Z) control of designated controllable parameters as you play, including filter cutoff, resonance, LFO, panpot, reverb, and more. FM Depth PW PWM Depth VCF Cutoff HPF Feedback SCENE ASSIGN 2 LFO1 Wave PW CTRL Sustain Decay ASSIGN 1 Sync Pmod Sw ASSIGN 5 FM Src1 PWM Depth PWM Src Reso nance VCF Type Volume ASSIGN 4 LFO1 Dly PWM Src Fmod Depth FEG Depth Amod Depth ASSIGN 6 Noise Level Release ASSIGN 3 LFO1 Spd Edge ASSIGN 7 FM Src2 PmodDepth SYNC/FM PEG/ LFO VCO1 VCO2 LFO2 Spd PmodDepth VCF MIX / VCF Key Track VCA ASSIGN Vel Sens Track Trigge PROGRAM CHANGE KNOB PARAMETER GROUP VWX YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC 0 Vel Sens Comm Arp /S Knob Event Syste Mstr Tu DEMO PORTAMENTO LAYER STORE ARPEGGIO / SEQ – NO YES/ ENTER ASSIGN 8 [PITCH] wheel The [PITCH] wheel lets you bend the pitch up or down as you play. It is spring-loaded to automatically return to center position when you let go of it. You can use the Control Matrix to designate specific Pitch Bend parameters for the upper and lower bend ranges for each Scene. PITCH [MODULATION] wheel The assignable [MODULATION] wheel lets you apply modulation or another designated controllable parameter as you play, or morph between Scenes when the Scene Control function is active (and the [MODULATION] wheel is designated as the source controller). MODULATION CONTROL knobs with push-switch (knob parameters) PROGRAM The eight assignable CONTROL knobs are used for real-time control and edit of the various tone generator parameters, depending on which KNOB PARAMETER GROUP select switch is currently selected, plus instant access to each step event when the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu. Press a CONTROL knob (push-switch) to confirm the current parameter in the LCD. Turn a CONTROL knob left to decrease values or right to increase them. Make fine edit adjustments by turning a knob while pressing it. Since all CONTROL knobs are assignable, you can have each one access one of many different available parameters to give you maximum real-time control over specific aspects of your sound, including versatile control of external instruments via MIDI output. The PROGRAM used for selectin currently selecte Other functions naming a User v canceling ([NO] operations. Rear Panel ASSIGNABLE MIDI THRU OUT IN FOOT SWITCH FOOT FOOT CONTROLLER VOLUME POWER ON OFF OUTPUT DC IN R 6 L/MONO PHONES 1 MIDI terminals MIDI [IN], [OUT] and [THRU] terminals let you connect external MIDI devices such as a MIDI keyboard, tone generator, sequencer or computer or others, using a MIDI cable. [IN] is for input of MIDI data, including data dumps from another AN1x or MIDI data storage device. [OUT] is for output of MIDI data, including data dumps to another AN1x or MIDI data storage device. [THRU] is for “daisychain” connection of additional MIDI instruments, as the MIDI data received at the AN1x’s [IN] terminal is passed along unchanged to the [THRU] terminal. 2 [FOOTSWITCH An optional Yamaha used to control hold 3 [FOOT CONTRO An optional Yamaha used for control of va assignment. 4 [FOOT VOLUM An optional Yamaha to regulate overall vo 5 [POWER] switc Press the [POWER] s At A Glance es [EDIT ROTARY] switch LCD The back-lit LCD (Liquid Crystal Display) provides various types of information which clearly indicates the current operating status of the AN1x as you select voices, turn knobs and press switches. s T Parameter value [UP/DOWN] switches These ten switches are used to access and edit specific parameters (as printed on the panel), depending on which Edit menu is currently selected with the [EDIT ROTARY] switch. Pressing the upper area of a parameter value [UP/DOWN] switch increments the parameter value or setting, and pressing the lower area decrements it. Simply pressing a switch once will display the parameter name and current value or setting in the LCD. Thereafter, pressing or holding the upper or lower area of the switch will change the value or setting accordingly. The 6-position [EDIT ROTARY] switch lets you designate one of the six Edit menus, as printed on the panel to the right of each menu. THRU DI YZ Vari EF/EQ Param Data 7 8 9 PQR STU 4 5 6 DEF GHI JKL 1 2 3 Common Arp /SEQ DEMO Unison Detune Name Cursor Char Key Track VOICE COMMON Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Depth Type/No KbdMode Hold SceneSw Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Velocity ANALOG PHYSICAL MODELING LFO2 LFO1 VOICE GateTime ARPEGGIO /SEQ Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP VCO VCO1 MIX/VCF SYNC MASTER SLAVE VCA EFFECT VOLUME RING MOD VARI EQ FM AEG NOISE DLY REV LAYER – NO Synthesis Block Diagram CONTROL SYNTHESIZER CTRL VCO2 PORTAMENTO ABC Length Separate EF Bypass Source PEG OTHERS MNO 0 LFO Rst Split Pnt Track Common LoopType Trigger PROGRAM CHANGE VWX Port Tempo VOICE SCENE SETUP Layer Pan Dly/Rev EF Param Data Ctrl Matrix Param Set No Mode Poly FEEDBACK YES/ ENTER STORE ARPEGGIO/ SEQ The Analog Physical Modeling synthesis block diagram provides a handy visual reference or reminder of how the signal flows through the key blocks, or components of the AN1x's tone generation architecture, which is helpful when manipulating the various parameters during voice editing or realtime sound control. Keyboard The 61-key touch-sensitive keyboard features Initial (velocity) and After Touch (pressure) control. . y c al MIDI or DI data, ge s to sydata ed to PROGRAM CHANGE keypad [PORTAMENTO] switch [ARPEGGIO/SEQ] switch The PROGRAM CHANGE keypad is primarily used for selecting a voice or confirming the currently selected voice name and number. Other functions include selecting letters when naming a User voice, and confirming ([YES]) or canceling ([NO]) specific store and other operations. For turning the portamento function on and off. For turning the Arpeggiator or Step Sequencer on and off. [LAYER] switch For selecting one of the six Layer modes. DEMO [STORE] switch Pressing [PORTAMENTO] and [LAYER] simultaneously lets you access the Demonstration songs. For initiating Store operations. 2 [FOOTSWITCH] jack An optional Yamaha FC4 or FC5 Footswitch connected to the [FOOTSWITCH] jack can be used to control hold on/off, Portamento on/off and other discrete controllers. 6 [DC IN] terminal Connect the supplied Yamaha PA-3B Power Adaptor to the [DC IN] terminal. (CAUTION: Do not attempt to use an AC adaptor other than the Yamaha PA-3B or equivalent, since the use of an incompatible adaptor may cause irreparable damage to the AN1x, and may even pose a serious shock hazard.) 3 [FOOT CONTROLLER] jack An optional Yamaha FC7 foot controller connected to the [FOOT CONTROLLER] jack can be used for control of various continuous or discrete controllers, depending on controller assignment. 7 OUTPUT jacks The stereo OUTPUT jacks let you connect the AN1x to an external stereo amplifier/speaker system. When using a mono system, connect it to the [L/MONO] jack. 4 [FOOT VOLUME] jack An optional Yamaha FC7 foot controller connected to the [FOOT VOLUME] jack can be used to regulate overall volume (or any other assigned continuous controller function.). 5 [POWER] switch Press the [POWER] switch to turn the AN1x on and off. 8 [PHONES] jack The [PHONES] jack lets you connect a set of stereo headphones to the AN1x for private listening. 7 The Making Of A Modern Classic The classic analog synth sound is back with a vengeance and more popular than ever. Vintage analog synthesizers are hot items, recirculating and finding their way into the arsenals of the world’s most innovative music makers, many of whom weren’t even born when the voltage controlled synthesizer was coming of age more than a quarter of a century ago. Enter the Yamaha AN1x Control Synthesizer—a modern classic in its own right—complete with the VCO, VCF, and VCA blocks, or "modules" that give retro synths that famously fat, rich, warm sound, plus multiple knobs for controlling every nuance of the sound, and even an on-board Arpeggiator and Step Sequencer for generating pattern loops at the press of a key. What’s much more, however, is that the AN1x incorporates features that vintage synths could only dream about—like three onboard programmable digital multi-effects units and a 3-band stereo EQ, a multiple controller-to-parameter assignment architecture, a 4-track Free EG for “hand drawing” real-time knob position movements of up to four different tone generator parameters, plus real-time morphing between two different sounds, and more—all of which can be customized for each of the 128 voices and stored as individual voice data. The History… Enter Analog Physical Modeling… Why is the “analog sound” so popular in a digital age? What long and winding road had to be traveled—just to end up right back where we started from? Let’s take a quick look at how we got from there to here, and where here really is, anyway. The classic analog synth never fell out of favor with the world's most innovative musicians. That's because it has a special punch, power, plus important elements of interactivity that digital synths and samplers have tended to lack by comparison. Electronic music synthesis has been around in one form or another since the beginning of the 20th Century. But it wasn’t until the early 1970s that developments in voltage controlled synthesis technology made the concept practical—and affordable. And now, with the demand for that "classic analog sound" due to the global popularity of techno, trance, and other modern forms of dance music, it's hardly surprising that Yamaha—a company consistently at the very pinnacle of electronic musical instrument technology—would react to that demand and create a completely new performance-oriented "control synthesizer" that takes the company's original breakthroughs in physical modeling synthesis and uses it to digitally "model" the analog sound-generating components which gives voltage controlled synthesis its unique character and virtually unlimited range of sound. As such, the voltage controlled synthesizer became less and less an experimental curiosity in the world’s great universities and sound labs and more and more a valid—and revolutionary—musical instrument in its own right. It quickly became a staple in professional recording studios, and its myriad sounds started gracing the ears of millions through popular recordings in literally all genres of music. Then came the 1980s, and the introduction of wildly popular, affordable-for-the-masses, great-sounding and easy-to-use digital synths like the famous Yamaha DX7. What followed was the MIDI revolution, which drove the rapid development of ever-more-sophisticated multitimbral digital synthesizers and tone generators, along with the overwhelming acceptance of digital sampling which has literally changed the way we create and listen to music. And all of which have gone hand-inhand with the desktop music revolution. And package it with a host of digital extras to bring the technology full circle with a completeness and utility never before possible. Most recently there has been the introduction of breakthrough physical modeling synthesis technology, which has been successfully applied to the accurate reproduction of acoustic instrument sounds through purely electronic means, as well as the creation of new “hybrid-type” acoustic-oriented sounds. All the tools are in the box. The rest is up to you…. In short, the AN1x is a logical—and timely— development in the evolution of electronic musical instrument history, based on the modern needs and demands of the world’s cutting-edge musicians. And once again, as is often the case with creations from Yamaha, music history will never be the same. 8 What Is A Voice? ● LAYER mode setting and Layer parameters including Pan, Separation and Detune settings. Over the years, the meaning of the term “voice”, when applied to synthesizers, has varied depending on manufacturers and models. In general, it means a sound, which in some synths is called a “patch”, and in others a “program”. ● VOICE COMMON (i.e., parameters which affect both Scenes) settings including Tempo, Split Point, Effect configurations and voice Name. ● Free EG parameter settings and track data and other settings. With the AN1x, a voice is a configuration of all tone generator and other parameter settings, including effects setups and data for a single Voice Pattern, but excluding system settings or the bank of Step Sequencer User Patterns. Therefore, each of the 128 voices in memory can have its own unique configuration of all main parameters. ● ARPEGGIO/SEQ switch status and the various Arpeggiator and Step Sequencer parameter settings, including Play Effect settings, plus Step Sequencer Voice Pattern data. System Data AN1x Memory Structure System data is made up of the various “global” parameter settings which remain in effect regardless of which voice is selected, as follows: The AN1x has a simple and straightforward memory structure. There are only two main types of data: voice data and system data. There is also a separate memory for the Step Sequencer User Pattern bank. ● UTILITY SETUP parameters, including the settings for System tuning and keyboard transposition and velocity, MIDI-related parameters, and Control device and number assignments. Voice Data Voice data is comprised of the various parameter settings which make up each of the 128 User voices, as follows: User Pattern Data ● Tone generator settings based on CONTROL knob positions for each KNOB PARAMETER GROUP parameter, PORTAMENTO switch status, Scene status and Scene-related parameters, including Control Matrix assignments, Mode settings and Variation Effect Dry:Wet setting. Voice Data User Pattern data is made up of the Step Sequencer User Pattern bank which holds 128 User Patterns. System Data 128 User Voices Tone Generator Knob Parameters SCENE 1 PEG, LFO1, LFO2, VCO1, VCO2, SYNC, FM, MIXER (NOISE, RING MODULATOR), VCF (FEG), VCA (AEG) Utility Setup Parameters SYSTEM: MASTER TUNE, VELOCITY, KEYBOARD TRANSPOSE MIDI: TRANSMIT CHANNEL, RECEIVE CHANNEL (each Scene), PATTERN TRANSMIT CHANNEL, DEVICE NUMBER, LOCAL, BULK DUMP, EFFECT BYPASS Scene Setup Parameters SCENE 2 LAYER (SINGLE/UNISON/ DUAL/DUAL UNISON/ SPLIT/SPLIT UNISON) POLY/MONO/LEGATO, PORTAMENTO MODE, LFO RESET, CONTROL MATRIX (Assignments), VARIATION EFFECT DRY:WET Layer Parameters CONTROL: ASSIGNABLE KNOB CONTROL CHANGE NUMBERS, CONTROLLER CONTROL CHANGE NUMBERS PAN, SEPARATE, DETUNE Voice Common Parameters TEMPO, SPLIT POINT, EFFECT, NAME Pattern Parameters PORTAMENTO (On/Off) ARPEGGIO/SEQ (On/Off) ARPEGGIATOR or SEQUENCER, ARPEGGIATOR PATTERN NUMBER, VOICE PATTERN, KEYBOARD MODE, HOLD, SCENE SWITCH, SUBDIVIDE (Arpeggiator only), PLAY EFFECT (Arpeggiator = Velocity only) Step Sequencer (User Pattern Bank) Free EG Parameters TRIGGER MODE, LOOP TYPE, LENGTH, KEY TRACK 9 No (1 ~ 128) 1 VCO AN1x Tone Generator The VCO module is where the original sound waveform gets generated. Although a single oscillator is enough to generate the basic sawtooth, pulse (square) or other waves required for different types of musical instrument sounds, the AN1x’s VCO module is much more complex. As the AN1x Tone Generator Block Diagram illustrates, the VCO module generates the basic signal, then passes it along the signal path to the MIX/VCF module, which processes the signal in a variety of ways before passing it on to the VCA module, which amplifies the signal before passing it along the signal path to the EFFECT module comprised of three multi-effects units and a stereo equalizer, after which the signal is output from the AN1x's stereo outputs. Along the way, various real-time and other controllers can be applied to each module in a variety of ways. First, there’s a VCO1 which includes an additional saw2 and mix wave, and which can be configured with one of three “sync algorithms” that syncs “master” and “slave” oscillators within the VCO1, and can be modulated by FM according to the algorithm. Thus, when the sync is on, the VCO1 is actually two oscillators in one, and three additional “inner” waves are available. The VCO1 is always fixed as the FM carrier, but the carrier can either be the master or slave oscillator depending on the selected algorithm. The FM modulator can be selected from a second VCO (VCO2), the PEG, FEG, LFO1, LFO2 or others. The Pitch Envelope Generator (PEG) lets you determine how the pitch of the VCO changes over time, and the LFO can be used to modulate the VCO to create vibrato. Oscillators, Filters And Amplifiers What does it take to make a sound? And how does the AN1x generate sounds? In the simplest of terms, there are three basic elements which make up a sound: pitch, or how low or high it is; tone, or what its overall quality, or timbre is like; and amplitude, or how loud the volume level is. For more information, see as follows: VCO1 — page 61 VCO2 — page 63 SYNC/FM — page 58 PEG/LFO — page 54 Synthesizers rely on three key electronic components to generate sounds and electronically imitate the soundwaves of familiar musical instruments, as well as create entirely unique sounds. In traditional analog synthesis, the source sound pitch is generated by an oscillator; its tone is created by a filter; and its volume is determined by an amplifier. With the AN1x, these three elements are termed the VCO (voltage controlled oscillator), the VCF (voltage controlled filter), and the VCA (voltage controlled amplifier). VCO VCF VCA 2 MIX/VCF The MIX/VCF module is where the mixing of VCO1, VCO2, Ring Modulator, Noise and Feedback signals take place, which can then be filtered by the VCF High Pass Filter (HPF), Low Pass Filter (LPF), Band Pass Filter (BPF) and Band Eliminate Filter (BEF). You can determine the cutoff frequency of the VCF, as well as amount of Resonance, or emphasis around the frequency cutoff point. The Filter Envelope Generator (FEG) lets you determine how the timbre of the signal changes over time, and the LFO1 can be used to modulate the VCF to create wah. OUT The amplifier determines the volume The filter determines the timbre The oscillator creates the source pitch The “signal path” starts at the VCO, flows to the VCF, then flows to the VCA. The signal is “processed” at each block, or “module” along the way to the final output. For more information, see as follows: MIX/VCF — page 66 VCF — page 64 HPF — page 67 10 AN1x Tone Generator Block Diagram CTRL PEG LFO2 VCO VCO1 MIX / VCF SYNC MASTER LFO1 SLAVE EFFECT VOLUME RING MOD VARI MIX FM VCO2 VCA VCF NOISE EQ HPF FEG AEG DLY REV FEEDBACK LPF, HPF, BPF, BEF — page 67 FEG — page 31 PEG/LFO — page 54 RING MODULATOR — page 66 NOISE — page 66 current tempo setting. The 8 Reverb effects include various Hall, Room and Stage types and more. Delay and Reverb effects can be configured in a serial or parallel connection, and specified effects or all effects (excluding the EQ) can be bypassed at will. Controllers can be designated to control specific effect parameters. 3 VCA For more information, see as follows: Vari EF/EQ — page 77 Dly/Rev EF — page 79 EF Bypass — page 80 The VCA module is where the overall output level of the signal gets determined, as well as the Feedback level which gets “fed back” to the mixer in the MIX/VCF module. The Amplitude Envelope Generator (AEG) lets you determine how the volume of the signal changes over time, and the LFO1 can be used to modulate the VCA to create tremolo. 5 CONTROL Specific parameters of the VCO, MIX/VCF, VCF, VCA and EFFECT modules, as well as the PEG, LFO1 and LFO2 can be controlled by many different types of realtime controllers, including [MODULATION] wheel, [RIBBON] controller X- or Z-axis, the eight assignable CONTROL knobs, a connected [FOOT CONTROLLER], keyboard After Touch, and more, including MIDI Control Change messages received at the MIDI [IN] terminal. For more information, see as follows: VCA — page 68 VOLUME — page 69 FEEDBACK — page 69 AEG — page 32 PEG/LFO — page 54 The AN1x’s Control Matrix and UTILITY SETUP Control Assign function work together flexibly to give you complete authority over which on-board or external controller controls which individual internal or external parameter. 4 EFFECT The EFFECT module is where three different types of programmable effects, as well as programmable 3-band EQ, can be applied. The 14 Variation Effects include Chorus, Flanger, Phaser, Auto Pan, Rotary Speaker, Pitch Change, Aural Exciter, Compressor, Distortion, Overdrive, Amp Simulator and more. The 5 Delay effects include Delay LCR, Delay LR, Echo, and Tempo Delay, which automatically matches the delay time to the For more information, see as follows: Control Features — page 49 Control Matrix — pages 51, 73 Utility Control Assign — pages 50, 95 11 System Examples Speaker There are many ways to incorporate the AN1x into a simple or expanded music system. Following are a few of the most common examples. Speaker Amp Headphones The AN1x By Itself 1 2 3 4 5 L R INPUT L R OUTPUT 6 7 8 9 10 11 12 13 14 15 16 L R Mixer At the simplest level, all you need to do is connect stereo headphones to the [PHONES] jack located on the rear panel, and you’re ready to go. To use the AN1x as a stand-alone performance instrument, simply connect it to amplified speakers and optional FC Foot Controller and Footswitch pedals as shown in the diagram at right. PHONES L R OUTPUT FC4 FC7 AN1x To avoid possible damage to the speakers or other connected electronic devices, before switching on the power of any device, make sure the AN1x’s [VOLUME] level and the volume levels of the connected equipment are set to minimum positions. Setting Up Your AN1x The AN1x Control Synthesizer is an ideal stand-alone performancebased electronic musical instrument as well as a powerful component in an expanded MIDI music system. Following are instructions for proper setup of the AN1x and connection to external devices. The AN1x In A MIDI System It’s easy to create a simple but powerful MIDI music system with only a few basic components. The illustration below shows how to connect the AN1x to a Yamaha QY700 Music Sequencer. 1. After carefully taking your new AN1x out of the box, place it on a keyboard stand or on top of a sturdy table or desk. QY700 2. Next, connect the supplied Yamaha PA-3B (or equivalent) Adaptor to the AN1x’s [DC IN] connector located on the rear panel. Then connect the adaptor to the nearest electrical outlet. ASSIGNABLE MIDI THRU OUT IN FOOT SWITCH FOOT FOOT CONTROLLER VOLUME POWER ON OFF OUTPUT DC IN R MIDI OUT MIDI IN MIDI IN MIDI OUT PHONES L/MONO AN1x DC IN You can have the AN1x’s Tempo setting control the external sequencer’s clock, or the sequencer’s clock control the speed of the AN1x’s Arpeggiator or Step Sequencer. PA-3B Adaptor 3. Before switching on the power, connect any peripheral devices such as amplified speakers, FC Foot Controller or Footswitch pedals, or external MIDI instruments. For details about assigning AN1x MIDI transmit and receive channels, see page 93. For details about assigning MIDI channels and other settings for the external sequencer or other devices which may be connected, consult the owner’s manual for each. For more information about MIDI, see the APPENDIX, page 109. Do not attempt to use an AC adaptor other than the PA-3B (or equivalent). Use of an incompatible adaptor may result in irreparable damage to the AN1x, and could even pose a serious shock hazard. Always be sure to disconnect the power adaptor from the electrical outlet when the AN1x is not in use. 12 Connecting The AN1x To A MIDI Data Storage Device Playing The Demo Songs You can connect the AN1x to a MIDI data storage device, such as the Yamaha MDF2 MIDI Data Filer, in order to “bulk dump”, or save AN1x voice, Step Sequencer and other data to floppy disks. This lets you build up complete libraries of your favorite sounds, sequences and settings, which you can easily load back into the AN1x whenever you wish. The AN1x comes preprogrammed with demonstration songs which provide dynamic examples of just how powerful the AN1x really is. To select and play a Demo, perform the following operation: 1. Press the [PORTAMENTO] and [LAYER] switches simultaneously. The word “DEMO” will appear in the LCD. MIDI IN MDF2, etc. MIDI OUT DEMO MIDI OUT PORTAMENTO MIDI MDR SEO JOB UTIL LAYER MIDI DATA FILTER CURSOR MIDI IN - FILE DATA + REC PAUSE START/STOP TEMPO AN1x 2. Press a PROGRAM CHANGE switch (0 - 9) to select one of the 10 Demo songs. After a brief moment the Demo song will begin, and continue playing until the end. For information about how to perform Bulk Dump operations, see page 94. Switching On The Power PROGRAM CHANGE VWX Once all connections have been properly made, you’re ready to switch on the power and start making music with your AN1x. YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC 0 – NO YES/ ENTER 1. Set the AN1x’s [VOLUME] knob to minimum position. 3. When the Demo is finished, simply press [-/NO] to return to normal operating status. 2. Press the [POWER] switch, located on the rear panel. The Demo song will continue playing repeatedly until you stop it. You can stop the Demo song in the middle of play by pressing [-/NO]. After a brief greeting message which appears in the LCD, the AN1x will power up and be ready to go. 3. Gradually turn the [VOLUME] knob to the right while playing the keyboard until you achieve a comfortable listening level. VOLUME 13 Basic Operation Selecting Voices The AN1x comes with 128 voices already preprogrammed and ready to play. Not only are these voices first-rate and highly useful in their own right, they form a dynamic living example of the AN1x’s vast sonic range and power, as well as provide an excellent basis for study of how voices are constructed. You'll find the process of getting to know the AN1x to be fun and inspiring—especially if you keep a few fundamental things in mind as you select and play the voices, try out the various controls and experiment with the panel features for the first time. Following are some important aspects about basic operation of the AN1x which will help you keep things in their proper context from the very start. They are also great for use as a starting point for creating your own voices—by making slight or significant modifications to suit your needs or taste—which you can then store in the AN1x’s memory for instant recall at any time. Of course, if you want to roll up your sleeves and get your hands on the VCO, VCF and VCA to build up an original voice from scratch, you can easily initialize a voice (i.e., reset each parameter value to its initial setting) and start from there. The AN1x even provides a few handy templates which save you time and all the tedious effort by making all the basic settings for certain types of sounds for you, so you can pick up from there and concentrate on just the fun and creative stuff. (See page 30). AN1x Operating Modes For the most part, except when performing a specific Store or MIDI bulk dump operation, the AN1x is basically always in Voice Play/Edit mode. This means that during play, as you turn the various CONTROL knobs, change the parameter values or settings using the Edit matrix [UP/DOWN] switches, select a Layer mode, etc., you are actually editing the voice. (The “EDIT” mark will appear in reverse type in the lower left area of the LCD the first time any voice data is changed.) Voice Select Operation However, these changes only remain in effect as long as the voice is selected, unless you store the newly edited voice using a Voice Store operation before selecting another voice. If you don’t store the changes, they will be lost when you select a different voice. Each of the 128 voices has a Program Number between 001 and 128. You select a voice using the PROGRAM CHANGE keypad. There are two ways to do so, as follows: The AN1x is a very forgiving instrument, however. A Voice Recall function (see page 96) lets you retrieve the edited data. Plus, if you turn the power off before storing an edited voice, when you turn the power back on the edited parameter settings will still be retained in the voice edit buffer. METHOD 1 Input a number between 1 and 128, then press [ENTER]. PROGRAM CHANGE VWX There are various other modes, but these are simply sub-modes of Voice Play/Edit mode (such as Step Sequencer mode for creating and editing Voice and User Patterns; see page 37), since virtually all panel settings—including Scene, Layer, Effects, Arpeggiator, Step Sequencer settings, and more—are stored as voice data for each voice (excluding system-related settings). YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC 0 – NO YES/ ENTER METHOD 2 Press [+] or [–] to increment or decrement through the voices sequentially. The voice name, as well as voice Category and Program Number, appears in the LCD. 14 Voice Categories Using The Controllers Voices can be organized into Category types and assigned a two-letter Category code during the voice Name operation. For a list of the available Category types, see page 81. The AN1x has various on-board controllers which let you control specific parameters in real-time as you play. Besides keyboard Initial and After Touch, these include [PITCH] wheel, [MODULATION] wheel and [RIBBON] controller, as well as the eight assignable CONTROL knobs. Scenes Each voice has two “Scenes”, or two distinct sounds available for instant recall at the press of a [SCENE] switch. Since the specific Scene on/off status is stored as voice data, when you select a voice an LED beside one of the [SCENE] switches will light to indicate which Scene is active. (If both Scene LEDs light, the Scene Control on status has been stored as part of the voice, which means you can morph, or cross-fade between Scenes using the assignable [MODULATION] wheel or any other assigned continuous controller as you play.) For more information about Scenes, see page 19. PITCH Wheel The [PITCH] wheel lets you bend the pitch up or down by an assignable amount. The pitch bend “depth” (range) can be different for each Scene, as set in the Control Matrix. Bends the pitch up Knob position settings 2 Algorithm PEG Decay Wave Wave Attack VCO1 Level Attack Sync Pitch PEG Depth Fine Edge Ring Mod Release Sustain ASSIGN 2 FM Depth PW PWM Depth VCF Cutoff HPF Feedback Sync Pitch Src Fine Sustain LFO1 Wave PW PEG Sw Pitch VCO2 Level ASSIGN 1 Sync Pmod Sw Sync Pitch Depth Pitch Decay Decay FM Src1 PWM Depth PWM Src Reso nance VCF Type Volume LFO1 Dly PWM Src Fmod Depth FEG Depth Noise Level FM Src2 PmodDepth Bends the pitch down LFO2 Spd PmodDepth Vel Sens PITCH Key Track Vel Sens Amod Depth ASSIGN 6 ASSIGN 5 Edge ASSIGN 4 ASSIGN 3 LFO1 Spd Port Time Release ASSIGN 7 ASSIGN 8 CTRL The pitch bend range can be different for each Scene in each voice. You can also use the [PITCH] wheel to control other parameters. For information, see page 51. Knob position settings 1 Algorithm PEG Decay Wave Wave Attack VCO1 Level Attack Sync Pitch PEG Depth Pitch Pitch Decay VCO2 Level FM Depth PW PWM Depth VCF Cutoff HPF Feedback ASSIGN 5 Fine Fine Sustain Ring Mod ASSIGN 2 LFO1 Wave PW PEG Sw Sustain Decay ASSIGN 1 Sync Pmod Sw Sync Pitch Depth PWM Depth VCF Type Volume FM Src1 PWM Src Edge Noise Level Release SCENE Release ASSIGN 4 LFO1 Dly PWM Src Fmod Depth FEG Depth Amod Depth ASSIGN 6 Port Time Edge ASSIGN 3 LFO1 Spd Reso nance Sync Pitch Src ASSIGN 7 FM Src2 PmodDepth LFO2 Spd PmodDepth Vel Sens MODULATION Wheel Key Track Vel Sens ASSIGN 8 The [MODULATION] wheel lets you apply varying amounts of modulation to the sound as you play, depending on assignment by the Utility Control Assign function (see page 50) or in the Control Matrix (see page 51). Voice Name Display As you edit a voice by turning the knobs or changing parameters in the Edit menu, the information in the screen changes accordingly. To display the voice name and number in the LCD at any time, press [-] or [+] once. Maximum Press once – NO or YES/ ENTER Minimum MODULATION Indicates a voice has been edited but not stored. You can also assign volume, pan or one of many other parameters to be controlled by the [MODULATION] wheel. For information, see page 95. The [MODULATION] wheel can also be used to “morph” between Scenes when the Scene Control function is activated. For information, see page 20. Voice Recall If you’re editing a voice, and inadvertently select another voice before performing a Voice Store operation, or simply change your mind, you can recall the most recently edited voice data using the Voice Recall function. For more information, see page 96. 15 RIBBON Controller When you set the [EDIT ROTARY] switch to the 5th position (SEQ EDIT/SETUP menu), the CONTROL knobs will be dedicated to the event parameters of the various steps (beats) of the Step Sequencer. The [RIBBON] controller lets you control two different assignable parameters as you play. You can control one parameter by sliding your finger along the X-axis, and another by applying pressure to the Z-axis. You can assign parameters to the [RIBBON] controller using the Utility Assign Control function (see page 50) or the Control Matrix (see page 51). Knob Event 1-8 / 9 -16 Step Hold Pattern Bank Base Unit No Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP Apply pressure Z-axis In this situation, no LED will be lit in the KNOB PARAMETER GROUP section, and the name of the current step event parameters will appear in the LCD when you turn or press a knob. Maximum Minimum X-axis KNOB PARAMETER GROUP Sync Pitch Src You can assign different parameters to the [RIBBON] controller for each voice. For information, see page 75. Port Time Edge Noise Level Release Release To activate the Z-axis you must apply considerable pressure. A light touch will only apply to the X-axis. SYNC/FM PEG/LFO VCO1 VCO2 VCF MIX /VCF VCA ASSIGN Edge ASSIGN 4 When you release your finger from the [RIBBON] controller, the value may remain at the same position as at the time of release, or reset to the center position depending on the Control Matrix setting. (See page 73.) Simply pressing a KNOB PARAMETER GROUP switch will revert the status back to normal tone generator parameter control, as will selecting a different Edit menu with the [EDIT ROTARY] switch. As long as the [EDIT ROTARY] switch is still set to the SEQ EDIT/SETUP menu, however, you can press the selected KNOB PARAMETER GROUP switch again to revert to Step Sequencer control by the knobs (i.e., you can toggle back and forth between knob parameter control and step event data edit by pressing the switch.) CONTROL Knobs And Parameter Groups Which parameter is edited by each CONTROL knob for each Scene depends on which KNOB PARAMETER GROUP switch is currently selected, indicated by a lit LED to the left of it. Pressing a CONTROL knob (push-switch) or turning a knob will cause its parameter name and value to display in the LCD. For more information about the KNOB PARAMETER GROUP switches, see page 16. For more information about the CONTROL knobs, see page 16. For information about the Step Sequencer, see page 37. Selected CONTROL knob parameter Selected parameter group Foot Controllers KNOB PARAMETER GROUP Sync Pitch Src The AN1x features [FOOT CONTROLLER], [FOOT VOLUME], and [FOOTSWITCH] jacks for connecting various foot pedals, each of which can be assigned to control one of many types of available on-board and external parameters. Port Time Edge SYNC/FM PEG/LFO VCO1 VCO2 VCF MIX /VCF VCA ASSIGN Edge Noise Level Release Release ASSIGN 4 For more information about assigning controllers, see page 49. Layer Modes And Portamento When you select a voice the [ASSIGN] switch will automatically be selected (unless the [EDIT ROTARY] switch is set to SEQ EDIT/SETUP), which lets you access the eight parameters assigned to the respective CONTROL knobs. One of six Layer modes can be assigned to each voice by pressing the [LAYER] switch, and Portamento on/off status can be set by pressing the [PORTAMENTO] switch. DEMO For more information about the Utility Control Assign function, see pages 50, 95. PORTAMENTO LAYER STORE ARPEGGIO/ SEQ For more information about Layer modes, see page 22. For more information about portamento, see page 24. 16 AN1x Quick Tour This section provides a “hand’s on” journey through the key features you’ll access regularly as you select voices, tweak sounds and adjust settings for the various parameters. Exploring The Factory-set Voices Taking the time to systematically explore various aspects of the 128 factory-set voices is an excellent way to get a thorough understanding of the AN1x’s sonic range and power. It’s also a natural way to quickly familiarize yourself with some of the fundamental operations you’ll use during performance as well as in voice, Arpeggiator, Step Sequencer and Free EG creation and editing sessions. Try the simple operations which follow as you select and play each preset voice, and take note of what happens to the sound as you change the various settings. If, along the way, you stumble upon a sound you want to keep, simply perform a Voice Store operation (see page 98). If, however, you mess up a sound too much, there’s no need to worry: Just reselect the same voice to retrieve the original sound data and start over again! Unless you perform a Voice Store operation, no changes you make will be permanent. Even if you do decide to store a voice, you need not worry about losing any of the factory-set voices permanently, because the entire bank can be recalled (see page 100). PHONES DC IN R L / MONO POWER FOOT FOOT VOLUME CONTROLLER FOOT SWITCH IN PEG Decay Sync Pitch Depth PEG Sw Sync Pitch Src Wave Pitch Pitch Fine Fine Edge Attack VCO1 Level Decay VCO2 Level Sustain Ring Mod Release VOLUME Sustain Decay ASSIGN 1 Sync Pmod Sw ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth PW VCF Cutoff HPF Feedback SCENE PEG Depth Wave Attack CTRL Sync Pitch ASSIGN 5 PWM Depth VCF Type Volume FM Src1 PWM Src PWM Src Fmod Depth ASSIGN 7 Ctrl Matrix Param Set No Layer Pan Separate EF Bypass Name Cursor Mode Poly Port LFO Rst Tempo Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Length Track Track No Param Scene Sw Track Job Rec Copy MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Source Depth Dly/ Rev EF Param Data Unison Detune VOICE SCENE SETUP Char VOICE COMMON Undo VOICE FREE EG Edge Noise Level ASSIGN 4 LFO1 Dly FEG Depth Amod Depth ASSIGN 6 THRU Port Time Release ASSIGN 3 LFO1 Spd Reso nance OUT MIDI OUTPUT Algorithm FM Src2 PmodDepth SYNC/FM PEG/ LFO VCO1 VCO2 LFO2 Spd VWX YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF PmodDepth VCF MIX / VCF Key Track VCA ASSIGN Vel Sens Track Common LoopType Trigger PROGRAM CHANGE KNOB PARAMETER GROUP 1 GHI 2 0 DEMO JKL VOICE Velocity GateTime ARPEGGIO /SEQ Type/No KbdMode Hold SceneSw Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP 3 ABC PORTAMENTO LAYER STORE ARPEGGIO /SEQ – NO Vel Sens Common Arp /SEQ Key Track YES/ ENTER ASSIGN 8 3 Compare Scenes, and morph between Scenes using Scene Control. ● When you select a voice, the LED beside the [SCENE 1] or [SCENE 2] switch (or both LEDs) will be lit, indicating the Scene status which was stored as voice data. Press each switch to compare the difference between the sound of Scene 1 and Scene 2. 1 Select a voice. ● Use the PROGRAM CHANGE keypad to select a voice (1 - 128). For information about selecting voices, see Basic Operation, page 14. 2 Check LCD status. ● When you select a voice, first take a look at the information which appears in the LCD, such as Poly mode (“POLY”, “MONO”, “LEGATO”), Layer mode (“SINGLE”, “UNISON”, “DUAL”, “SPLIT”, etc.), and whether the Arpeggiator (“ARP”) or Sequencer (“SEQ”) is on. This reveals the fundamental nature of a voice at-a-glance. ● Press both [SCENE] switches simultaneously to activate the Scene Control function, then roll the [MODULATION] wheel forward and back to morph, or cross-fade between Scenes as you play. For more information about Scenes and Scene morphing, see page 19. This area displays Poly mode status This area displays Layer mode status This area displays Arpeggiator/ Sequencer on/off and hold status 17 4 Turn the CONTROL knobs. ● Press a KNOB PARAMETER GROUP switch and turn each CONTROL knob as you play each Scene to hear how it affects the sound. There are eight different groups of parameters assigned to the knobs at the factory. These let you edit the tone generator parameters as printed on the panel beside each knob. Notice how easy it is to edit and drastically change the voice. 8 Change arpeggio Tempo, Pattern Type, Subdivision, and Hold status. ● To speed up or slow down the Arpeggiator pattern (or sequence), set the [EDIT ROTARY] switch to the VOICE COMMON menu and press Tempo [UP/DOWN] until you achieve the desired rate. For more information about Tempo, see page 77. ● To try out the 30 different preset Arpeggiator pattern types, set the [EDIT ROTARY] switch to the VOICE ARPEGGIO/SEQ menu and press the Type/No [UP/DOWN] switch and step through each pattern. For more information about using the CONTROL knobs, see page 26. 5 Compare Layer modes. ● Press the [LAYER] switch to compare the difference of each of the six Layer modes as you play, one at a time. For more information about the Type/No parameter, see page 34. ● To hear how the timing resolution of a pattern changes with the 10 different Subdivide settings, set the [EDIT ROTARY] switch to the VOICE ARPEGGIO/SEQ menu and press Arpeggio Subdivide [UP/DOWN] to step through each. For more information about Layer modes, see page 22. 6 Change Poly mode setting. ● To hear how the keyboard Poly setting affects how the voice can be played, set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu and press the Poly [UP/DOWN] switch to select POLY, MONO or LEGATO. Then play the keyboard. For more information about Arpeggio Subdivide, see page 34. 9 Change Effects and adjust EQ. ● To hear the different Variation and EQ effects and settings, set the [EDIT ROTARY] switch to the VOICE COMMON menu and press Vari EF/EQ Param [UP/DOWN] and Data [UP/DOWN] switches accordingly. Also press the Vari EF Dry:Wet [UP/DOWN] to change the balance between “dry” (normal) and “wet” (effected) signals. For more information about Poly mode, see page 72. 7 Turn [ARPEGGIO/SEQ] on and off. ● If the voice uses the Arpeggiator (“ARP” appears in the LCD) or Sequencer (“SEQ” appears in the LCD), press the [ARPEGGIO/SEQ] switch to turn it off and hear how the voice sounds without the pattern. For more information about Vari EF/EQ, see page 77. ● Pay attention to how the arpeggio or sequence is triggered—either across the entire length of the keyboard, or only to the left of the Split Point. In the case of the Step Sequencer, some voices are programmed to let you trigger a different pattern from each key to the left of the Split Point. ● To hear the different Delay and Reverb effects and settings, press Dly/Rev EF Param [UP/DOWN] and Data [UP/DOWN] switches accordingly. For more information about Dly/Rev EF mode, see page 79. ● Set the [EDIT ROTARY] switch to the VOICE ARPEGGIO/SEQ menu and press KbdMode [UP/DOWN] once to confirm the setting which determines how the pattern is triggered. Next, set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu and press Poly [UP/DOWN] and compare the way the different Poly mode settings affect the pattern as you play the keyboard. ● To bypass specific or all effects and hear how the voice sounds in its pristine state, press EF Bypass [UP/DOWN] and change the status accordingly. EF Bypass is a system parameter, and therefore will remain as you set it regardless of which voice is selected. For more information, see page 80. ● If the voice does not use the Arpeggiator or Step Sequencer, press [ARPEGGIO/SEQ] to turn on the Arpeggiator or Step Sequencer and hear how notes and chords are affected. For more information about the Arpeggiator, see page 33. For information about the Step Sequencer, see page 37. 18 Selecting Scenes And Scene Morphing Assignable Real-time Controllers You can assign specific parameters to the assignable controller of your choice, including the eight CONTROL knobs, [MODULATION] wheel, [RIBBON] controller (X-axis and Z-axis) and keyboard After Touch, as well as (optional) [FOOT VOLUME], [FOOT CONTROLLER] and [FOOTSWITCH] pedals. Controller and parameter assignments are made using the Control Matrix (see page 73) and the Utility Control Assign function (see page 95). The AN1x’s Scene select and play functions offer an exciting range of sophisticated and convenient real-time sound control options that let you express yourself musically in completely unique ways. The [SCENE] switches let you select a Scene or activate the Scene Control function. For more information about controllers, see Using The Control Features, page 49. Parameters Stored In Each Scene • • • All parameter group CONTROL knob position settings (except for the [ASSIGN] group). VOICE SCENE SETUP Menu Mode and Control Matrix (excluding common) parameter settings. VOICE COMMON menu Vari EF Dry:Wet settings. Scene Memories Each voice has two Scene memories, each of which can have a different edit using the CONTROL knobs. Either Scene can be recalled at any time during play by pressing [SCENE 1] or [SCENE 2]. An LED to the left of the selected switch will light to indicate the active Scene. Knob position settings 2 Algorithm PEG Decay Wave Wave Attack VCO1 Level Attack Sync Pitch PEG Depth Fine Edge Ring Mod Release Sustain ASSIGN 2 FM Depth PW PWM Depth VCF Cutoff HPF Feedback Sync Pitch Src Fine Sustain LFO1 Wave PW PEG Sw Pitch VCO2 Level ASSIGN 1 Sync Pmod Sw Sync Pitch Depth Pitch Decay Decay PWM Depth Reso nance VCF Type Volume FM Src1 PWM Src LFO1 Dly PWM Src Fmod Depth FEG Depth Noise Level FM Src2 PmodDepth LFO2 Spd PmodDepth Vel Sens Key Track Vel Sens Amod Depth ASSIGN 6 ASSIGN 5 Edge ASSIGN 4 ASSIGN 3 LFO1 Spd Port Time Release ASSIGN 7 ASSIGN 8 CTRL Knob position settings 1 Algorithm PEG Decay Wave Wave Attack VCO1 Level Attack Sync Pitch PEG Depth Pitch Fine Fine Edge VCO2 Level Sustain Ring Mod Release Sustain ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth VCF Cutoff HPF Feedback ASSIGN 5 Sync Pitch Src Pitch ASSIGN 1 PW PEG Sw Decay Decay Sync Pmod Sw Sync Pitch Depth PWM Depth Reso nance VCF Type Volume FM Src1 PWM Src Noise Level SCENE ASSIGN 4 LFO1 Dly PWM Src Fmod Depth FEG Depth Amod Depth ASSIGN 6 Edge Release ASSIGN 3 LFO1 Spd Port Time ASSIGN 7 FM Src2 PmodDepth LFO2 Spd PmodDepth Vel Sens Key Track Vel Sens ASSIGN 8 Due to the virtually unlimited number of results possible by selecting KNOB PARAMETER GROUP switches and turning the CONTROL knobs, each of the two Scenes can be as similar or radically different as you want. This gives you two specific sounds to choose from at any time within each of the 128 voices, at the simple press of a [SCENE] switch. Scenes are especially handy for creating slight variations on the same sound for use during different parts of a song—say, one with fast attack that cuts through the mix during rhythmic phrases, and one with a slower attack that’s more suitable for a pad. And of course, if the two Scenes are completely different from each other—say one sound prepared for verse and chorus, and another for a solo break—it’s a lot simpler to switch back and forth between Scenes than it is to switch between voices, especially under the pressure of a live situation. 19 Scene Control Scene Edit Buffers When you select a voice, the two Scenes are loaded into the Scene edit buffers. Since each Scene has its own buffer, you can “work” on each Scene separately. For example, if [SCENE 1] is selected and you edit its parameters by turning the knobs, this data will be maintained in Scene 1 even if you select [SCENE 2] and start editing it. When you switch back to Scene 1, it will recall your edited data (and not the original Scene 1 data stored with the voice). The Scene Control function lets you “morph”, or cross-fade between the two Scenes by rolling the assignable [MODULATION] wheel, or using an assignable Foot Controller or any other continuous controller. For information about assigning controllers, see page 95. The procedure for activating the Scene Control function is as follows: Scene Tone Generator CTRL 1. Press both [SCENE] switches simultaneously. The LEDs to the left of both switches will light to indicate that Scene Control is active. Scene SCENE Scene Edit Buffers Control knobs 1-8 CTRL There’s also a Scene Control buffer, where parameter changes by moving the [MODULATION] wheel (as well as CONTROL knob positions when Scene Control is active) take place. This sound can be stored in either Scene edit buffer at any time using the Scene Store operation. SCENE 2. Roll the [MODULATION] wheel forward and back (or use a Foot Controller, etc.) as you play. Scene Scene 2 settings Scene Control Buffer Tone Generator Algorithm Scene 2 Sync Pitch Src Fine Fine Edge VCO2 Level Sustain Ring Mod Release ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth VCF Cutoff FM Src1 PWM Depth PWM Src VCF Type Volume LFO1 Dly PWM Src Fmod Depth FEG Depth ASSIGN 6 Edge Noise Level ASSIGN 4 FM Src2 PmodDepth LFO2 Spd PmodDepth Vel Sens Key Track Vel Sens Amod Depth ASSIGN 5 Port Time Release ASSIGN 3 LFO1 Spd Reso nance HPF Feedback SCENE Sustain Decay ASSIGN 1 PW Control knobs 1-8 PEG Sw Pitch Decay Attack Scene Sync Pitch Depth Pitch VCO1 Level VOLUME CTRL PEG Depth Wave Attack Sync Pmod Sw Scene Edit Buffers Sync Pitch PEG Decay Wave ASSIGN 7 ASSIGN 8 Scene 1 settings Algorithm Sync Pitch PEG Decay Fine Fine Edge VCO2 Level Sustain Ring Mod Release ASSIGN 1 ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth VCF Cutoff PWM Depth VCF Type Volume FM Src1 PWM Src Edge Noise Level ASSIGN 4 LFO1 Dly PWM Src Fmod Depth FEG Depth Amod Depth ASSIGN 6 ASSIGN 5 Port Time Release ASSIGN 3 LFO1 Spd Reso nance HPF Feedback SCENE Sustain Decay PW MODULATION Sync Pitch Src Pitch Decay Sync Pmod Sw CTRL PEG Sw Pitch VCO1 Level VOLUME Scene 1 Sync Pitch Depth Wave Attack Attack Since Scene editing, as well as Scene Store, Load and Swap operations (see pages 21, 22), are taking place in the Scene edit buffers, you need not worry about losing your original Scene data as stored with the selected voice, unless you perform a Voice Store operation to the same voice location. PEG Depth Wave ASSIGN 7 FM Src2 PmodDepth LFO2 Spd PmodDepth Vel Sens Key Track Vel Sens ASSIGN 8 The minimum value of the [MODULATION] wheel (or Foot Controller, etc.) plays Scene 1; the maximum value plays Scene 2; any position between the two extremes (between a range of 0 and 127) will play a blend of both Scenes accordingly. However, since the Scene buffer is volatile, you will lose your edited Scene data unless you perform a Voice Store operation before selecting another voice. For information about performing a Voice Store operation, see page 98. Maximum Halfway Minimum 20 MODULATION MODULATION MODULATION Scene 1 setting Scene 1/2 equal balance Scene 2 setting Depending on how different each Scene is, a considerable number of parameters may get changed simultaneously as you do the cross-fade. As such, you have an enormous palette of sound textures available which you can apply in real-time as you play. Also, you can select KNOB PARAMETER GROUP switches and turn the CONTROL knobs to edit the data during the Scene Control. All parameter changes when both [SCENE] switches are activated take place in the Scene Control edit buffer. Confirming Controller Assigned To Scene Control You can confirm at any time which controller is assigned to perform Scene Control. Simply press and hold both [SCENE] switches, and the name of the currently assigned controller will display in the LCD. As you morph between the two Scenes and turn the CONTROL knobs, you may create a killer sound you simply must save before risking losing it. Performing a Scene Store operation lets you store it to one of the Scenes right then and there. For information about assigning a controller for Scene Control, see page 95. Scene Store Function During Scene Control, Control Matrix settings and some of the Switch parameters (e.g., VCF Type, LFO Wave, VCO Wave, etc.) will not change. For these parameters, the Scene 1 settings will remain in effect. The Scene Store function lets you store the data in one Scene Edit buffer to the other, or the data created during Scene Control to either of the Scene edit buffers. Scene Control In DUAL And SPLIT Modes 1. Hold [STORE] and press the [SCENE 1] or [SCENE 2] switch, depending on which one you want to store the current Scene setting into. “SURE?[Y/N]” flashes in the LCD. Depending on whether the Layer mode is set to DUAL or SPLIT, the Scene Control will morph in different ways. In DUAL mode, the Scene Control will morph from the Scene 1 sound to the Scene 2 sound. Layer mode = DUAL CTRL Scene 2 STORE SCENE Scene Control Edit Buffer 2. Press [YES/ENTER] to execute the Scene Store operation, or [NO] to cancel it. Scene 1 In SPLIT mode, the Scene Control will morph from the Scene 1 sound to the Scene 2 sound when the keyboard is played to the left of the Split Point only. When the keyboard is played to the right of the Split Point, only the Scene 2 sound will be played. Since the Scene Store function stores the data to a Scene edit buffer, be sure to execute a Voice Store operation before selecting another voice. Layer mode = SPLIT SPLIT POINT Scene Control Edit Buffer Scene 1 Scene 2 For more information about Layer modes, see page 22. 21 Scene Load Function Selecting Layer Modes The Scene Load function lets you load Scene data from a Scene in any voice to the corresponding Scene in the currently selected voice. This lets you, for example, load the Scene 1 parameters of one voice to Scene 1 of the currently selected voice, and load the Scene 2 parameters of another voice to Scene 2 of the currently selected voice. The LAYER switch is used for selecting a Layer mode from the six available. Every time you press the switch, a different Layer mode is selected. The selected Layer at the time of a Voice Store operation is saved as voice data. DEMO 1. Hold [SCENE 1] (or [SCENE 2]) and enter the number of the voice whose Scene data you want to copy. The selected voice number flashes in the LCD. PORTAMENTO LAYER STORE ARPEGGIO/ SEQ Each Layer mode determines how Note On messages from either the AN1x’s keyboard or external MIDI devices (as received at the AN1x’s MIDI [IN] terminal) are handled. Depending on which Layer mode is selected, either one or both Scenes will be played, and the Scene Control function will behave in specific ways. The selected Layer also affects available polyphony, and determines multitimbral status. 2. Press [YES/ENTER] to execute the Scene Load operation, or [NO] to cancel it. Layer Modes Data which is loaded: •All knob parameter settings (excluding [ASSIGN] group) •VOICE SCENE SETUP Mode and Control Matrix parameters •VOICE COMMON Vari EF Dry:Wet parameter SINGLE This is the normal play mode for a voice. The sound is determined by the data of the currently selected Scene. In this mode the AN1x plays with maximum 10 notes polyphony. Scene Swap Function The Scene Swap function lets you exchange the data in one Scene edit buffer with the other. 1. Hold [STORE] and press both [SCENE 1] and [SCENE 2] switches. “SURE?[Y/N]” flashes in the LCD. UNISON CTRL This mode is great for getting those “fat” analog-type sounds of the legendary vintage synths. In Unison mode, the data of the currently selected Scene is multiplied. Polyphony is determined by the Poly mode setting (see page 72). For example, if Poly mode is set to “mono” or “legato”, then one Note On message will use five notes of polyphony; if it is set to “poly”, then one Note On message will use two notes of polyphony. STORE SCENE 2. Press [YES/ENTER] to execute the Scene Swap operation, or [NO] to cancel it. Data which is exchanged: •All knob parameter settings (excluding [ASSIGN] group) •VOICE SCENE SETUP Mode and Control Matrix parameters •VOICE COMMON Vari EF Dry:Wet parameter •VOICE FREE EG Track SceneSw parameter •VOICE ARPEGGIO/SEQ Common SceneSw parameter The Unison Detune function (see page 76) lets you decide the detuning for the Unison in order to fatten the sound. 22 DUAL SPLIT This mode layers the two sounds of Scene 1 and Scene 2—i.e., it plays both Scenes simultaneously. In this mode, the AN1x is capable of multitimbral play (max. 2 sounds), where an external MIDI sequencer or device can play each Scene on separate MIDI channels, as set by the UTILITY SETUP Rx Ch (Receive Channel) parameter (see page 93). In this mode, Scene 1 is assigned to the keys to the left of the variable Split Point (see page 77), and Scene 2 is assigned to the keys to the right. External sequencer QY300 Two incoming MIDI signals play each Scene independently across the entire keyboard according to Rx Ch settings. MUSIC SEQUENCER MIDI OUT MIDI IN AN1x Plays Scene 1 sound Plays Scene 2 sound Scene 1 range = MIDI ch. 1 SPLIT POINT Scene 2 range = MIDI ch. 2 In SPLIT mode the AN1x is capable of multitimbral play (max. 2 sounds). To select a Scene for MIDI channel assignment, simply press a [SCENE] switch. External sequencer DUAL UNISON QY300 Two incoming MIDI signals play each scene independently over a range determined by the Split Point, according to Rx Ch settings. MUSIC SEQUENCER MIDI OUT In this mode, each Dual layer plays in Unison (one Note On message uses five notes of polyphony) when the Poly mode is set to “mono” or “legato”. If both Scenes are set to “poly”, the result is the same as DUAL mode. Multitimbral play from an external MIDI source (max. 2 sounds) is also possible, as set by the UTILITY SETUP Rx Ch (Receive Channel) parameter (see page 93). AN1x MIDI IN Scene 1 range = MIDI ch. 1 Scene 2 range = MIDI ch. 1 SPLIT POINT SPLIT UNISON In this mode, each Scene on each side of the variable Split Point plays in Unison (One Note On message uses five notes of polyphony) when Poly mode is set to “mono” or “legato”. If both Scenes are set to “poly”, the result is the same as SPLIT mode. Multitimbral play from an external MIDI source (max. 2 sounds) is also possible, determined by the UTILITY SETUP Rx Ch (Receive Channel) settings. 23 Portamento Play Layer Parameters The AN1x features Layer parameters in the VOICE SCENE SETUP menu which let you detune the Unison or Dual layers when UNISON mode or DUAL mode is selected, or separate the panning between the two layers when UNISON mode, DUAL mode or SPLIT mode is selected. For more information, see page 76. Portamento is an effect commonly used in singing or when playing a bowed instrument (glissando), where the sound is carried in a continuous glide from one note to the next, through all the intermediate pitches. Key pressed C1 C2 Normal play Pitch glides from note to note Key pressed C1 C2 Portamento The portamento is applied not only to the AN1x’s voice as audio output from the internal tone generator, portamento data is also output from the MIDI [OUT] terminal, which means it can affect a voice of an external tone generator assigned to the same MIDI channel as the AN1x, or be recorded as Control Change data in an external MIDI sequencer. Turning PORTAMENTO On And Off Pressing the [PORTAMENTO] switch turns the portamento on or off. Portamento on/off status is stored as voice data. DEMO PORTAMENTO LAYER STORE ARPEGGIO/ SEQ Pressing [PORTAMENTO] outputs a Control Change message via the MIDI [OUT] terminal, which can be recorded as Control Change data in an external MIDI sequencer. You can designate the assignable Footswitch to turn the portamento on and off by foot, using the UTILITY SETUP Control function (see page 95). 24 Selecting Parameter Groups Setting Portamento Time You can determine the Portamento time by pressing [PEG/LFO] and turning CONTROL knob 4. Sync Pitch Src The KNOB PARAMETER GROUP switches determine which group of tone generator parameters you can edit by turning the CONTROL knobs. You can change the voice drastically by editing the various parameters. Simply press a switch to access a group of parameters. The selected switch will be indicated by a lit LED to the left of it. Port Time Edge Edge Noise Level Release Release ASSIGN 4 When the [PORTAMENTO] switch is turned off, “– – –” will flash in the LCD. KNOB PARAMETER GROUP For more information, see page 56. Selecting Portamento Modes There are various Portamento modes available depending on Poly mode setting. These are accessed by the VOICE SCENE SETUP menu. Mode Poly Port LFO Rst Ctrl Matrix Param Set No Source Depth Layer Pan Separate Unison Detune SYNC/FM PEG/LFO VCO1 VCO2 VCF MIX /VCF VCA ASSIGN The name of each parameter in the group is printed on the panel next to the knob by which it is edited, color coded and arranged in relation to each KNOB PARAMETER GROUP switch. A description of each parameter group, along with available parameters and settings available within each group, is provided in the REFERENCE section. VOICE SCENE SETUP For details, see as follows: 1PEG/LFO — page 54 2SYNC/FM — page 58 3VCO1 — page 61 4VCO2 — page 63 5VCF — page 64 6MIX/VCF — page 66 7VCA — page 68 (ASSIGN — page 70) CTRL For more information, see page 73. PEG LFO2 VCO VCO1 MIX/ VCF SYNC MASTER LFO1 SLAVE VCA EFFECT VOLUME RING MOD VARI EQ FM VCO2 NOISE FEG AEG DLY REV FEEDBACK For details about assigning parameters to CONTROL knobs, see page 95. For information about the AN1x’s tone generator, see page 10. 25 Using The CONTROL Knobs If the [EDIT ROTARY] switch is set to positions 1 - 4 or position 6, when you select a voice the [ASSIGN] switch will automatically be selected (the LED beside it will light), which means the group of parameters assigned to the knobs by the UTILITY SETUP menu Control function can be edited or controlled by turning the CONTROL knobs. To access another group of knob parameters, simply press a KNOB PARAMETER GROUP switch. The eight CONTROL knobs give you direct access to dozens of tone generator parameters that let you coax literally an unlimited range of sounds from the AN1x in real-time. They also let you access and edit the individual events in each step of the Step Sequencer (when the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu). Algorithm PEG Decay Sync Pitch PEG Depth Sync Pitch Depth PEG Sw Sync Pitch Src Wave Wave Pitch Pitch Fine Fine Edge Attack VCO1 Level Decay VCO2 Level Sustain Ring Mod Release Attack Sustain Decay ASSIGN 1 Sync Pmod Sw ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth PW VCF Cutoff HPF Feedback FM Src1 PWM Depth PWM Src Reso nance VCF Type Volume During tone generator or sequence event parameter editing, a horizontal 11-segment “knob data graph” appears in the lower area of the LCD. When you press a knob’s push-switch for data confirmation (before turning the knob), the data graph provides you with a visual reference of the parameter value in relation to the current physical position of the knob. Port Time Edge Noise Level ASSIGN 4 LFO1 Dly PWM Src Fmod Depth FEG Depth Amod Depth ASSIGN 6 ASSIGN 5 The Knob Data Graph Release ASSIGN 3 LFO1 Spd For more information about the knob parameters, see page 54. FM Src2 PmodDepth LFO2 Spd PmodDepth Vel Sens Key Track Vel Sens ASSIGN 7 ASSIGN 8 The CONTROL knobs are assignable, so you can designate a specific parameter to be controlled by each knob. You can use the Control Matrix to designate each knob parameter for each Scene in each voice. Plus, you can use the UTILITY SETUP menu Control function to designate specific Control Change parameters to be controlled by each knob when the [ASSIGN] switch is selected, which not only is routed to the internal tone generator, but is output via the MIDI [OUT] terminal, and therefore can be used to simultaneously control an external MIDI device. Current knob position Actual value (flashing) A flashing segment in the data graph indicates the actual value of the parameter, whereas shaded segments to the left or right of the flashing segment indicate the current physical position of the knob. As you turn the knob to the left or right, the data graph will move left or right in accordance with the knob movements. Coarse/Fine Edit You can edit CONTROL knob parameters in coarse or fine increments and decrements, depending on how you turn the knob. The knob data graph will display differently for each method. When you turn a knob to edit a parameter, its parameter name and value will automatically appear in the LCD, and the knob data graph will track knob movements accordingly. If you simply press a knob (push-switch) without turning it, the parameter name and value will appear in the LCD for visual confirmation, without changing its value. Sync Pitch Src Simply turning a knob will increase or decrease the parameter value in coarse (large) amounts. In this case, the flashing indicator in the knob data graph will be canceled. Turning a knob while pressing it will increase or decrease the parameter value in fine (small) amounts. In this case, the flashing indicator in the knob data graph will position as you turn the knob, and will remain flashing when you release the knob. Port Time Edge Edge Noise Level Release Release ASSIGN 4 Turning a knob left decreases numeric values (or scrolls toward the top of a list of available parameters), and turning a knob right increases numeric values (or scrolls toward the bottom of a list of available parameters). For information about assigning controllers, see page 95. 26 Assigning Parameters To Knobs Step Sequencer Event Edit If you set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP menu (position 5), or if you select a voice when the [EDIT ROTARY] switch is already set there, no LED will be lit beside a KNOB PARAMETER GROUP switch, and turning a CONTROL knob will edit the selected event data of the Sequencer step assigned to that knob. You can assign one of many available Control Change parameters to each knob. After pressing the [ASSIGN] switch, these parameters will be available for edit in realtime using the CONTROL knobs. Knob assignments are made using the Control function (Device and Control Number) parameters located in the UTILITY SETUP menu. When you press [ASSIGN] and turn a CONTROL knob, the MIDI Control Change data is sent to both the internal tone generator as well as to MIDI [OUT], where it can control external devices. The Control function assignments are system parameter settings, which means they will remain as set and be available regardless of which voice is selected. When you turn a knob to edit an event, the step event name and value (and step number) will automatically appear in the LCD, and the knob data graph will track knob movements accordingly. Also, if you simply press a knob (push-switch) without turning it, the information will display in the LCD for confirmation. Pressing a KNOB PARAMETER GROUP switch will activate its group of tone generator parameters (its LED will light), and pressing the same switch again will return to Step Sequencer edit status. Setting the [EDIT ROTARY] switch to another position will also disengage Step Sequencer edit. For more information about the Step Sequencer, see page 37. You can also assign various other parameters to the knobs using the Control Matrix located in the VOICE SCENE SETUP menu, which only affects parameters for the internal tone generator (as well as incoming MIDI messages). And since Control Matrix parameters are voice settings, they are stored as voice data, which means that each voice can have customized knob assignments for each Scene! For details on how to assign Control function parameters to the CONTROL knobs, see page 95. For details on how to assign Control Matrix parameters to the CONTROL knobs, see page 73. For a list of available parameters which can be assigned to each CONTROL knob, see the separate Data List book. 27 Using The Panel Edit Matrix Tempo Layer Pan Separate Dly / Rev EF Param Data EF Bypass Name Cursor LFO Rst Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Length Track Track No Param Scene Sw Track Job Rec Copy Arpeggio Subdivide Play EF Swing Velocity Key Track Layer Pan Separate Unison Detune Vari EF/EQ Param Data Vari EF Dry:Wet Dly/Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON Length Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG Arpeggio Subdivide Ctrl Matrix Param Set No Key Track Source Depth VOICE Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Play EF Swing Velocity Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP GateTime ARPEGGIO /SEQ 1 Voice Menus Ctrl Matrix Param Set No Port Track Common LoopType Trigger LFO Rst Split Pnt 3 Utility Menu 2 Step Sequencer Menu 1 Voice Menus Select a menu (1 - 6) Mode Poly Port Tempo Track Common LoopType Trigger The AN1x’s panel matrix of Edit menus gives you quick and easy access to hundreds of parameter settings. All you have to do is set the [EDIT ROTARY] switch to one of the six menus and press the parameter value [UP/DOWN] switch located beneath the name of the parameter you want to edit. VOICE SCENE SETUP Mode Poly Source Depth Unison Detune VOICE SCENE SETUP Char VOICE COMMON Undo VOICE FREE EG The four Voice menus are primarily dedicated to parameters which affect the tone generator. VOICE SCENE SETUP Includes Scene Mode and Control Matrix parameters plus Layer-related parameters for the voice. VOICE Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP GateTime ARPEGGIO /SEQ VOICE COMMON Includes Tempo, Split Point, Effect and voice naming parameters which are common to both Scenes, and Variation Effect Dry:Wet balance parameter which can be set for each Scene. Press this area to increment settings (hold to scroll) Press this area to decrement settings (hold to scroll) Press once to display information in LCD VOICE FREE EG Includes Trigger and Length setting, Track and Parameter select, plus recording and other parameters related to the Free EG function. Press the [UP/DOWN] switch once to display the name of the parameter and current value setting in the LCD. Press the upper or lower area of the switch repeatedly to increment or decrement through the settings, or hold the upper or lower area of the switch to scroll through the settings. VOICE ARPEGGIO/SEQ Includes common and specific parameters related to the Arpeggiator and Step Sequencer. For a description of each parameter and available settings, see the REFERENCE section, page 72. For information about the Arpeggiator, see page 33. 2 Step Sequencer Menu The SEQ EDIT/SETUP menu includes Knob event and sequence editing-related parameters, as well as Pattern Bank and Number select, and other parameters related to the Step Sequencer. For a description of each parameter and available settings, see the REFERENCE section, page 89. For information about the Step Sequencer, see page 37. 3 Utility Menu The UTILITY SETUP menu includes “global” parameters, including System tuning and keyboard transpose and velocity parameters, MIDI channel transmit, receive and other settings, and Control function assignment-related parameters. For a description of each parameter and available settings, see the REFERENCE section, page 92. For more information about the Control function, see page 50. 28 Editing Voices 3. Edit the various tone generator parameters for each Scene, using the KNOB PARAMETER GROUP switches and CONTROL knobs. If you’ve read through all the preceding sections, and especially if you’ve been trying out the various features along the way, you should have a pretty solid grounding in how the AN1x creates and enhances sound, as well as how the various controls work to manipulate the many features. This section provides an overview of the steps required for the procedure of editing a voice, along with the key procedures required to build up your own voices from scratch. KNOB PARAMETER GROUP Algorithm PEG Decay Sync Pitch 8 9 STU 4 5 6 DEF GHI JKL 1 2 3 VCO1 Level Decay VCO2 Level Sustain Ring Mod Release 2. Set the status of Layer mode with the [LAYER] switch and Poly mode (located in the VOICE SCENE SETUP menu). ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth HPF Mode Poly Port LFO Rst ARPEGGIO/SEQ Ctrl Matrix Param Set No Source Depth FM Src1 PWM Depth PWM Src VCF Type Reso nance Volume Noise Level ASSIGN 4 LFO1 Dly PWM Src Fmod Depth FEG Depth FM Src2 LFO2 Spd PmodDepth PmodDepth Vel Sens Key Track Vel Sens Amod Depth ASSIGN 6 Edge Release ASSIGN 3 LFO1 Spd Port Time ASSIGN 7 ASSIGN 8 VOICE SCENE SETUP Mode Poly Port LFO Rst Layer Pan Separate Unison Detune Tempo Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Dly / Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON Length Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG Arpeggio Subdivide Ctrl Matrix Param Set No Key Track Source Depth VOICE Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Play EF Swing Velocity Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP GateTime ARPEGGIO /SEQ 5. Store the voice data to a voice memory location (1 - 128) using the Voice Store operation (see page 98). DEMO STORE Sustain Decay Track Common LoopType Trigger LAYER Sync Pitch Src 4. Depending on your needs, use the panel Edit matrix to designate effects configuration and settings, record real-time knob movements for one or more parameters using the 4-track Free EG function, designate Arpeggiator settings, create a Step Sequence, assign Control Matrix sets, and set any other voice parameters. YES/ ENTER PORTAMENTO PEG Sw Attack – NO Sync Pitch Depth Edge ASSIGN 5 ABC 0 PEG Depth Fine Feedback OTHERS YZ PQR ASSIGN Fine VCF Cutoff PROGRAM CHANGE 7 MIX /VCF Pitch PW 1. Select a voice using the PROGRAM CHANGE keypad. MNO VCF VCA Pitch Sync Pmod Sw VWX VCO2 Wave ASSIGN 1 The AN1x is so naturally intuitive, the procedure for editing a voice is extremely simple. There are only a few basic steps, as follows: PEG/LFO VCO1 Wave Attack Voice Edit Procedure SYNC/FM Layer Pan Separate Unison Detune VOICE SCENE SETUP Parameters which you can edit at any time but which are not stored as voice data include system-related parameters accessible from the UTILITY SETUP menu, as well as Effect Bypass status (VOICE COMMON menu) and MIDI Pattern Transmit Channel (VOICE ARPEGGIO/SEQ menu). As such, they will remain as set regardless of which voice is selected. 29 1. VCO Edit CREATING ORIGINAL VOICES Pressing the [VCO1] KNOB PARAMETER GROUP switch gives you access to the main voltage controlled oscillator parameters, which let you select the basic waveform and determine the fundamental pitch of the sound. Pressing the [VCO2] switch gives you access to the second oscillator, which contains the same set of parameters as VCO1, and lets you add extra dimension to the voice. Following is an overview of the key procedures required to build up your own voices from scratch. For step-by-step examples of how to create specific types of voices, including analog synth classics like Synth Bass and Synth Brass, as well as traditional Electronic Organ and Electric Piano voices and more, see page 101. No sound will be produced if the VCO1 Level or VCO2 Level settings in the [MIX/VCF] group are too low. Tone Generator and Panel Parameter Editing Wave By turning CONTROL knob 1 you can select the waveform for the VCO1 oscillator—from a list which includes sawtooth, square (pulse) and a variety of others—which determines the fundamental characteristics of the voice. By editing the tone generator parameters you can determine the fundamental characteristics of the voice. These are accessed by pressing a KNOB PARAMETER GROUP switch and turning specific CONTROL knobs. There are four key steps in the process of editing the tone generator parameters, as follows: Saw Wave Pulse Wave 1. VCO edit to select the fundamental waveform and determine the pitch 2. VCF edit to apply filtering and determine the tone, or timbre 3. VCA edit to apply amplification to the voice For details about the available waves, see page 61. 4. LFO edit to apply modulation to the VCO, VCF and VCA Pitch And Fine By turning CONTROL knobs 2 (Pitch) and 3 (Fine) you can determine the fundamental pitch of the wave. Using both oscillators you can slightly “detune” the pitch of each with the Fine parameter to fatten the sound, or create intervals by setting different Pitch parameters for each. Tone generator parameter editing affects the selected Scene (loaded in the Scene edit buffer) or the Scene Control sound (in the Scene Control buffer). For details, see page 20. By editing the various panel Edit menu parameters you can determine a voice's keyboard and Scene related modes, configure effect types and settings, record Free EG tracks, create and assign Step Sequencer patterns or configure the Arpeggiator. (For details, see page 71.) For details about the Pitch and Fine parameters, see pages 61, 62. Edge, Pulse Width And Pmod Depth Certain panel parameters apply to individual Scenes or both Scenes equally for the voice. For details about each menu and available parameters, see page 72. By turning CONTROL knob 4 you can adjust how sharp or smooth the "edge" of the wave is. CONTROL knob 5 lets you determine the width of the wave's pulse to control the amount of harmonics present. CONTROL knob 8 lets you adjust the Pitch Modulation Depth to create a vibrato effect. Other parameters let you apply modulation to the pulse width with the LFO1 and other waves. For details about the Edge, Pulse Width and Pmod Depth parameters, see pages 62, 63. 30 2. VCF Edit Sync Algorithm Pressing the [SYNC/FM] KNOB PARAMETER GROUP switch lets you use the CONTROL knobs to access the parameters which affect the "master" and "slave" oscillators which are part of the VCO1, as well as configure how the FM (Frequency Modulation) signal is applied to the master and/or slave oscillators. When the "sync" is enabled VCO1 literally becomes two oscillators in one, with the slave synced to the master. Pressing the [VCF] KNOB PARAMETER GROUP switch gives you access to the voltage controlled filter parameters, which let you determine the characteristics of the tone, or timbre of the voice, and configure the Filter Envelope Generator (FEG). VCF Cutoff And Resonance By turning CONTROL knob 5 you can set the cutoff frequency of the VCF Type (as designated in the MIX/VCF group), which determines the point at which specified frequencies are passed or cut off—i.e., filtered out. CONTROL knob 6 lets you boost the harmonics near the cutoff frequency to apply resonance. These two parameters are critical in determining the timbre of the voice. By turning CONTROL knob 1 you can configure the sync Algorithm, which either turns off the sync and makes only the FM signal available, or lets you apply the FM signal to either master or slave or both oscillators. CONTROL knob 2 lets you access the Sync Pitch parameter to create a difference in pitch between the master and slave oscillators and control the resulting harmonic interval. Other parameters available let you apply modulation to the VCO1 oscillators with the LFO1 and other waves. Range passed Cutoff range VCO VCO1 SYNC MASTER Cutoff frequency SLAVE Frequency VCF Type = Low Pass Filter FM VCO2 FEG CONTROL knobs 1-4 let you determine the Attack, Decay, Sustain and Release values, respectively, to give you precision control over how the timbre of the voice changes over time—from when a key is pressed, held, then released, and subsequently how long it takes for the sound to terminate. CONTROL knob 7 lets you set the FEG Depth, or range of movement of the cutoff frequency. For details about the [SYNC/FM] parameters, see page 58. PEG Pressing the [PEG/LFO] KNOB PARAMETER GROUP switch let you use the CONTROL knobs to access parameters which control the Pitch Envelope Generator (PEG), which determines how the pitch of a voice changes over time—from when a key is pressed, held, then release, and how long it takes for the sound to terminate. CONTROL knob 2 lets you set the PEG Depth, or pitch in semitones. CONTROL knob 1 lets you adjust the PEG Decay, or time required for the sound to reach its basic pitch from the PEG Depth setting. CONTROL knob 3 lets you set the PEG Switch to determine which VCO the PEG is applied to. Cutoff frequency Time Sustain Attack For more information about PEG Depth, PEG Decay, and PEG Switch parameters, see page 55. Key on Decay Release Key off For more information about [VCF] parameters, see page 64. 31 Ring Modulator, Noise And Mixer Amod Depth And Vel Sens Pressing the [MIX/VCF] KNOB PARAMETER GROUP switch lets you use CONTROL knobs 1-4 to determine the levels of the VCO1, VCO2, Ring Modulator and Noise signals, respectively. CONTROL knob 5 lets you determine the cutoff frequency of the High Pass Filter applied to the signal which is output from the mixer, and CONTROL knob 6 lets you select the VCF filter type (LPF, HPF, BPF, BEF) which is controlled by the VCF Cutoff frequency (in the [VCF] parameter group). CONTROL knob 7 lets you adjust the Filter Modulation Depth to create a wah effect. CONTROL knob 7 lets you adjust Amplitude Modulation Depth to create a tremolo effect by using LFO1. CONTROL knob 8 lets you set the Velocity Sensitivity to determine the amplitude of the VCA in relation to playing strength, to either increase dynamic range with a heavier or lighter touch. For more information about Amod Depth and Vel Sens parameters, see page 70. Feedback And Volume CONTROL knob 5 lets you determine the feedback level which is output from the VCA and then "fed back" into the input of the mixer, causing the signal to become fat. CONTROL knob 6 lets you determine the overall output level from the VCA before the signal passes to the Effect block. For more information about [MIX/VCF] parameters, see page 66. 3. VCA Edit Pressing the [VCA] KNOB PARAMETER GROUP switch gives you access to the voltage controlled amplifier parameters, which let you determine the volume of the sound and configure the Amplitude Envelope Generator (AEG). For more information about Feedback and Volume parameters, see page 69. 4. LFO Edit The Low Frequency Oscillator is an oscillator which generates low frequency signals to let you apply a modulation signal to specific aspects of the voice. For example, applying the LFO to the VCO creates vibrato, applying it to the VCF creates wah, and applying it to the VCA creates tremolo. The AN1x has two separate LFOs which give you a wide range of control over modulation. AEG CONTROL knobs 1-4 let you determine the Attack, Decay, Sustain and Release values, respectively, to give you precision control over how the volume of the voice changes over time—from when a key is pressed, held, then released, and subsequently how long it takes for the sound to terminate. The diagrams which follow show the difference in envelope generator characteristics for some common instruments. Wave And Speed Pressing the [PEG/LFO] KNOB PARAMETER GROUP switch lets you use CONTROL knob 5 to select the LFO1 Wave from 21 types available. CONTROL knob 6 lets you adjust LFO1 Speed, and CONTROL knob 7 lets you determine the LFO1 Delay time of the modulation. CONTROL knob 8 lets you adjust the LFO2 Speed for the LFO2 wave, which is fixed to a triangle wave. Level Time Sustain Attack Decay Key on Piano Release For more information about LFO parameters, see page 54. Key off Violin Storing A Voice As you edit your voice, depending on whether you're working on Scene 1, Scene 2 or the Scene Control sound, you may want to perform Voice Store operations. For more information, see page 68. 32 Store Operations Using The Arpeggiator The [STORE] switch is used for performing Voice Store operations. The Arpeggiator lets you play arpeggiated chord patterns at the simple press of a key. There are 30 arpeggio pattern Types to choose from. Between the 10 Arpeggio Subdivide (timing resolution) settings, Play Effect Velocity parameter and number of notes played, you have a wide range of control and customization over length, rhythm and feel of a voice’s arpeggio. DEMO PORTAMENTO LAYER STORE ARPEGGIO/SEQ For information about performing a Voice Store operation, see page 98. For information about types of data stored in a voice, see page 9. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ For information about Scene-related Store functions, see page 21. For information about SEQ Store, see page 46. Turning ARPEGGIO/SEQ On And Off You can control which Scene plays the arpeggiated patterns, turn the Arpeggio Hold function on and off at will, and even designate an independent MIDI channel on which to output the Arpeggiator pattern data. The [ARPEGGIO/SEQ] switch is used to turn the Arpeggiator or Step Sequencer on and off. Either “ARP” or “SEQ” will appear in the LCD to indicate which one is active for the voice, determined by the Common Arp/SEQ setting in the VOICE ARPEGGIO/SEQ menu. The specific Arpeggiator-related parameters are available in the VOICE ARPEGGIO/SEQ menu, but a few others will also have a bearing on your arpeggiated performances, including Tempo and Poly mode settings, and depending on Layer mode, the Split Point assignment as well. DEMO PORTAMENTO LAYER STORE ARPEGGIO/SEQ For information about each VOICE ARPEGGIO/SEQ menu parameter, see page 85. For information about the Arpeggiator, see page 33. For information about the Step Sequencer, see page 37. For information about the Arp/SEQ setting, see page 85. Arpeggiator On/Off The Arpeggiator can only be activated when the Arp/SEQ parameter (VOICE ARPEGGIO/SEQ menu) is set to “Arpeggio”. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ You can turn the Arpeggiator on and off by pressing the [ARPEGGIO/SEQ] switch. When the Arpeggiator is turned on, “ARP” will appear in the lower right area of the LCD. 33 Arpeggio Pattern Types The 30 arpeggio pattern Types are selected by pressing Type/No [UP/DOWN]. The available Types are basically divided into two groups, separated chords (Types 1-15), and special arpeggios (Types 16-30). Setting The Arpeggiator Tempo Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ Set the [EDIT ROTARY] switch to VOICE COMMON and press Tempo [UP/DOWN] to set the tempo of the Arpeggiator in BPM (Beats Per Minute). If you want the clock of an external MIDI sequencer or drum machine to control the AN1x’s tempo, then set the Tempo to “MIDI” (the first value located before “40”) so that the two devices will play in synchronization with each other. Types 1-15 separate the chords you play in a variety of ways, either generating arpeggios which occur up, down, up and down, or randomly—over one, two or four octaves. Types 16-30 are special types which vary in tone or add subtle shifts or more complex dynamics and rhythmic elements to the arpeggio. Arpeggio Hold Function For more information about Type/No, see page 85. For a list of available Arpeggiator Types, see the Arpeggiator Type List in the separate Data List book. Pressing Hold [UP/DOWN] lets you turn the Arpeggio Hold function on and off. When Hold is set to "on", "HOLD" will appear in reverse type in the lower right corner of the LCD. After triggering the Arpeggiator by playing the keyboard, the arpeggio will continue playing automatically when you release the keys, until you switch the Hold setting to "off", or press [ARPEGGIO/SEQ] to stop the Arpeggiator. When set to "off", the Arpeggiator will stop when you release the keys. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Arpeggio Subdivide Pressing Arpeggio Subdivide [UP/DOWN] lets you designate one of the ten timing subdivision (rhythm resolution) settings for the Arpeggiator pattern. Common Arp /SEQ VOICE Velocity Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ GateTime ARPEGGIO /SEQ Available Subdivide settings are as follows: The Arpeggio Hold function is especially useful during live performances when the Layer mode is set to “SPLIT” and Keyboard Mode is set to “chrd&norm” (see page 35), since you can trigger the arpeggio with notes to the left of the Split Point, and use both hands to play chords or fills to the right. Arpeggio Hold is also handy when trying out different Arpeggiator Types or Subdivide settings, and is literally indispensable for tweaking the tone generator parameters for your arpeggios with the CONTROL knobs. 3 3/8=q., 1/4=q, 3/16=e., 1/6= h h h , 1/8=e, 3/32=x., 3 3 1/12= q q q , 1/16=x, 1/24= q q q , 1/32=r For more information about Arpeggio Subdivide, see page 88. 34 “scne1” or “scne2” Playing Arpeggiated Chords Trying out the various arpeggios is a lot of fun. Turn on the Arpeggio Hold function, play an even-numbered note chord, and see how the different pattern Types and Subdivide settings react. Then play an odd-numbered note chord and repeat the process. When the Scene Switch is set to “scne1” or “scne2”, Scene 1 or Scene 2 will play as follows: There are a wealth of combinations available at your fingertips—with relatively straightforward or even unconventional results awaiting you. And only by rolling up your sleeves and exploring all the options at hand can you become an expert at how to get just the right arpeggio for just the right track. Layer mode = DUAL ● If KbdMode is set to “chrd”, you can play both Scenes simultaneously across the entire keyboard. The selected Scene plays the arpeggio, and the other plays normally. Keyboard Mode Scene 2 only Press KbdMode [UP/DOWN] to designate how the Arpeggiator patterns respond to notes played on the keyboard. Select “chrd” (Chord) if you want to play arpeggiated chords across the entire keyboard. Select “chrd&norm” (Chord & Normal) if you want to play arpeggiated chords to the left of the Split Point and normal chords to the right. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Arpeggiator Scene 1: Pad sound ● If KbdMode is set to "chrd&norm", you can play both Scenes simultaneously across the entire keyboard. The selected Scene plays arpeggios when you play chords to the left of the Split Point, and plays the Dual voice normally when you play to the right of the Split Point. VOICE Velocity Scene 2: Decay sound GateTime ARPEGGIO /SEQ Layer mode = SPLIT ● If “scne1” is selected and KbdMode is set to “chrd”, you can play arpeggios with Scene 1 to the left of the Split Point, and arpeggios with Scene 1 and normal chords with Scene 2 to the right. For information about setting the Split Point, see page 77. ● If “scne2” is selected and KbdMode is set to “chrd”, you can play arpeggios with Scene 2 and normal chords with Scene 1 to the left of the Split Point, and arpeggios with Scene 2 to the right. Scene Switch Press SceneSw [UP/DOWN] to designate which Scene will play the Arpeggiator pattern. Scenes will play in accordance with Layer mode and Keyboard Mode settings. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ 35 Layer mode = SPLIT ● If “scne1” is selected and KbdMode is set to “chrd&norm”, you can play arpeggios with Scene 1 to the left of the Split Point, and play normally with Scene 2 to the right. Scene 1: Bass sound ● If KbdMode is set to “chrd”, you can play arpeggios with Scene 1 to the left of the Split Point, and play normally with Scene 2 to the right. Scene 2: Solo sound ● If KbdMode is set to “chrd&norm”, you can play arpeggios with Scene 1 to the left of the Split Point and normal chords to the right. Scene 1 only When SceneSw “both” is set in SPLIT mode, depending on selected arpeggio Type, as well as Split Point setting and the position at which you play the keys, certain notes of the arpeggiated chords may cross the Split Point, i.e., lower notes will play Scene 1 and higher notes will play Scene 2. Arpeggiator Layer mode = SINGLE (Same as for “scne1” or “scne2”, page 35.) ● If “scne2” is selected and KbdMode is set to “chrd&norm”, you can play arpeggios with Scene 2 and normal chords with Scene 1 to the left of the Split Point, and play normally with Scene 2 to the right. Arpeggio Pattern Length The length of an AN1x arpeggio pattern is determined by three factors which work together simultaneously: Arpeggio Type, Arpeggio Subdivide setting, and the total number of notes you play for an arpeggiated chord. For example, say you play an arpeggiated pattern with a four-note chord, such as a C major triad with an octave in the root. If Subdivide is set to “1/8”, the Arpeggiator breaks down the chord into 8ths, and then arpeggiates it based on the Type setting. If Type is set to “UpOct2” the arpeggio will climb over two octaves, and will repeat after four beats. Then, if you change Subdivide to “1/16”, the arpeggio will repeat after 2 beats. Furthermore, if you then change Type to “UpOct1”, the arpeggio will repeat after only one beat. Layer mode = SINGLE ● If KbdMode is set to “chrd”, you can play arpeggios with the selected [SCENE] switch only (or Scene Control sound) across the entire keyboard. ● If KbdMode is set to “chrd&norm”, you can play arpeggios with the sound of the selected [SCENE] switch only (or Scene Control sound) to the left of the Split Point and normal chords with the sound of the selected [SCENE] switch only (or Scene Control sound) to the right. Because the number of notes you play in the chord has a direct relationship on the pattern length based on Subdivide resolution, sometimes unwanted syncopations may be generated. As a general rule, you can avoid this by choosing an even number of chord notes for even-numbered subdivide resolutions (1/4, 1/8, 1/16 and 1/32) and an odd number of notes (e.g., three-note or five-note chords) with oddnumbered resolutions (1/6, 1/12, 1/24). “both” However, this doesn’t apply for dotted note rhythms (3/8, 3/16 and 3/32). These resolutions are particularly interesting for odd-numbered beats (e.g., 3/8 or 6/8), so you will need to play chords with an even number of notes to correctly play back these three-part rhythms. As an example, set Type to “UpOct2” and Subdivide to “3/8” resolution. Playing a triad will place the root note on the first beat in the 4th bar, generating irregular cycles. A four-note chord, however, generates symmetrical 4 bar cycles. The root note will be repeated after the first cycle on bar 3, after the second cycle on bar 5 and after the third cycle on bar 7, and so on, always landing on the first beat. When the Scene Switch is set to “both”, both Scenes will play as follows: Layer mode = DUAL ● If KbdMode is set to “chrd”, you can play arpeggios with Scene 1 and Scene 2 across the entire keyboard. In the case of the special Arpeggiator Types (16-30), you will notice that these aren’t particularly effective with triplet rhythms. Best results are achieved with a 4/4 beat and a Subdivide resolution of “1/16”, “1/8” or “1/32”. ● If KbdMode is set to “chrd&norm”, you can play arpeggios with Scene 1 and Scene 2 to the left of the Split Point, and play normally with Scene 1 and Scene 2 to the right. 36 Play Effect Velocity Ext. TG 2 (Attack sound) Press the Play Effect Velocity [UP/DOWN] switch to set the ratio between the lower and higher velocity values of the Arpeggiator pattern, over a range between 1% and 200%. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Ext. TG 1 (Pad sound) Rcv. Ch2 Rcv. Ch1 Ptn TxCh2 MIDI TxCh1 Arpeggiator VOICE Velocity GateTime ARPEGGIO /SE For information about setting the MIDI Pattern Transmit Channel (“MIDI PtnTxCh”), see page 87. The MIDI PtnTxCh setting is a system parameter, and will not be saved as voice data. Using The Step Sequencer A setting of “100%” maintains the original velocity relationship between the notes. Lower values adjust velocities downward at playback, and higher values adjust velocities upward at playback. A setting of “real” (Real-time) will cause the velocity values of the pattern to be determined by the velocity at which you play the keyboard. The Step Sequencer lets you create your own 16-step looped patterns by setting Note, Velocity, Gate Time and Control Change event values for each step (beat) in the sequence using the CONTROL knobs, where each knob gives you access to the events in a specific step when the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu. Arpeggio MIDI Output You can use the MIDI Pattern Transmit Channel (“PtnTxCh”) parameter to designate a MIDI channel on which to output the Arpeggiator pattern data, to either play an external tone generator or record the data into a MIDI sequencer or computer. Algorithm Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing PEG Depth Sync Pitch Depth PEG Sw Sync Pitch Src Pitch Pitch Fine Fine Edge VCO1 Level Decay VCO2 Level Sustain Ring Mod Release Attack Sustain Decay ASSIGN 1 Sync Pmod Sw ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth PW CTRL Sync Pitch Wave Attack VOLUME VCF Cutoff HPF Feedback SCENE Common Arp /SEQ PEG Decay Wave PWM Depth Reso nance VCF Type Volume ASSIGN 5 FM Src1 PWM Src Noise Level ASSIGN 4 LFO1 Dly PWM Src Fmod Depth FEG Depth Amod Depth ASSIGN 6 Edge Release ASSIGN 3 LFO1 Spd Port Time ASSIGN 7 FM Src2 PmodDepth LFO2 Spd PmodDepth Vel Sens Key Track Vel Sens ASSIGN 8 VOICE Velocity GateTime ARPEGGIO /SEQ Each of the 128 voices has its own “Voice” Pattern memory for storing a single sequence. There is also a separate bank of 128 “User” Patterns. Patterns can be triggered from the keyboard in a variety of ways. Knob Event This setting is independent from the MIDI Transmit Channel (“MIDI Tx Ch”) setting in the UTILITY SETUP menu (see page 93), but you can either set them both to the same channel or different channels, depending on your requirements. The diagram below shows an example of how they can be set to different channels to control two different external tone generators. 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP The specific Step Sequencer-related parameters are available in the SEQ EDIT/SETUP menu. Also, Pattern Number, Keyboard Mode, Hold, Scene Switch and Play Effect parameters in the VOICE ARPEGGIO/SEQ menu have special functions related to the Step Sequencer. Other settings which will have a bearing on your sequences include Tempo and Poly mode settings, and depending on Layer mode, the Split Point assignment as well. 37 For information about each SEQ EDIT/SETUP menu parameter, see page 89. Step Sequencer On/Off Step Sequencer Hold Modes The Step Sequencer can only be activated when the Arp/SEQ parameter (VOICE ARPEGGIO/SEQ menu) is set to “Step SEQ”. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing Pressing Hold [UP/DOWN] lets you turn the SEQ Hold function on and off. Depending on Keyboard Mode setting, there are two additional Hold modes. VOICE Velocity GateTime ARPEGGIO /SEQ Common Arp /SEQ You can turn the Step Sequencer on and off by pressing the [ARPEGGIO/SEQ] switch. When the Step Sequencer is turned on, “SEQ” will appear in the lower right area of the LCD. Setting The Step Sequencer Tempo Vari EF/ EQ Param Data Vari EF Dry:Wet Dly / Rev EF Param Data EF Bypass Name Cursor Char Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ When KbdMode is set to “sel&norm” or “sel&shift”, two additional SEQ Hold mode settings are available: “mode1”, which triggers a pattern every time a key is pressed, and “mode2”, which triggers a pattern after the current sequence finishes, even if you press a key during the middle of the current sequence. Set the [EDIT ROTARY] switch to VOICE COMMON and press Tempo [UP/DOWN] to set the tempo of the Step Sequencer in BPM (Beats Per Minute). Split Pnt KbdMode When SEQ Hold is set to “on”, “HOLD” will appear in reverse type in the lower right corner of the LCD. After triggering the Step Sequencer by playing the keyboard, the sequence will continue playing automatically when you release the key, until you switch the Hold setting to “off”, or press [ARPEGGIO/SEQ] to stop the Step Sequencer. When Arp/SEQ is set to “Arpeggio”, the various parameters in the SEQ EDIT/SETUP menu cannot be accessed. Tempo Type/No VOICE COMMON The SEQ Hold function, used in conjunction with Layer mode and Keyboard Mode settings, greatly expands your live performance options. It’s also indispensable for searching for Voice and User Patterns, as well as for editing a pattern or tweaking various tone generator parameters for your sequence sound with the CONTROL knobs. If you want the clock of an external MIDI sequencer or drum machine to control the AN1x’s tempo, then set the Tempo to “MIDI” (the first value located before “40”), so that the two devices will play in synchronization with each other. 38 All editing of the pattern will of course be taking place in the buffer. If you want, you can use SEQ Store [UP/DOWN] to store the edited pattern to any User Pattern bank memory (1 - 128). If you perform a Voice Store operation, the edited voice will become the new Voice Pattern for the voice. Voice Pattern And User Pattern Banks In addition to the voice-related data stored in a voice memory location, each voice has “Voice Pattern” data for a single Step Sequencer pattern. Since there are 128 voices in memory, the collection of 128 patterns as stored in the voices is called the Voice Pattern bank. In addition to the Voice Pattern bank, there is a separate bank of 128 “User Patterns” called the User Pattern bank. Pattern Select Play During Pattern Select Play, you can trigger more than one Step Sequencer pattern from the keyboard. Each pattern is assigned to a different key. For Pattern Select Play, the Keyboard Mode parameter (VOICE ARPEGGIO/SEQ menu) must be set to either “sel&norm” or “sel&shift”. The Voice and User Patterns can be played from the keyboard in a variety of ways, depending on the Keyboard Mode setting in the VOICE ARPEGGIO/SEQ menu. The individual Keyboard Mode settings are explained on page 41, but first let’s take a look at the two main methods of Step Sequencer play—Single Pattern Play and Pattern Select Play—and see what’s happening inside the AN1x’s memory structure as you select, edit and store patterns. As the Pattern Play Select diagram illustrates, when you select a voice with the PROGRAM CHANGE keypad, Voice Pattern data is loaded into the Voice Pattern edit buffer, and all 128 User Patterns are loaded into the User Pattern Edit buffer. PATTERN SELECT PLAY Single Pattern Play During Single Pattern Play, you can play a single Step Sequencer pattern from the keyboard. For Single Pattern Play, the Keyboard Mode parameter (VOICE ARPEGGIO/SEQ menu) must be set to either “norm” or “shift&norm”. As the Single Pattern Play diagram illustrates, when you select a voice with the PROGRAM CHANGE keypad, Voice Pattern data is loaded into the Voice Pattern edit buffer. Voice Bank User Bank Voice Patterns (128) User Patterns (128) Voice Pattern Edit Buffer SINGLE PATTERN PLAY User Pattern Edit Buffer (128) SPLIT POINT Voice Bank User Bank Voice Patterns (128) User Patterns (128) # C 1 to Split Point C1 Pressing different keys on the keyboard will “select” different patterns, and C1 will always play the Voice Pattern for the current voice. C#1 and above will select and trigger different User Patterns in ascending order across the Key Code (keyboard notes) up to the Split Point, based on which User Pattern number is assigned to C#1. If you set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP menu and press (Pattern) No [UP/DOWN] once, the pattern number will appear in the LCD each time you press the corresponding key. Voice Pattern Edit Buffer (Pattern loaded into the Voice Pattern edit buffer will be played) When you press a key on the keyboard, you are tiggering the Voice Pattern stored with the voice, located in the buffer. You can set the [EDIT ROTARY] switch to the VOICE EDIT SETUP menu and press Bank [UP/DOWN] to select either the Voice or User Pattern bank, and every time you press No [UP/DOWN] to select a pattern number, that pattern will load into the Voice Pattern edit buffer. 39 Playing Step Sequencer Patterns The AN1x comes with 128 Voice Patterns and 128 User Patterns ready to go. All patterns can be overwritten to store your own. Since the triggered Voice and User Patterns are selected and played from edit buffers, you can edit any pattern at will—i.e., you can trigger one pattern and edit it, trigger a second pattern and edit it, go back to the first one and tweak it some more, and so on, in order to edit various patterns in context with each other. Selecting Pattern Banks And Numbers To select a Pattern Bank, set the [EDIT ROTARY] switch to SEQ EDIT/SETUP and press Bank [UP/DOWN]. During Single Pattern Play, either the Voice or User Pattern bank can be selected. During Pattern Select Play, only the User Pattern bank can be selected. If you want, you can use SEQ Store [UP/DOWN] to store any edited pattern to any User Pattern bank memory (1 - 128). If the User Pattern has been edited, the "All Ptn" (All Patterns) store confirmation message will appear in the LCD, and you can press [YES/ENTER] to overwrite all patterns, or press [NO] to cancel the operation. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP C#1 Assign C#1 is always the base note assignment for the first User Pattern to be selected. As shown in the Pattern Select Play diagram (page 39), if “Usr001” (User 001) is assigned to C#1, then pressing C#1 selects User Pattern 001, pressing D1 selects Pattern 002, pressing D#1 selects Pattern 003, and so on. The User Patterns are always selected in ascending order according to pattern number (001 - 128). The C#1 Assign feature lets you “shift” the starting pattern number. For example, if you assign “Usr003” to C#1, then pressing C#1 selects User Pattern 003, pressing D1 selects Pattern 004, pressing D#1 selects Pattern 005, and so on. To select a Pattern Number, press No [UP/DOWN]. You can select from 128 patterns in each bank. Keyboard Mode The Keyboard Mode setting (VOICE ARPEGGIO/SEQ menu) determines Single Pattern Play (“norm” or “shift&norm”) or Pattern Select Play (“sel&norm” or “sel&shift”) status. To assign a User Pattern number to C#1, set the [EDIT ROTARY] switch to VOICE ARPEGGIO/SEQ and press Type/No [UP/DOWN]. Arp SEQ must be set to “Step SEQ”, and KbdMode must be set to “sel&norm” or “sel&shift”. (See page 85.) Common Arp /SEQ 40 Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ norm (Normal): Lets you play the Voice Pattern of the currently selected voice at its base pitch from any key on the keyboard. You can play regular notes and chords across the keyboard while the sequence is looping. User Bank User Patterns (128) SPLIT POINT Triggers current Voice Pattern User Patterns Voice Pattern shift&norm (Shift & Normal): Playing a key to the left of the Split Point will shift the pitch of the Voice Pattern accordingly (with C2 as the original base pitch), and playing keys to the right of the Split Point will play notes normally, without affecting the sequence. If you set the Split Point to a very high setting (above C6, for example), you can shift the pattern from any key, with C2 as the base pitch of the programmed pattern. Base pitch Normal play sel&shift (Select & Shift): Playing a key to the left of the Split Point will trigger (“select”) a specific User Pattern based on C#1 Assign setting (C1 will trigger the Voice Pattern for the current voice), and playing keys to the right of the Split Point will shift the pitch of the selected pattern accordingly. C4 always determines the base pitch of the selected pattern. For example, if the Split Point is set to C3, then C1 plays the Voice Pattern for the selected voice, and 23 different User Patterns can be selected by playing keys C#1 ~ B2, and shifted in pitch by pressing C3 and above, with C4 triggering the original base pitch of the sequence. SPLIT POINT User Bank User Patterns (128) Shifts pattern Normal play sel&norm (Select & Normal): Playing a key to the left of the Split Point will trigger (“select”) a specific User Pattern based on C#1 Assign setting (C1 will trigger the Voice Pattern for the current voice), and playing keys to the right of the Split Point will play notes normally, without affecting the sequence. Each User Pattern will play at its programmed pitch. If you set the Split Point to a very high setting (above C6, for example), you can select a different pattern from any key. SPLIT POINT Base pitch User Patterns Voice Pattern Shifts pattern notes When “sel&shift” is selected and the Split Point is assigned above C4, then sequence pitch can only be shifted above the base pitch. For more information about Keyboard Mode, see page 86. For information about assigning the Split Point, see page 77. 41 Base Unit And Length The Base Unit parameter, together with the current Tempo setting (see page 77) designates and completes the timing resolution for the sequence pattern. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP SEQ EDIT /SETUP For more information about Loop Type, see page 91. Scene Switch The Scene Switch setting (in the VOICE ARPEGGIO/SEQ menu) determines whether the Step Sequencer Pattern will play Scene 1, Scene 2, or both Scenes. The current Scene status will also affect how the Scenes play. The Length parameter setting determines the length of the sequence pattern based on number of steps. One step is equivalent to one note, so based on the Base Unit setting, you can also select odd-numbered steps to create odd-numbered beats (such as setting the Length to "3" for 3/4-time, or to "5" for 5/4-time), as well as create completely unconventional rhythms. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store Control Number SEQ EDIT /SETUP The Control Number setting determines the type of MIDI Control Change message which can be output by each event upon sequencer play. Once the Control Number is set, the Control Change event is selected with (Knob) Event [UP/DOWN], and the value to be output via each step is edited with the corresponding CONTROL knob. For more information about Base Unit and Length, see page 91. Also see the section on Arpeggio Subdivide, which is similar to Base Unit, page 34. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP Loop Type The Loop Type parameter lets you determine the type of loop cycle for the sequence pattern. The pattern always loops, and you can designate it to loop either forward, backward, or designate one of two alternating forward/backward types. For more information, see page 91. For more information about MIDI Control Change messages, see page 109. 42 Play Effects Exploring The Factory-set Patterns The Play Effect (“Play EF”) parameters let you designate settings which can permit the Step Sequencer pattern to obtain a more human “feel”. (Or even a less one, if that’s what you’re going for!) There are three Play Effect parameters, Swing, Velocity and Gate Time. To help get a clearer understanding of how the various Step Sequencer-related parameters and settings work, you may want to take some time and systematically examine the details of some of the factory-set voices which are specially programmed to demonstrate the power and range of the Step Sequencer, and change the various settings to analyze the possible effects. Swing: Lets you create a “swing” feel by slightly shifting certain beats. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing As an example, use the PROGRAM CHANGE keypad to select “Sq:011 Alan”, then trigger the pattern. VOICE Velocity GateTime ARPEGGIO /SEQ This voice uses the Hold function, so the pattern will play repeatedly as you check the various settings, as follows: 1. Notice which Layer mode appears in the LCD. Check KbdMode and Scene Switch settings, as well as Play Effect settings in the VOICE ARPEGGIO/SEQ menu. 2. Check the Split Point in the VOICE COMMON menu. Velocity: Lets you set the ratio between lower and higher velocity values of each step. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing 3. Set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP menu and check the Base Unit, Length and Loop Type settings. VOICE Velocity GateTime ARPEGGIO /SEQ 4. Repeat the basic process above for each voice which uses the Step Sequencer. While you’re at it, why not go ahead and step through some of the factory-set Voice and User Pattern while the sequence is looping? Press (Pattern) Bank [UP/DOWN] to select the Voice or User Pattern bank, then press (Pattern) No [UP/DOWN] to select and listen to each pattern. And don’t be shy about playing around with the different parameter settings and see what effect they have on the sequence. If you stumble upon something that sounds good along the way, you might want to go ahead and store the edited voice to another voice location before you lose it! If things get too far out of hand, simply reselect the same voice with the PROGRAM CHANGE keypad and start over! It won’t take too long to get a clear understanding of how the different settings work together to let you create and play your own hot sequences. Gate Time: Lets you adjust the note length (the duration of the note) either shorter or longer, as a percentage of the original. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ For more information about Play Effects and available settings, see page 88. 43 Knob Event Parameters Step Sequencer Edit To designate which type of event to edit by the CONTROL knobs, set the [EDIT ROTARY] switch to the SEQ EDIT/SETUP menu and press Event [UP/DOWN]. There are four types of events to choose from. Creating your own Step Sequencer patterns is a simple and straightforward process. When the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu, each CONTROL knob is used to edit Note, Velocity, Gate Time and Control Change values for a single step. Note (C-2 ~ G8): Lets you select the note for the step. First decide the Base Unit and Length for the sequence pattern. Then, editing each step is simple. Each knob as positioned on the panel (1-8) relates to the corresponding sequence step (either 1-8 or 9-16, respectively). Press 1-8/9-16 [UP/DOWN] to toggle back and forth between which series of steps are available for data entry using the eight CONTROL knobs. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP SEQ EDIT /SETUP Simply pressing a CONTROL knob will display the currently selected step and Knob Event parameter name, as well as the current parameter value setting, in the LCD. Turning a knob will edit the value. Step 1 or 9 Step 2 or 10 Step 3 or 11 Step 4 or 12 Step 5 or 13 Step 6 or 14 Step 7 or 15 Step 8 or 16 Event parameter name: Select with (Knob) Event parameter Step number: Depends on selected knob and (Knob) 1-8/9-16 setting You can choose a note to assign to each step by turning the knobs during Step Sequencer playback. Event parameter value: Turn the knob to edit Velocity (0 ~ 127): Lets you set the velocity level for the step. 44 Gate Time (1 ~ 200%): Lets you determine the note duration for the step. While Step Hold is active, you can press Event [UP/DOWN] to select the type of event you want to edit, then turn the CONTROL knob accordingly. To turn the Step Hold function off, simply press Step Hold [UP/DOWN] again and switch it to “off”. For more information, see page 89. Control Change (0 ~ 127): Lets you set the value of the MIDI Control Change message to be output by the step. 1-8/9-16 Press 1-8/9-16 [UP/DOWN] to choose the step series within which the step you want to edit is, then press a CONTROL knob’s push-switch to select a specific step. Current information about the step will display in the LCD. Control Change setting (off, CC1~95, After Touch) is determined by the Control No (Number) parameter in the SEQ EDIT/SETUP menu. For more information, see page 91. Knob Event For more information about Event parameters, see page 89. Step Hold The Step Hold function is used during step event editing. When you press Step Hold [UP/DOWN] and set it to “on”, a single step will play repeatedly, based on the Tempo and Pattern Base Unit settings, in order to fine-tune the events for the specific step. This lets you adjust the various event settings in context with the speed and resolution of the sequence. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP Each time you press a different CONTROL knob’s push switch while Step Hold is active, that step will be played, and its information will appear in the LCD. Turning a CONTROL knob will edit the current event value of the selected step. 45 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP Step Sequencer MIDI Output Storing Step Sequences Depending on whether the Step Sequencer is in Single Pattern Play or Pattern Select Play status, you can do the following: • You can use the MIDI Pattern Transmit Channel (“PtnTxCh”) parameter to designate a MIDI channel on which to output the Step Sequencer pattern data, to either play an external tone generator or record the data into a MIDI sequencer or computer. Perform a Voice Store operation to store the current Voice Pattern data in the Voice edit buffer as voice data (in Single Pattern Play status). For information about performing a Voice Store operation, see page 98. • Perform a Sequence Store operation to store the currently selected pattern to any User Pattern memory (in Single Pattern Play or Pattern Select Play status). Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity GateTime ARPEGGIO /SEQ SEQ Store Operation Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT /SETUP This setting is independent from the MIDI Transmit Channel (“MIDI Tx Ch”) in the UTILITY SETUP menu (see page 93), but you can either set them both to the same channel or different channels, depending on your requirements. The diagram below shows an example of how they can be set to different channels to control two different external tone generators. 1. Press SEQ Store [UP/DOWN] to select the user pattern location. “SURE? [Y/N]” and “Bank User” flash alternately in the LCD. Ext. TG 2 (Attack sound) Ext. TG 1 (Pad sound) Rcv. Ch2 Ptn TxCh2 Step Sequencer Rcv. Ch1 MIDI TxCh1 2. Press [YES/ENTER] to store the pattern, or [NO] to cancel the operation (Depends on Keyboard Mode setting) For information about setting the MIDI Pattern Transmit Channel (“MIDI PtnTxCh”), see page 87. The MIDI PtnTxCh setting is a system parameter, and will not be saved as voice data. The SEQ Store operation temporarily stores the pattern currently playing to the pattern edit buffer, so be sure to perform a Voice Store operation (see page 98) before selecting another voice. 46 Using The Free EG The Free EG is extremely flexible. You can record each parameter in separate track passes, or all tracks simultaneously in one pass. You can specify the length of time the Free EG will record or play back, either in measures (up to eight bars, based on Tempo setting), or “absolute” time (up to 16.0 seconds), as well as have the Free EG loop in one of four ways as you hold the keys. The Free EG is a special 4-track recorder for recording real-time knob position movements, one parameter per track. Subsequently, when you play the voice, the data of the parameter assigned to each track will automatically change in accordance with the way you recorded it. Track Common LoopType Trigger Length Key Track Track Track No Param Scene Sw Track Job Rec Copy Undo You can copy Free EG data from another track to the current track, within the same voice as well as from another voice. And since Free EG track data and settings are voice parameters, they are stored as voice data when you perform a Voice Store operation. VOICE FREE EG For information about the Free EG recording procedure, see page 84. Parameter changes over time (bars or seconds) ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4 ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8 Track 1 MIX/VCF Track 2 SYNC/FM Sync Pitch Noise Level Track 3 VCF Resonance Track 4 VCF VCF Cutoff Values relative to knob movements Free EG Parameters Track Common LoopType Trigger There are three categories of Free EG parameters: (1) Track Common, which includes settings that affect all four tracks of data for recording and play; (2) Track, or settings which determine the current Free EG track, the parameter assigned to each track, and which Scene the Free EG will play; and (3) Track Job, for recording a track (or all tracks) and performing track copy operations. Following is a brief description of parameters available in each category. Length Key Track Track Track No Track Common Parameters Trigger: Determines how the track playback is triggered, either by pressing a key on the AN1x’s keyboard after selecting a voice (“free”), a Note On message from the keyboard or an external MIDI device (“kbd”), or by a Note On message from either the keyboard, an external device, the Arpeggiator or Step Sequencer (“all”). For more information, see page 81. 47 Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG Track Parameters Loop Type: Determines the type of loop for play of the Free EG sequence, either to play once but not loop (“off”), to loop forward from beginning to end (“fwd”), to loop forward from middle to end (“half”), to Alternate, i.e., loop from beginning to end then end to beginning (“ alt”), or to Half Alternate, i.e., loop from middle to end then end to middle (“ half”). Track No (Track Number): Selects a Free EG track (“Trk1” ~ “Trk4”). Track Common LoopType Trigger Length Key Track Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG For more information, see page 82. Length: Determines the time for recording and play of the Free EG sequence, either by number of measures (between 1/2 and 8 bars; determined by Tempo setting) or in absolute time (between 1.0 and 16.0 seconds). For more information, see page 83. Param (Parameter): Determines which knob parameter will be played by the data in the track. For more information, see page 83. For more information, see page 82. Only one parameter can be selected for a track. For information about available parameters, see the separate Data List book. Key Track: Determines the length of the Free EG in relation to notes played on the keyboard, using C3 as the basic note length, where positive values decrease the length when you play in the higher register, and negative values decrease the length when you play in the lower register. (A setting of “0” has no effect.) SceneSw (Scene Switch): Determines which Scene (or if both Scenes) will be played by the selected Free EG track. For more information, see page 83. For more information, see page 82. 48 Track Job Parameters Using The Control Features Rec (Record): Determines how a Free EG record operation will be executed (i.e., either the selected track or all tracks). Pressing a key on the keyboard starts recording. Track Common LoopType Trigger Length Key Track Track Track No Param Scene Sw Track Job Rec Copy Undo The AN1x is equipped with a variety of control features that can be used while playing (or editing) the instrument, and flexible controller assignment features which determine the parameter that will be controlled by any given controller. These functions work together to give you sophisticated expressive control over the sound of both the AN1x itself as well as any connected MIDI instruments. VOICE FREE EG Real-time Control The AN1x's real-time controllers include all on-board sound control features manipulated by hand or foot, which also can output continuous Control Change data via MIDI, including the eight CONTROL knobs, the [MODULATION] wheel, the [PITCH] wheel, the [RIBBON] controller (with both horizontal X-axis and Z-axis push control), and [FOOT CONTROLLER], [FOOT VOLUME] and controllers (as assigned in the Utility Control Assign function). For more information, see page 83. Copy: For copying the Free EG data of a track in the current voice to the currently selected track, or copying the data of any track in any voice to the currently selected track of the current voice. Also included are the various switches, such as the [FOOTSWITCH] and [PORTAMENTO] and other panel switches, which output a specific discrete (on/off) MIDI Control Change message each time they are pressed. The PROGRAM CHANGE keypad outputs MIDI Program Change messages each time a voice is selected. For more information, see page 83. Undo: Lets you “undo” as well as “redo” the most previous Free EG copy or record operation. Continuous And Discrete Controllers Continuous type controllers send a continuous stream of Control Change data (between 000, or minimum, and 127, or maximum) as you move them. The [FOOT CONTROLLER] and [FOOT VOLUME] jacks on the AN1x’s rear panel is for use with “continuous” Foot Controllers (such as the Yamaha FC7). The [FOOTSWITCH] jack is for use with “discrete” on/off Footswitches (such as the Yamaha FC4 or FC5). These can be used to control various AN1x functions as well as external MIDI devices. For more information, see page 84. Continuous parameters which can be controlled include Modulation Depth, Volume, Panpot, Expression, Pitch Control, Attack, Decay, Release, Vibrato Speed, Pan Range, Effect Depth, Reverb Depth, and much more, if you make appropriate settings in the Control Matrix. When copying a track, only track data is copied. Scene status is not copied. Free EG Base Position Knob positions are recorded in a Free EG track as increases (positive values) and decreases (negative values) to the “base” position of the knob, or the position at which the knob is located when you first move it. After Free EG recording, if you change the knob parameter, you also change the base position accordingly. For example, if the knob base position is set too high, the Free EG data changes may occur out of the range of the assigned track parameter. Therefore, take care not to set the knob base position too high. Continuous/discrete parameters which can be controlled include Sustain, Sostenuto and Soft. You can use a continuous controller to send discrete messages, where 000~063 represents “off” and 064~127 represents “on”, but for best results and ease of operation, use an on/off Footswitch. 49 Step Sequencer Event Control Based on settings in the Control Assign function as well as in the Control Matrix, you can use a single controller to control one parameter of the internal tone generator and another parameter of an external MIDI device, both at the same time. It also lets you determine which device (MW, FC, etc.) to use for Scene Control (see page 20). The Step Sequencer’s Ctrl No (Control Number) parameter lets you determine the type of MIDI Control Change which can be output upon sequencer play. Once the Control Number is set, the Control Change event is selected with Knob Event parameter [UP/DOWN] and the value to be output via each step is edited with the CONTROL knobs. For more information, see page 91. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank Base Unit No Length LoopType Ctrl No SEQ Store Controllers which can be assigned using the UTILITY SETUP Control function: MW — Modulation Wheel FV — Foot Volume FC — Foot Controller FS — Footswitch RbnX — Ribbon Controller X-axis RbnZ — Ribbon Controller Z-axis Knob1~8 — Assign group knobs 1 ~ 8 SCENE — Scene Control controller SEQ EDIT /SETUP Between the Control Assign function (system) knob assignments and Control Matrix (voice) knob assignments, you can configure a monster knob control system where each knob simultaneously controls either the same Control Change parameter for the internal tone generator as for an external tone generator, or different parameters for the internal and external tone generator. AN1x Tone Generator Utility Control Assign Function VOICE SCENE SETUP Control Matrix MIDI IN MIDI OUT Control parameters in the UTILITY SETUP menu let you designate the type of Control Change messages which can be controlled by the [MODULATION] wheel, each of the eight CONTROL knobs, the [RIBBON] controller (X-axis and Z-axis), etc., by assigning Control Change numbers to specific "Device" controllers. For more information, see page 95. System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP Control CC For more information about each parameter, see the separate Data List book. For information about the procedure for assigning controllers, see page 95. UTILITY SETUP 50 Source: Determines which controller (by Control Change number) is assigned to control the corresponding Parameter. Control Matrix Control Matrix parameters apply to the internal tone generator only. It determines how MIDI Control Change messages generated by the on-board controllers (eight CONTROL knobs, [MODULATION] wheel, [FOOT CONTROLLER], [RIBBON] controller, etc.), as well as messages generated by external devices received at the MIDI [IN] terminal, are routed to the AN1x’s tone generator, as well as the depth range of control. Mode Poly Port LFO Rst Ctrl Matrix Param Set No Source Depth Layer Pan Separate Unison Detune Depth: Determines the control range of the Source controller. When set to "Dirct" (0 setting), the Direct Control function is activated, and you can directly edit the parameter assigned to the controller within its original range. For more information, see page 75. VOICE SCENE SETUP The Control Matrix is a configuration of 16 Sets of control setup, plus Pitch Bend parameters and two sets of Common parameters. The 16 parameter Sets and Pitch Bend parameters apply to each Scene separately, and the Common parameters apply to the voice. Following is a brief description of each. For more information about each parameter, available settings, and how to assign parameters and controllers using the Control Matrix, see page 73. Set No: For selecting Pitch Bend Pitch Up and Down (each Scene), the number of the Set (1-16; for each Scene), and Common (1 and 2; both Scenes) parameter assignments. For information about MIDI and MIDI Control Change messages, see page 109. Parameter: Determines which parameter is assigned to the Scene Set Number (1-16) or Pitch Bend, or Common Set (1-2). 51 This section provides a list of the many AN1x parameters and a description of each for reference purposes. Check the CONTENTS or INDEX to locate the page number of the parameter you need. Voice Select Procedure 2 1. Press [+] to increment through the voices sequentially. You can select a voice for play from among the 128 voices in memory. There are two procedures for doing so, as listed below. 2. Press [-] to decrement through the voices sequentially. In this case you do not need to press [YES/ENTER], as the voice is called up with each press of the [+] or [-] key. Procedure 1 1. Enter a number between [1] and [128] in the PROGRAM CHANGE keypad. The voice number that you enter will start flashing in the LCD. VWX YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 PROGRAM CHANGE VWX YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC 0 – NO YES/ ENTER ABC – 0 NO When a voice is selected, a MIDI Program Change message is transmitted to the AN1x’s internal tone generator and the MIDI [OUT] terminal. Voice numbers 001 ~ 128 correspond to Program Change numbers 000 ~ 127, respectively. (For information about MIDI, see page 109.) YES/ ENTER When the voice number is flashing, pressing [NO] will cancel the voice select operation and the LCD will revert to the previous condition. 2. When the voice number is flashing, pressing [YES/ENTER] will call up the voice assigned to the number which you entered. The voice name, voice Category and voice number will display in the LCD, along with the Poly mode, Layer mode and Arpeggiator/Sequencer (on/off) status. Voice name Poly mode, Layer mode and Arp/SEQ status OTHERS VWX YZ 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC 0 – NO YES/ ENTER Voice Category Voice number For additional information see Poly mode, page 72, Layer mode, page 22, Arpeggiator, page 33, and Step Sequencer, page 37. 52 Knob Edit 2. Press a CONTROL knob without turning it. The parameter name, current value and a horizontal knob data graph will display in the LCD. A flashing segment in the data graph indicates the value position of the knob, whereas shaded segments indicate the actual current position of the knob. The eight CONTROL knobs let you edit various characteristics of each voice in real-time. Edited data of the selected voice can be stored to any voice memory (1 ~ 128). Parameter name The function of each knob depends on which KNOB PARAMETER GROUP switch is selected. Available parameter groups are as follows: Parameter value Knob position of the parameter value (flashing segment) SYNC/FM: Sync function/Frequency Modulation PEG/LFO: Pitch Envelope Generator/Low Frequency Oscillator VCO1: Voltage Controlled Oscillator 1 VCO2: Voltage Controlled Oscillator 2 VCF: Voltage Controlled Filter MIX/VCF: Mixer/Voltage Controlled Filter VCA: Voltage Controlled Amplifier ASSIGN: Assigned knob parameters Data graph Actual knob position 3. Turn the knob one way or the other to edit the value of the parameter. Turning the knob to the right increases the value and turning it to the left decreases the value. The knob data graph provides a visual reference of the current knob position as you turn the knob. Leftward positions are indicated by a shorter horizontal bar, and rightward positions are indicated by a longer bar. For more information about the CONTROL knobs, see page 26. A blank chart for writing down parameter values of user voices is provided on page 114. 1. Press a KNOB PARAMETER GROUP switch. The LED to the left of the selected switch lights. KNOB PARAMETER GROUP SYNC/FM PEG/LFO VCO1 VCO2 VCF MIX /VCF VCA ASSIGN Length of graph indicates current knob position You can omit step 2 and edit the parameter directly by turning the knob. Edit information will display in the LCD accordingly. The parameter available to control or edit for each knob is printed on the panel by each knob, color coded to match the related KNOB PARAMETER GROUP switch. For example, if [VCA] (white switch) is selected, each knob accesses the parameter printed in the white area to the lower left of the knob: Attack, Decay, Sustain, Release, Feedback, Volume, Amod Depth, and Vel Sens, respectively. Algorithm PEG Decay Sync Pitch PEG Depth Sync Pitch Depth PEG Sw Sync Pitch Src Wave Wave Pitch Pitch Fine Fine Edge Attack VCO1 Level Decay VCO2 Level Sustain Ring Mod Release Attack Sustain Decay ASSIGN 1 Sync Pmod Sw ASSIGN 2 LFO1 Wave FM Depth PW PWM Depth PW VCF Cutoff HPF Feedback ASSIGN 5 LFO1 Spd FM Src1 PWM Depth PWM Src VCF Type Reso nance Volume PWM Src Fmod Depth FEG Depth Amod Depth ASSIGN 6 Edge Noise Level ASSIGN 7 FM Src2 PmodDepth KNOB PARAMETER GROUP SYNC/FM ASSIGN 4 LFO1 Dly 4. Edit other parameters. To confirm and edit other parameters in the same group, simply repeat steps 2 and 3. To edit parameters in other groups, repeat steps 1 through 3. Port Time Release ASSIGN 3 Simply turning a knob will increase or decrease the parameter value in coarse values (large amounts), and will cancel the flashing indicator. Turning a knob while pressing it will increase or decrease the parameter value in fine values (small amounts), and will position the flashing indicator, which will remain flashing when you subsequently release the knob. The range will be narrower than that available by coarse edit. PEG/LFO VCO1 VCO2 PmodDepth VCF MIX /VCF Key Track VCA ASSIGN All the changes made here take place in the selected Scene. LFO2 Spd Vel Sens Vel Sens ASSIGN 8 53 5. Store the edited voice. When you’ve completed the editing procedure and wish to store the edited knob parameters, you can store it as a new voice in any desired voice location (1 ~ 128). For details, see Voice Store, page 98. Edit Mark When a voice parameter is changed, the Edit mark will display in reverse type in the LCD. The Edit mark indicates that voice data has been changed from the original but has not yet been stored. If you turn off the AN1x, or if the adaptor gets disconnected by accident, your edited data will still remain in memory when you turn the power back on. Always be sure to store important voice data. Indicates a voice has been edited but not stored Always be sure to store your edited voice before selecting a different voice, or you will lose your edited data (see Voice Store, page 98). If you should inadvertently forget to store your edited data before selecting a different voice, you can use the Voice Recall function to retrieve the edited data. For details, see page 96. While you’re editing, you can confirm the current voice number and name at any time by pressing [+] or [-] once to display it in the LCD. Subsequently, you can continue editing by pressing or turning a knob. Voice Recall If you select a different voice before storing important voice data, you can use the Voice Recall function to retrieve the edited voice data. For details, see page 96. Knob Parameters This section provides a description of each parameter available for control or edit in each KNOB PARAMETER GROUP. KNOB PARAMETER GROUP PEG/LFO SYNC/FM VCO1 VCO2 VCF MIX/VCF VCA ASSIGN PEG Decay Algorithm Wave Wave Attack VCO1 Level Attack PEG Depth Sync Pitch Pitch Pitch Decay VCO2 Level Decay PEG Sw Sync Pitch Depth Fine Fine Sustain Ring Mod Sustain Port Time Sync Pitch Src Edge Edge Release Noise Level Release LFO1 Wave Sync Pmod Sw PW PW VCF Cutoff HPF Feedback LFO1 Spd FM Depth PWM Depth PWM Depth Resonance VCF Type Volume LFO1 Dly FM Src 1 PWM Src PWM Src FEG Depth Fmod Depth Amod Depth LFO2 Spd FM Src 2 PmodDepth PmodDepth Vel Sens Key Track Vel Sens ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4 ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8 PEG/LFO The LFO is an oscillator that generates low frequency signals used to modulate the VCO (for pitch modulation, or vibrato), the VCF (for filter modulation, or wah) or the VCA (for amplitude modulation, or tremolo). The AN1x has two separate LFOs, LFO1 and LFO2. When KNOB PARAMETER GROUP switch [PEG/LFO] is selected, the eight CONTROL knobs will access specific Pitch Envelope Generator- and Low Frequency Oscillatorrelated parameters. For more information about the PEG and LFOs, see pages 31, 32. The PEG controls the envelope of how the pitch of a voice changes over time, from when a key is pressed, held, then released, and how long it takes for the sound to terminate. 54 PEG Decay PEG Depth The PEG Decay setting determines the time required for a sound to reach its basic pitch from the PEG Depth level while the key is held. The PEG Depth setting determines the pitch in semitones. When PEG Decay (see above) is set to a positive value, the PEG Depth setting represents the start pitch. When PEG Decay is set to a negative value, the PEG Depth setting represents the end pitch. The following graph shows how the decay changes when a key is pressed if a positive PEG Decay value is set. Turning the knob to the left lowers the pitch, while turning it to the right raises the pitch. When the knob is set to center position (basic pitch), the pitch will not change. PEG Decay = Positive setting High Pitch Settings: -64 ~ 0 (basic pitch) ~ +63 PEG Depth See the PEG Decay graphs (at left) for an illustration of the relationship between PEG Depth and PEG Decay. PEG Depth Time PEG Sw Low Pitch (PEG Switch) The PEG Switch setting determines which VCO the PEG is applied to, VCO1, VCO2, or both VCO1 and VCO2. Applying the PEG to the VCO1 or VCO2 can simulate the delicate pitch change of a wind instrument. PEG Decay = The following graph shows how the decay changes when a key is pressed if a negative PEG Decay value is set. PEG Decay = Negative setting High Pitch PEG Depth Settings: VCO1, VCO2, both PEG Depth Time Low Pitch PEG Decay = Settings: -64 ~ 0 ~ +63 55 Port Time (Portamento Time) Sine Wave Portamento is an effect commonly used in singing or when playing a bowed instrument, where the sound is carried in a continuous glide from one note (or more) to the next, through all the intermediate pitches. Sine The Portamento Time setting determines the time it takes for the pitch to reach the subsequent note played. Lower values result in a faster pitch change, and higher values result in a slower pitch change. Sine Sine Settings: 0 ~ 127 For more information about Portamento, see page 24. When the Portamento is turned off (by the [PORTAMENTO] switch), "– – –" will flash in the LCD, to indicate that the portamento function is not available for confirmation. Sine180 LFO1 Wave The LFO1 Wave setting determines the type of wave for LFO1. The wave set here determines the characteristics of the modulation applied to the VCO (vibrato), VCF (wah) and VCA (tremolo). There are 21 wave types, as shown at right and the following pages. Sine180 Settings: sine, sine↑, sine ↑↑, sine180↑, sine180↑↑, tri, tri↑, tri↑↑, tri180↑, tri180↑↑, squ, squ↑↑, squ180↑↑, saw dwn, saw dwn↑↑, saw up, saw up ↑↑, s/h, s/h↑↑, s/h2, s/h2↑↑ 56 Tri (Triangle) Wave Squ (Square) Wave Triangle Square Triangle Square Triangle Square180 Triangle180 Saw (Sawtooth) Wave Saw down Triangle180 Saw down Saw up Saw up 57 LFO1 Dly s/h (Sample & Hold) Wave (LFO1 Delay) The LFO1 Delay setting determines the delay time of the modulation. Turning the knob to the left results in shorter LFO1 Delay times, and turning it to the right results in longer Delay times. s/h s/h Short Delay Long Delay s/h2 Settings: 0 ~ 127 LFO2 Spd (LFO2 Speed) Description, parameters and values for LFO2 Speed are the same as for LFO1 Speed, above. s/h2 The LFO2 wave is fixed to “triangle”, and cannot be changed. Compared with "s/h", s/h2 is biased to the positive range. SYNC/FM LFO1 Spd (LFO1 Speed) When KNOB PARAMETER GROUP switch [SYNC/FM] is selected, the eight CONTROL knobs will access specific Sync function- and Frequency Modulation-related parameters. The LFO1 Speed setting determines the rate of LFO1. Turning the knob to the left results in slower rates and turning it to the right results in faster rates. (For details about the LFO Reset function, see page 73.) Sync parameters are related to the synchronization status of the two VCO1 oscillators (master and slave), which are the fundamental waveform generating elements in the AN1x. Slow Speed A Frequency Modulation (FM) signal (“modulator”) can be applied to the VCO1 in one of several ways to change its frequency, in which case the output of the oscillator will become the modulated signal (“carrier”). Fast Speed For more information about Sync and FM, pages 31, 59. Settings: 1 ~ 256 58 Algorithm Sync Pitch The Algorithm setting determines how the two VCO1 oscillators (master and slave) are connected in relation to the FM signal. There are four types of connections, or “algorithms”, as shown in the diagrams below. The Sync Pitch setting determines the pitch of the slave oscillator in semitones, available only when the Sync is on. This lets you create a difference in pitch between master and slave oscillators and control the resulting harmonic interval. Settings: only FM, Sync+FMbth, Sync+FMmst, Sync+FMslv When the knob is in the center position, the pitch is the same as the master oscillator. Turning the knob to the right increases the interval, and turning it to the left results in a softer sound. only FM (Sync is disabled) VCO1 FM Master of VCO1 VCO2 LFO1,2 EG, etc. Sync+FMbth (Sync is enabled and FM is applied to both master and Slave oscillators) Master of VCO1 Settings: -64 ~ 0 ~ + 63 Slave VCO1 Sync To achieve a discernible result, make sure the VCO1 Level (page 66) is turned up high enough. FM Master of VCO1 VCO2 LFO1, 2 EG, etc. The Sync Pitch function is effective only when the Algorithm type is set to one besides "only FM". Sync Pitch Depth Sync+FMmst (Sync is enabled and FM is applied to the master oscillator) Master of VCO1 The Sync Pitch Depth setting determines the amount of depth of control from the Sync Pitch Source (determined by the Sync Pitch Source setting, below) over time. Turning the knob to the right increases the Depth. Slave VCO1 Sync FM VCO2 LFO1, 2 EG, etc. Sync+FMslv (Sync is enabled and FM is applied to the slave oscillator) Master of VCO1 Slave VCO1 Settings: -64 ~ 0 ~ + 63 Sync FM Master of VCO1 VCO2 LFO1, 2 EG, etc. When set to "only FM", the master and slave oscillators are disabled and the VCO1 becomes a single oscillator. For more information about Sync and FM, see pages 31, 59. 59 Sync Pitch Src FM Src1 (Sync Pitch Source) (FM Source 1) The Sync Pitch Source setting determines the source which applies the modulation over time to the slave oscillator. The FM Source 1 setting determines the modulation source which controls the FM Depth (see previous parameter). Settings: fixed, PEG, FEG, LFO1, LFO2 Settings: fixed, PEG, FEG, LFO1, LFO2 When set to “fixed”, there is no change in modulation over time. Sync Pmod Sw When set to “fixed”, there is no change in modulation over time. FM Src2 (Sync Pitch (FM Source 2) The FM Source 2 setting determines the source wave which modulates the VCO1 wave. Modulation Switch) The Sync Pitch Modulation Switch setting determines which oscillator (master, slave, or both) is modulated by the LFO1. Depth rate is determined by the VC01 Pmod Depth setting (see page 63). Settings: VCO2, VCO1, VCO1s (sub oscillator), PEG, FEG, LFO1, LFO2 Settings: mastr, slave, both Pitch Modulation cannot be controlled by LFO2. FM Depth The FM Depth setting determines the amount of modulation created by FM Source 1 (see next parameter). Turning the knob to the right increases the Depth. Settings: -64 ~ 0 ~ +63 This is a different type of parameter than that used in the Yamaha DX-series FM synthesizers. Too deep of a setting will change the pitch of the voice. Adjust the pitch using the VCO1 Pitch and Fine parameters (see pages 61, 62). 60 saw2 (Sawtooth2) VCO1 The spectrum of the saw2 wave is created by a sawtooth wave combined with a pulse wave, and therefore is slightly different than the saw1 wave. When the Pulse Width (see page 62) is set to 64, the shape of the wave is the same as saw1. Even if you increase the even-numbered harmonics by the Pulse Width, the basic pitch remains the same. When KNOB PARAMETER GROUP switch [VCO1] is selected, the eight CONTROL knobs will access specific Voltage Controlled Oscillator 1-related parameters, including wave selection, pitch specification and wave control. For more information about VCO1, see pages 10, 30. Wave PW = below 64 The Wave setting determines the VCO1 wave. Available waves depend on the current SYNC status (on/off). mix The mix wave is formed by a combination of saw and pulse waves. Settings: Pulse When SYNC = off: saw, pulse, saw2, mix Saw Mix When SYNC = on: saw, pulse, Innrl, Innr2, Innr3 innr1, innr2, innr3 The difference between saw/pulse Sync on and Sync off is only a slight nuance in sound which becomes especially distinctive when the Pulse Width (see page 62) is set to a value other than 64. When SYNC is set to “on”, three “inner” waves (Innr1-3) are available. This wave is effective when used with Pulse Width (see page 62). saw (Sawtooth) The saw (sawtooth) wave derives its name from its shape, and is used to create a trumpet or violin sound. Since it contains all harmonics in the spectrum, it produces a full, rich sound. When used with the Pulse Width function (see page 62), increasing the even harmonics can raise the pitch to a maximum of a full octave. Pitch The Pitch setting determines the pitch of the VCO1 in semitones. Turning the knob to the right raises the Pitch, while turning it to the left lowers the Pitch. The center position (value = 0) is the basic pitch. PW = below 64 pulse (Square) Settings: -64 ~ 0 ~ +63 The pulse (square) wave is used to make woodwind (clarinettype) sounds. Its spectrum is similar to a sawtooth wave, but since every second (even-numbered) harmonic is missing, the waveform contains only odd-numbered harmonics when Pulse Width (see page 62) is set to "64". 61 Fine PW The Fine (fine tune) setting determines the pitch of the VCO1 in 1-cent steps over a range of 100 cents, or one semitone. Turning the knob to the right raises the pitch, while turning it to the left lowers the pitch. The center position (value = 0) is the basic pitch. The PW setting determines the width of the VCO1 pulse wave. Turning the knob to the right produces more harmonics, resulting in a fatter sound. In general, pulse width is used to control the pulse wave; however, the AN1x can use PW with other waves as well, for a wider possible variety of sounds than usual. (Pulse Width) Settings: -50 ~ 0 ~ +50 (cents) Pulse Width is Small Pulse Width is 64 (50%) Pulse Width is Large Edge The Edge setting adjusts the sharpness or smoothness of the edge of the VCO1 wave. Turning the knob to the right produces a sharper wave, resulting in a harsher sound. Turning it to the left produces a rounder wave, resulting in a softer sound. A value of “0” results in a sine wave. More Harmonics Basic Pulse Wave (with only oddnumbered harmonics) More Harmonics When set to 64, the Pulse Width is equally balanced, generating only odd-numbered harmonics. Settings: 0 ~ 64 ~ 127 (0% ~ 50% ~ 99%) PWM Depth (Pulse Width Modulation Depth) The PWM Depth setting determines the amount of depth of the pulse width modulation of the VCO1, based on the PWM Source wave (see next page). Turning the knob to the right produces a deeper modulation. Sharper wave Rounder wave Sine wave Settings: 0 ~ 127 Settings: -64 ~ +63 62 PWM Src VCO2 (Pulse Width Modulation Source) When KNOB PARAMETER GROUP switch [VCO2] is selected, the eight CONTROL knobs will access specific Voltage Controlled Oscillator 2-related parameters, including wave selection, pitch specification and wave control. The PWM source setting selects the source wave which changes the VCO1’s pulse width over time, thus determining the behavior of the pulse width. For more information about VCO2, see pages 10, 30. Wave The Wave setting determines the VCO2 wave when the SYNC (see page 59) is turned off. Settings: fixed, PEG, FEG, LFO1, LFO2, LFO2p, LFO2f When set to “fixed”, there is no change in modulation over time. The Low Frequency Oscillator 2 Phase (LFO2p) shifts the LFO2 wave later by 60 degrees. The Low Frequency Oscillator 2 Fast (LFO2f) slightly speeds up the LFO2 cycle. PmodDepth Settings: saw, pulse, saw2, mix (Pitch Modulation Depth) Available waves are the same as for VCO1. For a description, see page 61. The Pitch Modulation depth setting determines the depth of the pitch modulation of VCO1 by the LFO1. Pitch Modulation adds a cyclical change to the pitch to create a vibrato effect. Turning the knob to the right widens the range of the pitch change. Negative value settings reverse the phase of the LFO1 by 180 degrees. Pitch Fine Edge PW Settings: -127 ~ +127 PWMDepth PWM Src PmodDepth (All parameter descriptions are the same as for VCO1; see page 61.) 63 VCF Sustain When KNOB PARAMETER GROUP switch [VCF] is selected, the eight CONTROL knobs will access specific Voltage Controlled Filter-related parameters. The Sustain setting determines the level of sustain of the FEG, which is the fixed level of the cutoff frequency maintained as long as the key is held. Turning the knob to the right increases the Sustain level. The VCF is a filter which permits a specific range of frequencies to pass, while cutting off the rest, thus giving you considerable control over many aspects of the timbre. Available parameters include cutoff frequency range of the VCF and range of the resonance. The VCF can also be controlled by the attack time, decay time, sustain level and release time of the FEG (Filter Envelope Generator), which lets you shape how the timbre of the voice changes over time, from when a key is pressed, held, then released, and subsequently how long it takes for the sound to terminate. Settings: 0 ~ 127 Release The Release setting determines the release time of the FEG, which is the time it takes for the signal to reach a level of “0” after a key is released (key off). Turning the knob to the right increases the Release time. For more information about the VCF and FEG, see page 31. Attack The Attack setting determines the attack time of the FEG, which is the time it takes for the signal to reach its maximum cutoff frequency level after a key is pressed (key on). Turning the knob to the right produces a longer Attack time. Settings: 0 ~ 127 Cutoff frequency Settings: 0 ~ 127 Time Sustain Decay Attack The Decay setting determines the decay time of the FEG, which is the time it takes for the signal to reach its sustain level from the maximum level while a key is held. Turning the knob to the right produces a longer Decay time. Key on Settings: 0 ~ 127 64 Decay Release Key off VCF Cutoff FEG Depth The VCF Cutoff setting determines the cutoff frequency of the VCF. The value set here is related to the assigned VCF Type in the MIX/VCF parameter group (see page 67). The FEG Depth setting determines the range of movement of the cutoff frequency. Turning the knob to the right increases the FEG Depth. Negative values reverse the shape of the envelope. When not using the FEG, set the value to “0”. For example, when the filter type is set to Low Pass Filter, the lower frequencies are passed while higher frequencies are cut off. Turning the knob to the right increases the VCF Cutoff frequency, as shown in the graph below. Level Cutoff frequency Time Range passed Cutoff range Cutoff frequency Settings: -128 ~ +127 Frequency VCF Type = Low Pass Filter Vel Sens (Velocity Sensitivity) The Velocity Sensitivity setting determines how the VCF responds to velocity, or keyboard playing strength. Turning the knob to the right increases dynamic range according to how hard you strike the keys, and turning it to the left produces the opposite effect (i.e., a lighter touch increases the dynamic range and a heavier touch decreases it). A setting of "0" creates no change in dynamic range by playing strength. Settings: 0 ~ 127 Resonance The Resonance setting determines the amount of resonance boost, or emphasis of harmonics near the cutoff frequency. Turning the knob to the right produces a higher resonant peak (producing sharper high tones), while turning it to the left produces a relatively flat response. A setting of “0” applies no resonance. Settings: -64 ~ 0 ~ +63 Level 102 64 0 -12 Cutoff frequency Frequency Settings: -12 ~ 0 ~ +102 65 MIX/VCF Ring Mod (Mixer/VCF) (Ring Modulator Level) The Ring Modulator setting controls the balance of the Ring Modulator level in relation to the VCO1, VCO2, Noise, and VCA Feedback levels. Turning the knob to the right increases the Ring Modulator level. When not using the Ring Modulator, set this value to “0”. When KNOB PARAMETER GROUP switch [MIX/VCF] is selected, the eight CONTROL knobs will access specific Mixer- and Voltage Controlled Filter-related parameters, including VCO1 and VCO2 signal level, Noise and Ring Modulator levels, VCF Type and HPF (High Pass Filter), and Key Track settings, and depth of frequency modulation. For more information about the VCF, see page 31. VCO1 Level The VCO1 Level setting determines the balance of the VCO1 level in relation to the VCO2, Ring Modulator, Noise, and VCA Feedback levels. Turning the knob to the right increases the VCO1 Level. When using the VCO2 only, set this value to “0”. Settings: 0 ~ 127 The Ring Modulator combines the VCO1 and VCO2 signals and outputs the sums and differences of all the frequency components of both inputs. It is particularly effective for producing dissonant interval sounds with a clangorous, or metallic effect. Noise Level The Noise Level setting determines the balance of the Noise signal in relation to the VCO1, VCO2, Ring Modulator, and VCA Feedback levels. Turning the knob to the right increases the Noise Level. When not using Noise, set the level value to “0”. Settings: 0 ~ 127 VCO2 Level The VCO2 Level setting determines the balance of the VCO2 level in relation to the VCO1, Ring Modulator, Noise, and VCA Feedback levels. Turning the knob to the right increases the VCO2 Level. When using the VCO1 only, set this value to “0”. By mixing in Noise and selecting an appropriate Filter Type (VCF, HPF, etc.), you can create a wide variety of unique “special effect” sounds. Settings: 0 ~ 127 Settings: 0 ~ 127 66 HPF BPF (High Pass Filter Cutoff) The Band Pass Filter passes only those frequencies in the specified range, with a cutoff curve of 12dB/octave. The HPF setting determines the cutoff frequency of the High Pass Filter. Frequencies above the setting are passed while those below are cut off. Turning the knob to the right increases the HPF Cutoff frequency, resulting in a brighter sound. Level Cutoff range Range passed Cutoff range Center frequency Frequency HPF12 The High Pass Filter passes only those frequencies above the specified cutoff point, with a cutoff curve of 12dB/octave. Level Cutoff range Range passed Level Cutoff range Cutoff frequency Range passed Frequency Settings: 0 ~ 127 Cutoff frequency This High Pass Filter is applied to the signal after the mixer, and is different than the one available in the VCF Type. Frequency BEF VCF Type The Band Eliminate Filter passes only those frequencies outside the specified frequency range. The Resonance setting (see page 65) determines the eliminate range. The VCF Type setting determines the type of filter used by the VCF. The VCF passes only a specified range of frequencies while cutting off the rest, to give you versatile control over the timbre. There are six types of filters, as described below. Level Range passed Cutoff range Range passed Settings: LPF24, LPF18, LPF12, BPF, HPF12, BEF Center frequency LPF24, LPF18, LPF12 The Low Pass Filter passes only those frequencies below the specified cutoff point. A cutoff curve of 24dB/octave (LPF24), 18dB/octave (LPF18) and 12dB/octave (LPF12) can be selected. Level The filters listed above apply to the signal output from the HPF located between the Mixer and VCA. For more information about the signal path, see page 10. Cutoff range 12dB/oct 18dB/oct 24dB/oct Cutoff frequency Frequency Frequency 67 Fmod Depth VCA (Filter Modulation Depth) The Filter Modulation Depth setting determines the depth of the filter modulation of the VCF by the LFO1. Filter Modulation adds a cyclical change to the filter cutoff frequency to create a wah effect. Turning the knob to the right widens the range of the cutoff frequency change. Negative value settings reverse the phase of the LFO1 by 180 degrees. When KNOB PARAMETER GROUP switch [VCA] is selected, the eight CONTROL knobs will access specific Voltage Controlled Amplifier-related parameters. The VCA is an amplifier used to increase the gain of the input signal as received from the VCF, which is then passed to the Effect block in the signal path. Available parameters include level controls for feedback, volume and keyboard velocity sensitivity, as well as depth control for amplitude modulation. The VCA can also be controlled by the attack time, decay time, sustain level and release time of the AEG (Amplitude Envelope Generator), to let you shape how the volume level changes over time, from when a key is pressed, held, then released, and subsequently how long it takes for the sound to terminate. Settings: -64 ~ +63 Key Track For more information about the VCA, see pages 11, 32. The Key Track setting determines the key tracking of the VCF, raising or lowering the cutoff frequency point in accordance with the notes played on the keyboard. When Key Track is applied, the cutoff range shifts accordingly at every note, with C3 as the base. Attack The Attack setting determines the attack time of the AEG, which is the time it takes for the signal to reach its maximum volume level after a key is pressed (key on). Turning the knob to the right produces a longer Attack time. Turning the knob to the right (positive values) will cause higher notes to have a higher cutoff point. Turning it to the left (negative values) causes higher notes to have a lower cutoff frequency. A value setting of “0” will apply no key tracking. Settings: 0 ~ 127 Key Track+ Decay Cutoff + Lower Keyboard The Decay setting determines the decay time of the AEG, which is the time it takes for the signal to reach the sustain level from a maximum volume level while the key is held. Turning the knob to the right produces a longer Decay time. Upper Keyboard – C3 Key Track– Cutoff + Lower Keyboard Upper Keyboard – C3 Settings: -32 ~ +63 Settings: 0 ~ 127 68 Sustain Feedback The Sustain setting determines the level of sustain of the AEG, which is the level at which the volume will be maintained for as long as a key is held. Turning the knob to the right increases the Sustain level. The Feedback setting determines the level of feedback output from the VCA and “fed back” into the input of the mixer, causing the signal to build up in amplitude according to the level you set. Turning the knob to the right increases the Feedback level, resulting in a fatter sound. Settings: 0 ~ 127 Release VCO Mixer The Release setting determines the release time of the AEG, which is the time it takes for the signal to reach a level of “0” after a key is released (key off). Turning the knob to the right increases the Release time. HPF VCF VCA OUT Feedback Settings: 0 ~ 127 Feedback should be applied slowly and with caution. Too much feedback can create extremely high frequencies, potentially resulting in damage to your speakers. Too much feedback may drastically change the VCF characteristics. Settings: 0 ~ 127 Volume Level The Volume setting determines the overall output level from the VCA before the signal passes to the Effect block. Turning the knob to the right increases Volume level. Time Sustain Attack Key on Decay Release Key off Settings: 0 ~ 127 69 Amod Depth ASSIGN (Amplitude Modulation Depth) When KNOB PARAMETER GROUP switch [ASSIGN] is selected, each of the eight CONTROL knobs can be used as an individual controller for specified Control Change parameters which can be freely assigned. The Amplitude Modulation Depth setting determines the depth of the amplitude modulation of the VCA by the LFO1. Amplitude Modulation adds a cyclical change to the volume level to create a tremolo effect. Turning the knob to the right widens the range of the volume change. Negative value settings reverse the phase of the LFO1 by 180 degrees. Assign 1-8 As MIDI controllers, knob movements output control data from the MIDI [OUT] terminal. Turning each knob to the right increases the value setting for the assigned parameter. Turning it to the left decreases the value setting. Settings: -64 ~ +63 Vel Sens (Velocity Sensitivity) The Velocity Sensitivity setting determines the amplitude range of the VCA according to playing strength, or how fast you strike the keys. Turning the knob to the right (positive values) results in a higher sensitivity, requiring greater playing strength to increase amplitude. Turning it to the left (negative values) requires a lighter touch to increase amplitude. A value setting of “0” maintains the same amplitude regardless of playing strength. Settings: 0 ~ 127 A Control Change parameter can be assigned to each CONTROL knob using the Control Device and Control Number parameters located in the UTILITY SETUP menu. For details, see page 95. You can assign Tempo and Data Entry to be controlled directly by the CONTROL knobs. You can confirm the parameter name by pressing the knob’s push-switch. Settings: -64 ~ 0 ~ +63 70 Panel Parameter Edit Edit Procedure The AN1x’s matrix of panel Edit parameters gives you quick and easy access to voice, Scene, Free EG, Arpeggiator, Step Sequencer and System parameters. All voice-related parameters can be stored as voice data in each of the 128 user voices. 1. Select a voice using the PROGRAM CHANGE keypad. Enter the number of the voice you want, followed by [YES/ENTER], or select the voice by pressing [+] / [-]. Ctrl Matrix Param Set No Mode Poly Port LFO Rst Tempo Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Length Track Track No SceneSw Track Common LoopType Trigger Common Arp /SEQ Type/No Key Track Scene Sw Arpeggio Subdivide Play EF Swing Base Unit Length LoopType Local BulkDump MIDI Tx Ch Undo VOICE FREE EG Param DeviceNo Kbd Vel VOICE COMMON MIDI Ptn Tx Ch Rx Ch Step Hold Kbd Trans Char Track Job Rec Copy Depth No 1-8 / 9 -16 System Mstr Tune Name Cursor EF Bypass Source Hold Pattern Bank VOICE SCENE SETUP Dly / Rev EF Param Data KbdMode Knob Event Separate Unison Detune Layer Pan The procedure for editing a voice is outlined below. PROGRAM CHANGE YZ 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC – 0 NO VOICE Velocity OTHERS VWX YES/ ENTER GateTime ARPEGGIO /SEQ Ctrl No SEQ Store SEQ EDIT /SETUP Ctrl Device Ctrl No UTILITY SETUP 2. Select the edit menu. Set the [EDIT ROTARY] switch to the menu with the parameter that you want to edit. There are six menus of Edit parameters, as follows: Port LFO Rst Layer Pan Separate Unison Detune Tempo Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Dly / Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON Length Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG Arpeggio Subdivide Play EF Swing Track Common LoopType Trigger VOICE SCENE SETUP: Includes Scene- and Layer-related parameters for the voice. VOICE SCENE SETUP Mode Poly Ctrl Matrix Param Set No Key Track Source Depth Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump VOICE Velocity GateTime ARPEGGIO /SEQ Ctrl No SEQ Store SEQ EDIT /SETUP Ctrl Device Ctrl No UTILITY SETUP VOICE COMMON: Includes Tempo, Effect and other parameters common to the voice. VOICE FREE EG: Includes Track select, recording and other parameters related to the Free EG function. 3. Select the parameter that you want to edit. Press the [UP/DOWN] switch located beneath the parameter name once to display the parameter name and current value or setting in the LCD. VOICE ARPEGGIO/SEQ: Includes common and specific parameters related to the Arpeggiator and Step Sequencer. SEQ EDIT/SETUP: Includes Knob and Pattern parameters related to the Step Sequencer. Tempo Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Dly / Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON UTILITY SETUP: Includes “global” parameters which affect the AN1x’s system, including MIDI settings, Control Change-related assignments and others. 4. Set the parameter value or setting. Each time you press the upper area of the [UP/DOWN] switch the parameter or value setting will increment by a unit, and each time you press the lower area of the switch the parameter or value setting will decrement by a unit. Holding down the upper or lower area of the switch lets you quickly scroll through the values or settings. Utility parameter settings cannot be stored as voice data. For a blank chart of all available parameters which you can use when editing your own voices, see page 114. Tempo 71 Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Dly / Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON Edit Parameters 5. Select another parameter and set the value for it. Repeat steps 3 and 4, above, to select and set other parameters in the same menu. Following is a description of each parameter in each of the six Edit menus, along with a listing of available settings. 6. Execute a Store operation. When you've finished editing the data, you can store the voice to a user voice memory (1 - 128) using the Voice Store operation. You can also store Scene-related parameters for the voice to Scene 1 or Scene 2 at any time using a Scene Store operation. For information about storing voices, see page 98. For information about storing Scenes, see page 99. VOICE SCENE SETUP Mode Poly Port LFO Rst Layer Pan Separate Unison Detune Tempo Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Dly/ Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON Length Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG Arpeggio Subdivide Track Common LoopType Trigger Ctrl Matrix Param Set No Key Track Source Depth VOICE Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Play EF Swing Velocity Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store SEQ EDIT / SETUP System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP GateTime ARPEGGIO / SEQ Stored as System data Stored in each voice Edited voice data will be retained in memory even if you switch off the power before storing the voice. When you turn the power back on, you can continue editing the voice. Stored in Scenes Be sure to store your edited voice before selecting a different voice, or you could lose your edited data (see page 98). If you forget to store your edited data before selecting another voice, use the Voice Recall function (see page 96). VOICE SCENE SETUP This menu includes Mode, Control Matrix and Layer parameters, which can be set and stored as voice data. Mode and Control Matrix parameters can be stored as Scene data for each voice. During the editing process, you can confirm the name and number of the current voice at any time by pressing [-] or [+] once to display the information in the LCD. You can then continue editing by selecting an Edit menu and pressing an [UP/DOWN] switch. Edit Mark Mode Poly Port LFO Rst Ctrl Matrix Param Set No Source Depth Layer Pan Separate Unison Detune VOICE SCENE SETUP The first time a voice parameter is changed, the Edit mark will display in reverse type in the LCD. The Edit mark indicates that voice data has been changed from the original but has not yet been stored. Indicates a voice has been edited but not stored A Scene memory is simply a “snapshot” of the parameters as set by the eight CONTROL knobs. There are two Scene memories which you can store in each voice, and easily recall by pressing the [SCENE 1] or [SCENE 2] switch as you play. For more information about Scenes, see page 19. Mode Voice Recall Mode settings determine the way the AN1x’s tone generator responds as you play the keyboard. There are three groups of parameters, including Poly mode setting, Portamento characteristics, and LFO Reset setting. If you select a different voice before storing important voice data, you can use the Voice Recall function to retrieve the edited voice data. For details, see page 96. ● Poly The Poly mode setting determines the polyphony, or number of notes the tone generator will sound when notes are played on the keyboard or Note On messages are received at the MIDI [IN] terminal. There are three Poly mode settings. 72 ● LFO Rst (LFO Reset) The LFO Reset mode setting determines the start point of the LFO1 and LFO2 cycle. Settings: poly: You can play maximum 10 notes polyphony when Layer mode is set to SINGLE. mono: Plays one (monophonic) note. Settings: legat (Legato): Plays one (monophonic) note, and provides for legato phrasing, or solo passages played without any perceptible interruption between notes. Legato occurs when you press the next key before releasing the preceding key. ● Port off: LFO1 and LFO2 do not reset, but modulate continuously. ky-on (Key On): LFO1 and LFO2 reset every time a key is pressed. (Portamento) Ctrl Matrix The Portamento mode setting determines the characteristics of the portamento (sometimes called glissando), or how the tone glides from one tone to the next through all the intermediate pitches, when the PEG/LFO Portamento Time (see page 56) is set to a value other than “0”. Available parameters depend on the Poly mode setting. (Control Matrix) Control Matrix (“Ctrl Matrix”) parameter settings determine which MIDI Control Change number “source” controller (eight panel CONTROL knobs, Modulation Wheel, Foot Controller, Ribbon-X, Keyboard After Touch, etc.) is assigned to control which AN1x “parameter” (VCF Cutoff, Resonance, FEG Depth, Variation Effect Wet:Dry balance, etc.). The Control Matrix gives you the freedom to configure sources and parameters for each voice. You can, for example, configure the AN1x to use After Touch to apply vibrato, or the Modulation Wheel to change the resonance while you play, determine the range for both Pitch Bend up and down, and much more. To enable the Portamento function, press the [PORTAMENTO] switch on the panel (see page 24). If the PEG/LFO Portamento Time parameter (see page 56) is set to "0", Portamento will have no effect. The Control Matrix is a configuration of 16 sets of control setup parameters and 2 sets of common parameters. The 16 parameter sets apply to each Scene and the common parameters apply to the voice. Each set consists of Set Number, Parameter, Source, and Depth parameters. Settings: When Poly = Poly: normal: Normal portamento play. sus-key: With this setting, the Hold tone (by a sustain pedal) is specified as the starting pitch of the portamento. A blank chart is available for writing down Parameter and Source settings of the Control Matrix; see page 114. When Poly = Mono, Legato: fingerd (Fingered): Portamento is only enabled by legato performance. full time: Portamento is always enabled. The Portamento setting mode here is effective and can be heard when the panel [PORTAMENTO] switch is set to "ON". 73 ● Set No Convenient Parameter Control (Set Number) The Set Number parameter lets you select Pitch Bend Pitch Up and Down, the number of the Set (1-16), and Common (1 and 2) parameter assignments. You can use the Control Matrix sets to assign a single controller to control more than one parameter, or multiple controllers to control the same parameter. [Ex. 1] One controller to control more than one parameter Set 1 2 Param VCF Cutoff Resonance Source A.MW A.MW Depth +25 +30 Settings: [Ex. 2] Multiple controllers to control the same parameter Set 1 2 Param VCF Cutoff VCF Cutoff Source A.MW A.RbX PB Pitch ↑: Selects the Pitch Bend Up parameter for setting the range over which the pitch bends up (above a value of 64) when rolling the Pitch Bend wheel between center and maximum forward position (for the selected Scene). Depth +20 -10 PB Pitch ↓: Selects the Pitch Bend Down parameter for setting the range over which the pitch bends down (below a value of 64) when rolling the Pitch Bend wheel between center and maximum back position (for the selected Scene). Procedure For Using The Control Matrix Set 1 ~ 16: Selects the Set Number to which you want to assign Parameter, Source and Depth settings (for the selected Scene). 1. Select the Set No (1-16). 2. Select the Parameter you want to control. 4. Set the Depth value. Comn 1 ~ 2 (Common Set 1 ~ 2): Selects the Common Set number to which you want to assign Parameter (Off, Common Volume, Common Pan, Variation Parameter, Delay Return, Reverb Return), Source and Depth settings (applied to both Scenes). 5. Repeat steps 1-4 to assign additional controller sets. ● Parameter 3. Select the Source (controller) for the parameter control. The Parameter setting determines which parameter is assigned to the Set Number (1-16) or Common Set (12). When Set No is set to “PB↑” or “PB↓” you don’t need to select the Parameter because these are the parameters for Pitch Bend. For more information about the Control Matrix, the separate Data List book. Settings: For a list of Control Matrix parameters, see the separate Data List book. 74 ● Source You cannot assign the same Source controller and Parameter to more than one set. If you attempt to, lower-numbered sets will take priority, and "– – –" will appear in the LCD for higher-numbered sets. The Source setting determines which controller (by Control Change number) is assigned to control the corresponding Parameter. When you select [RIBBON] controller "A.RbX" as the "Source" controller and Pitch Up/Pitch Down as the "Parameter", the [RIBBON] controller value will be reset to the center position when you release your finger from the [RIBBON]. The sets with different Parameters (other than Pitch Up/Pitch Down) keep the position at which you release your finger. ● Depth The Depth setting determines the control range of the Source controller. You can set the source by Control Change number or by controller name, as shown in the Settings listed below. Settings: CcOff: No controller assigned. CC1 ~ 95: Selects the Source controller according to Control Change number, when received by on-board controllers or incoming MIDI messages. Settings: Depending on the selected Parameter, the available settings may be different. For details, see the table of Control Matrix parameters in the separate Data List book. AT (After Touch): For controlling with keyboard After Touch. PB (Pitch Bend): For controlling with the Pitch Bend wheel. KyTrk (Key Track): For controlling with note number messages generated by pressing the keys. Vel (Velocity): For controlling with keyboard velocity, or the strength with which you strike the keys. Direct Control Function KyRnd (Key Random): For controlling with random note number messages generated by pressing the keys. When Depth "Dirct" is selected (0 setting), the Direct Control function is activated, and you can directly edit the parameter assigned to the controller within its original range. A.MW (Assign Modulation Wheel): For controlling with the Modulation Wheel, and/or by incoming MIDI messages with the same Control Change number as assigned to the MW. Relationship Between Control Matrix And Utility Control Assign Function A.FV (Assign Foot Volume): For controlling with a connected Foot Volume controller, and/or by incoming MIDI messages with the same Control Change number as assigned to the FV. There are two types of Control Change assignment functions—the Control Matrix and the Utility Control Assign function. Between the Control Matrix and Utility Control Assign function (see page 95), you can configure a sophisticated controller setup to control specific parameters of the internal tone generator and an external tone generator at the same time by the eight CONTROL knobs and other controllers. Control Change assignments made in the Utility Control Assign function are sent to both MIDI [OUT] as well as the Control Matrix, where it can be rerouted at will before reaching the internal tone generator. External Control Change signals received at MIDI [IN] can be routed through the Control Matrix to control the AN1x tone generator parameter of your choice. A.FC (Assign Foot Control): For controlling with a connected foot controller, and/or by incoming MIDI messages with the same Control Change number as assigned to the FC. A.FS (Assign Footswitch): For controlling with a connected Footswitch, and/or by incoming MIDI messages with the same Control Change number as assigned to the FS. A.RbX (Assign Ribbon Controller-X): For controlling with the Ribbon controller X-axis (left and right), and/or by incoming MIDI messages with the same Control Change number as assigned to the RbX. A.RbZ (Assign Ribbon Controller-Z): For controlling with the Ribbon controller Z-axis (push), and/or by incoming MIDI messages with the same Control Change number as assigned to the RbZ. Control Signal Flow AN1x Tone Generator Kn1~8 (Knob 1 ~ 8): For controlling with a specified CONTROL knob (when KNOB PARAMETER GROUP [ASSIGN] is on). Control Matrix MIDI IN MIDI OUT Depending on selected Parameter, the available Source for assignment may be different. For details of available parameters, see the table of Control Matrix parameters in the separate Data List book. Utility Control Assign 75 Layer If Pan setting = “alt” or “rnd”: • Layer parameter settings apply to the selected Layer mode, and affect both Scenes. These settings are stored as voice data. There are three parameters, including Pan, Separate, and Unison Detune. The Separate setting adjusts the Pan separation range. Higher values result in a wider separation. When the value is set to maximum setting (“32”), then left, center and right are completely separated. The Separate function does not apply to the Vari EF Wet signals, so if the Wet setting is too high, the Separate effect will be weakened. For more information about Layer modes, see page 22. ● Pan ● Unison Detune The Pan parameter sets the type of stereo panning, or the way the sound moves between the left and right speakers. When UNISON mode is selected (see Layer mode, page 22), multiple sounds are played, with the pitch of each sound slightly detuned. Unison Detune adjusts the detuning of the VCO1 pitch in fine increments, letting you create an even thicker UNISON sound by applying higher settings, but be careful not to apply too much or you’ll change the basic pitch of the voice. (This function only works when Layer mode is set to UNISON, DUAL UNISON or SPLIT UNISON.) Settings: off: When Layer mode is set to SINGLE (see page 22), Pan control does not function. When set to DUAL, DUAL UNISON, SPLIT or SPLIT UNISON, you can change the pan width for Scene 1 and Scene 2 using the Separate function (see below). Settings: 1 ~ 32 alt (Alternate): Causes the sound to alternate between left, right and center each time a key is played. Use the Separate function to determine pan width. rnd (Random): Causes the sound to move at random. Use the Separate function to determine pan width. ● Separate The Separate parameter adjusts the amount of amplitude between left and right outputs. The result depends on Pan type setting (see above). Settings: 0 (no effect) ~ 32 If Pan setting = “off”: • When Layer mode (see page 22) is set to SINGLE, the panning will have no effect. • When Layer mode is set to UNISON, higher values create a wider stereo dimension by separating the two to up to five sounds. (Poly mode generates two sounds with each key pressed, and Mono/Legato mode generates five sounds with each key pressed.) • When Layer mode is set to DUAL/DUAL UNISON, or SPLIT/SPLIT UNISON, higher values create a wider stereo dimension by separating Scene 1 and Scene 2 sounds. 76 VOICE COMMON Split Pnt This menu includes parameters common to the voice (both Scenes) including Tempo for Arpeggiator and Step Sequencer, plus Effect-related settings and voice naming parameters. The Vari EF Dry:Wet parameter can be edited for each Scene. The Split Point setting determines the note at which the keyboard divides into lower (Scene 1) and upper (Scene 2) zones for Split mode play (SPLIT/SPLIT UNISON mode). It also determines the division for the Arpeggiator or Step Sequencer depending on Keyboard Mode setting. (Split Point) For information about Split modes, see page 23. Tempo Split Pnt Vari EF/ EQ Param Data Vari EF Dry:Wet Dly / Rev EF Param Data EF Bypass Name Cursor Char VOICE COMMON Settings: C-2 ~ G8 Tempo Vari EF/EQ The Tempo setting determines the tempo for the AN1x’s internal clock in beats per minute (BPM), between a range of 40 and 240 BPM. The Tempo setting controls both Arpeggiator and Step Sequencer play. (Variation Effect/Equalizer) Variation Effect/Equalizer settings determine the Variation Effect type and data settings, as well as EQ data settings, for the voice. There are three parameters, including Param (Parameter), Data, and Variation Effect Dry:Wet. The signal enters the Effect block from the VCA output, and passes to the Variation Effect and Equalizer in a serial connection. For more information, see page 11. Also see the separate Dat List book. ● Param (Parameter) The Parameter setting determines the Variation Effect type and select parameters of the selected effect as well as the EQ. Settings: MIDI, 40 ~ 240 When Tempo is set to “MIDI”, the AN1x’s clock can be controlled by the clock of an external MIDI device such as a music sequencer, connected to the MIDI [IN] terminal. When the Free EG Length parameter is set to "bar", the Free EG sequence will be synchronized with the Tempo set here. For more information, see page 82. 77 ● Data Setting the Equalizer The Data parameter lets you select the Variation Effect type and change data values of the selected effect or EQ Parameter. 1. Press Param [UP/DOWN] to select an EQ parameter. (There are seven EQ parameters; see the separate Data List book.) Settings: For information about each Parameter and available settings, see the Effect Type List in the separate Data List book. 2. Press Data [UP/DOWN] to set the value of the selected parameter as desired. Setting the Variation Effect 1. Press the lower area of the Param [UP/DOWN] switch to select Variation Effect. 3. Repeat steps 1 and 2, above, as many times as necessary to select other parameters and set their data values. For more information about the EQ parameters, see the separate Data List book. 2. Press Data [UP/DOWN] to select the type of Variation Effect. (There are 14 types; see the Data List book.) ● Vari EF Dry:Wet The Variation Effect Dry:Wet setting determines the balance between wet (effect) and dry (original) signal levels. A setting of “D63” will pass the dry signal only, and a setting of “W63” will pass the wet signal only. A setting of “D=W” represents an equal balance of wet and dry signals. 3. Press Param [UP/DOWN] again to select the specific parameter that you want to set. (The parameters for the Variation Effect which you selected in step 2 will be available.) 4. Press Data [UP/DOWN] again to set the Parameter value. Settings: D63 ~ D=W ~ W63 When Vari EF Param type is set to “AuralExc” or “Comprssr”, Data “dry” and “wet” settings are available. When Vari EF Param type is set to “OvrDrive” or “Amp Sim”, Data “dry”, “both” and “wet” settings are available. 5. Repeat steps 3 and 4, above, to set data values for other parameters of the selected Variation Effect. Aural Exciter is a registered trademark of and is manufactured under license from Aphex Systems Ltd. For more information about the Variation Effect, see the separate Data List book. 78 Dly/Rev EF (Delay/Reverb Effect) Setting Delay and Reverb Delay/Reverb Effect settings determine the Delay and Reverb effect types and data settings. There are two parameters available, Param (Parameter) and Data. 1. Press the lower area of the Param [UP/DOWN] switch to select the Connect parameter. The Delay and Reverb effects are located after the EQ output, and can be connected in series or parallel. For more information, see the separate Data List book. ● Param (Parameter) The Parameter setting lets you select the Connect, Delay effect (and parameters) and Reverb effect (and parameters). 2. Press Data [UP/DOWN] to select serial (“seri”) or parallel (“para”) and set the configuration of the Delay and Reverb effects. ● Data 3. Press Param [UP/DOWN] again to select either the Delay (“DlyEF”) or Reverb (“RevEF”) page. The Data parameter lets you select the Connect settings, Delay type (and change data values for Delay parameters) and Reverb type (and change data values for Reverb parameters). When Delay is selected, “DlyEF” appears here 4. Press Data [UP/DOWN] again to select the Delay type (1 ~ 5) or Reverb type (1 ~ 8; see the Data List book). Settings: For information about available parameters and value settings for Delay and Reverb effects, see the separate Data List book. 5. Press Param [UP/DOWN] again and select the Delay or Reverb parameter to set (depending on selected Delay or Reverb type, available parameters will be different). 6. Press Data [UP/DOWN] again to set the parameter value as desired. 7. Repeat steps 5 and 6, above, as many times as necessary to set all parameter values. 79 EF Bypass (Effect Bypass) Name Effect Bypass settings let you bypass specific effects, which is convenient when creating an original voice. Bypassed effects will not be applied to the original sound, and when the EF Bypass is “off”, the signal will flow through all effects units. Name parameters let you select a voice Category and up to ten characters to give a customized name to your edited voice. There are two parameters, Cursor and Char (Character). ● Cursor You can choose to bypass all effects, or only Delay and Reverb, or only Reverb. Since EF Bypass is a system parameter, it will not be saved as voice data, and therefore will remain as you set it regardless of which voice is selected. The Cursor parameter lets you position the cursor at the voice Category field or any of the ten character fields for the voice name. ● Char (Character) The Character parameter lets you select a voice Category (when the cursor is positioned at the voice category field) or a character (when the cursor is positioned at a voice name character field). Character Cursor Settings: off: Turns off the Effect Bypass, so the signal flow will bypass the effects units. OnlyRev: Only the Reverb effect will be bypassed. Only Dly: Only the Delay effect signal will be bypassed. Dly&Rev: Both Delay and Reverb effects will be bypassed. Available characters: AllEF: The signal bypasses all effects in the Effect block, including Variation Effect, Delay and Reverb (excluding EQ). ABCDEFGHIJKLMNOPQRSTUVWXYZ“abcdefghijklmnop qrstuvwxyz0123456789*_!”#$%&’()+,-= (space) Effect Bypass Mark The Effect Bypass mark will appear in the LCD when the Effect Bypass is active. 80 VOICE FREE EG Naming A Voice This menu includes Track Recording and other parameters relating to the Free EG function. The Free EG is a special 4-track recorder that lets you record up to four tracks (one parameter per track) of real-time changes of CONTROL knob position data (all knobs) over a specified length of time, either in measures or seconds. 1. Press the lower area of the Cursor [UP/DOWN] switch to position the cursor at the voice Category field (the current cursor position will be flashing). 2. Press Char [UP/DOWN] to select the two-letter voice category code. # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 LCD -Pf Cp Or Gt Ba St En Br Rd Pi Ld Pd Fx Et Pc Se Dr Sc Vo Co Wv Sq The parameter changes associated with the recorded knob movements will automatically play back as recorded when you subsequently play the voice from the keyboard. You can select time length in bars (up to 8 measures) or absolute time (up to 16.0 seconds), as well as designate a loop type, or copy track data within the same voice or from another voice. Free EG parameters and data are stored as voice data. Category No category Piano Chromatic Percussion Organ Guiter Bass Strings/Orchestral Ensamble Brass Reed Pipe Synth Lead Synth Pad Synth Effect Ethnic Percussive Sound effect Drums Synth Comp Vocal Combination Material Wave Sequence Track Common LoopType Trigger Length Key Track Track Track No Param Scene Sw Track Job Rec Copy Undo VOICE FREE EG For information about how to record the Free EG, see page 84. Track Common Track Common parameters include settings which affect all four tracks of data for recording or play. There are four parameters, including Trigger, Loop Type, Length and Key Track. 3. Press Cursor [UP/DOWN] again as many times as necessary to position the cursor at a voice name character field, then press Char to select an alphabet, numeric or symbol character. ● Trigger You can also use the PROGRAM CHANGE keypad to enter alphabet and numeric characters, by pressing each 0-9 key once or more, as indicated above each key. For example, pressing the 0 key toggles repeatedly between the following characters: 0-A-B-C-a-b-c-0, etc. The Trigger setting determines how the track recording or play is triggered. Settings: free: After selecting a voice, the first key pressed on the keyboard triggers the Free EG. kbd (Keyboard & MIDI): The Free EG is triggered by a note on message from the keyboard or an external MIDI device. all: The Free EG is triggered by either a Note On message from the keyboard, or an external MIDI device, or from the Arpeggiator or Step Sequencer. 81 When set to “bar”, the Free EG record and play time is determined by the Tempo setting in the VOICE COMMON menu. This synchronizes the Free EG movement with the Arpeggiator or Step Sequencer. Triggering The Free EG With Patterns The Free EG can be used in conjunction with the Arpeggiator or Step Sequencer. When the Trigger is set to “kbd”, the Free EG will be applied to the pattern. ● Key Track The Key Track setting determines the length of the Free EG in relation to notes played on the keyboard, using C3 as the basic note length. When set to “0”, the length will be the same for all notes across the entire keyboard. Negative values will cause the Free EG length to decrease when you play in the lower register, and positive values will cause the Free EG length to decrease when you play in the higher register. Hold = “on” EG Motif Key On Key Off Key On Each time you press a key the Free EG will be retriggered. When the Trigger is set to “all”, the Free EG will be retriggered whenever the Arpeggiator or Step Sequencer is played. ● Loop Type Settings: -64 ~ +63 The Loop Type setting determines the type of loop for play of the Free EG sequence. Track Track settings determine the current Free EG track, the parameter assigned to each track, and which Scene the Free EG will play. There are three Track parameters, including Track No (Number), Param (Parameter) and SceneSw (Switch). Settings: When you start recording the Free EG, the parameter of the first knob you move, along with the current Scene setting, will be assigned to the track Parameter (i.e., that parameter will be recorded in the track). This is convenient for initiating a Free EG recording immediately, without making all settings beforehand. off: The Free EG sequence plays once but does not loop. The parameter settings at the end of the Free EG sequence remain in effect. fwd: The Free EG sequence loops from start to end. half: The Free EG sequence loops from the middle to the end. Track Confirm and Assignment Procedure 1. Using Track No [UP/DOWN], set the track you want to record or play. alt (Alternate): The Free EG sequence loops from start to end, then end to start. 2. Using Param [UP/DOWN], select the parameter which you want to record in the track. half (Half Alternate): The Free EG sequence loops from middle to end, then end to middle. 3. Using SceneSw [UP/DOWN], set the Scene (Scene 1, Scene 2, or both Scenes) which you want the Free EG to affect. ● Length The Length setting determines the time for recording and play of the Free EG sequence. There are two Length types, including length determined by number of measures or by absolute time (seconds). 4. If necessary, repeat steps 1 through 3, above, for selecting other tracks and assigning parameters to them. You cannot assign the same parameter to more than one track. If you attempt to do so, the latest recorded track takes priority, while other tracks will automatically be turned off for the Scene Switch. Settings: bar (number of measures): 1/2, 1, 3/2, 2, 3, 4, 6, 8 s (seconds): 1.0 ~ 16.0 82 ● Track No Track Job (Track Number) The Track Number parameter lets you select the Free EG track. Track Job parameters let you record a selected Free EG track, perform track copy operations and undo/redo a Free EG recording or copy operation. There are three parameters, including Rec (Record), Copy and Undo. ● Rec (Record) The Record parameter lets you determine how a Free EG record operation (of knob movement data) will be executed. Settings: Trk1 ~ Trk4 The selected track will record knob movement data when Free EG recording is initiated. When the [EDIT ROTARY] switch is set to the VOICE FREE EG menu, an empty track will automatically be selected. After recording a track, the next highest numbered track will automatically be selected for recording. ● Param (Parameter) The Parameter setting determines which knob parameter will be played by the data in the selected Free EG track. Settings: REC OFF: Free EG is not recording. REC STBY Trk: Standby situation for the selected track. The Free EG is ready to record based on the Trigger setting. REC STBY All: Standby situation for recording on all four tracks at the same time (a different parameter for each). The Free EG is ready to record based on the Trigger setting. Settings: Only one parameter can be selected for a track. For information about available parameters, see the separate Data List book. ● SceneSw Free EG Base Position Knob positions are recorded in a Free EG track as increases (positive values) and decreases (negative values) to the “base” position of the knob, or the position at which the knob is located when you first move it. After Free EG recording, if you change the knob parameter, you also change the base position accordingly. For example, if the knob base position is set too high, the Free EG data changes may occur out of the range of the assigned track parameter. Therefore, take care not to set the knob base position too high. (Scene Switch) The Scene Switch setting determines which Scene will be played by the selected Free EG track. Settings: off, Scene1, Scene2, both (Scenes 1 and 2) ● Copy The Copy function lets you copy the Free EG data (knob movements) of another track in the current voice to the currently selected track, or copy the data of any track in any voice to the currently selected track of the current voice. Settings: Trk 1 ~ Trk 4; (Voice) 1 ~ 128 Trk 1 ~ Trk 4 83 In Record Standby mode, Length and Track Number parameters are available, but others cannot be accessed. (Also, MIDI control will be ineffective.) Copy Procedure 1. Press Track No [UP/DOWN] to select the track to which you want to copy Free EG data to (destination). In Record Standby mode or during recording, you can stop the record operation by turning the [EDIT ROTARY] switch, and return to the REC OFF status. 2. Press Copy [UP/DOWN] to select the track from which you want to copy Free EG data (source). If you want to record in the selected track, choose REC STBY Trk. If you want to record in all four tracks, choose REC STBY All. 2. Change the Free EG Length (see page 82), or select a Track Number for the selected Parameter (see page 83). The Copy operation is completed. When the “Cpy fm” (Copy from) page is displayed in the LCD, you can press Copy [UP/DOWN] to select a track from either the current voice or from another voice. As you select a track, you can play the keyboard to hear how the new Free EG data affects the voice. When the Length parameter is set to "bar", the length is determined by the Tempo setting, and a click will sound (in quarter-note beats) to use as a timing guide. 3. When you press a key on the keyboard, recording will begin, so you can start moving the knob (or knobs) as desired. When the new track number is selected (step 2), the copy operation is completed. There is no specific copy confirmation function, but you can retrieve the original track Free EG data using the Undo function. Recording time is visually displayed by the horizontal data graph in the LCD. When the KNOB PARAMETER GROUP [ASSIGN] switch is selected, knob movements will not be recorded in the track. Remember that Free EG data consists of knob movement data and not actual parameter values. This means that the parameter controlled can be anything you set for the Track Number using the Param setting. ● Undo The Undo function lets you “undo” as well as “redo” the most previous Free EG copy or record operation. In step 1, above, if REC STBY Trk is selected, the knob most recently moved is already designated as available for recording. If REC STBY All is selected, the four most recently moved knobs are already designated as available for recording. When you start recording the Free EG, the currently selected Scene will be automatically assigned to the Scene Switch (for the selected track), and the parameter of the first knob you move will be assigned to track Parameter (i.e., that parameter will be recorded in the track). This is convenient for initiating a Free EG recording immediately, without making all settings beforehand. After a copy or record operation, simply press Undo (/Redo) [UP/DOWN] to toggle back and forth between the new data and the original data. When Scene Control is activated, setting the Free EG to Record Standby mode automatically selects Scene 1. Free EG Recording Procedure 1. Press the Rec [UP/DOWN] switch and enter Record Standby (Track or All) mode. 4. Recording automatically stops when the end of the set Length is reached. 84 ● Arp/SEQ VOICE ARPEGGIO/SEQ (Arpeggiator/Sequencer) The Arp/SEQ setting designates either the Arpeggiator or the Step Sequencer to play when the [ARPEGGIO/SEQ] switch is on. Either one or the other can be designated to play for each voice. This menu includes common and specific parameters related to the Arpeggiator and Step Sequencer. Arpeggiator and Step Sequencer parameter settings are voice data saved in each voice. The Arpeggiator lets you play arpeggiated chord patterns at the press of a key. There are 30 Arpeggiator patterns to choose from for each voice, and Arpeggio Subdivide plus Play Effect parameters give you a wide range of control and customization over the arpeggio pattern. Settings: Arpeggio (Arpeggiator), Step SEQ (Step Sequencer) The Step Sequencer lets you create your own 16-step arpeggiated patterns by assigning note, velocity and other events to each step (beat) in the looped sequence. You can create a Voice Pattern for each voice, as well as create and store a total of 128 User Patterns. You can trigger the patterns from the keyboard in a variety of ways. ● Type/No For selecting an Arpeggiator pattern type when "Arpeggio" is designated in Arp/SEQ. When "Step SEQ" is designated in Arp/SEQ and KbdMode is set to "sel&norm" or "sel&shift", you can assign a User pattern number to the C#1 key for Pattern Select play (see C#1 Assign, page 40). When "Step SEQ" is designated in Arp/SEQ and KbdMode is set to "norm" or "shift&norm", "SEQ" will be displayed in the LCD, and no setting can be made. Step Sequencer patterns are designated in the SEQ EDIT/SETUP menu (see page 89). Step Sequencer record, edit and play parameters are available in the SEQ EDIT/SETUP menu. For details, see page 89. To start the Arpeggiator or Step Sequencer pattern, press the [ARPEGGIO/SEQ] switch. Common Arp /SEQ Type/No KbdMode Hold SceneSw MIDI Ptn Tx Ch Arpeggio Subdivide Play EF Swing VOICE Velocity (Type/Number) GateTime ARPEGGIO /SEQ For information about how to use the Arpeggiator, see page 33. For information about how to use the Step Sequencer, see page 37. C#1 Assign determines the first accessed User Pattern number D1 plays the next highest User Pattern number (above C#1) Common D#1 plays the next highest User Pattern number, etc. Common parameters are related to both the Arpeggiator and Step Sequencer. There are five parameters available, including Arp/SEQ, Type/No (Number), KbdMode (Keyboard Mode), Hold, and SceneSw (Scene Switch). 85 Settings: When Arp/SEQ is set to Step Sequencer: When Arp/SEQ is set to Arpeggio: Arp 01 ~ 30 norm (Normal): For triggering the Voice Pattern of the currently selected voice at its base pitch from any key on the keyboard, and playing the voice normally across the keyboard. If Hold is set to “off”, then the pattern will start each time you press a key. You can select one Arpeggio pattern from the 30 available patterns. For a list of available patterns, see the Arpeggio Pattern List in the separate Data List book. shift&norm (Shift & Normal): Playing a key to the left of the Split Point will shift the pitch of the pattern accordingly, and playing keys to the right of the Split Point will play notes normally, without affecting the sequence. For example, if the Split Point is set to C3, then you can shift the pitch of the sequencer pattern with C1 ~ B2, with C2 as the base pitch, and play normal notes to the right. (For more information about the Split Point, see page 77.) When Arp/SEQ is set to Step Sequencer and KbdMode is set to "sel&norm" or "sel&shift": C#1: Usr001-128 You can assign the first User Pattern number to play at the C#1 key. For example, if you designate "Usr025", then pressing C#1 will trigger User Pattern number 25, pressing D1 will trigger User Pattern number 26, pressing D#1 will trigger User Pattern number 27, and so on. (For more information, see C#1 Assign, page 40.) SPLIT POINT Shifts Pattern pitch ● KbdMode (Keyboard Mode) The Keyboard Mode setting designates how the Arpeggiator or Step Sequencer patterns respond to notes played on the keyboard. Depending on the setting in Arp/SEQ, available parameters will be different. Shifts low Shifts high Normal play Base pitch = C2 sel&norm (Select & Normal): Playing a key to the left of the Split Point will trigger (“select”) a specific User Pattern, and playing keys to the right of the Split Point will play notes normally, without affecting the sequence. For example, if the Split Point is set to C3, then C1 plays the Voice Pattern for the selected voice, and 23 different User Patterns can be selected by playing keys C#1 ~ B2. (For more information about the Split Point, see page 77.) Settings: When Arp/SEQ is set to Arpeggio: chrd (Chord): Arpeggiated chords can be played across the entire keyboard. SPLIT POINT Selects Patterns chrd&norm (Chord & Normal): Arpeggiated chords can be played by keys to the left of the current Split Point (see page 77), and you can play normally to the right. User Pattern = C#1 to SPLIT POINT SPLIT POINT Voice Pattern = C1 Plays arpeggios Normal play 86 Normal play ● SceneSw sel&shift (Select & Shift): Playing a key to the left of the Split Point will trigger (“select”) a specific User Pattern, and playing keys to the right of the Split Point will shift the pitch of the selected pattern accordingly. For example, if the Split Point is set to C3, then C1 plays the Voice Pattern for the selected voice, and 23 different User Patterns can be selected by pressing keys C#1 ~ B2. (For more information about the Split Point, see page 77.) C4 always determines the base pitch. (Scene Switch) The Scene Switch setting designates which Scene the Arpeggiator or Step Sequencer pattern will play. SPLIT POINT Selects Patterns Settings: scene1, scene2, both (Both Scenes) Shifts Pattern MIDI PtnTxCh User Pattern = C#1 to SPLIT POINT Voice Pattern = C1 (Pattern Transmit Channel) Shifts low Shifts high The MIDI Pattern Transmit Channel parameter lets you designate the MIDI channel on which to transmit the Arpeggiator or Step Sequencer pattern data, to be output via the MIDI [OUT] terminal. Base pitch = C4 For more information about triggering and assigning the User Patterns to “select”, see page 39. This lets you, for example, record the pattern note and other data played by the Arpeggiator or Step Sequencer into an external MIDI sequencer, or have the AN1x’s pattern data trigger an external tone generator. (Since this setting is a system parameter, it cannot be stored as voice data, and therefore remains as set regardless of which voice is selected.) ● Hold The Hold parameter designates the Hold setting for the Arpeggiator and Step Sequencer. The Pattern Hold function causes the Arpeggiator or Sequencer pattern to continue playing after releasing the keys. Basically the Hold parameter either turns Hold on or off, but when Keyboard Mode is set to “sel&norm” or “sel&shift”, there are two types of hold modes for the Step Sequencer. Settings: off, 1 ~ 16 Settings: When Arpeggiator is selected: on, off When Step Sequencer is selected and KbdMode is set to “norm” or “shift&norm”: on, off When Step Sequencer is selected and KbdMode is set to “sel&norm” or “sel&shift”: off, mode1, mode2 • mode1: A pattern will be triggered every time a key is pressed. • mode2: A pattern will be triggered after the current sequence finishes, even if you press a key during the middle of the current sequence. 87 ● Velocity Arpeggio Subdivide The Velocity parameter sets the ratio between the lower and higher velocity values of the Arpeggiator or Step Sequencer pattern, over a range between 1% and 200%. A setting of “100%” maintains the original velocity relationship between the notes. Lower values adjust velocities downward at playback, and higher values adjust velocities upward at playback. A setting of “real” (Real-time) will cause the velocity values of the pattern to be determined by the velocity at which you play the keyboard, in relation to the VCA Vel Sens setting. The Arpeggio Subdivide parameter lets you designate the timing subdivision (resolution) value for the Arpeggiator pattern. When Arp/SEQ is set to “Step SEQ”, this parameter is not available. (For information about timing resolution for the Step Sequencer, see pages 42, 91.) When Arp/SEQ is set to “SEQ”, the Subdivide function cannot be accessed, and “– – –-” will appear in the LCD. 3 Settings: 3/8=q., 1/4=q, 3/16=e., 1/6= h h h , 1/8=e, 3 3 3/32=x., 1/12= q q q , 1/16=x, 1/24= q q q , 1/32=r Play EF Settings: real (Real-time), 1 ~ 200% ● GateTime (Play Effect) The Gate Time parameter adjusts the note length (the duration of the note) either shorter or longer, as a percentage of the original. This lets you, for example, set the note to play staccato, so that its sound switches off well before its step time is over. Or you can have the note hold right up to the start of the subsequent step so that it slurs (legato) into the next note. A setting of “100%” maintains the original relationship between notes. Lower values decrease Gate Time, and higher values increase Gate Time. The Play Effect parameters let you designate settings which can permit the Arpeggiator or Step Sequencer pattern to obtain a more human “feel”. There are three Play Effect parameters, including Swing, Velocity and Gate Time. ● Swing The Swing parameter lets you apply a Swing rate to the Step Sequencer pattern to slightly shift certain beats in order to create a “swing” feel. A setting of “50%” produces no Swing and “83%” produces maximum Swing. For information about how the Swing levels affect the rhythm of the pattern, see the chart below. Settings: 1 ~ 200% The Gate Time parameter is not available when Arp/SEQ is set to “Arpeggio” (Arpeggiator). 1st beat Back beat 2nd beat Back beat 3rd beat Back beat 4th beat If the Gate Time setting exceeds the original note length, then the Gate Time percentage will automatically be adjusted so the note length will not interfere with the legato. Back beat 50% 83% Settings: 50 ~ 83% The Swing parameter is not available when Arp/SEQ is set to “Arpeggio” (Arpeggiator). 88 ● 1-8/9-16 SEQ EDIT/SETUP This parameter lets you designate which series of steps (1-8 or 9-16) are available for data entry using the eight CONTROL knobs. Each knob as positioned on the panel (1-8) relates to the corresponding sequence step (either 1-8 or 9-16, respectively), depending on this setting. This menu includes parameters and settings related to creation and play of Step Sequencer patterns. You can create a Voice Pattern for each voice, as well as create and store a total of 128 User Patterns. Step Sequencer settings are stored as voice data. When the [EDIT ROTARY] switch is set to the SEQ EDIT/SETUP menu, the eight CONTROL knobs are used to set event data for each of the 16 steps. For information about using the Step Sequencer, see page 37. Knob Event 1-8 / 9 -16 Step Hold Pattern Bank No Base Unit Length LoopType Ctrl No SEQ Store Pressing a knob for parameter confirmation or turning it for data input will display its step number in the LCD, to the left of the value setting. SEQ EDIT /SETUP Settings: 1-8, 9-16 ● Step Hold The Step Hold parameter lets you turn the Step Hold function on and off. When Step Hold is set to “on”, the note of the currently selected step will play repeatedly, based on the Tempo and Pattern Base Unit settings. This lets you adjust the various Event settings in context with the speed and timing of the sequence. Knob Knob parameters are related to the 16 sequencer steps. There are three parameters available, including Event, 1-8/9-16, and Step Hold. When Step Hold is set to “on”, you can select and check a step parameter by pressing a knob’s push-switch or turning it. ● Event The Event parameters let you designate the type of event data to input using the eight CONTROL knobs. Settings: on, off Settings: Note (0 ~ 127 (C-2 ~G8)), Velocity (0 ~ 127), Gate Time (1 ~ 200%), Control Change (off, 1 ~ 95, AT) Control Change setting (off, CC1~95, After Touch) is determined by the Control Number parameter in the same menu row (see page 91). 89 Pattern Sequence Patterns and Banks Pattern parameters let you designate which pattern to play by the Step Sequencer, as well as set timing resolution, sequence length, type of loop and event control number. There are six parameters available, including Bank, No (Number), Base Unit, Length, Loop Type and Control Number. When you select a voice which has the Common KbdMode parameter set to “norm” or “shift&norm”, Voice Pattern data for the voice is loaded. Subsequently, you can select a Voice Pattern bank or number or User Pattern bank or number, and then edit the pattern. Voice Bank User Bank Voice Patterns (128) User Patterns (128) ● Bank The Bank parameter lets you select the Voice pattern or User pattern bank, when Common KbdMode is set to “norm” or “shift&norm”. If Common KbdMode is set to “sel&norm” or “sel&shift”, the User Pattern bank is designated, and the Voice Pattern bank cannot be accessed. For more information, see page 40. Voice Pattern Edit Buffer When you select a voice which has the Common KbdMode parameter set to “sel&norm” or “sel&shift”, the Voice Pattern data for the voice is loaded. Subsequently, pressing a key to the left of the Split Point loads the pattern assigned to that note number, and then you can edit the pattern. Settings: Vce (Voice), User ● No (Number) Voice Bank User Bank Voice Patterns (128) User Patterns (128) Voice Pattern Edit Buffer User Pattern Edit Buffer (128) The Number parameter lets you select a Voice Pattern or User Pattern number (1-128), depending on which bank is designated with the Bank parameter, above. You can select from 128 patterns in each bank. For a list of patterns, see the Sequence Pattern List in the separate Data List book. Keyboard Settings: 1 ~ 128 90 ● Base Unit ● Ctrl No The Base Unit parameter designates the timing resolution for the sequence pattern. This, together with the current Tempo setting (see page 77), determines the interval between steps. The Control Number setting determines the type of MIDI Control Change which can be output upon sequencer play. Once the Control Number is set, the Control Change event is selected with Knob Event parameter [UP/DOWN] and the value to be output via each step is edited with the CONTROL knobs. For example, if you set the Control Number to “CC No 10: Pan Pot”, then selecting a different Control Change event value setting at each step lets you position the individual pattern notes from left to right in the stereo field. 3 Settings: 3/8=q., 1/4=q, 3/16=e., 1/6= h h h , 1/8=e, 3 (Control Number) 3 3/32=x., 1/12= q q q , 1/16=x, 1/24= q q q , 1/32=r ● Length The Length parameter setting determines the length of the sequence pattern based on number of steps. One step is equivalent to one note, so based on the Base Unit setting (see above), you can also select oddnumbered steps to create odd-numbered beats (such as setting the Length to "3" for 3/4-time, or to "5" for 5/4-time), as well as create completely unconventional rhythms. Settings: 0 (off), Control Change (1 ~ 95), After Touch For more information about MIDI and MIDI Control Change messages, see page 109. SEQ Store (Sequence Store) Sequence Store lets you store your edited Step Sequence pattern in one of the User bank pattern locations. Settings: 1 ~ 16 (Steps) ● LoopType The Loop Type parameter lets you determine the type of loop cycle for the sequence pattern. The pattern always loops, and you can designate one of four ways for it to do so. The Sequence Store operation stores the pattern currently held in the edit buffer in the User Pattern bank. This is different from the Voice Store operation (see page 98). 1. Press SEQ Store [UP/DOWN] to select a User pattern number. "SURE?[Y/N]" will start flashing in the LCD. Settings: forward: The pattern loops from first step to last repeatedly. backward: The pattern loops from last step to first repeatedly. alternateA: The pattern plays from first step to last (forward), then from last step to first (backward), then loops in this manner repeatedly (e.g., 1-2-3-4-4-3-2-1-1-etc.). alternateB: The pattern plays from first step to last (forward), then reverses starting from the next to last step, then loops in this manner repeatedly (e.g., 1-2-3-4-3-2-1-2-3-4-3etc.). 91 ● KbdTrans 2. Press [YES/ENTER] to execute the Sequence Store operation. The LCD returns to the Pattern Bank/Number display. (Keyboard Transpose) The Keyboard Transpose parameter determines the transposition setting for the keyboard in semitones. Settings: -36 ~ 0 (basic pitch) ~ +36 To cancel the Sequence Store operation after step 1, press [NO]. ● Kbd Vel (Keyboard Velocity) The Keyboard Velocity parameter sets the keyboard velocity curve which determines the way the AN1x’s tone generator responds to keyboard playing strength. UTILITY SETUP The default factory setting is “wide”, which provides for the widest possible dynamic range. The Utility menu is dedicated to “global” parameters which affect the AN1x’s system, including tuning, keyboard velocity and MIDI settings. System parameters cannot be stored as voice data, and therefore will remain as set regardless of which voice is selected. Settings: norm, soft1, soft2, easy, wide, hard, Vel Fix (1 ~ 127) System Mstr Tune Kbd Trans Kbd Vel MIDI Tx Ch Rx Ch DeviceNo Local BulkDump Ctrl Device Ctrl No UTILITY SETUP norm (Normal): The velocity is in proportion to the strength (how hard you play the keyboard). Volume System System settings are related to the AN1x's tone generator tuning and keyboard transposition and velocity sensitivity. There are three parameters available, including MstrTune (Master Tune), KbdTrans (Keyboard Transpose), and Kbd Vel (Keyboard Velocity). ● MstrTune Keyboard Playing Strength soft1: This curve increases the volume level with a softer playing style, and is suitable for players with a light key touch. (Master Tune) Volume The Master Tune parameter determines the master tuning pitch for the AN1x's tone generator in approx. 0.3 cent values (100 cents = 1 semitone). Keyboard Playing Strength Settings: -100 ~ 0 ~ +100 92 MIDI soft2: This curve also increases the volume level with a softer playing style, but is closer to the Normal curve compared to Soft1. MIDI parameters are related to transmission and reception of MIDI messages to and from an external MIDI device. There are five parameters available, including Tx Ch (Transmit Channel), Rx Ch (Receive Channel), Device Number, Local, and Bulk Dump. Volume ● Tx Ch Keyboard Playing Strength (Transmit Channel) The Transmit Channel parameter sets the MIDI channel on which the AN1x’s keyboard, controllers and switches transmit MIDI messages. When not transmitting to an external device, set Tx Ch to “off”. easy: This curve also increases the volume level with a softer playing style, but the volume level is stable in all registers since the velocity curve in the middle register of the keyboard is close to Normal. Although MIDI Tx Ch and MIDI PtnTxCh can be set to the same channel, the notes played on the keyboard may interfere with the notes of the Arpeggiator or Step Sequencer pattern. Therefore, it is best to set each to a different channel number. Volume Keyboard Playing Strength wide: This curve decreases the volume level with a softer playing style and increases the volume with a stronger playing style, resulting in a wider dynamic range overall. Settings: 1 ~ 16, off The AN1x can play and control (and be controlled by) other MIDI devices such as tone generators, sequencers, and more. For information about MIDI, see page 109. Volume ● Rx Ch (Receive Channel) The Receive Channel parameter sets the MIDI channel on which the AN1x’s tone generator receives MIDI note, controller and other messages. When Layer mode is set to SINGLE or UNISON, the current Scene setting determines which Scene is played by external MIDI signals. Keyboard Playing Strength hard: This curve increases the volume level with a stronger playing style, and is suitable for people with a heavy key touch. Each Scene can be assigned its own MIDI channel and be played independently by incoming MIDI signals (when Layer mode is set to SPLIT/SPLIT UNISON or DUAL/DUAL UNISON). When not receiving from an external device, set Rx Ch to “off”. Volume Keyboard Playing Strength Vel Fix (Velocity Fix) 1 ~ 127: This sets the velocity of the AN1x’s keyboard to a specific value, which lets you play the sound at a fixed velocity regardless of playing strength. Volume Settings: SINGLE/UNISON: 1 ~ 16, off SPLIT/SPLIT UNISON/DUAL/DUAL UNISON: Scene 1: 1 ~ 16, off; Scene 2: 1 ~ 16, off Keyboard Playing Strength When Layer mode is set to SINGLE or UNISON, the receive channel for Scene 1 and Scene 2 are the same, and you cannot select a different receive channel for each. 93 ● DeviceNo ● Bulk Dump (Device Number) The Device Number parameter lets you set the MIDI device number when performing bulk dump operations, or when transmitting and receiving System Exclusive messages. Both devices should be set to the same channel number. The Bulk Dump parameter lets you initiate bulk dump operations when offloading AN1x data to an external MIDI data storage device (such as the Yamaha MDF2 MIDI Data Filer) or another AN1x. Bulk dump operations let you back up your important voice, Free EG, pattern and system data for safekeeping, and then load them back into the AN1x whenever you wish. Settings: 1 ~ 16, all, off ● Local Before initiating a bulk dump operation, you must set up the external device for bulk dump send and/or receive. You’ll also need to match the Device Number of the AN1x and the external device. For information, see the owner’s manual which came with the external device. The Local parameter lets you designate the AN1x’s keyboard to play the internal tone generator or not. When set to “on”, playing the AN1x’s keyboard will cause the internal tone generator to sound. When set to “off”, playing the keyboard will not play the internal tone generator, but will output note data via MIDI [OUT] to play an external tone generator or record into an external sequencer. Send Bulk Dump 1. Press BulkDump [UP/DOWN] to select the type of data to be sent. Available types: Normally this will be set to “on” unless you are using the AN1x as a master keyboard controller for recording note data into an external MIDI sequencer, and having the output of the sequencer determine whether the AN1x’s tone generator plays or not, by signals received at MIDI [IN]. 1scene: Sends the data of the currently selected Scene. 1vce: Sends the data of the currently selected Voice. 1-64 vce: Sends data for voice set 1 ~ 64. 65-128 vce: Sends data for voice set 65 ~ 128. all voices: Sends data for all 128 voices. 1ptn: Sends data for the pattern currently selected in the Step Sequencer. 1-64 ptn: Sends data for the User Pattern bank 1-64. 65-128 ptn: Sends data for the User Pattern bank 65-128. all ptn: Sends all Step Sequencer User Pattern data. system: Sends all system parameter data. all: Sends all data in memory. External MIDI Device MIDI OUT MIDI IN (Rx Ch) MIDI IN MIDI OUT (Tx Ch) Local on/off switch AN1x Tone Generator ARP/SEQ Keyboard Controller Settings: on, off 94 Ctrl 2. Press [YES/ENTER] to initiate the bulk dump. When the operation is finished, “End” will appear briefly in the LCD, which will then return to its prior display. Control parameters let you designate the type of Control Change messages which can be controlled by the [MODULATION] Wheel, each of the eight CONTROL knobs, the [RIBBON] Controller, etc., by assigning Control Change numbers to specific controllers ("devices"). There are two parameters available, Device and Control Number. OTHERS VWX YZ 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 (Control) ABC 0 – NO Based on settings made here as well as in the Control Matrix (see pages 51, 73), you can use a single controller to control one parameter of the internal tone generator and another parameter of an external MIDI device, both at the same time. It also lets you determine which device (MW, FC, etc.) to use for Scene Control. YES/ ENTER To stop a bulk dump operation in progress, press [NO]. The LCD will return to its prior status. Receive Bulk Dump A Receive Bulk Dump operation lets you load data back into the AN1x from an external MIDI device. ● Device The type of data which can be received depends on the current mode. For more information, see the MIDI data format, in the separate Data List book. The Device parameter lets you select the controller to which you want to assign a Control Number. Before initiating a Receive Bulk Dump operation, the Device Number for both devices must be matched. (For more information, see Device No, on the previous page.) ● Ctrl No (Control Number) The Control Number parameter lets you designate the Control Change number (type of parameter) which the Device (controller) will control. For information about MIDI and MIDI Control Change messages, see page 109. Settings: 0 (off), CC 1 ~ 95, After Touch Procedure 1. Press Device [UP/DOWN] to select the name of the controller to which you want to assign a controller number. Controllers: MW: Modulation Wheel FV: Foot Volume FC: Foot Controller FS: Footswitch RbnX: Ribbon Controller X-axis RbnZ: Ribbon Controller Z-axis Knob1~8: Assign group knobs 1 ~ 8 SCENE: Scene Control controller 95 Voice Recall 2. Press Ctrl No [UP/DOWN] to select the control function. The control function name appears beside the available control numbers. If you edit a voice and then inadvertently select another voice before storing the edited voice, you can retrieve the edited data using the Voice Recall function. 1. Enter [129] in the PROGRAM CHANGE keypad. The number 129 begins flashing in the LCD. When set to a Knob (1 ~ 8), Tempo and Data Entry can also be selected for control. VWX For a list of available controllers, see the separate Data List book. 3. Repeat steps 1 and 2, above, to assign all YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC controllers as desired. 0 – NO YES/ ENTER Scene Control Assign (1) Press Device [UP/DOWN] and select "Scene". 2. Press [YES/ENTER]. “Recall?[Y/N]” appears in the LCD. (2) Press Ctrl No [UP/DOWN] to select a Control Change number to control Scene Control. (3 Press Device [UP/DOWN] again to select the controller you want to use. (4) Press Ctrl No [UP/DOWN] again to select the same Control Change number as selected in step 2, above. Control Change Modes The AN1x has two Control Change modes. Mode 1 is the official MIDI standard, which is set at the factory. Mode 2 is a special list of Control Change parameter settings unique to the AN1x. 3. Press [YES/ENTER] again to recall the previously edited voice data. After step 2, pressing [NO] will cancel the Voice Recall operation and the LCD will display the previously selected voice name and number. To change between modes, first turn off the power. Then, press and hold [ASSIGN] and press the [POWER] switch. Either “mode1” or “mode2” will appear in the LCD at the start-up procedure to indicate which mode is activated. When using Mode 2, take care when making Control Change assignments since the behavior will be different from the MIDI standard. For a list of Control Change types for each mode, see the separate Data List book. 96 Voice Initialize 4. Press [YES/ENTER] to initialize the voice data. The Voice Initialize function lets you "reset" a voice to its initial setting, which is handy when you want to create a voice from "scratch". The initialized setting loads into the edit buffer, so after performing the Voice Initialize operation, be sure to store the voice using the Voice Store operation. 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 – NO YES/ ENTER The initialized voice settings are loaded into the edit buffer. You should change the name using the Name function in the VOICE COMMON menu (see page 80), and store the voice by performing a Voice Store operation (see page 98). After step 1, pressing [NO] will cancel the Voice Initialize operation and the LCD will display the previously selected voice name and number. ABC 0 8 0 OTHERS YZ 7 YZ 7 ABC 1. Enter [130] in the PROGRAM CHANGE keypad. The number 130 begins flashing in the LCD. VWX OTHERS VWX – NO YES/ ENTER You can give the voice a name using the Name function in the VOICE COMMON menu. For information, see page 80. 2. Press [YES/ENTER]. "Init?[Y/N]" appears in the LCD. 3. Press [YES/ENTER] again. "Type? 1-8" appears in the LCD. Select the template Type (1-8) by pressing the corresponding number key in the PROGRAM CHANGE keypad. The number and name appear in the LCD. VWX YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 ABC 0 – NO YES/ ENTER You can choose from eight types of initial voice settings, each with the basic settings programmed for specific types of voices, as follows: 1 2 3 4 5 6 7 8 - Normal (all settings normalized) Bass Brass Strings E.Piano Organ Sync mono (for solo lead type voices) PWM (for pad type voices) 97 Store 2. Enter a number (1 ~ 128) using the PROGRAM CHANGE keypad representing the location in which you want to store the edited voice, followed by [ENTER], or select the location with [-] / [+]. The voice name flashes alternately with "HIT[STORE]". Store lets you perform Voice Store or Scene Store operations. Voice 1-128 2 Scene1 Scene Setup Parameters Voice Store Step 2 can be omitted if you want to store the voice to the same location number. In such a case, go straight to step 3. • Layer Mode • Portamento On/Off • Arpeggiator/Step Sequencer On/Off • Voice Common Parameters • Voice Pattern Parameters • Free EG Parameters 3. Press the store switch again. “SURE?[Y/N]” appears in the LCD. Voice Store The Voice Store operation lets you store edited voice data (including Scene 1 and 2 settings) to any memory location (1 ~ 128). If a User Pattern has been edited, “All Ptns?[Y/N]“ appears in the LCD. To overwrite all User Patterns, press [YES/ENTER]. To cancel the operation, press [NO]. When you perform a Voice Store operation, the original voice data in the memory location will be overwritten, so be sure to save all important voices beforehand to an external MIDI data storage device such as the Yamaha MDF2 MIDI Data Filer. You can recall all factory voices at any time (see page 100). 4. Press [YES/ENTER] to execute the Voice Store operation. The LCD then returns to the normal voice name and number display. To change the name of an edited voice, see the Name function in the VOICE COMMON menu, page 80. 1. After editing a voice (the EDIT mark will be displayed in the LCD), press the [STORE] switch. The STORE mark will display in the LCD. After steps 1-3, pressing [NO] will cancel the Voice Store operation, and the LCD will display the previously selected voice name and number. When you execute a Voice Store operation, Scene 1 and Scene 2 on/off status, Layer mode setting, ARPEGGIO/SEQ on/off status, Portamento on/off status, and all other voice parameters are stored to the designated voice number. DEMO PORTAMENTO LAYER STORE ARPEGGIO/SEQ If you already know which location you want to store the voice in, simply enter the number in the PROGRAM CHANGE keypad and press the [STORE] switch. 98 Scene Store Scene Select Scene Store is handy for storing the knob position settings created during Scene Control to one of the [SCENE] switches. After selecting a voice, press [SCENE 1] or [SCENE 2] to select the desired scene. The LED appears beside the selected switch to indicate the active Scene. (At least one Scene is active at all times.) Scene Store loads the data into the Scene edit buffer, so you will need to perform a Voice Store operation to store the Scene parameters as voice data. Scene Control The procedure is as follows: Press both [SCENE] switches to activate the Scene Control function, which can be controlled with the MW or FC, or any other assignable continuous controller, in order to “morph”, or crossfade between Scene 1 and 2 sounds. (For more information, see page 20.) 1. Hold [STORE] and press the [SCENE 1] or [SCENE 2] switch, depending on which one you want to store the current setting into. “SURE?[Y/N]” flashes in the LCD. Move forward and back CTRL SCENE MODULATION 2. Press [YES/ENTER] to execute the Scene Store operation. The LCD then returns to the prior display. Scene Swap And Scene Load A Scene Swap function lets you exchange the data in the two Scenes for the currently selected voice (see page 22), and a Scene Load function lets you load Scene data from a Scene in another voice into a Scene in the currently selected voice (see page 22). After steps 1-2, pressing [NO] will cancel the Scene Store operation, and the LCD will return to the prior condition. 3. Execute a Voice Store operation to store the Scene data as part of the voice, along with Scene on/off status. 99 Factory Settings You can recall all of the original voices, plus scene, Step Sequencer, system, MIDI, and other parameter settings which were programmed at the factory. This operation resets the settings in memory, so be sure to offload any important data first to a MIDI data storage device before execution. 1. After turning off the power, hold [7], [8] and [9] in the PROGRAM CHANGE keypad and turn the power back on. PROGRAM CHANGE VWX YZ OTHERS 7 8 9 MNO PQR STU 4 5 6 DEF GHI JKL 1 2 3 FOOT VOLUME POWER ON OFF DC IN ABC 0 – NO YES/ ENTER 2. The "Fact Set? [1-9]" display will appear in the LCD. You can choose from the following factory sets: 1 2 3 4 5 6 7 8 9 - 1-64 voice (loads voices 1-64) 65-128 voice (loads voices 65-128) all voice (loads all 128 voices) sorted voice (loads all voices sorted by voice Category) 1-64 user pattern (loads User Patterns 1-64) 65-128 user pattern (loads User Patterns 65-128) all pattern (loads all User Patterns) system (loads system data) all (loads all voice, User Pattern and system data) 3. Press the number on the PROGRAM CHANGE keypad ([1] ~ [9]) corresponding to the factory data set you want to recall. The number and name of the set appears in the LCD. 4 Press [YES/ENTER] to recall the set. 100 Voice Creation Examples Following are examples for creating some of the most common synthesizer sounds, including Synth Bass, Strings, Electric Piano, Electronic Organ, Synth Brass and Synth Lead. Taking the time to work through the simple steps to create each will give you a deeper understanding of how the various tone generator parameters work together, as well as how to practically apply the Control Matrix. Next let’s tweak a few parameters to add extra depth and dimension to the sound… Synth Bass First let’s create the fundamental sound… 6. Fine-adjust the sensitivity, filter and FEG. Press KNOB PARAMETER GROUP switch [VCF], then press CONTROL knob 8 once to display the Vel Sens (Velocity Sensitivity) parameter in the LCD. Turn the knob to set a value of about “+30”, to increase the sensitivity applied to the VCF with playing strength. 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. 2. Set the oscillator with a low interval for bass. Press KNOB PARAMETER GROUP switch [VCO1], then press CONTROL knob 2 once to display the Pitch parameter in the LCD. Turn the knob to set a value of “12”, which is an octave lower than the basic pitch. Next, use CONTROL knob 5 to further adjust the VCF Cutoff. Use knob 7 to set the FEG Depth to your liking, and use knob 8 to further define the Vel Sens according to your playing style. 3. Filter out the roughness. Press KNOB PARAMETER GROUP switch [VCF], then press CONTROL knob 5 once to display the VCF Cutoff parameter in the LCD. Turn the knob to set a value somewhere near “60”, which results in a much rounder, or smoother sound. NOTE The Velocity Sensitivity setting affects the rate of change of the FEG Depth. The FEG Depth setting determines the range of the change. 7. Set up the synth bass sound for legato play. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu and press Poly [UP/DOWN] to set the Poly mode to “legat” (legato). Playing the keyboard produces only a monophonic note, and you can slur the bass notes into each other. 4. Tighten up the sustain. Press CONTROL knob 3 to display the Sustain parameter in the LCD. Turn the knob to set a value near “0”, which will get rid of the flabbiness of the sound. 8. Fatten up the sound with Unison play. Press the [LAYER] switch once to select the Unison mode. (“UNISON” appears accordingly in the right area of the LCD.) This produces a much thicker sound when you play, stacking up five sounds with each note. 5. Beef up the volume. Press KNOB PARAMETER GROUP switch [VCA], then press CONTROL knob 6 once to display the Volume parameter in the LCD. Turn the knob to set a value near “110” to increase the overall level of the sound. 9. Boost the filter resonance. Press KNOB PARAMETER GROUP switch [VCF] and press CONTROL knob 6 to display the Resonance parameter in the LCD. Turn the knob to set a value of about “60”, which will emphasize the harmonics near the cutoff frequency. 101 10. Apply vibrato to the voice. Press KNOB PARAMETER GROUP switch [VCO1] and press CONTROL knob 8 to display the Pmod Depth (Pitch Modulation Depth) parameter in the LCD. Turn the knob to set a value near “+20”. This applies the vibrato effect to the voice when you play. Strings First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. Next, let’s set up the vibrato to be applied by the [MODULATION] wheel, in order to control the amount of vibrato as you play. Change the Pmod Depth setting back to “0”. 2. To achieve the sound of multiple players, we’ll use both VCO1 and VCO2 oscillators. Press KNOB PARAMETER GROUP switch [MIX/VCF], then press CONTROL knob 2 once to display the VCO2 Level parameter in the LCD. Turn the knob to set a value of “127” so that the VCO2 can be heard. We’ll use one of the 16 sets in the Control Matrix to assign the VCO1 Pitch Modulation Depth parameter to the [MODULATION] wheel. 3. Adjust the interval between the oscillators. Press KNOB PARAMETER GROUP switch [VCO2], then press CONTROL knob 3 once to display the Fine Tune parameter. Turn the knob to set a value of about “+7” to create a slight interval. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu. • Press Set No [UP/DOWN] to display “Set 1” in the LCD. • Press Param [UP/DOWN] to display “VCO1 PmodDp” in the LCD. • Press Source [UP/DOWN] to display “A.MW” in the LCD. 4. Soften the attack of the sound. Press KNOB PARAMETER GROUP switch [VCA], then press CONTROL knob 1 once to display the Attack parameter in the LCD. Turn the knob to set a value near “50” to provide a slight delay between the time you press the key and the sound starts. NOTE You can also assign a Control Change number to the Source, by which to control the Parameter. In this case the Control Change number must match the setting in the UTILITY SETUP menu’s Control Device and Control Number. You can control the vibrato by moving the [MODULATION] wheel. To further define the range of vibrato control, press Depth [UP/DOWN] to set the value of about “Dp+20”. 5. Increase the release time of the sound. Press CONTROL knob 4 once to display the Release parameter in the LCD. Turn the knob to set a value near “60” so that the sound lingers for a short time when you release a key. There are many other parameters you may want to adjust to get just the right sound you want. When you’re finished with the editing process, perform a Voice Store operation to store your creation. For information, see page 98. Next let’s tweak a few parameters to add extra depth and dimension to the sound… 6. Multiply the string sounds with Unison Detune. Press the [LAYER] switch once to select the Unison mode. (“UNISON” appears accordingly in the right area of the LCD.) Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu and press Unison Detune [UP/DOWN] to set a value of about “12” to increase the detuning between the Unison notes. 7. Apply the Chorus effect to the sound. Set the [EDIT ROTARY] switch to the VOICE COMMON menu and press Vari EF Dry:Wet [UP/DOWN] to set the balance between original and Chorus to about “D<W10”. (Chorus 1 is already assigned as the current Variation Effect.) 102 8. Set the velocity sensitivity of the VCA. Press KNOB PARAMETER GROUP switch [VCA], then press CONTROL knob 8 to display the Vel Sens (Velocity Sensitivity) parameter in the LCD. Turn the knob to set a value near “+15” to increase the sensitivity. You can control the vibrato of the VCO1 by moving the [MODULATION] wheel. To further define the range of vibrato control, press Depth [UP/DOWN] to set a value of “Dp+20”. We’ll use another Control Matrix set to assign the VCO2 Pitch Modulation Depth parameter also to the [MODULATION] wheel. • Press Set No [UP/DOWN] to display “Set 2” in the LCD. “Param Off” will also be indicated. • Press Param [UP/DOWN] to display “VCO2 PmodDp” in the LCD. • Press Source [UP/DOWN] to display “A.MW” in the LCD. 9. Adjust the cutoff frequency and set the velocity sensitivity of the VCF. Press KNOB PARAMETER GROUP switch [VCF], then press CONTROL knob 5 once to display the VCF Cutoff parameter in the LCD. Turn the knob to set a value near “75” to soften the sound. Press CONTROL knob 8 once to display the Vel Sens (Velocity Sensitivity) parameter in the LCD. Turn the knob to set a value near “+15”, to increase the sensitivity applied to the VCF with playing strength. You can control the vibrato of the VCO2 by moving the [MODULATION] wheel. To further define the range of vibrato control, press Depth [UP/DOWN] to set a value of “Dp+20”. Next, use CONTROL knob 5 to further adjust the VCF Cutoff. Use knob 7 to set the FEG Depth to your liking, and use knob 8 to further define the Vel Sens according to your playing style. NOTE Try setting different Control Matrix Depth values to the VCO1 and VCO2 to hear the effect produced. There are many other parameters you may want to adjust to get just the right sound you want. When you’re finished with the editing process, perform a Voice Store operation to store your creation. For information, see page 98. NOTE The Velocity Sensitivity setting affects the rate of change of the FEG Depth. The FEG Depth setting determines the range of the change. 10. Apply vibrato to the voice. Press KNOB PARAMETER GROUP switch [VCO1] and press CONTROL knob 8 to display the Pmod Depth (Pitch Modulation Depth) parameter in the LCD. Turn the knob to set a value of about “+20”. This applies the vibrato effect to the voice when you play. Next, let’s set up the vibrato to be applied by the [MODULATION] wheel, in order to control the amount of vibrato as you play. Change the Pmod Depth setting back to “0”. We’ll use one of the 16 sets in the Control Matrix to assign the VCO1 Pitch Modulation Depth parameter to the [MODULATION] wheel. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu. • Press Set No [UP/DOWN] to display “Set 1” in the LCD. • Press Param [UP/DOWN] to display “VCO1 PmodDp” in the LCD. • Press Source [UP/DOWN] to display “A.MW” in the LCD. NOTE You can also assign a Control Change number to the Source, by which to control the Parameter. In this case the Control Change number must match the setting in the UTILITY SETUP menu’s Control Device and Control Number. 103 6. Set the VCF cutoff for a mellow EP sound. In the [VCF] group, turn CONTROL knob 5 to set the VCF Cutoff parameter to a value of about “70”. Electric Piano First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. 7. Set the velocity senstivity of the filter. In the [VCF] group, turn CONTROL knob 8 to set the Vel Sens (Velocity Sensitivity) to a value of about “+40”. This lets you bring out the highs with greater playing strength. 2. Set up the basic characteristics of the electric piano. Press KNOB PARAMETER GROUP switch [VCO1], then press CONTROL knob 4 once to display the Edge parameter in the LCD. Turn the knob to set a value of about “50” to smooth out the sound. 8. Widen the sound with a chorus effect. Set the [EDIT ROTARY] knob to the VOICE COMMON menu. Press Vari EF Dry:Wet [UP/DOWN] and set a value of about “D<W10”. (Chorus 1 is already set as the current Variation Effect.) Press KNOB PARAMETER GROUP switch [SYNC/FM]. • Turn CONTROL knob 1 to set the Algorithm parameter to “Sync+FMbth”, which enables the sync and applies FM to both master and slave oscillators of VCO1. 9. Apply reverberation to the sound. In the VOICE COMMON menu, press Dly/Rev EF Param [UP/DOWN] to display “Rev Return” in the LCD. Press Data [UP/DOWN] to set a value of about “20”. NOTE Other settings (except for “only FM”) will also produce effective results. • Turn CONTROL knob 2 to set the Sync Pitch parameter to a value of about “+33”. The sound will become very tinny. Next let’s tweak a few parameters to add extra control and subtle dimension to the sound… 10. Set up the Control Matrix to control the AEG Decay by key tracking. With key tracking you can make the AEG Decay quicker in the upper range and slower in the lower range, for a more natural electronic piano sound. 3. Set up the VCO2 to fill out the sound. Press KNOB PARAMETER GROUP switch [VCO2], then press CONTROL knob 4 once to display the Edge parameter in the LCD. Turn the knob to set a value of about “50”. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu. • Press Set No [UP/DOWN] to display “Set 1” in the LCD. • Press Param [UP/DOWN] to display “AEG Decay” in the LCD. • Press Source [UP/DOWN] to display “KyTrk” (Key Track) in the LCD. • Press Depth [UP/DOWN] to set a value of “Dp+ 9”. Press KNOB PARAMETER GROUP switch [MIX/VCF], then press CONTROL knob 2 to display the VCO2 Level parameter in the LCD. Turn the knob to set a value of about “127” in order to hear the VCO2. 4. Fine-tune the AEG and VCA velocity sensitivity. Press KNOB PARAMETER GROUP switch [VCA]. • Turn CONTROL knob 3 to set the Sustain parameter to a value of “0”. • Turn CONTROL knob 2 to set the Decay parameter to a value of about “83”. • Turn CONTROL knob 8 to set the Vel Sens (Velocity Sensitivity) parameter to about “+30”, to increase the sensitivity level. 11. Use the Control Matrix to control the FEG Decay by key tracking. With key tracking you can also make the FEG Decay quicker in the upper range and slower in the lower range, for a more natural electronic piano sound. In the VOICE SCENE SETUP menu, perform the following operations: • Press Set No [UP/DOWN] to display “Set 2” in the LCD. • Press Param [UP/DOWN] to display “FEG Decay” in the LCD. • Press Source [UP/DOWN] to display “KyTrk” (Key Track) in the LCD. • Press Depth [UP/DOWN] to set a value of “Dp+ 5”. 5. Fine-tune the FEG Sustain and Decay parameters. Press KNOB PARAMETER GROUP switch [VCF]. • Turn CONTROL knob 3 to set the Sustain parameter to a value of about “40”. • Turn CONTROL knob 2 to set the Decay parameter to a value of about “85”. 104 12. Use the Control Matrix to control the Sync Pitch by key tracking. With key tracking you can mellow out the Sync Pitch in the upper range and bring out the grit in the lower range. Electronic Organ First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. In the VOICE SCENE SETUP menu, perform the following operations: • Press Set No [UP/DOWN] to display “Set 3” in the LCD. • Press Param [UP/DOWN] to display “Sync Pitch” in the LCD. • Press Source [UP/DOWN] to display “KyTrk” (Key Track) in the LCD. • Press Depth [UP/DOWN] to set a value of “Dp-18”. 2. Select the pulse wave for a basic organ sound. Press KNOB PARAMETER GROUP switch [VCO1]. Turn CONTROL knob 1 to set the Wave parameter to "pulse". Turn CONTROL knob 4 to set the Edge parameter to a value of about “30”. This smooths out the rough edge of the sound. Finally, let's adjust the PEG to add a harder attack to the electronic piano sound. Press KNOB PARAMETER GROUP switch [PEG/LFO]. • Turn CONTROL knob 1 and set the PEG Decay parameter to about “+3”. • Turn CONTROL knob 2 and set the PEG Depth parameter to about “10”. Press KNOB PARAMETER GROUP switch [SYNC/FM]. • Turn CONTROL knob 1 to set the Algorithm parameter to “Sync+FMbth”, which enables the sync and applies FM to both master and slave oscillators of VCO1. NOTE Other settings (except for “only FM”) will also produce effective results. There are many other parameters you may want to adjust to get just the right sound you want. When you’re finished with the editing process, perform a Voice Store operation to store your creation. For information, see page 98. • Turn CONTROL knob 2 to set the Sync Pitch parameter to a value of about “+17”. 3. Set up the VCO2 an octave down to add fullness to the organ sound. Press KNOB PARAMETER GROUP switch [VCO2]. • Turn CONTROL knob 4 to set the Edge parameter to a value of about “40”. • Turn CONTROL knob 2 to lower the Pitch parameter to a value of “-12”, which is a full octave down. Press KNOB PARAMETER GROUP switch [MIX/VCF]. • Turn CONTROL knob 2 to set the VCO2 Level to a value of “127” so that the VCO2 can be heard. • Turn CONTROL knob 1 to decrease the VCO1 Level to a value of about “70”. 4. Add a rotary speaker effect to the organ sound. Set the [EDIT ROTARY] switch to the VOICE COMMON menu. • Press Vari EF/EQ Param [UP/DOWN] to display “VarEF” in the LCD. • Press Data [UP/DOWN] to select the “RotarySp” effect. • Press Vari EF Dry:Wet [UP/DOWN] to increase the effect level to a value of about “D<W10”. 105 Next let’s tweak a few parameters to add extra control over and dimension to the sound… Synth Brass First let’s create the fundamental sound… 5. Set up the [MODULATION] wheel to control the speed of the rotary speaker. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu. • Press Control Matrix Set No [UP/DOWN] to select “Comn1” (Common 1). • Press Param [UP/DOWN] to select “Vari Param” (Variation Parameter). • Press Source [UP/DOWN] to select “A.MW” (Modulation Wheel). When you move the [MODULATION] wheel, the speed of the rotary speaker will change accordingly. • Press Depth [UP/DOWN] to set the value to “Dp+10”. 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. 2. To achieve the sound of multiple players, we’ll use both VCO1 and VCO2 oscillators. Press KNOB PARAMETER GROUP switch [MIX/VCF], then press CONTROL knob 2 once to display the VCO2 Level parameter in the LCD. Turn the knob to set a value of “127” so that the VCO2 can be heard. 3. Adjust the interval between the oscillators. Press KNOB PARAMETER GROUP switch [VCO2], then press CONTROL knob 3 once to display the Fine Tune parameter. Turn the knob to set a value of about “-4” to create a slight interval. 6. Add the organ click to the sound using the PEG. Press KNOB PARAMETER GROUP switch [PEG/LFO]. • Turn CONTROL knob 1 to set the PEG Decay parameter to a value between “+1” and “+4”. • Turn CONTROL knob 2 to set the PEG Depth parameter to a value of about “+20”. This creates the click. 4. Set up the FEG, VCF Cutoff and FEG Depth for a characteristic brass sound. Press KNOB PARAMETER GROUP switch [VCF]. • Turn CONTROL knob 1 to set the Attack parameter to about “40”. • Turn CONTROL knob 2 to set Decay to about “55”. • Turn CONTROL knob 3 to set Sustain to about “40”. • Turn CONTROL knob 5 to set the VCF Cutoff to about “55”. • Turn CONTROL knob 7 to set the FEG Depth to about “+55”. There are many other parameters you may want to adjust to get just the right sound you want. When you’re finished with the editing process, perform a Voice Store operation to store your creation. For information, see page 98. Next let’s tweak a few parameters to add extra depth and dimension to the sound… 5. Emphasize the brass characteristics of VCO1 with the PEG. Press KNOB PARAMETER GROUP switch [PEG/LFO]. • Turn CONTROL knob 1 and set the PEG Decay value to about “+15”. • Turn CONTROL knob 2 and set the PEG Depth parameter to about “-2”. • Turn CONTROL knob 3 and set the PEG Sw (Switch) to “VCO1”. 106 6. Apply vibrato to the voice. Press KNOB PARAMETER GROUP switch [VCO1] and press CONTROL knob 8 to display the Pmod Depth (Pitch Modulation Depth) parameter in the LCD. Turn the knob to set a value near “+20”. This applies the vibrato effect to the voice when you play. Synth Lead First let’s create the fundamental sound… 1. Select a voice that you don't mind writing over. Perform a Type 1 (Normal) Voice Initialize operation. Next, let’s set up the vibrato to be applied by the [MODULATION] wheel, in order to control the amount of vibrato as you play. Change the Pmod Depth setting back to “0”. 2. Set up the Sync Algorithm for a slow movement of the sound. Press KNOB PARAMETER GROUP switch [SYNC/FM]. • Turn CONTROL knob 1 and set the Algorithm parameter to “Sync+FMbth”, which enables the sync and applies FM to both master and slave oscillators of VCO1. We’ll use one of the 16 sets in the Control Matrix to assign the VCO1 Pitch Modulation Depth parameter to the [MODULATION] wheel. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu. • Press Set No [UP/DOWN] to display “Set 1” in the LCD. • Press Param [UP/DOWN] to display “VCO1 PmodDp” in the LCD. • Press Source [UP/DOWN] to display “A.MW” in the LCD. NOTE Other settings (except for “only FM”) will also produce effective results. • Turn CONTROL knob 2 and set the Sync Pitch parameter to a value of about “+10”. • Turn CONTROL knob 3 and set the Sync Pitch Depth parameter to a value of about “+20”. • Turn CONTROL knob 4 and set the Pitch Source to “LFO1”. NOTE You can also assign a Control Change number to the Source, by which to control the Parameter. In this case the Control Change number must match the setting in the UTILITY SETUP menu’s Control Device and Control Number. 3. Slow down the speed of the LFO1. Press KNOB PARAMETER GROUP switch [PEG/LFO], then press CONTROL knob 6 once to display the LFO1 Speed parameter in the LCD. Turn the knob to set a value of about “8”. You can control the vibrato of the VCO1 by moving the [MODULATION] wheel. To further define the range of vibrato control, press Depth [UP/DOWN] to set a value of “Dp+20”. 4. Change the LFO1 wave. Press CONTROL knob 5 once to display the LFO1 Wave parameter in the LCD. Turn the knob to select "sine↑↑", which shifts the entire wave above the 0 line. This creates a more typical synth lead sound. 7. Apply reverberation to the sound. Set the [EDIT ROTARY] switch to the VOICE COMMON menu, then press Dly/Rev EF Param [UP/DOWN] to display “Rev Return” in the LCD. Press Data [UP/DOWN] to set a value of about “30”. Next let’s tweak a few parameters to add extra depth and dimension to the sound… There are many other parameters you may want to adjust to get just the right sound you want. When you’re finished with the editing process, perform a Voice Store operation to store your creation. For information, see page 98. 5. Set up the sound for portamento play. In the [PEG/LFO] group, press CONTROL knob 4 to display the Port (Portamento) Time parameter in the LCD. Turn the knob to set a value of about "60". NOTE If “– – –” is flashing alternately with the Port Time value in the LCD, this means the portamento is turned off. To turn the portamento on, press the [PORTAMENTO] switch once. 6. Set up the Synth Lead sound for legato play. Set the [EDIT ROTARY] switch to the VOICE SCENE SETUP menu and press Poly [UP/DOWN] to set the Poly mode to “legat” (legato). Playing the keyboard produces only a monophonic note, and you can slur the lead notes into each other. 107 7. Thicken the sound with Unison play. Press the [LAYER] switch once to select the Unison mode. (“UNISON” appears accordingly in the right area of the LCD.) This produces a much thicker sound when you play, stacking up five sounds with each note. 8. Add a delay effect to the sound. Set the [EDIT ROTARY] switch to the VOICE COMMON menu, then press Dly/Rev EF Param [UP/DOWN] to display “Dly Return” in the LCD. Press Data [UP/DOWN] to set a value of about “30”. There are many other parameters you may want to adjust to get just the right sound you want. When you’re finished with the editing process, perform a Voice Store operation to store your creation. For information, see page 98. 108 About MIDI MIDI is an acronym that stands for Musical Instrument Digital Interface, which allows electronic musical instruments to communicate with each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI data, or messages. The AN1x can control a MIDI device by transmitting note related data and various types of controller data. The AN1x can be controlled by the incoming MIDI messages which automatically select MIDI channels, voices and effects, and change parameter values. Control Change MIDI Messages Transmitted And Received By The AN1x Control Change messages let you select a voice bank, control volume, panning, modulation, portamento time, brightness and various other controller parameters, through specific Control Change numbers which correspond to each of the various parameters. MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various types of MIDI messages which the AN1x can receive and transmit. Modulation (Control #001) Messages which control vibrato depth using the Modulation Wheel. 1.CHANNEL MESSAGES Setting the value to 127 produces maximum vibrato and 0 results in vibrato off. Channel messages are the data related to the performance on the keyboard for the specific channel. Portamento Time (Control #005) Messages which control the duration of portamento, or a continuous pitch glide between successively played notes. Note On/Note Off (Key On/Key Off) Messages which are generated when the keyboard is played. When the parameter Portamento Switch is set to on, the value set here can adjust the speed of pitch change. Setting the value to 127 produces maximum portamento time and 0 results in minimum portamento time. Reception note range = C-2 (0) - G8 (127), C3 = 60 Velocity range = 1 - 127 (Only the Note On velocity is received) Data Entry MSB (Control #006) Note On: Generated when a key is pressed. Data Entry LSB (Control #038) Note Off: Generated when a key is released. Messages which set the value for the parameter specified by RPN MSB/LSB. Parameter value is determined by combining MSB and LSB. Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is struck. Main Volume (Control #007) Messages which control the volume of the AN1x. Setting the value to 127 produces maximum volume and 0 results in volume off. The message 007 (Main Volume) will be transmitted using an optional controller connected to the FOOT VOLUME jack on the rear panel according to the factory-set. 109 Pan (Control #010) Effect1 Depth (Reverb) (Control #091) Messages which control the stereo panning position of each voice (for stereo output). Messages which adjust the send level for the Reverb effect. Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left. Effect3 Depth (Variation [Chorus]) (Control #093) Expression (Control #011) Messages which adjust the dry/wet balance for the Chorus Variation Effect. Messages which control intonation expression of each voice during performance. Effect4 Depth (Delay Depth) (Control #094) Setting the value to 127 produces maximum volume and 0 results in volume off. Messages which adjust the send level for the Delay effect. Sustain Switch (Control #064) Messages which control sustain on/off. Data Increment (Control #096) Decrement (Control #097) for RPN Setting the value between 64 - 127 turns the sustain on, between 0 - 63 turns the sustain off. Messages which increase or decrease the MSB value of pitch bend sensitivity. Portamento Switch (Control #065) You must assign one of those parameters using the RPN in the external device in advance. Messages which control portamento on/off. Setting the value between 64 -127 turns the portamento on, between 0 - 63 turns the portamento off. The data byte is ignored. When the maximum value or minimum value is reached, the value will not be incremented or decremented further. (Incrementing the fine tune will not cause the coarse tune to be incremented.) Harmonic Content (Control #071) Messages which adjust the VCF resonance set for each voice. RPN (Registered Parameter Number) LSB (Control #100) Higher values will result in a more characteristic, resonant sound. Depending on the voice, the effective range may be narrower than the range available for adjustment. RPN (Registered Parameter Number) MSB (Control #101) Messages which offset, or add or subtract values from a voice's pitch bend sensitivity. Release Time (Control #072) Messages which directly adjust the AEG release time set for each voice. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use Data Increment/Decrement to set the value of the specified parameter. Attack Time (Control #073) Messages which directly adjust the AEG attack time set for each voice. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPN's value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid an unexpected result. Brightness (Control #074) Messages which directly adjust the VCF cutoff frequency set for each voice. Messages which can be received are as follows: Lower values will result in a softer sound. Depending on the voice, the effective range may be narrower than the range available for adjustment. RPN MSB 00 00 00 7F 110 RPN LSB 00 01 02 7F PARAMETER Pitch Bend Sensitivity Fine Tune Coarse Null Channel Mode Messages 2. SYSTEM MESSAGES The following Channel Mode Messages can be received. System messages are the data related to the overall system of the device. 2nd BYTE 3rd BYTE 120 0 121 0 123 0 126 0 ~ 16 127 0 MESSAGE All Sounds Off Reset All Controllers All Notes Off Mono Poly System Exclusive Messages System Exclusive messages control various functions of the AN1x, including master volume and master tuning, effect type and various other parameters. All Sounds Off (Control #120) Clears all sounds currently sounding on the specified channel. However, the status of channel messages such as Note On and Hold On is maintained. Master Volume When received, the Volume MSB will be effective for the System Parameter. Reset All Controllers (Control #121) The values of the following controllers will be reset to the defaults: Pitch Bend, Channel Pressure, Sustain Switch, Modulation, Expression, Portamento, RPN*, Volume, Pan, Effect Send Level 1, 3, 4. F0 7F 7F 04 01 ll mm F7 (Hexadecimal) * mm(MSB) = appropriate volume value, ll(LSB) = ignored * Number not specified; internal data will not change. Active Sensing All Notes Off (Control #123) Clears all notes currently on for the specified channel. Once FE (Active Sensing) has been received, if no MIDI data is subsequently received for longer than an interval of approximately 300msec, the AN1x will perform the same function as when All Sounds Off, All Notes Off, and Reset All Controllers messages are received, and will then return to a status in which FE is not monitored. However, if Sustain Switch is on, notes will continue sounding until these are turned off. Mono (Control #126) Performs the same function as when an All Sounds Off message is received, and if the 3rd byte (mono number) is in the range of 0 - 16, sets the corresponding channel to Mono Mode (Mode 4 : m = 1). Refer to the MIDI Data Format in the separate Data List book for more information about the various messages. Poly (Control #127) Performs the same function as when an All Sounds Off message is received, and sets the corresponding channel to Poly Mode (Mode 3). Program Change Control Change Modes Messages which select voices. The AN1x has two Control Change modes. Mode 1 corresponds to the list of Control Change parameters according to the MIDI standard. Mode 2 is a special list of Control Change parameters unique to the AN1x. Channel Aftertouch Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel. For information about changing modes, see page 96. For a list of Control Change parameters for each mode, see the separate Data List book. Pitch Bend Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a specified amount over a specified duration. 111 Error Messages The following messages may appear during operation, indicating problems or incorrect operation, or to provide information. These are explained below. Battery Low SysEx Size Error The memory backup battery is low, and memory cannot be backed up. Store the necessary data to a MIDI data storage device and have the battery changed by your local Yamaha dealer or any other authorized Yamaha service personnel. Received System Exclusive message size is incorrect. Confirm the size of the transmitted data. Chek Sum Error Received System Exclusive Check Sum message is incorrect. Confirm the Check Sum message of the transmitted data. Device No.=off Error Cannot send MIDI bulk data since the Device Number is set to off. Receiving Bulk Device Number Error Displays when receiving bulk data. Cannot receive MIDI bulk data due to improper Device Number setting. Match the device numbers for both the AN1x and the external device. Not Scene Ctrl System Exclusive message could not be received since the Scene Control function is not activated. Press both Scene switches to activate Scene Control. Illegal Data Error occurred during MIDI data receive. Start the transmit operation once again. MIDI Buffer Full! Too much MIDI information received. Eliminate unnecessary MIDI data. SysEx Adrs Error Received System Exclusive message address is incorrect. Confirm the address of the transmitted data. SysEx Data Error Received System Exclusive message data is incorrect. Confirm the contents of the transmitted data (such as necessary MSB, LSB data, etc.). 112 Troubleshooting Following is a list of troubleshooting hints and page references for some common problems you may encounter during operation. Usually, most problems are simply the result of incorrect settings. Before calling a professional service representative, refer to the throubleshooting advice below to see if you can identify and correct the cause of the problem. No Sound • Is the volume turned up high enough? Sound is too low • Is the MIDI volume or MIDI expression set too low? • If a Foot Controller is connected to the [FOOT VOLUME] jack, is the Foot Volume pressed down? • Is the UTILITY SETUP menu Keyboard Velocity parameter set too low? (Page 92) • Is the VCA Volume high enough? (Page 69) • Is the HPF Cutoff set too high? (Page 67) • Is the Mixer VCO level high enough? (Page 66) The pitch is off • Are the tuning related parameters set to “0”? See VCO Pitch, Fine (pages 61, 62), Master Tune (page 92), Keyboard Transpose (page 92)? • Is the VCF Cutoff set to low? (Page 65) • Is the VCO Pulse Width setting correct? (Page 62) • Are the effect settings incorrect? (Pages 77, 79) • Is the MIDI receive channel turned off? (Page 93) • Are the oscillator SYNC/FM settings appropriate? (Page 59) • Are the speakers or other audio components connected properly? (Page 12) The sound is choppy and interrupted • Have the maximum number of notes of polyphony been exceeded? • Is the keyboard Local setting turned off? (Page 94) • If you are playing back song data using an external device, are the volume or expression related settings for the song appropriate? • Is the Free EG changing the volume or cutoff frequency as you play? (Page 83) • Is the Velocity setting high enough? (Page 92) • Is the Split Point set properly? (Page 77) • Are the Step Sequencer Note and Velocity event settings appropriate? (Page 89) No Arpeggiator or Step Sequencer sound • Is the Velocity setting high enough? (Page 70) Only one note sounds at a time • Is the Poly mode set to Legato or Mono? (Page 72) • Is the [ARPEGGIO/SEQ] switch on? (Page 33) Can’t hear the effects • Is the Effect Bypass switch turned on? (Page 80) • Is the current Scene the same as that set in the ARPEGGIO/SEQ SETUP menu? (Page 87) • Is the Keyboard Mode and Split Point settings appropriate? (Pages 77, 86) No portamento • Is the [PORTAMENTO] switch set to “ON”? (Page 24) Distorted sounds • Are the effect settings appropriate? (Pages 77, 79) Cannot perform store operation • Is the Free EG set to Record Standby? (Page 83) • Is the volume set too high? • Are the oscillator SYNC/FM settings correct? (Page 58) • Is the VCA Feedback level too high? (Page 69) • Is the Noise Level too high? (Page 66) 113 Blank Chart Voice No. Voice Name Common Layer Unison Pan Separate SCENE SELECT Variation Effect Type LAYER ARPEGGIO/SEQ Dly/Rev Connection Tempo 3 Band Equalizer Effect Type Effect Type Param PORTAMENTO Detune Delay Effect Type Data Param Reverb Type Effect Type 3 Band Equalizer Split Pnt Effect Type Data Param Param Data 1 1 Low Freq 1 1 2 2 Low Gain 2 2 3 3 3 Mid Freq 3 4 4 Mid Gain 4 4 5 5 Mid Reso 5 5 6 6 High Freq 6 6 7 High Gain elm Dry:Wet 7 7 Return Return Voice Free EG Voice Step Sequencer Track Common Trigger Data Step Loop Type Length Event Key Track 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Ctrl Chng Track Track No Param Scene Sw Gate Time 1 2 3 Velocity 4 Voice Arpeggio Sequencer Note Common Arp/SEQ Arp Type/No KbdMode Hold SceneSw Seq Arpeggio Play EF Subdivide Swing Pattern Velocity Base Unit Gate Time / % % % Photocopy this Blank Chart and fill in your voice settings. 114 Length LoopType Ctrl No Voice Scene Setup Mode Poly Port LFO Rst Scene Control Matrix Ctrl Matrix Ctrl Matrix Set No Param Source Depth Set No Pitch Up Set 9 Pitch Down Set 10 Set 1 Set 11 Set 2 Set 12 Set 3 Set 13 Set 4 Set 14 Set 5 Set 15 Set 6 Set 16 Set 7 Common 1 Set 8 Common 2 Param Source Depth Knob Parameter Type SYNC/FM PEG/LFO Algorithm Sync Pitch Sync Pitch Depth Sync Pitch Src PEG Decay PEG Depth PEG Sw Port Time Sync Pmod Sw FM Depth FM Src1 FM Src2 LFO1 Wave LFO1 Spd LFO Dly LFO2 Spd Wave Pitch Fine Edge Wave Pitch Fine Edge PW PWM Depth PWM Src PmodDepth PW PWM Depth PWM Src PmodDepth Attack Decay Sustain Release VCO1 Level VCO2 Level Ring Mod Noise Level VCF Cutoff Resonance FEG Depth Vel Sens HPF VCF Type Fmod Depth Key Track Attack Decay Sustain Release ASSIGN 1 ASSIGN 2 ASSIGN 3 ASSIGN 4 Feedback Volume Amod Depth Vel Sens ASSIGN 5 ASSIGN 6 ASSIGN 7 ASSIGN 8 VCO1 VCO2 VCF MIX/VCF VCA ASSIGN Photocopy this Blank Chart and fill in your Scene settings. 115 Specifications KEYBOARD 61Keys (Initial/After Touch), TONE GENERATOR Analog Physical Modeling, 2 VCOs (Sync, FM)/Ring Mod/Noise/2 LFOs/PEG/VCF (FEG)/VCA (AEG) POLYPHONY 10 notes (maximum) MULTI TIMBRES 2 timbres maximum (with polyphony of 5 + 5 notes) EFFECT Variation: 14, EQ: 1 (Stereo 3-Band), Delay: 5, Reverb: 8 VOICE MEMORIES User 128 ARPEGGIATOR 30 Preset patterns STEP SEQUENCER Voice Pattern for each Voice plus 128 User Patterns FREE EG No. of Tracks : 4 Parameter tracks per voice (16.0 sec maximum per track) CONTROLLERS Pitch Bend Wheel, Modulation Wheel (Assignable), X-Z Ribbon Controller (Assignable) Edit Rotary Switch (6 segment), Control Knobs (with push-switch) x 8 (Assignable), Volume Knobs PANEL SWITCHES Knob Parameter Group Select x 8 (PEG/LFO, VCO1, VCO2, SYNC/FM, MIX/VCF, VCF, VCA, ASSIGN), Data x 20, Layer x 1, Portamento x 1 (on/off), Arpeg/SEQ x 1 (on/off), Store x 1, Voice Select x 2 (–/NO, +/YES/ENTER), Data Entry x 10 (0-9), Scene x 2 (Scene1, 2) DISPLAY LCD Custom (15 Characters with LED Backlight), LED Scene x 2 (Red), LED Knob Parameter Group Select x 8 (Red) CONNECTORS Head Phones (L / R Stereo), Stereo Output L (Mono) / R, Phone x 2, Foot Controller (Assignable), Foot Volume (Assignable), Footswitch (Assignable), MIDI IN / OUT / THRU OUTPUT LEVEL Phones – 2.9 ± 2.0dBm (330 Ω), Stereo Output +4.0 ± 2.0dBm (10kΩ) POWER REQUIREMENTS AC Adaptor PA-3B or equivalent DIMENSIONS 986 (W) x 285 (D) x 103 (H) mm WEIGHT 7.5 kg ACCESSORIES Owner’s Manual, Data List Book, AC Adaptor (PA-3B) Specifications and descriptions in this owner’s manual are 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. 116 Index E A AEG ..............................................................................................32 Algorithm ..................................................................................31, 59 Amod Depth (VCA) ..........................................................................70 Amplifiers ........................................................................................10 AN1x Quick Tour ............................................................................17 APPENDIX ....................................................................................101 Arp/SEQ ........................................................................................85 ARPEGGIO/SEQ..............................................................................33 Arpeggiator ....................................................................................33 Arpeggio Subdivide ..................................................................34, 88 ASSIGN ..........................................................................................70 Assigning Control Parameters ............................................................95 Attack (VCA)....................................................................................68 Attack (VCF) ....................................................................................64 easy (Kbd Vel)..................................................................................93 Edge (VCO1, VCO2) ......................................................................62 Edit (Coarse/Fine) ............................................................................26 Edit Mark..................................................................................54, 72 Edit, Panel Parameter........................................................................71 Edit, Step Sequencer ........................................................................44 Edit Parameters ................................................................................72 Edit Procedure (Panel) ......................................................................71 Edit Procedure (Voice) ......................................................................29 EDIT ROTARY switch ........................................................................28 EF Bypass ........................................................................................80 EFFECT ..............................................................................11, 77, 79 EQ..................................................................................................77 Error Messages ..............................................................................112 Event ........................................................................................44, 89 B F Bank ..............................................................................................90 Base Unit ..................................................................................42, 91 BEF ................................................................................................67 Blank Chart ..................................................................................114 BPF ................................................................................................67 Bulk Dump ......................................................................................94 Factory Settings..............................................................................100 Feedback ........................................................................................69 FEG ................................................................................................31 FEG Depth ......................................................................................65 Filters ..............................................................................................10 Fine (VCO1, VCO2) ........................................................................62 FM..................................................................................................31 FM Depth ........................................................................................60 FM Source 1....................................................................................60 FM Source 2....................................................................................60 Fmod Depth (VCF) ............................................................................68 FOOT CONTROLLER ..........................................................................7 FOOTSWITCH ..................................................................................7 FOOT VOLUME ................................................................................7 Free EG ....................................................................................47, 81 Free EG Base Position ................................................................49, 83 Free EG Recording Procedure ............................................................84 C C#1 Assign ....................................................................................40 chrd ..................................................................................35, 36, 86 chrd&norm..........................................................................35, 36, 86 Common ........................................................................................85 Control (UTILITY) ..............................................................................95 Control Assign Function ....................................................................95 Control Change Modes ....................................................................96 Control Features ..............................................................................49 CONTROL knobs ......................................................................16, 26 Control Matrix ..........................................................................51, 73 Control No (SEQ EDIT/SETUP Pattern) ..................................42, 50, 91 Control No (UTILITY Control) ......................................................50, 95 Controller..................................................................................11, 49 Copy ........................................................................................49, 83 G Gate Time ......................................................................................88 H hard (Kbd Vel)..................................................................................93 Hold (Arpeggiator) ....................................................................34, 87 Hold (Step Sequencer)................................................................38, 87 HPF Cutoff ......................................................................................67 HPF12 ............................................................................................67 D DC In ................................................................................................7 Data (Dly/Rev EF) ............................................................................79 Data (Vari EF/EQ) ............................................................................78 Decay (VCA)....................................................................................68 Decay (VCF) ....................................................................................64 Demo ..............................................................................................13 Depth (Control Matrix) ......................................................................75 Detune (VOICE COMMON Unison) ..................................................76 Device (UTILITY Control) ....................................................................95 Device No ......................................................................................94 Direct Control ..................................................................................75 Dly/Rev EF ......................................................................................79 DUAL ..............................................................................................23 DUAL UNISON ................................................................................23 I Innr 1, 2, 3 (VCO1 Wave) ................................................................61 K Keyboard Mode (KbdMode) ................................................35, 40, 86 Keyboard Transpose (KbdTrans) ........................................................92 Keyboard Velocity (Kbd Vel) ..............................................................92 Key Track (Free EG) ..................................................................48, 82 Key Track (VCF) ..............................................................................68 Knob (SEQ EDIT/SETUP) ..................................................................89 Knob Data Graph ............................................................................26 Knob Edit ........................................................................................53 Knob Parameters ..............................................................................54 KNOB PARAMETER GROUP........................................................16, 25 117 L Port (Mode) ..............................................................................25, 73 Port Time (PEG/LFO) ..................................................................25, 56 Portamento Play ..............................................................................24 PORTAMENTO switch ......................................................................24 POWER switch ..................................................................................7 PROGRAM CHANGE ........................................................................7 pulse (VCO1/VCO2 Wave) ..............................................................61 PW (VCO1, VCO2) ........................................................................62 PWM Depth (VCO1, VCO2) ............................................................62 PWM Source (VCO1, VCO2) ............................................................63 Layer (VOICE SCENE SETUP) ............................................................76 Layer Modes ....................................................................................22 LAYER switch....................................................................................22 LCD ................................................................................................17 Length (Arpeggio) ............................................................................36 Length (Free EG) ........................................................................48, 82 Length (SEQ EDIT/SETUP) ..........................................................42, 91 LFO ................................................................................................32 LFO Reset (Mode) ............................................................................73 LFO1 Delay ....................................................................................58 LFO1 Speed ....................................................................................58 LFO1 Wave ....................................................................................56 LFO2 Speed ....................................................................................58 Local ..............................................................................................94 LoopType (Free EG)....................................................................48, 82 LoopType (SEQ EDIT/SETUP) ......................................................42, 91 LPF24/18/12 ..................................................................................67 R Rec ..........................................................................................49, 83 REFERENCE ....................................................................................52 Release (VCA)..................................................................................69 Release (VCF) ..................................................................................64 Resonance ......................................................................................65 RIBBON controller ............................................................................16 Ring Modulator ................................................................................66 M S Master Tune ....................................................................................92 MIDI ..............................................................................................93 MIDI, About ..................................................................................109 MIDI, Bulk Dump ..............................................................................94 MIDI PtnTxCh ..................................................................................87 MIDI PtnTxCh (Arpeggiator) ........................................................37, 87 MIDI PtnTxCh (Step Sequencer) ..................................................46, 87 MIDI Rx Ch......................................................................................93 MIDI Tx Ch ......................................................................................93 MIDI IN/OUT/THRU ..........................................................................6 mix (VCO1/VCO2 Wave) ................................................................61 MIX/VCF ..................................................................................10, 66 Mode..............................................................................................72 MODULATION wheel ......................................................................15 s/h Wave (LFO1 Wave)....................................................................58 saw (VCO1/VCO2 Wave) ................................................................61 saw2 (VCO1/VCO2 Wave) ..............................................................61 Sawtooth Wave (LFO1 Wave)............................................................57 SCENE 1 ....................................................................................6, 19 SCENE 2 ....................................................................................6, 19 Scene Control ..................................................................................20 Scene Edit Buffers ............................................................................20 Scene Load......................................................................................22 Scene Memories ..............................................................................19 Scene Store ..............................................................................21, 99 Scene Swap ....................................................................................22 Scene Switch (ARPEGGIO/SEQ) ..........................................35, 42, 87 Scene Switch (Free EG) ..............................................................48, 83 sel&norm ..................................................................................39, 41 sel&shift ....................................................................................39, 41 Separate ........................................................................................76 SEQ EDIT/SETUP..............................................................................89 SEQ Store ..........................................................................40, 46, 91 Set No ............................................................................................74 shift&norm ................................................................................39, 41 Sine Wave (LFO1 Wave) ..................................................................56 SINGLE ..........................................................................................22 soft1 (Kbd Vel) ................................................................................92 soft2 (Kbd Vel) ................................................................................93 Source (Control Matrix) ....................................................................75 Specifications ................................................................................116 SPLIT ..............................................................................................23 SPLIT UNISON ................................................................................23 Split Point ........................................................................................77 Square Wave (LFO1 Wave) ..............................................................57 Step Hold ................................................................................45, 89 Step Sequencer ................................................................................37 Step Sequencer Pattern Banks ............................................................39 Store ..............................................................................................98 STORE switch ..................................................................................33 Subdivide ................................................................................34, 88 Sustain (VCA) ..................................................................................69 Sustain (VCF) ..................................................................................64 Swing ............................................................................................88 Sync ..............................................................................................31 Sync Pitch........................................................................................59 Sync Pitch Depth ..............................................................................59 Sync Pitch Source ............................................................................60 Sync Pmod Switch ............................................................................60 SYNC/FM ......................................................................................58 System ............................................................................................92 System Data ......................................................................................9 N Name ............................................................................................80 NO ([-]) ............................................................................................7 No (Pattern Number) ........................................................................90 Noise Level......................................................................................66 norm (Kbd Vel) ....................................................................39, 41, 92 O Oscillators ......................................................................................10 OUTPUT L/MONO, R ........................................................................7 P Pan ................................................................................................76 Panel Parameter Edit ........................................................................71 Param (Control Matrix)......................................................................74 Param (Dly/Rev EF) ..........................................................................79 Param (Free EG) ........................................................................48, 83 Param (Vari EF/EQ)..........................................................................77 Parameter Groups......................................................................16, 25 Pattern ............................................................................................90 PEG ................................................................................................31 PEG/LFO ........................................................................................54 PEG Decay ......................................................................................55 PEG Depth ......................................................................................55 PEG Switch......................................................................................55 PHONES ..........................................................................................7 Pitch (VCO1, VCO2) ........................................................................61 PITCH wheel ....................................................................................15 Play EF ....................................................................................43, 88 PmodDepth (VCO1, VCO2) ..............................................................63 Poly (Mode) ....................................................................................72 118 T Tempo ............................................................................................77 Tone Generator ................................................................................10 Track ........................................................................................48, 82 Track Common ..........................................................................47, 81 Track Job ..................................................................................49, 83 Track No ..................................................................................48, 83 Triangle Wave (LFO1 Wave) ............................................................57 Trigger......................................................................................47, 81 Troubleshooting ..............................................................................113 Type/No (Arpeggiator) ..............................................................34, 85 Type/No (Step Sequencer)..........................................................40, 85 U Undo ........................................................................................49, 84 UNISON ........................................................................................22 Unison Detune..................................................................................76 UTILITY SETUP ..................................................................................92 V Vari EF/EQ......................................................................................77 Vari EF Dry:Wet ..............................................................................78 VCA ........................................................................................11, 68 VCF ................................................................................................64 VCF Cutoff ......................................................................................65 VCF Type ........................................................................................67 VCO ........................................................................................10, 61 VCO1 ............................................................................................61 VCO1 Level ....................................................................................66 VCO2 ............................................................................................63 VCO2 Level ....................................................................................66 Velocity (Keyboard) ..........................................................................92 Velocity (Play EF) ......................................................................37, 88 Velocity Fix (Kdb Vel) ........................................................................93 Velocity Sensitivity (VCA) ..................................................................70 Velocity Sensitivity (VCF)....................................................................65 Voice ................................................................................................9 VOICE ARPEGGIO/SEQ ..................................................................85 Voice Category List ..........................................................................81 VOICE COMMON ..........................................................................77 Voice Creation Examples ................................................................101 Voice Data ........................................................................................9 Voice Edit Procedure ........................................................................29 VOICE FREE EG ..............................................................................81 Voice Initialize ................................................................................97 Voice Name Display ........................................................................15 Voice Recall ....................................................................................96 VOICE SCENE SETUP ......................................................................72 Voice Select ..............................................................................14, 52 Voice Store ......................................................................................98 Volume (VCA) ..................................................................................69 VOLUME knob ..................................................................................6 W Wave, LFO1 ....................................................................................56 Wave (VCO1)..................................................................................61 Wave (VCO2)..................................................................................63 wide (Kbd Vel) ................................................................................93 Y YES/ENTER/+ ..................................................................................7 119 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 MIDDLE & SOUTH AMERICA 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. ITALY ASIA Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN Yamaha-Hazen Electronica Musical, S.A. Jorge Juan 30, 28001, Madrid, Spain Tel: 91-577-7270 PORTUGAL Valentim de Carvalho CI SA Estrada de Porto Salvo, Paço de Arcos 2780 Oeiras, Portugal Tel: 01-443-3398/4030/1823 GREECE 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 BRASIL Yamaha Musical Do Brasil LTDA. Ave. Reboucas 2636, São Paulo, Brasil Tel: 011-853-1377 Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 SWEDEN Yamaha De Panama S.A. Edificio Interseco, Calle Elvira Mendez no.10, Piso 3, Oficina #105, Ciudad de Panama, Panama Tel: 507-69-5311 OTHER LATIN AMERICAN COUNTRIES AND CARIBBEAN COUNTRIES Yamaha Music Latin America Corp. 6101 Blue Lagoon Drive, Miami, Florida 33126, U.S.A. Tel: 305-261-4111 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: 0222-60203900 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 FRANCE Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Valée Cedex 2, France Tel: 01-64-61-4000 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 #131-31, Neung-Dong, Sungdong-Ku, Seoul Korea Tel: 02-466-0021~5 MALAYSIA Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 SINGAPORE FINLAND Warner Music Finland OY/Fazer Music Aleksanterinkatu 11, P.O. Box 260 SF-00101 Helsinki, Finland Tel: 0435 011 NORWAY Narud Yamaha AS Grini Næringspark 17 N-1345 Østerås, Norway Tel: 67 14 47 90 Yamaha Music Asia Pte., Ltd. Blk 17A Toa Payoh #01-190 Lorong 7 Singapore 1231 Tel: 354-0133 TAIWAN Kung Hsue She Trading Co., Ltd. No. 322, Section 1, Fu Hsing S. Road, Taipei 106, Taiwan. R.O.C. Tel: 02-709-1266 THAILAND Siam Music Yamaha Co., Ltd. 865 Phornprapha Building, Rama I Road, Patumwan, Bangkok 10330, Thailand Tel: 2-215-3443 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 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317 OCEANIA AFRICA Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312 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 MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN OTHER COUNTRIES Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2312 HEAD OFFICE SY11 INDONESIA PHILIPPINES THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 730-1098 Yamaha Music Malaysia, Sdn., Bhd. 16-28, Jalan SS 2/72, Petaling Jaya, Selangor, Malaysia Tel: 3-717-8977 Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 DENMARK PANAMA HONG KONG Yamaha Corporation, International Marketing Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2317 Yamaha Corporation, Electronic Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430 Tel: 053-460-2445 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 user's 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 your 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, CA 90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejiatig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. NEDERLAND NETHERLAND ● Dit apparaat bevat een lithium batterij voor geheugen back-up. ● This apparatus contains a lithium battery for memory back-up. VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion. ● 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 VAROITUS Paristo voi räjähtää, jos se on virheellisesti asennttu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. ● 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. 121 SPECIAL MESSAGE SECTION (USA) This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specifically recommended by Yamaha. 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: WARNING: Do not place this product in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. 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. Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. This Product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. This Product may also use "household" type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. 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. When installing batteries, do not mix old batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture. 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 long periods 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. Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. 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. If your dealer is unable to assist you, Please contact Yamaha directly. Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied with 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. NAME PLATE LOCATION: The name Plate is located on the bottom of the product. 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. 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 Model Serial No. your dealer before requesting service. Purchase Date PLEASE KEEP THIS MANUAL 92-BP 122